QUEENSLAND ARTQUEENSLAND GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2019–20 QUEENSLAND ART GALLERY | GALLERY OF MODERN ART MODERN OF | GALLERY GALLERY ART QUEENSLAND

QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2019–20 ACKNOWLEDGMENT OF COUNTRY The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the traditional custodians of the land upon which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander Elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution Indigenous people make to the art and culture of this country. REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES

21 August 2020

The Honourable Leeanne Enoch MP Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts GPO BOX 5078 BRISBANE QLD 4001

Dear Minister I am pleased to submit for presentation to the Parliament the Annual Report 2019–20 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2019 and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found on page 70 of this annual report.

Yours sincerely

Professor Emeritus Ian O’Connor AC Chair Queensland Art Gallery Board of Trustees CONTENTS

PART A

4 INTRODUCTION 4 Vision 4 Purpose 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees

6 CHAIR'S FOREWORD

8 DIRECTOR'S OVERVIEW

10 BACKGROUND 10 Government objectives for the community 10 Strategic Plan 2019–23 11 Operational Plan 2019–20 11 Operating environment

12 OUTCOMES 12 Performance measures 13 Statistics 14 Strategic objectives 22 Acquisitions 48 Exhibitions and programs

57 GOVERNANCE 58 Management and structure 63 Risk management and accountability 65 Human resources

67 GLOSSARY

68 SUMMARY OF FINANCIAL PERFORMANCE

70 COMPLIANCE CHECKLIST

PART B

71 FINANCIAL STATEMENTS 04 Queensland Art Gallery Board of Trustees Annual Report 2019–20 INTRODUCTION

PART A

INTRODUCTION

Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific.

Purpose Since 1993, the Gallery has presented its flagship project, the Asia Pacific Triennial of Contemporary Art (APT) — the To engage people with art and artists through memorable and only major recurring international exhibition series to focus transformative experiences. exclusively on the contemporary art of Asia, the Pacific and Australia. Through the APT series, the Gallery has cultivated Principles an internationally significant collection of art from the region.

• Access for all QAGOMA curates regional touring exhibitions and programs, giving people across the state access to the Collection. • Recognition of Aboriginal and Torres Strait Islander peoples

• Leadership through research, learning and innovation The Gallery is committed to profiling Queensland artists and strengthening relationships with Aboriginal and Torres Strait • Commitment to a sustainable, collaborative and Islander communities through a dedicated acquisition focus, inclusive culture. exhibition program and public engagement activities.

Queensland Art Gallery | QAGOMA is the only art museum in Australia with purpose- Gallery of Modern Art built facilities dedicated to film and the moving image. The Gallery’s Australian Cinémathèque presents retrospective and Queensland’s premier visual arts institution, the Queensland thematic film programs and exhibitions to showcase the work Art Gallery | Gallery of Modern Art (QAGOMA, or the of influential filmmakers and artists. Gallery) connects people through exhibitions and programs that showcase diverse historical and contemporary art by The Gallery’s Children’s Art Centre offers interactive art Australian and international artists. projects for children and families, and has published books for children in collaboration with leading Australian and Two vibrant and accessible buildings in the Queensland international artists. Cultural Centre at South Bank, the Queensland Art Gallery (QAG) and the Gallery of Modern Art (GOMA) QAGOMA also publishes research and scholarship on the offer complementary experiences that enrich the state’s Collection, exhibitions and artists in exhibition catalogues, cultural life. monographs, books, brochures and online.

Established in 1895 as the Queensland National Art Gallery, The development of a public collection, exhibitions, the institution was housed in temporary premises until the publications and public and regional touring programs opening of the QAG building at South Bank in 1982. GOMA makes art more accessible to Queenslanders. Wideranging opened in December 2006. education and public programs highlight the visual arts as an interconnected part of broader culture, relevant to the lives of The Gallery’s Collection (the Collection) comprises more than diverse audiences of all ages. 19 000 historical and contemporary Australian, Indigenous Australian, Asian, Pacific and international works of art. The Queensland Art Gallery is governed by the Queensland Art Gallery Board of Trustees (the Board). INTRODUCTION Queensland Art Gallery Board of Trustees Annual Report 2019–20 05

Queensland Art Gallery Board of Trustees The Board is a statutory body. Its existence, functions and powers are set out in the Queensland Art Gallery Act 1987 (the Act).

Under the Act, the Board’s functions include:

(a) to control, manage and maintain the Queensland Art Gallery and each branch thereof and all property in the possession of the Board

(b) to develop the Queensland Art Gallery’s collection of works of art

(c) to minister to the needs of the community in any or all branches of the visual arts, including by displaying works of art; promoting artistic taste and achievement through the illustration of the history and development of the visual arts; promoting and providing lectures, films, broadcasts, telecasts, publications and other educational or cultural instruction or material; and promoting research

(d) to control and manage all land and premises vested in or placed under the control of the Board

(e) to restore and repair works of art in the possession of the Board

(f) to frame and package, and manufacture display materials for works of art in the possession of the Board

(g) to encourage artistic achievement by artists resident in Queensland.

For performing its functions, the Board has all the powers of an individual and may, for example: enter into arrangements, agreements, contracts and deeds; acquire, hold, deal with and dispose of property; engage consultants; appoint agents and attorneys; charge, and fix terms, for goods, services, facilities and information supplied by it; and do anything else necessary or desirable to be done in performing its functions. 06 Queensland Art Gallery Board of Trustees Annual Report 2019–20 CHAIR'S FOREWORD

CHAIR'S FOREWORD

With the devastating summer of bushfires across Australia, ‘I, Object’, which presented both historical cultural objects followed by the far-reaching effects of the global COVID-19 and contemporary Indigenous Australian artworks, attracted pandemic, 2019–20 has been an immensely challenging 12 considerable praise from esteemed members of the months for many in the community. For the Queensland International Committee for Museums and Collections of Art Gallery | Gallery of Modern Art (QAGOMA), COVID-19 Modern Art, who visited Brisbane in November. In The Art necessitated the temporary closure of both buildings, in Newspaper’s annual survey of art gallery attendance worldwide line with Queensland Government public health guidelines in 2019, the Gallery’s non-ticketed exhibitions ‘Quilty’ and affecting art galleries, from midday on 23 March 2020. ‘Margaret Olley: A Generous Life’ were the highest ranked Australian exhibitions — at 115th and 123rd, respectively, of the Following Queensland Health approval of comprehensive 750 exhibitions listed — in itself, a remarkable achievement. COVID Safe Plans for both buildings, QAG reopened on 22 June 2020 and GOMA on 7 August 2020. This report On behalf of the Board and Director, I extend warm thanks details, where applicable, the significant impacts of COVID-19 to The Honourable Annastacia Palaszczuk MP, Premier of restrictions on the Gallery’s strategic and operational Queensland, and The Honourable Leeanne Enoch MP, Minister outcomes this year. The Board remains confident, however, for Environment and the Great Barrier Reef, Minister for that the Gallery is well placed for an assured recovery over Science and Minister for the Arts, for their continued support time, and that, through its profile and leadership, it can in of this institution. The guidance and support the Gallery turn assist others in the broader arts and culture sector. continues to receive from the Queensland Government in response to the pandemic is invaluable; in particular, I am extremely proud of the way the Gallery has continued to I acknowledge Minister Enoch; Jamie Merrick, Director- adapt and respond to the evolving impacts of this prolonged General, Department of Environment and Science; Kirsten crisis; in the period leading up to its closure to the public, Herring PSM, Deputy Director-General, Arts Queensland; through the period of closure itself, and following its staged Scott Martin, Acting Deputy Director-General (January reopening. Together with major art museums across Australia to May), Arts Queensland; and the team at Queensland and around the world, QAGOMA rapidly accelerated the Health. I also acknowledge the chairs and chief executive production and release of new digital content and online officers of the Queensland Museum, State Library of events. This enabled the Gallery’s broad community of visitors Queensland and Queensland Performing Arts Centre for and supporters — artists, art students, donors, sponsors, their spirit of cross-institution collaboration during the year. collaborating partners and others — to remain connected to the Collection, exhibitions and learning and public This year we farewelled Trustees Rick Wilkinson and The engagement programs. Despite its doors being temporarily Honourable John Mickel; I thank them both for their dedicated closed, the Gallery continued, not least through its digital service and, further, acknowledge Rick’s contribution through channels, to maintain and enlarge the fundamental role of his key roles as Deputy Chair of the Board and Chair of the the visual arts as a source of solace and inspiration for many Audit and Risk Management Committee. We welcomed people during this most challenging of times. new Trustees The Honourable Justice Martin Daubney AM and Catherine Sinclair. I also acknowledge my continuing Prior to the pandemic, the Gallery continued to present colleagues on the Board: Dr Bianca Beetson, Gina Fairfax, world-class exhibitions. The Gallery’s major ticketed Liz Pidgeon (Deputy Chair from April) and Paul Taylor. exhibition for the year, ‘Water’ highlighted the significant role of art and artists in both reflecting and shaping how society I also wish to acknowledge the work of the Board’s sub- understands and grapples with some of the world’s most committees: the Audit and Risk Management Committee, critical but intractable issues — in this case, global and local chaired by Rick Wilkinson (to March) and Catherine Sinclair perspectives on the fundamental nature and sustainability of (from April); and the QAGOMA Foundation Committee, led by the earth’s precious water resources. This exhibition provided President Tim Fairfax AC, and comprising my fellow members many must-see moments of the Gallery’s year: from Olafur Philip Bacon AM, The Honourable Justice Thomas Bradley Eliasson’s monumental and immersive Riverbed 2014, to the (to August), Anna Cottell, Kathy Hirschfeld AM, Mary-Jeanne return of Cai Guo-Qiang’s immensely popular Heritage 2013. Hutchinson, John Lobban (to August), Judy Mather (from October), Joseph O’Brien, Liz Pidgeon, Dr Sally Sojan (from October), Paul Spiro (to August) and Paul Taylor. CHAIR'S FOREWORD Queensland Art Gallery Board of Trustees Annual Report 2019–20 07

The Gallery’s Indigenous Advisory Panel provided QAGOMA’s Executive Management Team with invaluable guidance, particularly in the development of the Gallery’s first Reconciliation Action Plan. I acknowledge Chair Avril Quaill and members Michael Aird, Nancy Bamaga, Dr Bianca Beetson, Helena Gulash, Louisa Warren and David Williams.

On behalf of the Board, I congratulate Director Chris Saines CNZM, his executive team and staff for their achievements this year, their fortitude during the Gallery’s temporary closure, and their commitment to welcoming back our visitors.

Professor Emeritus Ian O’Connor AC Chair, Queensland Art Gallery Board of Trustees 08 Queensland Art Gallery Board of Trustees Annual Report 2018–19 DIRECTOR'S OVERVIEW

DIRECTOR'S OVERVIEW

At the outset of the 2019–20 year, the combination of the and Arts Queensland, the Department of Environment recently-opened survey exhibitions of Margaret Olley and and Science, Queensland Health and other bodies for their Ben Quilty resonated deeply with audiences and drove support, specialist advice and assistance. The Gallery’s Crisis especially strong attendance through the first quarter. A suite Management Team was critical in ensuring the safety of staff of Gallery-curated exhibitions followed, all either focused and visitors during this time, and I am indebted to the Gallery’s on or featuring Queensland artists. ‘I, Object’ addressed the Executive Management Team and the staff who serve on this truth of cultural loss and trauma for Indigenous communities team for their resolute commitment to a highly complex task. when cultural material is removed to be housed in museum collections, and the important role played by contemporary It is always valuable to identify positive outcomes arising Indigenous artists in reclaiming their voices and their stories. from difficult circumstances, and it was a great comfort to The survey exhibition of Brisbane-based expressionist painter know that our audiences were actively engaged during the Jon Molvig (1923–70), ‘Maverick’ presented more than 100 Gallery’s closure, with content delivered under the hashtag of the artist’s paintings and works on paper, which at the #homewithQAGOMA via our digital and social channels. time challenged the conservative art scene of the city in the New ‘Learn at Home’ online modules for school students went 1950s and 1960s. The Gallery was then honoured to work live in April, and a more dynamic and content-rich Collection with Indjalandji/Alyawarr woman Shirley Macnamara to Online resource was published as part of a testing phase, present an exhibition spanning some 20 years of her unique while hundreds of people joined a live webinar each week in sculptural practice, undertaken from her property in north- June to participate in artist-led drawing workshops, setting west Queensland. The opening of the first major survey of the a new online event attendance record in the process. The work of Aurukun artist Mavis Ngallametta was bittersweet, Gallery’s food and beverage team responded to the closure however, as it followed her passing in January 2019. As with ingenuity, moving quickly to offer a 'Pop-up Providore' exhibition co-curator Bruce Johnson McLean noted: ‘Each service at the GOMA Bistro, while the retail team delivered a painting is about her home, and in her painting, she found a popular online design market involving local makers in May. new home — somewhere she could go to remember, relive Gallery staff adapted quickly to new ways of working that kept and record places, memories and loved ones’. us all connected and productive, albeit largely from home.

The ‘face’ of the Gallery over the summer was Peter Fischli I am grateful for the strong community of supporters who and David Weiss’s Snowman 1987/2017–19. An incomparable are integral to the Gallery’s continued success. Of new acquisition for the Gallery’s international collection, purchased acquisitions this year, 94 per cent were acquired through with the generous support of Tim Fairfax AC, Snowman was philanthropic support. A new QAGOMA Foundation category, unveiled for the first time in the Gallery-curated summer ‘Visionary’ was created to recognise the transformative exhibition ‘Water’. Safely protected from Queensland’s melting influence of donors whose support for the Gallery has temperatures in his industrial freezer, Snowman enchanted exceeded $5 million, and I sincerely thank and acknowledge visitors with his enigmatic smile and compelled us to think our Visionary donors Henry and Amanda Bartlett Trust, about the exhibition’s broader theme of sustainability, and Tim Fairfax AC, Win Schubert AO, and Paul, Sue and Kate primarily that of climate change. ’Water’ drew more than Taylor. At the Foundation’s 40th Anniversary Annual Dinner, 121 000 visitors and prompted an extraordinarily positive artist and benefactor Ah Xian received the 2019 QAGOMA response from artists, the media and the public. The Gallery Medal for his outstanding contribution to the Gallery’s was also thrilled to welcome Danish–Icelandic artist and Collection. United Nations Goodwill Ambassador Olafur Eliasson to I thank the Queensland Government and Australia Council present a keynote address at GOMA — Eliasson’s monumental for the Arts as long-term foundational supporters of the Riverbed 2014 installation was one of the signature works Gallery’s flagship Asia Pacific Triennial of Contemporary of ‘Water’. Art, and welcome the Australia Council’s confirmed renewal In March, the Gallery’s best-laid plans were confronted by of its commitment to this project through its Visual Arts the unprecedented challenges of COVID-19, requiring the and Craft Strategy. I thank Tourism and Events Queensland ‘Water’ season to come to a sudden close and the institution for their continued support of our blockbuster exhibitions, to adapt to entirely new ways of working in the face of including ‘Water’. I acknowledge the generous support of the a global pandemic. The Gallery’s implementation of its Commonwealth Government’s National Cultural Heritage emergency response and business continuity plans is detailed Account, which assisted the Gallery to acquire a group of in this report, and I wish to acknowledge the Arts Minister important Papunya board paintings. I welcome the new DIRECTOR'S OVERVIEW Queensland Art Gallery Board of Trustees Annual Report 2018–19 09

corporate partners who came on board during the year, HSBC Bank Australia and Urban Utilities, and thank them for their support and commitment to our exhibitions and programs.

At the time of writing, it is with great satisfaction that the Gallery is once again welcoming visitors through its doors. I thank Queensland Art Gallery Board Chair, Professor Emeritus Ian O’Connor AC and his fellow Trustees for their astute and steady leadership during this extremely challenging year. I am truly excited by our forward major exhibitions program — from ‘The Motorcycle: Design, Art, Desire', in November 2020, to ‘European Masterpieces from The Metropolitan Museum of Art, New York', in June 2021 — and I continue to believe that the COVID era, however long it remains with us, will ultimately strengthen, not weaken, the meaningful connections we make daily between art, artists and audiences. Despite the exigencies of the current crisis, QAGOMA is more resolutely committed than ever to serving its community to the highest possible standard.

Chris Saines CNZM Director 10 Queensland Art Gallery Board of Trustees Annual Report 2019–20 BACKGROUND

BACKGROUND

Government objectives Strategic Plan 2019–23 for the community The Queensland Art Gallery Board of Trustees’ Strategic Plan The Queensland Art Gallery Board of Trustees contributes 2019–23 sets out three strategic objectives: to the achievement of the Queensland Government’s Our Future State: Advancing Queensland’s Priorities: Collection and exhibitions 1 Build Queensland’s globally significant Collection • As a cultural tourism destination, the Gallery contributes and deliver compelling exhibitions. to Create jobs in a strong economy by drawing local, interstate and international visitors to Queensland. Strategies: QAGOMA works to strengthen the state’s visual 1.1 Develop and exhibit the Collection with a focus on arts sector by collecting and presenting the work of contemporary art from Australia, Asia and the Pacific Queensland artists. and a commitment to Queensland art and artists. • QAGOMA supports Give all our children a great start 1.2 Develop and deliver blockbuster and major exhibitions by working with artists to create programs, books and that hold wide audience appeal. activities for children, and providing teaching and learning 1.3 Develop the Asia Pacific Triennial of Contemporary resources to help children and young people connect with Art, Australia’s leading exhibition series on the region’s the enduring power of art and ideas. contemporary art. • The Gallery helps to build and Keep communities safe by 1.4 Take a leading role in research and debate in the arts welcoming all visitors; facilitating participation by children and share knowledge broadly. and families, visitors with disability, young people and students, seniors, and people in remote, regional, and outer Audiences and engagement metropolitan areas of the state; and by featuring art and 2 Connect people with the enduring power of art and ideas. artists from diverse cultures to increase social cohesion Strategies: through understanding and tolerance of difference. 2.1 Offer exceptional experiences onsite and online that Object and guiding principles target attendance and enhance visitor satisfaction. In performing its functions, the Board must have regard 2.2 Encourage lifelong learning for people of all ages to the object of, and guiding principles for, the Queensland through QAGOMA Learning and the Children’s Art Art Gallery Act 1987 (the Act). The object of the Act is to Centre. contribute to the cultural, social and intellectual development 2.3 Provide exhibitions and programs to Queenslanders in of all Queenslanders. The guiding principles for achieving this regional, remote and outer metropolitan communities. object are that: 2.4 Engage with and provide access for diverse audiences (a) leadership and excellence should be provided in the and communities. visual arts (b) there should be responsiveness to the needs of Partnerships and practices communities in regional and outer metropolitan areas 3 Build our community of partners and organisational capability. (c) respect for Aboriginal and Torres Strait Islander cultures Strategies: should be affirmed 3.1 Collaborate to extend the Gallery’s capacity and (d) children and young people should be supported in their influence through partnerships and networks. appreciation of, and involvement in, the visual arts 3.2 Attract philanthropic support for our inspiring and (e) diverse audiences should be developed ambitious program through the QAGOMA Foundation. (f) capabilities for lifelong learning about the visual arts 3.3 Develop non-government revenue through sponsorships, should be developed grants and profitable commercial services. (g) opportunities should be developed for international 3.4 Sustain an innovative and inclusive workplace that collaboration and for cultural exports, especially to the empowers people to perform at their best. Asia Pacific region 3.5 Improve the functionality of the Gallery’s physical (h) content relevant to Queensland should be promoted spaces to enhance visitor experience. and presented. BACKGROUND Queensland Art Gallery Board of Trustees Annual Report 2019–20 11

Operational Plan 2019–20 Operating environment The Queensland Art Gallery Board of Trustees’ Operational The COVID-19 pandemic significantly affected the Gallery’s Plan 2019–20 was based on its Strategic Plan 2019–23. operations in 2019–20 and necessitated a temporary closure of close to three months. QAGOMA acknowledges that there is The operational plan outlined undertakings to: continued uncertainty around the duration of the impact of the pandemic in the coming year(s), and that ministerial approval • develop the Collection to modify the Operational Plan 2020–21 may be sought. • deliver an ambitious exhibition program, including the The closure and associated consequences resulted in ticketed blockbuster ‘Water’ and major exhibitions of work underperformance against targets for some measures. by Australian artists Margaret Olley and Ben Quilty As at the end of February 2020, prior to the full effects of COVID-19 restrictions, the Gallery was meeting or • present exhibitions of work by Queensland artists exceeding all but one of its performance measures (which Shirley Macnamara, Jon Molvig, Mavis Ngallametta and was subsequently achieved by 30 June). The full details of Goobalathaldin Dick Roughsey QAGOMA’s performance outcomes can be found on page 12 • commence planning and development towards ‘The 10th of this report. Asia Pacific Triennial of Contemporary Art’ in 2021–22, At the time of this report, no changes have been made to the including scope to specially mark this milestone exhibition scheduling of the Gallery’s forward program of blockbuster in the series exhibitions (defined as those with an audience target in excess • develop an integrated action plan to progress the Gallery’s of 100 000 visitors) as a result of COVID-19 restrictions. digital transformation strategy At the invitation of Arts Queensland and the Australia Council • continue to build the audience and profile for the Brisbane for the Arts, the Gallery is participating in the COVID-19 International Film Festival (BIFF), including presenting an Audience Outlook Monitor longitudinal research study of accompanying exhibition at GOMA for BIFF 2019 more than 150 national arts and culture organisations. The study is tracking audience attitudes and behaviours during • work with the Gallery’s Indigenous Advisory Panel the COVID-19 pandemic. First-wave data, available as at 30 to commence the Gallery’s inaugural Reconciliation June, reported that 85 per cent of visitors plan to attend arts Action Plan and cultural events as much or more than they did before the pandemic. Subsequent data to be made available in 2020–21 • progress negotiations with The Metropolitan Museum of will continue to assist the Gallery and the arts sector to set Art, New York, and the Mori Art Museum, Tokyo, regarding targets, and more broadly to ensure programming will meet significant exhibition projects audience needs.

• recognise and celebrate the 40th anniversary of the Looking ahead to the Gallery’s Strategic Plan 2020–24, Foundation and the transformative influence of major planning for the milestone tenth iteration of the flagship philanthropic gifts, including the unprecedented bequest Asia Pacific Triennial of Contemporary Art exhibition of Win Schubert AO (2021–22) is uppermost, as is the preparation and delivery of the blockbuster exhibitions ‘The Motorcycle: Design, Art, • commence the silent phase of a large-scale public Desire’ (2020–21) and ‘European Masterpieces from The fundraising campaign towards QAGOMA’s Collection Metropolitan Museum of Art, New York’ (2020–21). QAGOMA’s Online project. Digital Transformation Initiative and All-Ages Learning Centre The operational plan was not modified during the year. also remain strategic opportunities. QAGOMA continues to pursue non-government revenue sources and funding for The Premier and the Minister for Environment and the Great forward exhibitions. Sustaining audience growth and digital Barrier Reef, Minister for Science and Minister for the Arts did investment also remain strategic risks for the Gallery, given not give any directions to the Board during or relating to the particularly uncertain economic outcomes caused by the financial year. COVID-19 pandemic. 12 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

OUTCOMES

Performance measures

2019–20 2019–20 Notes target / actual estimate

Visits to QAGOMA onsite and at touring venues 1 1 400 000 1 203 786 [Service Delivery Statement measure]

Audience satisfaction with onsite visit 2, 3 95% 97% [Service Delivery Statement measure]

Non-government revenue as a percentage of total revenue 4 30% 31% [Service Delivery Statement measure]

Value of acquisitions gifted to the Queensland Art Gallery Collection 5 $2.5 million $3.8 million

Visitors whose experience of exhibitions exceeded their expectations 2, 6 45% 65%

Number of external publications, papers presented and awards 7 30 56

Website visits and use of digital interactives 8 1 500 000 1 724 451

Percentage of onsite visits originating from interstate or overseas 2, 9 35% 38%

Percentage of visitors whose experience at QAGOMA inspired lifelong learning 2, 10 20% 76%

User charges as a percentage of total revenue 11 15% 14%

Queensland Government subsidy per visit 12 $25 $29.01

Notes 1 The variance between the 2019–20 target and the actual result can be attributed 7 Result is influenced by the exhibition program, invitations from other to the impacts of COVID-19. QAG was closed in line with COVID-19 restrictions institutions and professional bodies, and available research funding. from midday 23 March 2020 to 21 June 2020. GOMA was closed from midday 8 Outcome is influenced by high levels of online and onsite digital activity 23 March 2020 and did not reopen before 30 June 2020. Visitation to QAGOMA associated with ‘Margaret Olley: A Generous Life’, ‘Quilty’ and ‘Water’. Touring exhibitions in regional Queensland was also affected by COVID-19 9 Interstate and overseas visitation exceeded target levels prior to the travel temporary venue closures. At the time of closure, the Gallery was tracking 19% restrictions related to COVID-19. above its progressive target towards the overall annual target for this measure. 10 The outcome for this measure has been significantly higher than the target 2 Result reflects outcome as at 15 March 2020; visitor surveying was suspended since its introduction in 2018–19; the 2020–21 target for this measure will be for the remainder of the financial year due to COVID-19. adjusted accordingly. 3 Outcome is the highest achieved in six years, influenced by the broad appeal 11 Variance to target was influenced by COVID-19 restrictions (including the of exhibitions including ‘Margaret Olley: A Generous Life’, ‘Quilty’ and ‘Water’. Gallery’s temporary closure) on revenue from admissions (including the 4 Variance to target is primarily due to the value of gifted artworks, donations ticketed exhibition, 'Water') and commercial services, including food and income and an increase in sponsorship. beverage services. 5 Patterns of giving can fluctuate and are influenced by the strength of the Gallery’s institutional profile, its exhibition program and its reputation and relationships 12 Subsidy per visit is the value of Queensland Government-administered funding with artists and philanthropists. per visit, and, as such, is reliant on meeting the annual visitation target, which was unfavourable due to the COVID-19 temporary closure. At the end of Q3, 6 Key exhibitions influencing this year’s result included ‘Margaret Olley: A Generous the Gallery was tracking favourably at 12% above the target for this measure. Life’, ‘Quilty’ and ‘Water’. OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 13

Statistics

ONSITE ATTENDANCE LEARNING QAGOMA attendance 1 146 277 Volunteer-guided tours 2164 QAG attendance 505 755 Participants in volunteer-guided tours 17 726 GOMA attendance 640 522 Tours for visitors with disability 80 Children (subset of QAGOMA total attendance) 183 474 Participants in volunteer-guided 651 EXHIBITION ATTENDANCE (blockbuster and major) tours for visitors with disability Water (ticketed) 121 205 Participants in school group visits 20 034 Participants in student group visits (includes Quilty 311 846a 5527 tertiary and English language colleges) Margaret Olley: A Generous Life 339 128a Participants in special interest group visits a 4778 Jon Molvig: Maverick 277 442 (includes adult and international) TOURING ATTENDANCE PUBLIC ENGAGEMENT 144 (160 works) QAGOMA exhibitions and programs 36 366 Onsite public programs presented 101 in regional Queensland Attendees at onsite public programs 12 970b Other offsite venues (Qld) 6 097 Virtual public programs presented 8 National venues – (from May 2020) International venues 15 046 QAGOMA Member programs 114 COLLECTION QAGOMA Member program attendees 2933 Total number of works 19 153 QAGOMA Members 5334 Works acquired in 2019–20 536 PUBLICATIONS AUSTRALIAN CINÉMATHÈQUE Publications published by the Gallery 5 Short and feature films presented 273 Staff contributions to external publications 26 Cinema screenings and events 426 Papers presented (unpublished) 25 Attendees at screenings and 28 591 VOLUNTEERS 7994 cinema programs Curatorial volunteers 5 Library volunteers 10 Volunteer guides 93 Trainee volunteer guides – DIGITAL ENGAGEMENT Website user sessions (qagoma.qld.gov.au) 1 031 396 Engagement with onsite digital interactives 135 072

Notes a) Visitation represents the total attendance at either QAG or GOMA (as applicable) for the duration of the relevant free exhibition. b) Includes online participants where applicable (e.g. where an onsite event was also livestreamed via the website). 14 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Strategic objectives

Collection and exhibitions — Build Queensland’s • Other acquisition highlights for the Gallery’s collection globally significant Collection and deliver of Indigenous Australian art included Bloodlines 1993 compelling exhibitions. by Gordon Bennett, acquired through the support of the Neilson Foundation. Of Aboriginal Australian and Anglo- 1.1 Develop and exhibit the Collection with a focus on Celtic descent, Bennett’s art challenged racial stereotypes, contemporary art from Australia, Asia and the Pacific official histories of Australia and simplistic notions of and a commitment to Queensland art and artists. self and identity. Through the support of Paul, Sue and Kate Taylor, the Gallery acquired Queensland-born Danie • QAGOMA acquired 536 works of art during the year, Mellor’s The pleasure and vexation of history 2017, a bringing the total number of artworks in the Collection meticulously drawn rainforest scene that imagines an at 30 June 2020 to 19 153. The full list of 2019–20 interaction between the artist’s ancestors and European acquisitions is included in this report (see page 22). settlers. Two works from the Queensland Indigenous • The major exhibition ‘Water’ enabled the Gallery to bring artist Shirley Macnamara’s solo exhibition at QAG were important new works into the Collection. Peter Fischli acquired: Nhugu (Waterlilies) 2019, created specifically for and David Weiss’s Snowman 1987/2017–19, an icon of the exhibition, and Dyinala Bine By 2018, which records the exhibition and firm favourite with visitors, entered the difficult history of Indigenous employment in Australia. the Collection late in the previous financial year with the The Gallery now holds the most significant collection of generous support of Tim Fairfax AC. Other acquisitions Macnamara’s work anywhere in the world. From donor included a recent major painting on metal of the sacred Robert Bleakley, the Gallery received a significant gift spring Milngurr 2018 by Dhuwarrwarr Marika; two works of 66 early bark paintings representative of the regional titled Rika (Bull kelp water carrier) 2019 by Lola Greeno, styles of painting across Arnhem Land and northern shown alongside one of her maireener-shell necklaces; Australia in the 1950s and 1960s. and an expanded version of Megan Cope’s reconstruction • Additions to the Asian and Pacific art collection included of an Aboriginal oyster-shell midden from the Brisbane a number of works from ‘The 9th Asia Pacific Triennial region, RE FORMATION 2016–19, supported by the of Contemporary Art’ (APT9) held in 2018–19: a Gallery’s Contemporary Patrons. The estate of Tasmanian documentary film on the Women’s Wealth project that photographer Peter Dombrovskis gifted three exhibition focused on women’s contemporary creative expression in prints depicting the Tasmanian wilderness, including the Autonomous Region of Bougainville and the Solomon Morning mist, Rock Island Bend, Franklin River, 1979 1979, Islands archipelago; the artist book boat home boat 2016 printed 2019 — the ‘poster’ image that sustained the Save by Vietnamese artist Ly Hoàng Ly and the painting Floating the Franklin/‘No Dams’ campaign of 1982. 2017 by indigenous Taiwanese artist Idas Losin; and • Through the support of a $600 000 grant from the seven photographs from New Zealand artist Anne Noble’s Australian Government’s National Cultural Heritage popular installation Museum: For a time when the bee no Account, the Gallery acquired the first five of 13 Papunya longer exists. Purchased for ‘The 10th Asia Pacific Triennial board paintings from a private collection; these paintings of Contemporary Art’ (APT10), a work by Tongan artist will enter the Collection over a three-year period. Sione Maileseni entered the Collection; Kato kafa toho Judiciously assembled by Ian Rogers over the last two 2018 draws interesting links to other fibre artworks in decades, the collection provides a window into the first the Gallery’s Pacific and Australian collections. critical years of what became known as the contemporary • The Gallery presented significant exhibitions of work by Aboriginal art movement. It includes fine works by the Queensland artists (or work relating to Queensland) during most significant of these founding artists — a group of the year. See the Director’s Overview and Exhibitions men whose work on small boards went on to have a sections of this report for more on ‘Margaret Olley: A profound influence on the course of Australian art, and Generous Life’, ‘I, Object’, ‘Jon Molvig: Maverick’, ‘Shirley whose paintings are now recognised internationally. Each Macnamara: Dyinala, Nganinya’ and ‘Mavis Ngallametta: work is representative of a distinct approach by the senior Show Me the Way to Go Home’. A range of Collection- cultural men of Papunya, and when acquired in full, these based displays addressed themes of time (‘Perceptions works will transform the Gallery’s Indigenous Australian of Time’), work and labour across diverse cultures art collection. (‘Work, Work, Work’), the dynamics of colour and form (‘Geometries’), and the techniques and iconography of classical thangka (scroll) painting (‘Gods and Gridlock’). OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 15

• In June, the Gallery adopted an updated Collection 50 artists (or projects) have been confirmed for the Development Plan, setting collecting priorities and future exhibition. During the year, ten interlocutors, artists, directions for all collecting areas for the next four years. curators and arts professionals from across the Asia The document includes the Australian Cinémathèque Pacific region contributed to the development of APT10. as a distinct curatorial area, with collecting expertise, Development also commenced for the Asia Pacific Art strategies and priorities relating to the moving image to Papers, a three-part digital publication giving insights complement other curatorial portfolios. It also features into contexts and art practices across the region; the a new emphasis on the acquisition of works by women publication will be produced to mark 30 years of APT. artists in those collecting areas where this may have been neglected historically. • Natasha Matila-Smith was announced as the recipient of the inaugural Creative New Zealand Pacific Curator 1.2 Develop and deliver blockbuster and major Residency, hosted by QAGOMA with partners Creative exhibitions that hold wide audience appeal. New Zealand Arts Council of New Zealand Toi Aotearoa and Tautai Pacific Arts Trust. Ms Matila-Smith commenced • The Gallery’s summer blockbuster exhibition of 2019–20, work on a project of Pacific Art in New Zealand that will be ‘Water’ embraced the potential of contemporary art to presented as part of APT10. address big issues, start meaningful discussions and inspire action. Fundamental to life, water is also a resource 1.4 Take a leading role in research and debate in and of peril, including drought and floods, rising tides in the arts and share knowledge broadly. and destructive rains. ‘Water’ presented the work of 32 Australian and international artists in a nuanced response • QAGOMA’s publishing section produced five major to the theme and drew overwhelmingly positive responses publications during the year. The monograph James from more than 121 000 visitors before its season was cut Turrell: Night Life, generously supported by Liz Pidgeon short by the Gallery’s closure due to COVID-19 restrictions. and Graeme Wikman, documents the most complex and The exhibition’s themes aligned with a strengthening over valuable public art project ever realised by QAGOMA — the past two years of the Gallery’s approach to its own Night Life 2018 by James Turrell — and features an environmental sustainability; the Gallery moves into the extensive interview with the artist, conducted by QAGOMA 2020–21 financial year with a new annual target for a Director Chris Saines. The Gallery commissioned Florian reduction in landfill waste and energy consumption, and Holzherr, Turrell’s long-time photographer, to document a five-year target to become carbon neutral. Night Life’s full spectrum of colours especially for the publication. The Water exhibition catalogue, printed • Preparations for forthcoming blockbuster exhibitions sustainably in Queensland, explores the life-sustaining continued during the year. Opening in November 2020, element in all its states, including contributions by ‘The Motorcycle: Design, Art, Desire’ is scheduled as exhibition curator Geraldine Kirrihi Barlow, Australian the first major exhibition of the new financial year, and philosopher of science Professor Peter Godfrey-Smith, likely the first in Australia to open following institutional environmentalist Professor Don Henry AM, and award- closures due to COVID-19. Negotiations continued with winning novelist Alexis Wright. The Jon Molvig: Maverick The Metropolitan Museum of Art, New York, resulting exhibition catalogue, published with the support of in the confirmation of a major exhibition for GOMA in the Gordon Darling Foundation, is the first significant mid 2021, 'European Masterpieces from The Metropolitan publication on this important Queensland artist since Museum of Art, New York'. Betty Churcher’s 1984 monograph. It features scholarly interpretations of the artist’s legacy by curator Michael 1.3 Develop the Asia Pacific Triennial of Contemporary Hawker and art historians Samantha Littley, Michele Art, Australia’s leading exhibition series on the region’s Helmrich and Glenn R Cooke, as well as an interview with contemporary art. the artist’s wife Otte Bartzis by gallerist Bruce Heiser. • Extensive planning and development continued towards Shirley Macnamara: Dyinala, Nganinya, produced to the milestone exhibition ‘The 10th Asia Pacific Triennial accompany the exhibition of the same name, is the first of Contemporary Art’ (APT10), scheduled to open in major publication on the Indjalandji/Alyawarr sculptor late 2021. Prior to COVID-19-related travel restrictions, and includes beautiful new photography of her works, approximately three-quarters of the research travel as well as photographs of country by the artist. Mavis planned for APT10 had been completed. To date, nearly Ngallametta: Show Me the Way to Go Home is similarly 16 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

the first monograph on this esteemed senior Queensland awarded the Colin Pearson Outstanding Research in the Indigenous artist and, in addition to sumptuous Field of Material Conservation Award. The 2020 Ishibashi photography of her large-scale paintings, features quotes Foundation/The Japan Foundation Fellowship for Research by the late artist, translated into her languages of Kugu on Japanese Art was awarded to Reuben Keehan, Curator, Uwanh and Wik-Mungkan. Contemporary Asian Art. The 2019 Australian Library and Information Association (ALIA) Student of the Year Award • The QAGOMA Research Library continued its focus on was presented to Library Technician Kristen Hayden, while knowledge-sharing through the development of curated Assistant Curator of International Art Sophie Rose was a vitrine displays — featuring ephemera, photographs, artist finalist in the inaugural Bonniers Konsthall (BKH) Curator books, artist sketches and other items in the Library’s Award 2019. collection — on Queensland artists Loma Lautour and Ian Fairweather. The latter was drawn from correspondence Audiences and engagement — Connect people between Ian Fairweather and Marion Smith from 1957 with the enduring power of art and ideas. to 1973, which was donated by the estate of Marion Smith through the Queensland Art Gallery Foundation. 2.1 Offer exceptional experiences onsite and online that A selection of this correspondence is now included in an target attendance and enhance visitor satisfaction. important new book Ian Fairweather: A Life in Letters • Public programs during ‘Margaret Olley: A Generous Life’ (Text Publishing, 2019), edited by Claire Roberts and John and ‘Quilty’ attracted more than 8694 attendees to 33 Thompson, and supported by Philip Bacon AM, Australian programs. Up Late, the after-hours program held every Research Council and QAGOMA. The book was launched at Friday night in August, attracted 5000 visitors. Up Late the Gallery on 24 October with a panel discussion involving featured live music by Australian bands and performers, Claire Roberts, John Thompson, QAGOMA Director Chris as well as talks relating to the exhibitions. A special Saines and special guest author David Malouf. session of GOMA Talks for ‘Quilty’ explored the topic of • The Australian Centre of Asia Pacific Art (ACAPA), the toxic masculinity. Presented in partnership with ABC Radio Gallery’s Asia Pacific research and publishing arm, National, it was viewed by more than 660 people across continued to host the long-running 'Perspectives: Asia' three locations at GOMA and online; it was also broadcast lecture series, in partnership with the Griffith Asia through various ABC platforms. Institute. Work continued on the digitisation of the Asia • Organised and curated by QAGOMA’s Australian Pacific Triennial Archive, held in the Research Library, an Cinémathèque, the 2019 Brisbane International Film important resource for researchers, curators and students. Festival (BIFF, 3–13 October) presented more than 110 Mark Philip Bradley, Bernadotte E Schmitt Distinguished features, documentaries and short films by emerging Service Professor of History, University of Chicago, was and established talent from around the world. This year’s one of a number of international and Australian-based Festival Patrons were the high-profile Australian writer researchers who visited the archive during the year. and director Baz Luhrmann and Academy Award-winning • In November, the Gallery hosted directors and curators costume designer Catherine Martin; their much-loved from leading art institutions around the world as part of films Strictly Ballroom 1992 and The Great Gatsby 2013 the annual conference for the International Committee featured in the program. The festival was accompanied by for Museums and Collections of Modern Art (CiMAM) in an exhibition at GOMA titled ‘Setting the Stage’, as well Australia. The group toured QAGOMA with a focus on the as an inaugural short film competition. BIFF ticket sales Australian art galleries in QAG and the exhibition ‘I, Object’ increased by 31 per cent in 2019. in GOMA; delegates also visited Minjerribah (Stradbroke • For ‘Water’, QAGOMA presented a range of public Island). Attendees included senior representatives of programs that highlighted the stories behind the artworks Tate Modern (London), Sharjah Foundation (United Arab and sparked conversations about the environment. Emirates), National Museum of Modern and Contemporary During the exhibition’s opening week, nearly 1000 visitors Art, Korea (Seoul) and the Museum of Contemporary Art participated in ten programs, including a keynote talk by Australia (Sydney). Olafur Eliasson, artist talks, panel discussions, workshops • A number of staff received awards during the year relating and interactive tours for kids. Presented in partnership to their work and research. At the 2019 Australian Institute with ABC Radio National, GOMA Talks returned during for the Conservation of Cultural Material (AICCM) Awards, ‘Water’ to explore the rise of eco-anxiety. The inspiring QAGOMA Paintings Conservator Gillian Osmond was program featured four under-25 change-makers, and OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 17

was viewed by 649 people onsite and online. Other public documentation with international conventions, in order programs included Brisbane River walking tours that to increase the discoverability of works in the Gallery’s explored Aboriginal history and the significance of the Collection and the interoperability of Collection systems. river, and a special edition of PechaKucha, presented in partnership with the Asia Pacific Architecture Festival 2.2 Encourage lifelong learning for people of all 2020. Ten public programs were unfortunately cancelled ages through QAGOMA Learning and the Children’s Art Centre. in response to COVID-19 restrictions, including a major Up Late festival presented as part of Curiocity Brisbane • The Children’s Art Centre presented three major projects 2020, which was planned for March 2020. The Australian by contemporary artists during the year: Ben Quilty’s Cinémathèque’s free film program ‘The Noise of Waters’ ‘Family Portrait’; ‘Island Fashion’, featuring four Australian (17 January – 8 March 2020) attracted over 7000 patrons and Pacific artists; and ‘Below the Tide Line’, a cross- to 46 films from around the world, including titles from cultural collaboration presented in association with Brazil, France, Japan, the Pacific Islands, Poland, the Erub Arts, Marion Gaemers and Lynette Griffiths that United States and Australia. showcased ghost net sculptures by artists from Erub Island in the Torres Strait. Each exhibition was highly • During the temporary closure due to COVID-19 interactive, including hands-on making and multimedia restrictions, QAGOMA’s digital output increased. On the activities. Experiential works in ‘Water’ — including Olafur Gallery’s website, social and video channels, content was Eliasson’s Riverbed 2014 and William Forsythe’s The Fact posted under the hashtag #homewithQAGOMA. Virtual of Matter 2009 — were also drawcards for young visitors exhibition tours were produced for ‘I, Object’, ‘Work, Work, and their families during the year. Work’ and the Australian and International art collections. A video series was created for ‘Mavis Ngallametta: Show • The Gallery’s online Learning Collection resource for Me the Way to Go Home’, including a walk-through and schools was expanded with new content related to ‘Water’, ten curatorial reflections on specific works and themes. ‘Mavis Ngallametta: Show Me the Way to Go Home’ and In addition, curators’ insight videos explored works in the the Open Studio project. A suite of learning resources was Collection. Virtual public programs were launched in May developed for ‘Water’, which aligned with the Australian 2020, supported by Presenting Partner HSBC. Across Curriculum and Queensland Senior Syllabus and included a 54-day period, more than 2000 people participated in teacher notes for primary and secondary levels. Selected eight online (and live) public programs, ranging from talks artworks from ‘Water’ also featured in the online on contemporary art to a series of drawing workshops Learning Collection. PowerPoint resources, developed in inspired by works in the Gallery’s Collection. Playlists collaboration with the Gallery’s Teacher Advisory Group, chosen by Gallery curators and Collection artists were provided cross-curriculum links and inquiry topics to allow made available via the music-streaming platform Spotify. deeper engagement with exhibition themes. Students from Subscriptions to the Gallery’s YouTube channel increased the Queensland Academy for Science, Mathematics and significantly during the temporary closure, as did audience Technology and the Queensland Virtual STEM Academy engagement with QAGOMA Blog articles. helped to create an animated video Water: What Does it Make You Think? that explored the students’ responses to • Significant progress was made with the Gallery’s Digital selected works. Transformation Initiative, with the Digital Transformation Manager starting their role in January. During the year, • More than 6000 students (early years, primary, secondary procurement commenced for both a new Digital Asset and tertiary) and booked groups from community Management System (DAMS) and a new Collection associations visited the ‘Water’ exhibition; some 20 per cent Management System (CMS). Both systems represent of these booked school groups travelled from regional critical digital infrastructure that will enable QAGOMA to locations. Some 182 secondary students from regional and provide enhanced digital access to its Collection. A beta metropolitan schools participated in the ‘Water’ Q&A for test site (and pilot project) that contained approximately Secondary Schools program in February. ‘Water’ curator 5600 Collection works, with high-quality images and Geraldine Kirrihi Barlow responded to students’ questions interpretative material, was launched in the public realm during the 45-minute illustrated program. The forum to gather feedback. This project will inform the longer- allowed students to gain insights into how the exhibition term Collection Online Project and the modernisation of was curated, as well as the role of a curator. A video of the the Gallery’s Collection catalogue. Significant work was forum was posted on QAGOMA’s YouTube channel as a also undertaken to improve the alignment of Collection digital learning resource. 18 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

• As part of the feasibility study supported by Arts involves collaborations and residencies, and assists the Queensland for the All-Ages Learning Centre envisioned development of local arts and culture policies. In October, for QAG, architecture and design studio Architectus was Art as Exchange was held over two days in Carnarvon awarded the tender for the concept design phase. The Gorge with Bidjara/Ghungalu/Garingbal artist Dale concept design progressed through a series of workshops Harding, and involved participants from Maranoa led by Architectus, which involved staff from all program Regional, Central Highlands Regional, Banana Shire areas, as well as external consultants. An All-Ages and Woorabinda Aboriginal Shire Councils. Learning Centre pilot program, Open Studio continued with four-month residencies at QAG by artists John 2.4 Engage with and provide access for diverse Honeywill, Natalya Hughes and Grace Lillian Lee. audiences and communities. Open Studio highlights art-making as a learning-based • As part of its commitment to access for all, QAGOMA practice underpinned by research, experimentation and continued to present regular and on-request guided tours problem-solving; it was presented with support from the for visitors with dementia, visitors with low or no vision, Copyright Agency. members of the Deaf and low-hearing communities, and 2.3 Provide exhibitions and programs to Queenslanders visitors with other physical or cognitive impairments. in regional, remote and outer metropolitan communities. During September, additional programs were scheduled for visitors with disability to support Disability Action Week • Two QAGOMA exhibitions continued their regional and Dementia Awareness Month. For the ‘Water’ exhibition, Queensland tours during the year: ‘Physical Video’ the Gallery’s Volunteer Guides provided daily tours for and ‘Robert MacPherson: BOSS DROVERS’. A touring adult special interest groups from community associations component drawn from ‘Patricia Piccinini: Curious and disability groups, as well as the general public. Affection’, a major exhibition held at GOMA in 2018, was QAGOMA Learning produced a video with the assistance of postponed due to COVID-19 restrictions. In January, the a Gallery visitor from the Deaf community, who presented annual Kids on Tour program — based on the Children’s her experience of the ‘Water’ exhibition in Auslan. The Art Centre exhibition ‘Island Fashion’ — commenced and video, with captions, can be viewed via the Auslan playlist visited venues throughout Queensland, including the on QAGOMA TV. Visitors with autism, sensory sensitivity Torres Strait. This program, as well as several exhibitions or disability were invited to attend two low-sensory at touring venues, will be extended into 2020–21 as ‘Water’ viewings outside regular Gallery opening hours. a result of COVID-19 restrictions. Regional touring QAGOMA’s online public programs were offered with exhibitions and programs attracted 36 366 visitors. During Auslan interpretation and captioned for the Deaf and the year, 20 per cent of participants in QAGOMA’s online hard-of-hearing communities. public programs identified as living in outer metropolitan Brisbane, or regional or remote Queensland communities. • QAGOMA’s Pacific art department continued to make connections and actively engage with south-east • In August, the annual program Design Tracks Creative Queensland-based Pacific community cultural groups Pathways — created to improve the confidence of First in the lead up to ‘The 10th Asia Pacific Triennial of Nation senior secondary students in their creative abilities — Contemporary Art’ (APT10). During the year, the Gallery brought together 21 students from across Queensland collaborated with the Pasifika Young Peoples Wellbeing for a three-day residency. Another 20 students attended Network to host a Pasifika Youth Tour. Guided by the Pacific a half-day mentoring session. The program was the art curatorial team, the tour provided the participants with third in the series and the first to involve Cultural Centre the opportunity to learn about the Gallery’s approach to precinct partners Queensland Museum, State Library of working with artists and communities in the Pacific region, Queensland and Queensland Performing Arts Centre, and to share reflections of their own experiences with arts as well as program partner Gilimbaa. institutions. The tour included a viewing of Nicolas Molé’s major installation Ils vous regardent (They look at you) • Since 2018, QAGOMA Learning’s Art as Exchange, 2015, reconfigured 2017, which was commissioned for APT8. which aims to strengthen regional access to arts education, has developed into a significant program. Art as Exchange brings together leaders in art education to develop the communities they serve. The program OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 19

Partnerships and practices — Build our community 3.2 Attract philanthropic support for our inspiring and of partners and organisational capability. ambitious program through the QAGOMA Foundation.

3.1 Collaborate to extend the Gallery’s capacity • The QAGOMA Foundation generated $5.556 million in and influence through partnerships and networks. 2019–20, of which cash donations and bequests were $2.909 million and gifted artworks were $2.759 million. • The Gallery continued to collaborate regionally and internationally to deliver exhibitions and programs. • The 2019 QAGOMA Foundation Appeal enabled the ‘Contemporary Art from Asia, Australia and the Pacific: acquisition of Thai artist Pannaphan Yodmanee’s work In Selected Works from QAGOMA’s Asia Pacific Triennial’ the aftermath 2017–18, which was a major commission was presented from 23 August to 18 October 2019 at for ‘The 9th Asia Pacific Triennial of Contemporary Art’. the Centro Cultural Palacio la Moneda (CCLM), Santiago, An appeal was not held in 2020 due to COVID-19 Chile. A collaboration between QAGOMA and CCLM, restrictions; however, the generosity of regular Foundation the exhibition represents the first time an APT-themed Appeal supporters enabled the acquisition of a suite of exhibition has toured internationally. National and major works on paper and a sculpture by Queensland-born international loans from private and public collections artist Lindy Lee (Lee’s works were to be the focus of the featured in the major exhibitions ‘Water’, ‘Jon Molvig: 2020 Appeal). The Foundation’s specialist giving groups — Maverick’ ‘Mavis Ngallametta: Show Me the Way to Go Contemporary Patrons and Future Collective — continued Home’ and ‘Shirley Macnamara: Dyinala, Nganinya’. In to pool their donations towards annual acquisitions. The partnership with Art Exhibitions Australia, the Gallery Contemporary Patrons voted to support Quandamooka secured a major exhibition from The Metropolitan Museum artist Megan Cope’s RE FORMATION 2016–19, which of Art, New York, for GOMA in mid 2021. was the first work encountered by visitors to the ‘Water’ exhibition. The Future Collective supported Pepper’s ghost, • Project partnerships were also integral to the Gallery’s wind turners, blue and yellow 2018 by Melbourne artist delivery of public engagement, learning and cinema Taree Mackenzie. programs throughout the year. The Gallery acknowledges its important relationships across these sectors that • To acknowledge the generosity of Foundation members, contribute to positive outcomes and programs for several initiatives were implemented as part of the audiences. Foundation’s 40th anniversary celebrations in 2019. These included the installation of donor recognition boards • Collaboration between the Gallery and Cultural Centre in both buildings, new signage that shares information precinct partners continued to be a priority during the about those benefactors who are honoured through year. Recent and continuing projects include the Cultural named gallery spaces, new labels for all artworks on Centre First Nation Graduate program, which saw the display that were acquired through the Foundation, and a first graduate working in the Gallery’s Development and new Foundation membership category, ‘Visionary’, which Commercial Services department in the first half of 2020. acknowledges donors whose giving has truly transformed The conservation teams of QAGOMA, State Library of the Gallery. Queensland and Queensland Museum are continuing a productive collaborative relationship. Most recently, this • The Foundation’s outcomes and activities are detailed in its has focused on research, analysis and the restoration of annual Year in Review publication. historical Queensland photographs by Richard Daintree, which have relevance for each institution’s collection.

• During the year, QAGOMA played an active role in supporting the planning and development of Quandamooka Yoolooburrabee Aboriginal Corporation, and their objectives for the Quandamooka Art, Museum and Performance Institute. This support included the provision of strategic design, business, facility management, audience engagement and exhibition programming advice. 20 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

3.3 Develop non-government revenue through the employment arrangements of the Gallery’s food and sponsorships, grants and profitable commercial services. beverage staff, in order to adjust to peaks and troughs in visitation. During the closure, the Gallery’s food and • Longitudinal funding for the Gallery’s flagship project, the beverage services continued to trade successfully by Asia Pacific Triennial of Contemporary Art, was secured operating a ‘Pop-up Providore’, with take-home meals and from a number of partners and grantors during the year, produce boxes. The QAG Cafe reopened for dine-in service including the highly competitive Australia Council Four in line with QAG’s reopening on 22 June. Year Funding for Organisations program. The Gallery’s Business Development and Partnerships team secured • The Gallery’s retail arm continued to offer custom support for the Gallery’s programs from external funding merchandise in association with specific exhibitions, such bodies through strategic advocacy to Tourism and Events as ‘Margaret Olley: A Generous Life’, ‘Water’ and ‘Island Queensland and the Department of Foreign Affairs Fashion’. The QAGOMA Store design markets were a and Trade, as well as through corporate partnerships, highlight of the year, with the 30 November market the memberships and the Gallery’s Business Leaders Network. largest to date — over 60 stallholders attracted over 3000 visitors. In May, during the Gallery’s temporary • The ‘Water’ exhibition received crucial support from closure, an online market was held for the first time. Strategic Partner, Tourism and Events Queensland (TEQ). Profiling the work of 31 local artists and makers, it TEQ's support was vital in promoting ‘Water’ to national resulted in a 39 per cent increase in the value of the and international audiences. Principal Partner HSBC Bank average order. Australia had a strong alignment with the ideals of ‘Water’ in view of HSBC’s own sustainability credentials, including 3.4 Sustain an innovative and inclusive workplace initiatives such as the HSBC Water Programme. Major that empowers people to perform at their best. Partner Urban Utilities provided educational opportunities that allowed audiences to demonstrate their personal • The Gallery achieved a 78 per cent engagement rate connection with this precious resource. ‘Water’ was also in the 2019 whole-of-government employee survey supported by Tourism and Media Partners Brisbane Working for Queensland, a rate significantly higher than Marketing, Brisbane Airport Corporation, Seven Network, the Queensland Public Service and Public Service Office Southern Cross Austereo through Hit105 FM, JCDecaux, median. The results revealed continuing positive trends and Schwartz Media through The Saturday Paper and The in staff relationships and job empowerment. Improving Monthly; and Supporting Partners Archie Rose Distilling on the previous year’s survey, which showed that staff Co., Bacchus Wine Merchant, Emporium Hotel South Bank had positive perceptions of QAGOMA’s commitment to and Singapore Airlines. Workplace Health and Safety and integrity matters, the 2019 survey results demonstrated continued growth • Non-government operational revenue generation was the in these important areas. This has been a direct result topic of the annual strategic workshop for the Board of of the Gallery’s continued investment in these cultural Trustees and Foundation Committee, which was held in fundamentals. November. The workshop focused on cultural tourism, digital transformation, blockbuster ticketed exhibitions and • Improvement opportunities identified through the 2019 corporate giving, together with the challenges, risks and Working for Queensland survey included providing more opportunities associated with existing or potential revenue support for staff in the Performance Planning process streams. Following the workshop, Arts Queensland and looking for opportunities to reduce red tape. New funded a six-month position in QAGOMA’s Marketing training and resources were developed to support staff team to develop a Cultural Tourism Strategy and Tourism with their individual performance plans from 1 July 2020. Development Plan for the Gallery and the Queensland In February, QAGOMA commenced its Red Tape Reduction Cultural Centre more broadly. project, enlisting 42 staff from across most departments to help identify and drive improvement initiatives. • COVID-19 restrictions affected the Gallery’s visitation and, in turn, its revenue streams, particularly food and • The Gallery’s Information Management and Technology beverage services, retail, and ticketed exhibition admission. team and Digital Transformation Manager facilitated the Just prior to the Gallery’s temporary closure, significant rapid implementation of work-from-home technology work had been undertaken to restructure and stabilise as a result of COVID-19 restrictions and the Gallery’s OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 21

temporary closure in March. Nearly 60 per cent of were consulted. This year, significant environmental the Gallery’s workforce was able to work from home sustainability initiatives included the continuation of the effectively from late March using remote access and LED Exhibition and House Lighting Upgrade Projects, virtual meeting technology. Approximately 25 per cent of funded by Arts Queensland; the continuation of world- staff continued to work onsite with strict social distancing leading conservation research and progress towards and hygiene practices in place. The Gallery’s COVID-19 developing new climate-specific temperature and communications plan included weekly all-staff video relative humidity parameters for the storage and updates from the Director, and weekly work health and display of collections; the introduction of a new formal safety emails outlining practical advice on hygiene, performance measure, which will commence as part of the social distancing, well-being and working-from-home 2020–21 Operational Plan; and the introduction of several ergonomics. new recycling waste streams, including soft plastics, nitrile gloves, and pens and markers, as well as a drink container • The Gallery continued to record significant improvements refund scheme. in all key areas of work health and safety management and reporting culture. The Lost Time Injury Frequency • The Gallery’s Facilities team, in partnership with Arts Rate (LTIFR) reduced from 5.57 as at 30 June 2019 Queensland’s Arts Property and Facilities team, undertook to 1.82 as at 30 June 2020, with one Lost Time Injury critical infrastructure and maintenance improvements in recorded during the year. The reduction in the LTIFR can both Gallery buildings during the year, taking advantage be attributed to strategies including an improved safety of the COVID-19 temporary closure to progress multiple focus and management of higher-risk tasks, as well as maintenance works. Cleaning providers Springmount the implementation of online and in-person safety training Services were responsive and diligent in their provision sessions targeting Gallery departmental safety needs. of additional cleaning services in response to COVID-19 The Total Recordable Case Frequency Rate has reduced restrictions, with both buildings subject to deep-cleaning. overall from 24.13 at the end of the 2018–19 financial year to 10.92 as at 30 June 2020. • The ‘Water’ exhibition created many opportunities to activate GOMA’s ground floor exhibition space. The • The Gallery continued to work with Terri Janke and Exhibition Design team worked closely with curators and Company, an Indigenous-owned legal firm, to assist in commissioned artists to realise a vision for the exhibition the development of the Gallery’s first Reconciliation that would both delight and challenge audiences. ‘Water’ Action Plan. Terri Janke facilitated an all-staff workshop also provided the opportunity for the Gallery to reprise on 5 November, attended by more than 110 staff, and a and recontextualise some contemporary works from Reconciliation Action Plan working group was established, the Collection, including David Medalla’s Cloud Canyons with the support of the Gallery’s Indigenous Advisory No.25 1963/2015 and Cai Guo-Qiang’s Heritage 2013. In Panel. It is anticipated that the formal plan will be consultation with the artist, the Exhibition Design team published in the latter half of 2020, for implementation resolved a new configuration for Heritage, incorporating from 2021. 45 of its 99 animals, while retaining its spectacular nature. As a result, the Gallery now has two artist-approved 3.5 Improve the functionality of the Gallery’s physical iterations of this major work, increasing opportunities for spaces to enhance visitor experience. its future display and external loan. The most significant challenge of the ‘Water’ installation was undoubtedly • In June, a substantially updated Sustainability Policy was Olafur Eliasson’s Riverbed 2014. Prior to ‘Water’, this adopted. The new policy articulates a vision for the Gallery work had been installed only once, and in a very different to be a leading example of sustainable museum practices architectural context at the Louisiana Museum of Modern and to become carbon neutral. The Gallery has committed Art in Denmark. In the 12 months leading up to the to achieving readiness for Climate Active carbon neutral opening of ‘Water’, QAGOMA’s exhibition designers worked certification through the Australian Government’s alongside technical staff from Eliasson’s studio to build a Department of Environment and Energy within five years. stream that would flow over more than 130 tonnes of rock. In developing the policy, the QAGOMA Sustainability The resulting installation realised the artist’s vision and Committee (comprising 32 staff representatives) and also created a truly memorable work for visitors to GOMA. sustainability representatives from the Queensland Government’s Department of Environment and Science 22 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Acquisitions

Donations and gifts through Dr Judith McKay Cultural Gifts Program the Queensland Art Gallery | Alex and Kitty Mackay Gallery of Modern Art Foundation Anonymous donor Glenn Manser in memory Anonymous donor Airey Family of Martin Wardrop Anonymous donor in recognition of Anonymous donor Mather Foundation John Sharpe and Claire Armstrong Anonymous donor Cathryn Mittelheuser AM Robert Bleakley Anonymous donor Timothy Morrell Janet Burchill and Jennifer McCamley Anonymous donor in recognition of Neilson Foundation Conal Coad and Colin Beutel John Sharpe and Claire Armstrong Gael Newton AM Suzanne Davies Australian Government through the Clinton Ng National Cultural Heritage Account Suzanne Davies and Richard Dunn Anne Noble Henry and Amanda Bartlett Trust Suzanne Davies in memory of Timothy North and Denise Cuthbert John Dowell Davies AO, Betty Olive Anne Best Oceania Women’s Fund and Pamela Jane Davies Robert Bleakley Meredith Osmond in memory of her Mark Grant Janet Burchill and Jennifer McCamley mother Edith Meryl Cullen (née Raff) Julie Green and Frans Vandenburg in Bequest of Emanuel Theodore and great-grandfather Alexander Raff memory of Loti and Victor Smorgon Cassimatis in memory of his parents Mark Pennings Bruce Heiser in memory of Peter Beiers Theodore and Stella Cassimatis Estate of Jennifer Margaret Phipps Alex and Kitty Mackay Conal Coad and Colin Beutel Patricia Piccinini Glenn Manser in memory Estate of Brigid Cole-Adams Estate of Betty P Quelhurst of Martin Wardrop Contemporary Patrons Rio Tinto Clinton Ng Suzanne Davies Timothy Roberts Timothy North and Denise Cuthbert Suzanne Davies and Richard Dunn Ross Searle Meredith Osmond in memory of her Suzanne Davies in memory of mother Edith Meryl Cullen (née Raff) Margaret Shaw and Helen Creagh John Dowell Davies AO, Betty Olive and great-grandfather Alexander Raff in memory of Muriel FS Shaw and Pamela Jane Davies Mark Pennings Brian and Megan Sheahan Liz Dombrovskis Patricia Piccinini Rosamond Shepherd Bequest of Helen Dunoon Rio Tinto Dr Michael Shera Belinda and Darren Elderton Rosamond Shepherd Bequest of June Marie Sherrin Estate of Jessica Ellis Dr Michael Shera Bequest of Jennifer Taylor Carol Fripp and John Blakeley Paul, Sue and Kate Taylor Paul Taylor Future Collective Michael Zavros Paul, Sue and Kate Taylor Mark Grant Peter Tyndall in memory Commissioned Julie Green and Frans Vandenburg in of Peter Beiers memory of Loti and Victor Smorgon Oceania Women’s Fund YOUNG-HAE CHANG HEAVY Bruce Heiser in memory of Peter Beiers INDUSTRIES Helen Lai in memory of her son, Michael Zavros Hiram To Dana McCown OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 23

Gifts, Bequests, Purchases

‘Uki‘uki (Dianella sandwicensis) ABDULLAH, Abdul ALBERT, Kukileen (Hawaiian lily) (from ‘Nā Waiho‘olu‘u Australia b.1986 Federated States of Micronesia Hawai‘i, The colors of Hawai‘i‘ series) Someone else’s king and someone b.c.1973 2006 else’s country 2014 Urohs dereht (thread skirt) with Cotton with cotton thread on cotton Type C photograph on lustre paper, rooster mwahi (design) 2019 with natural plant dye mounted on aluminium, A.P. 1/2 Poly-cotton machine embroidery with 39.8 x 27.6cm (ed. of 5) satin appliqué on cotton with acetate Acc. 2019.164 180 x 100cm 75 x 92 x 6cm Acc. 2020.221 Acc. 2019.198 Noni (Morinda citrifolia) (Indian Gift of an anonymous donor through Purchased 2019 with funds from mulberry) (from ‘Nā Waiho‘olu‘u the Queensland Art Gallery | Gallery the Bequest of Jennifer Taylor Hawai‘i, The colors of Hawai‘i‘ series) of Modern Art Foundation 2020. through the Queensland Art Gallery | 2005 Donated through the Australian Gallery of Modern Art Foundation Cotton with cotton thread on cotton Government’s Cultural Gifts Program with natural plant dye ALBERT, Tony 36.5 x 26.4cm AH KEE, Vernon Girramay/Yidinyji/Kuku Yalanji people Acc. 2019.165 Kuku Yalanji/Waanyi/Yidinyji/Guugu Australia b.1981 Yimithirr people austrALIEN 2007 Hau (Hibiscus tiliaceus) (Sea hibiscus) Australia b.1967 Synthetic polymer paint on velvet (from ‘Nā Waiho‘olu‘u Hawai‘i, Down 2005 22.5 x 25cm The colors of Hawai‘i‘ series) 2006 Charcoal on canvas Acc. 2020.108 Cotton with cotton thread on cotton 120 x 80cm Gift of Timothy Morrell through the with natural plant dye Acc. 2020.102 Queensland Art Gallery | Gallery of 42 x 43.8cm Gift of Timothy North and Denise Modern Art Foundation 2020 Acc. 2019.166 Cuthbert through the Queensland Art Gallery | Gallery of Modern Art ALLEN, Davida ‘Ōlena (Curcuma longa) (Turmeric) Foundation 2020. Donated through Australia b.1951 (from ‘Nā Waiho‘olu‘u Hawai‘i, the Australian Government’s Cultural Sisters 1991 The colors of Hawai‘i‘ series) 2005, Gifts Program Oil on marine plywood reworked 2019 240 x 213cm Cotton with cotton thread on cotton AKAMINE, Bernice Acc. 2020.121 with natural plant dye Hawai’i b.1949 Gift of Dr Michael Shera through the 36.7 x 25.3cm Ma‘o (Gossypium tomentosum) Queensland Art Gallery | Gallery of Acc. 2019.167 (Hawaiian cotton) (from ‘Nā Modern Art Foundation 2020. Donated Waiho‘olu‘u Hawai‘i, The colors through the Australian Government’s Kalo (Colocasia esculenta) (Taro) of Hawai‘i‘ series) 2006 Cultural Gifts Program (from ‘Nā Waiho‘olu‘u Hawai‘i, Cotton with cotton thread on cotton The colors of Hawai‘i‘ series) 2006, with natural plant dye Mother swinging her baby 1989 reworked 2019 38.9 x 32.8cm Oil on marine plywood Cotton with cotton thread on cotton Acc. 2019.162 Two parts: 90.5 x 115.8cm with natural plant dye (overall, irreg.) 41 x 39.2cm ‘Iliahi (Santalum ellipticum) Acc. 2020.230a–b Acc. 2019.168 (Sandalwood) (from ‘Nā Waiho‘olu‘u Gift of Julie Green and Frans Purchased 2019 with funds from Hawai‘i, The colors of Hawai‘i‘ series) Vandenburg in memory of Loti the Bequest of Jennifer Taylor through 2006, reworked 2019 and Victor Smorgon through the the Queensland Art Gallery | Gallery Cotton with cotton thread on cotton Queensland Art Gallery | Gallery of of Modern Art Foundation with natural plant dye Modern Art Foundation 2020. Donated 36.7 x 31.5cm through the Australian Government’s Acc. 2019.163 Cultural Gifts Program 24 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Wanggulay Nalan Gugal (White AMAGULA, Thomas Nandjiwarra ASHWORTH, Olive cockatoo design firemaker)2019 Anindilyakwa people (Textile designer) Softwood with natural pigments, Australia 1926–89 INDIGENOUS DESIGNS OF PVA fixative and natural fibre string The East Wind with dolphins and stars AUSTRALIA 80 x 17.5 x 5cm (approx.) c.1962 (Clothing and textile company) Acc. 2019.179 Natural pigments on eucalyptus bark Australia est. 1971 75.5 x 43.5cm (irreg.) Great Barrier Reef neck tie c.1980s Bida Nalan Gugal (Bark dish design Acc. 2020.295 Commercial screenprint on fabric firemaker)2019 Gift of Robert Bleakley through the 136 x 7.6cm Softwood with natural pigments, Queensland Art Gallery | Gallery of Acc. 2020.094 PVA fixative and natural fibre string Modern Art Foundation 2020. Donated Gift of Ross Searle through the 80 x 17.5 x 5cm (approx.) through the Australian Government’s Queensland Art Gallery | Gallery of Acc. 2019.180 Cultural Gifts Program Modern Art Foundation 2020

Banga Nalan Gugal (Native bee design ANDERSON, Gerome ATKINSON, Alfred (Photographer) firemaker)2019 Pitjantjatjara people Australia 1867–1950 Softwood with natural pigments, Australia c.1940–2011 ATKINSON PHOTO (Cairns, north Qld) PVA fixative and natural fibre string Llbili (Birth Place) 2007 (Studio) 80 x 17.5 x 5cm (approx.) Synthetic polymer paint on linen Australia Acc. 2019.181 104 x 139.5cm Ready for Corroboree, N.Q. c.1900 Acc. 2019.219 Postcard: Black-and-white Mugaru Nalan Gugal (Hand-held fish The Glenn Manser Collection. Gift of photographic print net design firemaker)2019 Glenn Manser in memory of Martin 8.8 x 13.8cm Softwood with natural pigments, Wardrop through the Queensland Acc. 2020.176 PVA fixative and natural fibre string Art Gallery | Gallery of Modern Art Gift of Ross Searle through the 80 x 17.5 x 5cm (approx.) Foundation 2019. Donated through Queensland Art Gallery | Gallery of Acc. 2019.182 the Australian Government’s Cultural Modern Art Foundation 2020 Purchased 2019 with funds from the Gifts Program Estate of Jessica Ellis through the BAKER, Alec Queensland Art Gallery | Gallery of ANDHRA PRADESH WEAVER Yankunytjatjara people Modern Art Foundation India Australia b.1932 Plain rumal (Madras handkerchief Ngura (Country) 2018 ASHTON, Will style) c.1999 Synthetic polymer paint on canvas Australia 1881–1963 Cotton, weft ikat 198 x 243cm A street in Pont Aven 1920s 102 x 211cm Acc. 2019.139 Oil on canvas Acc. 2020.010 Purchased 2019. Queensland Art 60 x 53cm Gift of Dana McCown through the Gallery | Gallery of Modern Art Acc. 2019.126 Queensland Art Gallery | Gallery of Foundation Bequest of June Marie Sherrin Modern Art Foundation 2020 through the Queensland Art Gallery | BAKULANGAY, Wurrpandiya Marawili Gallery of Modern Art Foundation ANNING, Michael Boiyool Mardarrpa people 2019 Yidinyji people Australia 1944–2002 Australia b.1955 NAPUWARRI, Marawili ASHWORTH, Olive Yalma Nalan Gugal (Cross boomerang Mardarrpa people Australia 1915–2000 design firemaker)2019 Australia b.1967 Textile length: Reef fantasy 1971 Softwood with natural pigments, Yulengor (Lightning snake) 2002 Commercial screenprint on cotton PVA fixative and natural fibre string Natural pigments on eucalyptus bark furnishing fabric 80 x 17.5 x 5cm (approx.) 269 x 66cm 154 x 123cm Acc. 2019.177 Acc. 2020.289 Acc. 2020.092 Gift of Robert Bleakley through the Yumun Nalan Gugal (Native banana Queensland Art Gallery | Gallery of Textile length: Great Barrier Reef design firemaker)2019 Modern Art Foundation 2020. Donated c.1970s Softwood with natural pigments, through the Australian Government’s Commercial screenprint on cotton PVA fixative and natural fibre string Cultural Gifts Program sateen 80 x 17.5 x 5cm (approx.) 126 x 112cm Acc. 2019.178 Acc. 2020.093 Gift of Dr Judith McKay through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 25

BANDAK, Nym White girls can’t hump 2002 Telia rumal with Islamic designs Murrinhpatha people Gravel, glue and synthetic polymer c.1990s Australia c.1904–81 paint on canvas Dyed cotton, warp and weft ikat, Sacred waterholes and stars 60 x 60cm alizarin dye date unknown Acc. 2020.243 105 x 108cm Natural pigments on eucalyptus bark Gift of Suzanne Davies and Richard Acc. 2020.022 79 x 36cm Dunn through the Queensland Art Gift of Dana McCown through the Acc. 2020.247 Gallery | Gallery of Modern Art Queensland Art Gallery | Gallery of Gift of Robert Bleakley through the Foundation 2020. Donated through Modern Art Foundation 2020 Queensland Art Gallery | Gallery of the Australian Government’s Cultural Modern Art Foundation 2020. Donated Gifts Program BILINYARA, Bob through the Australian Government’s Wulaki/Djinang people Cultural Gifts Program BENNETT, Gordon Australia b.c.1915 Australia 1955–2014 Wulagai (Wulaki), hollow log ceremony BEATO, Felice (Felix) Bloodlines 1993 c.1960 Italy/England 1832–1909; active Synthetic polymer paint and rope on Natural pigments on eucalyptus bark Japan 1863–84 canvas on wood 68.5 x 32cm A social meal c.1866 Triptych: 182 x 420cm (overall) Acc. 2020.279 Hand-coloured albumen silver Acc. 2019.170a–c Gift of Robert Bleakley through the photograph Purchased 2019 with funds from Queensland Art Gallery | Gallery of 34.8 x 49.8cm the Neilson Foundation through the Modern Art Foundation 2020. Donated Acc. 2019.189 Queensland Art Gallery | Gallery of through the Australian Government’s Purchased 2019 with funds from the Modern Art Foundation Cultural Gifts Program Henry and Amanda Bartlett Trust through the Queensland Art Gallery | BENNETT, Rubery BINYINYUWUY Gallery of Modern Art Foundation Australia 1893–1987 Djambarrpuyngu, Waynbarrnga people Sydney Harbour 1920s Australia 1928–82 BEDFORD, Paddy Oil on board Niwuda (wild honey) totem c.1963 Gija people 51 x 40cm Natural pigments on eucalyptus bark Australia c.1922–2007 Acc. 2019.128 80 x 36cm Wirwirji – Police Hole 2004 Bequest of June Marie Sherrin Acc. 2020.280 Natural pigments with acrylic binder through the Queensland Art Gallery | Gift of Robert Bleakley through the on Belgian linen Gallery of Modern Art Foundation Queensland Art Gallery | Gallery of 122 x 135cm 2019 Modern Art Foundation 2020. Donated Acc. 2020.038 through the Australian Government’s The Taylor Family Collection. Gift of BEVAN, CE Cultural Gifts Program Paul, Sue and Kate Taylor through the Australia b. unknown Queensland Art Gallery | Gallery of Father Power (Brisbane) c.1868 BLACK, Dorrit Modern Art Foundation 2020. Donated Albumen photograph on paper Australia 1891–1951 through the Australian Government’s mounted on card Girl with plaits c.1938 Cultural Gifts Program 10 x 6.2cm Pencil on paper Acc. 2020.150 25.5 x 17.5cm BELL, Richard Gift of Ross Searle through the Acc. 2020.109 Kamilaroi/Kooma/Jiman/Gurang Queensland Art Gallery | Gallery of Gift of Timothy Morrell through the Gurang people Modern Art Foundation 2020 Queensland Art Gallery | Gallery of Australia b.1953 Modern Art Foundation 2020 It does not matter – Hide the Truth BHASKAR RAO, Gunti 2001 India b. unknown BROADBENT, Tungane Synthetic polymer paint on canvas Diagonal telia rumal 1999 Cook Islands b.1940 120 x 120cm Dyed cotton, warp and weft ikat Chalice 2019 Acc. 2020.104 supplementary weft lines, alizarin dye Tivaevae ta’orei: Cotton cloth with 105 x 102cm cotton embroidery thread Words 1992–93 Acc. 2020.019 200 x 200cm Synthetic polymer paint on canvas Acc. 2019.169 60.5 x 91.5cm Peacock, parrot and lotus rumal 1999 Purchased 2019 with funds from the Acc. 2020.105 Dyed cotton, warp and weft ikat, Bequest of Jennifer Taylor through Gift of Timothy North and Denise alizarin dye the Queensland Art Gallery | Gallery Cuthbert through the Queensland 108 x 108cm of Modern Art Foundation Art Gallery | Gallery of Modern Art Acc. 2020.021 Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program 26 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Orchid 2020 BROWN, Mike CAMERON, Julia Margaret Tivaevae: Manu-style quilt, Australia 1938–97 England 1815–79 commercial cotton cloth and thread Night 1996 The Bride of Abydos [Annie Chinery, in appliqué technique Computer print on paper Mrs Ewen Hay Cameron] 1871 200 x 200cm 27 x 27cm Albumen photograph on paper Acc. 2020.062 Acc. 2020.114 33.8 x 27.5cm Commissioned 2019 with funds from Gift of Timothy Morrell through the Acc. 2020.119 the Oceania Women’s Fund through Queensland Art Gallery | Gallery of Purchased 2020 with funds from the the Queensland Art Gallery | Gallery Modern Art Foundation 2020 Henry and Amanda Bartlett Trust of Modern Art Foundation through the Queensland Art Gallery | BURANDAY Waynbarrnga, George Gallery of Modern Art Foundation BROOKS, Byron Australia c.1914–80 Pitjantjatjara people Morning Star ceremony mid 1960s CARL AND FRITZ MARQUARDT Australia b.c.1951 Natural pigments on eucalyptus bark (MARQUARDT BROTHERS) Wati Pira 2015 87 x 58cm Germany/Samoa c.1850–1935 Synthetic polymer paint on linen Acc. 2020.281 Unsere neuen Landleute aus Samoa 136 x 90cm Gift of Robert Bleakley through the (Our new fellow countrymen from Acc. 2019.214 Queensland Art Gallery | Gallery of Samoa) 1901 The Glenn Manser Collection. Gift of Modern Art Foundation 2020. Donated Gelatin silver photograph Glenn Manser in memory of Martin through the Australian Government’s Image: 13.9 x 9.8cm; card: 16.8 x 10.9cm Wardrop through the Queensland Cultural Gifts Program Acc. 2020.063 Art Gallery | Gallery of Modern Art Purchased 2020 with funds from the Foundation 2019. Donated through BURTON, Alfred Henry Estate of Jessica Ellis through the the Australian Government’s Cultural (Photographer) Queensland Art Gallery | Gallery of Gifts Program United Kingdom/New Zealand Modern Art Foundation 1834–1914 BROWN Jr, Eliphalet BURTON BROTHERS CARROLL, Lewis United States 1816–86 PHOTOGRAPHERS & ARTISTS England 1832–98 Temple at Tumai, Lew Chew 1854 (Studio) Xie Kitchin, Captive Princess, Lithograph on paper New Zealand 1866–1914 26 June 1875 1875 15.5 x 22.4cm Native girl and large taro plant 1899 Hand-tinted albumen photograph Acc. 2019.223 Albumen photograph on paper from wet plate negative on paper, Gift of Gael Newton AM through the mounted on card ed. of 8 known copies Queensland Art Gallery | Gallery of Image: 20 x 15cm; card: 29.8 x 24.6cm 15.1 x 9.3cm Modern Art Foundation 2019 Acc. 2020.066 Acc. 2020.088 Purchased 2020 with funds from the Purchased 2020 with funds from the BROWN, Leonard Estate of Jessica Ellis through the Henry and Amanda Bartlett Trust Australia b.1949 Queensland Art Gallery | Gallery of through the Queensland Art Gallery | Holy prophet and forerunner of the Modern Art Foundation Gallery of Modern Art Foundation Lord, John the Baptist 2003 Egg tempera, 24-kt gold leaf and BURTON BROTHERS CAUCHI, Ben gesso on beechwood panel PHOTOGRAPHERS & ARTISTS New Zealand b.1974 54 x 40cm New Zealand 1866–1914 Black Shroud #2 2005 Acc. 2020.045a–b Native girls, Rotuma 1899 Ambrotype Albumen photograph on paper 14 x 11cm The rising of Lazarus (Lazarus of the mounted on card Acc. 2019.140 four days in the tomb) 2013 Image: 15 x 20cm; card: 24.6 x 29.8cm Gift of Conal Coad and Colin Beutel Egg tempera, 24-kt gold leaf and Acc. 2020.065 through the Queensland Art Gallery | gesso on beechwood panel Purchased 2020 with funds from the Gallery of Modern Art Foundation 51 x 41cm Estate of Jessica Ellis through the 2019. Donated through the Australian Acc. 2020.046a–b Queensland Art Gallery | Gallery of Government’s Cultural Gifts Program Purchased 2020 with funds from the Modern Art Foundation Airey Family through the Queensland CHARGOIS STUDIO (Cairns) Art Gallery | Gallery of Modern Art BUVELOT, Louis Australia c.1920–47 Foundation Switzerland/Australia 1814–88 Part of fernery, Lake Barrine (Atherton Brisbane 1866 Tableland) c.1924 Watercolour on paper Gelatin silver photograph on paper 31 x 24.5cm 8.3 x 13.3cm Purchased 2020 with funds from the Acc. 2020.169 Bequest of Helen Dunoon through the Gift of Ross Searle through the Queensland Art Gallery | Gallery of Queensland Art Gallery | Gallery of Modern Art Foundation Modern Art Foundation 2020 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 27

Fragment of telia rumal late 19th/ Sunrise 1973 CHASE, attrib. to HL early 20th century Etching on paper United States 1831–1901 Cotton, weft ikat with warp ikat 9.5 x 9cm Queen Kalama (Jane Lahilahi in centre field, warp ikat and Acc. 2020.006 Mahienaena Kalama) c.1860 supplementary weft lines in corner, Albumen photograph on paper alizarin dye Mountain road c.1980 mounted on card 53 x 45cm Linocut on paper Image: 6.5 x 5.2cm (oval); sheet: Acc. 2020.030 19.5 x 14.5cm 9.0 x 5.7cm; card: 10.1 x 6.2cm Acc. 2020.007 Acc. 2020.081 Fragment of telia rumal late 19th/ early 20th century Stripes (Experimental print) 1973–74 Major of Household troops, Maehonua Cotton, weft ikat, alizarin dye Screenprint on paper c.1860s 23 x 35cm 24.7 x 25cm Albumen photograph on paper Acc. 2020.031 Acc. 2020.008 mounted on card Gift of Dana McCown through the Gift of the Estate of the artist through Image: 9.0 x 5.9cm; card: 10.4 x 6.3cm Queensland Art Gallery | Gallery of the Queensland Art Gallery | Gallery Acc. 2020.082 Modern Art Foundation 2020 of Modern Art Foundation 2020 Mrs Maehonua (Lucy Muolo Maehonua) c.1860s COLE-ADAMS, Brigid COPE, Megan Albumen photograph on paper Australia 1938–2015 Quandamooka people mounted on card The last house 2011 Australia b.1982 Image: 8.5 x 5.7cm; card: 10.7 x 6.1cm Synthetic polymer paint on canvas RE FORMATION 2016–19 Acc. 2020.083 90 x 90cm Cast-concrete oyster shells, Purchased 2020 with funds from the Acc. 2019.171 copper slag Estate of Jessica Ellis through the Purchased 2019 with funds from the 12 000+ pieces: installed dimensions Queensland Art Gallery | Gallery of Estate of Jessica Ellis through the variable Modern Art Foundation Queensland Art Gallery | Gallery of Acc. 2019.160a– Modern Art Foundation Purchased 2019 with funds from the Contemporary Patrons through the CHIRALA WEAVER Cruising 2012 Queensland Art Gallery | Gallery of India Synthetic polymer paint on canvas Modern Art Foundation Indigo rumal late 19th/ 70 x 90cm early 20th century Acc. 2019.172 Cotton, warp and weft ikat, natural dyes COTTON, Shane Purchased 2019 with funds from the 90 x 77cm New Zealand b.1964 Estate of Betty P Quelhurst through Acc. 2020.009 Half Cast (seven) 2010 the Queensland Art Gallery | Gallery Silkscreen print with hand-applied of Modern Art Foundation Gold thread telia rumal late 19th/ synthetic polymer paint on paper early 20th century 122 x 122cm Spotlight 1972 Dyed cotton, warp and weft ikat, Acc. 2020.308 Colour stencil, ed. 2/3 double ikat on corner border Gift of an anonymous donor through 29 x 30cm 90 x 77cm the Queensland Art Gallery | Gallery Acc. 2019.173 Acc. 2020.012 of Modern Art Foundation 2020. Donated through the Australian Orange rectangle 1973–74 Fragment of telia rumal late 19th/ Government’s Cultural Gifts Program Screenprint on paper, ed. of 1 early 20th century 41 x 41cm Cotton, weft ikat, supplementary COVENTRY, Virginia Acc. 2019.174 weft in centre field, alizarin dye Australia b.1942 22 x 49cm Miss World Televised 1 1974 Stripes I 1973–74 Acc. 2020.027 Vintage gelatin silver photograph Screenprint on paper, not editioned 15.5 x 13.5cm 25 x 24.7cm Fragment of telia rumal late 19th/ Acc. 2020.041 Acc. 2019.175 early 20th century Cotton warp and weft ikat, alizarin dye Miss World Televised 2 1974 Stripes II 1973–74 23 x 35cm Vintage gelatin silver photograph Screenprint on paper Acc. 2020.028 15.5 x 13.5cm 25 x 24.7cm Acc. 2020.042 Acc. 2019.176 Fragment of telia rumal late 19th/ Purchased 2019 with funds from the early 20th century Miss World Televised 5 1974 Bequest of Helen Dunoon through the Cotton, warp ikat in centre field, weft Vintage gelatin silver photograph Queensland Art Gallery | Gallery of ikat motifs within grids, alizarin dye 15.5 x 13.5cm Modern Art Foundation 41 x 46.5cm Acc. 2020.043 Acc. 2020.029 28 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Miss World Televised 6 1974 Hula dancer and man with drum DEACON, Destiny Vintage gelatin silver photograph c.1870–90 Ku’a Ku’a & Erub/Mer people 17.3 x 15.2cm Albumen photograph on paper Australia b.1957 Acc. 2020.044 mounted on card Some night musak 1997 Image: 9.3 x 5.7cm; card: 10.5 x 6.3cm Bubble-jet print from polaroid Spaces Between Houses – Acc. 2020.078 photograph on paper, ed. 1/5 Two Blocks 1977 Purchased 2020 with funds from the 49 x 39cm Vintage silver gelatin photographs, Estate of Jessica Ellis through the Acc. 2019.144 hand-printed, ed. of 1 Queensland Art Gallery | Gallery of Purchased 2019. Queensland Art 19 sheets: 15.1 x 17.8cm (each) Modern Art Foundation Acc. 2020.117a–s Gallery | Gallery of Modern Art Foundation Purchased 2020. Queensland Art DJANAMBAYNGU, George Gallery | Gallery of Modern Art Gupapuyngu/Daygurrgurr people Foundation Dance little lady 1993 Laser print Australia 1926–76 Birrkurrda, wild honey dreaming DARGIE, William 55 x 44.5cm (sight) c.1960 Australia 1912–2003 Acc. 2020.106 Natural pigments on eucalyptus bark Study for portrait of Albert Namatjira Gift of Timothy Morrell through the 74 x 41cm c.1957–59 Queensland Art Gallery | Gallery of Acc. 2020.283 Lithograph on paper Modern Art Foundation 2020 Gift of Robert Bleakley through the 24.5 x 22cm Queensland Art Gallery | Gallery of Acc. 2020.214 DELAUNAY, Sonia Modern Art Foundation 2020. Donated Gift of Timothy Roberts through the France 1885–1979 through the Australian Government’s Queensland Art Gallery | Gallery of Composition with triangles and Cultural Gifts Program Modern Art Foundation 2020 semi-circles date unknown Colour etching and aquatint on paper, DAVILA, Juan ed. 118/125 DJANBARDI, Ronnie Chile/Australia b.1946 49 x 40cm Gurrgoni people Pieta 1984 Acc. 2019.132 Australia 1925–94 Synthetic polymer paint, spray-paint, Bequest of Emanuel Theodore Namandi: The spirits of the dead printed paper and newsprint on colour Cassimatis in memory of his parents c.1976 photograph Theodore and Stella Cassimatis Natural pigments on eucalyptus bark 79 x 91cm through the Queensland Art Gallery | 66 x 35 cm Acc. 2020.219 Gallery of Modern Art Foundation Acc. 2020.278 Gift of Suzanne Davies and Richard 2019 Gift of Robert Bleakley through the Dunn through the Queensland Art Queensland Art Gallery | Gallery of Gallery | Gallery of Modern Art DICKSON, Menzies Modern Art Foundation 2020. Donated through the Australian Government’s Foundation 2020. Donated through United States 1840–91 the Australian Government’s Cultural Cultural Gifts Program Kanacha King of the Fijis c.1870–90 Gifts Program Albumen photograph on paper mounted on card DJANGHARA, Ignatia DAWIDI Birritjama, Neville Image: 9.0 x 5.5cm; sheet: 9.2 x 5.7cm; Wunambal people Liyagalawumirr, Walkurwalkur people card: 10.5 x 6.3cm Australia c.1930–unknown Australia 1921–70 Acc. 2020.075 Wandjina and Bradshaw figures Wagilag sisters late 1960s date unknown Natural pigments on eucalyptus bark Kanaka natives of the Sandwich Natural pigments on eucalyptus bark 119.5 x 62cm Islands c.1870–90 27.5 x 25cm Acc. 2020.282 Albumen photograph on paper Acc. 2020.245 Gift of Robert Bleakley through the mounted on card Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Image 8.2 x 5.2cm; sheet: 9.3 x 5.7cm; Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated card: 10.6 x 6.3cm Modern Art Foundation 2020. Donated through the Australian Government’s through the Australian Government’s Cultural Gifts Program Acc. 2020.076 Cultural Gifts Program

DE CARVALHO, Arthur Kanaka native of the Sandwich Islands DOMBROVSKIS, Peter Hong Kong/United States 1890–1969 c.1870–90 Australia 1945–96 Untitled (Junks Shanghai) c.1930 Albumen photograph on paper Morning mist, Rock Island Bend, Gelatin silver photograph mounted mounted on card Franklin River, 1979 1979, printed 2019 on card Image: 7.2 x 5.5cm (oval); Epson inkjet print on Canson Baryta 30 x 29cm card: 9.4 x 6.4cm Prestige paper mounted on Alupanel; Acc. 2019.226 Acc. 2020.077 printed from digital scan of original Gift of Gael Newton AM through the transparency Queensland Art Gallery | Gallery of 86.3 x 63.5cm Modern Art Foundation 2019 Acc. 2020.223 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 29

Giant kelp, Hasselborough Bay, Fijian man c.1870s ENTATA, Irene (Potter) Macquarie Island, Tasmania, 1984 Albumen photograph on paper Arrernte/Luritja people 1984, printed 2019 mounted on card Australia 1946–2014 Epson inkjet print on Canson Baryta Image: 7.8 x 4.8cm; sheet: 9.4 x 6.2cm; HERMANNSBURG POTTERS Prestige paper mounted on Alupanel; card: 10.3 x 6.2cm (Pottery workshop) printed from digital scan of original Acc. 2020.073 Australia est. 1990 transparency Albert Namatjira droving 2001 86.3 x 63.5cm Man from inland Viti Levu (Cai Kolo Earthenware, hand-built terracotta Acc. 2020.224 mountain people) c.1870s clay with underglaze colours and Albumen photograph on paper applied decoration, leather South Cape Rivulet, southwest mounted on card 53 x 36cm (diam.) (complete) Tasmania, 1990 1990, printed 2019 Image: 8.6 x 5.6cm; card: 10.3 x 6.2cm Acc. 2019.183a–b Epson inkjet print on Canson Baryta Acc. 2020.074 Prestige paper mounted on Alupanel; Purchased 2020 with funds from the Rex and Albert painting in Palm Valley printed from digital scan of original Estate of Jessica Ellis through the 2001 transparency Queensland Art Gallery | Gallery of Earthenware, hand-built terracotta 86.3 x 63.5cm Modern Art Foundation clay with underglaze colours and Acc. 2020.225 applied decoration, leather Gift of Liz Dombrovskis through the DUNN, Richard 50 x 29cm (diam.) (complete) Queensland Art Gallery | Gallery of Australia b.1944 Acc. 2019.184a–b Modern Art Foundation 2020 Untitled (Art and Fear) 1986 Synthetic polymer paint on canvas The events leading to Albert’s death DONALDSON, Judith Eight pieces: 228 x 224cm (overall) 2001 Pitjantjatjara people Acc. 2020.123 Earthenware, hand-built terracotta Australia c.1936–2008 clay with underglaze colours and WEST, Carlene Untitled (Historical tropes) 1986 applied decoration Pitjantjatjara people Synthetic polymer paint on canvas 44 x 35cm (diam.) (complete) Australia b.c.1944 Eight pieces: 228 x 224cm (overall) Acc. 2019.185a–b PENNINGTON, Myrtle Acc. 2020.124 Purchased 2019. Queensland Art Pitjantjatjara people Gift of Suzanne Davies through the Gallery | Gallery of Modern Art Australia b.c.1939 Queensland Art Gallery | Gallery of Foundation HOGAN, Theresa Modern Art Foundation 2020. Donated Pitjantjatjara people through the Australian Government’s FARSARI, Adolfo Australia b. unknown Cultural Gifts Program Italy 1841–98; active Japan 1885–90 DAVIES, Lorraine Girls in winter night c.1887 Pitjantjatjara people ELLIOTT, Sue Hand-coloured albumen silver Australia b.c.1955 Bundjalung people photograph Minyma Tjuta at Tjintirlkara 2006 Australia/England 1953–c.1999 27.8 x 21.2cm Synthetic polymer paint on canvas Christ I’m tired c.1993 Acc. 2019.190 183 x 125cm Synthetic polymer paint on canvas Purchased 2019 with funds from the Acc. 2019.221 42 x 43.5cm (irreg.) Henry and Amanda Bartlett Trust The Glenn Manser Collection. Gift of Acc. 2020.107 through the Queensland Art Gallery | Glenn Manser in memory of Martin Gift of Timothy Morrell through the Gallery of Modern Art Foundation Wardrop through the Queensland Queensland Art Gallery | Gallery of Art Gallery | Gallery of Modern Art Modern Art Foundation 2020 GAJAM FAMILY (Family) Foundation 2019. Donated through India the Australian Government’s Cultural EMBREY, attrib. to Fred GAJAM Govardhana (Designer) Gifts Program Kabi Kabi people India b.1949 Australia c.1880–1939 Shawl 1999 DUFTY, attrib. to FH Untitled ceremonial figurec.1930 Dyed tussah silk, warp and weft ikat England/Australia 1846–1910 Carved softwood with natural 92 x 280cm Tongan women c.1870s pigments, emu feathers bound with Acc. 2020.024 Albumen photograph on paper bush string and resin Gift of Dana McCown through the mounted on card 65.5 x 14 x 14cm Queensland Art Gallery | Gallery of Image: 8.7 x 5.7cm; card: 10.5 x 6.3cm Acc. 2020.061 Modern Art Foundation 2020 Acc. 2020.072 Purchased 2020 with funds from the Mather Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation 30 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

GAJAM Govardhana GRANT, Fred GROVES, Helga India b.1949 Pitjantjatjara people Australia b.1961 100 motif telia rumal 2011 Australia b.c.1943 Subterranean detail no.2 2003 Cotton, warp and weft ikat, Pirilyi 2013 Oil on Belgian linen natural dyes Synthetic polymer paint on linen 60.2 x 60.5cm 305 x 305cm (approx.) 136 x 91cm Acc. 2020.229 Acc. 2020.026 Acc. 2019.211 Gift of Bruce Heiser in memory of Gift of Dana McCown through the The Glenn Manser Collection. Gift of Peter Beiers through the Queensland Queensland Art Gallery | Gallery of Glenn Manser in memory of Martin Art Gallery | Gallery of Modern Art Modern Art Foundation 2020 Wardrop through the Queensland Foundation 2020. Donated through Art Gallery | Gallery of Modern Art the Australian Government’s Cultural GAJAM Ramulu Foundation 2019. Donated through Gifts Program India 1944–2012 the Australian Government’s Cultural Telia rumal 1999 Gifts Program GURRUWIWI, Mithinarri Dyed cotton, warp and weft ikat, Galpu, Galwurr, Dhangu people alizarin dye, natural oil and ash GRANT, Ned Australia 1929–76 treatment Pitjantjatjara people Yulengor (Rainbow Serpent) 109 x 107cm Australia b.c.1941 at Mirrarmina date unknown Acc. 2020.018 Mr JAMIESON Natural pigments on eucalyptus bark Pitjantjatjara people 133 x 48cm His master’s voice c.1970s Australia b. unknown Acc. 2020.288 Dyed cotton, warp and weft ikat Mulpulaa 2004 Gift of Robert Bleakley through the 114 x 113cm Synthetic polymer paint on linen Queensland Art Gallery | Gallery of Acc. 2020.023 139 x 98cm Modern Art Foundation 2020. Donated Gift of Dana McCown through the Acc. 2019.213 through the Australian Government’s Queensland Art Gallery | Gallery of The Glenn Manser Collection. Gift of Cultural Gifts Program Modern Art Foundation 2020 Glenn Manser in memory of Martin Wardrop through the Queensland HALL, Fiona GANO, Jesmaine Sakoi Art Gallery | Gallery of Modern Art Australia b.1953 Nakas clan, Hakö language group Foundation 2019. Donated through Words 1989 Autonomous Region of Bougainville the Australian Government’s Cultural Polaroid photograph on paper b.1990 Gifts Program 49 x 60cm LEPPING, Georgianna Maetale Acc. 2020.110 Solomon Islands b.1990 GREENO, Lola Women’s Wealth workshop 2018 Palawa people Untitled (from ‘The Price is Right’ Single-channel HD video: 30 minutes, Australia b.1946 series) 1994 colour, sound, 16:9, ed. of 1 Rika (Bull kelp water carrier) 2019 Polaroid photograph on paper Acc. 2019.157 Bull kelp, ti-tree wood skewers 64 x 49cm Purchased 2019. Queensland Art and spun plant fibre string Acc. 2020.111 Gallery | Gallery of Modern Art 8 x 43 x 13cm; 28cm Gift of Timothy Morrell through the Foundation (high, with handles) Queensland Art Gallery | Gallery of Acc. 2019.150 Modern Art Foundation 2020 GIBSON, Bessie Australia 1868–1961 Rika (Bull kelp water carrier) 2019 HARRIS, Brent A native of North Africa 1920s Bull kelp, ti-tree wood skewers Australia b.1956 Oil on canvas and spun plant fibre string Troubled (Appalling moment) 1995 70 x 60cm 8 x 60 x 12.5cm; 30cm Soft-ground etching, foul-bite and Acc. 2019.127 (high, with handles) plate-tone on grey paper on paper Bequest of June Marie Sherrin Acc. 2019.151 25 x 18.6cm through the Queensland Art Gallery | Purchased 2019. Queensland Art Acc. 2020.239 Gallery of Modern Art Foundation 2019 Gallery | Gallery of Modern Art Foundation Troubled (Appalling moment) 1995 GOLUWA Soft-ground etching, foul-bite and Australia c.1915–unknown plate-tone on buff paper on paper Circumcision Ceremony date unknown 25 x 18.6cm Natural pigments on eucalyptus bark Acc. 2020.240 59 x 21cm Acc. 2020.293 To the forest 1999 Gift of Robert Bleakley through the Colour screenprint on paper Queensland Art Gallery | Gallery of 91.6 x 152.1cm Modern Art Foundation 2020. Donated Acc. 2020.241 through the Australian Government’s Cultural Gifts Program OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 31

To the river 2004 HOGAN, Simon HUNTER, Henry Colour lithograph on off-white wove Pitjantjatjara people Ireland b. unknown paper, ed. 15 or 16/30 Australia b.c.1930 George before he left for Queensland 33.2 x 35.6cm Lingka 2017 (For Colonel Thompson) c.1880s Acc. 2020.242 Synthetic polymer paint on linen Albumen photograph on paper Gift of Mark Grant through the 137 x 90cm mounted on card Queensland Art Gallery | Gallery of Acc. 2019.215 10.2 x 6.1cm Modern Art Foundation 2020. Donated The Glenn Manser Collection. Gift of Acc. 2020.151 through the Australian Government’s Glenn Manser in memory of Martin Gift of Ross Searle through the Cultural Gifts Program Wardrop through the Queensland Queensland Art Gallery | Gallery of Art Gallery | Gallery of Modern Art Modern Art Foundation 2020 HOARE, CB Foundation 2019. Donated through United Kingdom/Tahiti c.1830–76 the Australian Government’s Cultural Ike NO TAIGA Group of wild natives c.1868–76 Gifts Program Japan 1723–76 Albumen photograph on paper Untitled (plum blossom branch) mounted on card HOGAN, Timo c.18th century Image: 5.6 x 9.0cm; card: 6.2 x 10.5cm Pitjantjatjara people Ink on paper, fabric mount Acc. 2020.086 Australia b.1973 111 x 56.5 x 2.5cm Purchased 2020 with funds from the Lake Baker 2017 Acc. 2020.100 Estate of Jessica Ellis through the Synthetic polymer paint on linen Gift of Peter Tyndall in memory of Queensland Art Gallery | Gallery of 137 x 89cm Peter Beiers through the Queensland Modern Art Foundation Acc. 2019.216 Art Gallery | Gallery of Modern Art The Glenn Manser Collection. Gift of Foundation 2020 HOARE, Mrs S Glenn Manser in memory of Martin United Kingdom/Tahiti c.1833–1920 Wardrop through the Queensland JAMBALULU, attrib. Jeune gens Taitiens c.1880 Art Gallery | Gallery of Modern Art to Jimmy Mulwirrkbirrk Albumen photograph on paper Foundation 2019. Donated through Jalama people mounted on card the Australian Government’s Cultural Australia c.1908–60 Image: 13 x 9.8cm; card: 16.5 x 11.8cm Gifts Program Captured kangaroo date unknown Acc. 2020.064 Natural pigments on eucalyptus bark Purchased 2020 with funds from the HOOKEY, Gordon 48.3 x 30.5cm Estate of Jessica Ellis through the Waanyi people Acc. 2020.262 Queensland Art Gallery | Gallery of Australia b.1961 Gift of Robert Bleakley through the Modern Art Foundation Wreckonin 2007 Queensland Art Gallery | Gallery of Oil on canvas Modern Art Foundation 2020. Donated HOBSON, Naomi 168 x 152cm through the Australian Government’s Kaantju/Umpila people Acc. 2020.103 Cultural Gifts Program Australia b.1978 Gift of Timothy North and Denise Iwayi (Saltwater crocodile) 2019 Cuthbert through the Queensland JAMBUWAL, attrib. Earthenware, hand-built terracotta Art Gallery | Gallery of Modern Art to (Paddy) Captain clay with incised white slip Foundation 2020. Donated through Australia c.1927–unknown 63 x 17 x 17cm (irreg.) the Australian Government’s Cultural Corroboree date unknown Acc. 2019.146 Gifts Program Natural pigments on eucalyptus bark 35.6 x 57.2cm Iwayi (Saltwater crocodile) 2019 HUGHAN, Allan (Ramsay Acc. 2020.263 Earthenware, hand-built terracotta Cunningham) clay with incised white slip England/Australia/New Caledonia Creature of the Dreamtime 57 x 10.1 x 10.1cm (irreg.) c.1834–83 date unknown Acc. 2019.147 (Three New Caledonian men) c.1875 Natural pigments on eucalyptus bark Albumen photograph on paper 54.6 x 38.1cm Iwayi (Saltwater crocodile) 2019 mounted on card Acc. 2020.264 Earthenware, hand-built terracotta Image: 9.7 x 5.7cm; card: 10.6 x 6.3cm Gift of Robert Bleakley through the clay with incised white slip Acc. 2020.084 Queensland Art Gallery | Gallery of 61 x 14.5 x 14.5cm (irreg.) Modern Art Foundation 2020. Donated Acc. 2019.148 Jeune Canaque c.1870–80s through the Australian Government’s Purchased 2019. Queensland Art Albumen photograph on paper Cultural Gifts Program Gallery | Gallery of Modern Art 15 x 10cm Foundation Acc. 2020.085 Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation 32 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

JANET BURCHILL & JENNIFER JONES, Henry “Narimboo” Aboriginal Chief, Australia McCAMLEY (Collaboration) United Kingdom/Australia 1826–1911 c.1900s Australia est. 1983 Pacific Islanderc.1877–79 Postcard: Black-and-white BURCHILL, Janet (Artist) Albumen photograph on paper photographic print Australia b.1955 mounted on card 13.6 x 9cm McCAMLEY, Jennifer (Artist) Image: 9.0 x 5.5cm; card: 10.4 x 6.3cm Acc. 2020.181 Australia b.1957 Acc. 2020.071 “Narimboo” Aboriginal Chief, Australia 6 to 6 2013 Purchased 2020 with funds from the Synthetic polymer paint on moulded Estate of Jessica Ellis through the c.1900s plywood Queensland Art Gallery | Gallery of Postcard: Black-and-white 174 x 60cm Modern Art Foundation photographic print Acc. 2019.142 13.6 x 9cm KELLY, Deborah Acc. 2020.182 Point Blank 2016 Australia b.1962 Neon Tank Man Tango 2009 Aboriginal Chief Workii Tribe c.1900s 122 x 180cm Multi-channel video and photographic Postcard: Black-and-white Acc. 2019.143 installation with poster (endless photographic print Purchased 2019. Queensland Art supply), ed. of 1 13.6 x 9cm Gallery | Gallery of Modern Art Acc. 2020.122a–b Acc. 2020.183 Foundation LYING WOMEN 2016 Aboriginal Chief Workii Tribe c.1900s The Landing (yellow) 2005 Two-channel video installation: colour Postcard: Black-and-white Cauterised rubber on moulded stop-motion animations from paper photographic print plywood collage; one channel projected, stereo 13.6 x 9cm 150 x 64cm sound; 3:56 minutes; one channel on Acc. 2020.184 Acc. 2020.238 monitor, silent, ed. 4/8 Gift of the artists through the Acc. 2020.220 Aboriginal Chief Workii Tribe c.1900s Queensland Art Gallery | Gallery of Gift of an anonymous donor through Postcard: Black-and-white Modern Art Foundation 2020. Donated the Queensland Art Gallery | Gallery photographic print through the Australian Government’s of Modern Art Foundation 2020. 13.6 x 9cm Cultural Gifts Program Donated through the Australian Acc. 2020.185 Government’s Cultural Gifts Program JERREMS, Carol “Coongardi” Aboriginal warrior, Australia 1949–80 KERRY & CO Australia c.1900s Vale Street 1975 Australia 1892–1917 Postcard: Black-and-white Gelatin silver photograph on paper Aboriginal King c.1890s photographic print 20 x 30cm Postcard: Black-and-white 13.6 x 8.7cm Acc. 2020.313 photographic print Acc. 2020.186 Purchased 2020 with funds from 13.7 x 8.9cm Paul Taylor through the Queensland Acc. 2020.177 A warrior, series 5 – Australian Art Gallery | Gallery of Modern Art Aboriginals c.1900s Foundation Group of Black trackers c.1890s Postcard: Black-and-white Postcard: Black-and-white photographic print Juliet holding ‘Vale Street’ 1976 photographic print 13.5 x 8.7cm Gelatin silver photograph on paper, 13.7 x 8.9cm Acc. 2020.187 ed. of 9, plus artist proofs Acc. 2020.178 30.5 x 20cm Aboriginal with Devil’s Mask c.1890s Acc. 2020.039 “Eudra”, Australian Aboriginal c.1890s Postcard: Black-and-white Postcard: Black-and-white photographic print Macquarie University: University Court, photographic print 13.6 x 8.7cm Yellow Cake Day Balloon 1977 13.9 x 8.9cm Acc. 2020.188 Gelatin silver photograph on paper, Acc. 2020.179 ed. of 8, plus artist proofs Aboriginal with Devil’s Mask c.1890s 38 x 22cm King “Narimboo” series 5 – Australian Postcard: Black-and-white Acc. 2020.040 Aboriginals c.1900s photographic print Purchased 2020. Queensland Art Postcard: Black-and-white 13.6 x 8.7cm Gallery | Gallery of Modern Art photographic print Acc. 2020.189 Foundation 13.6 x 9cm Acc. 2020.180 Aboriginal with Devil’s Mask c.1890s Postcard: Black-and-white photographic print 13.6 x 8.7cm Acc. 2020.190 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 33

Aboriginal Chief 1890s Boy in the flour drum2014 LALIQUE, René Postcard: Black-and-white Etching and aquatint on Arches BFK France 1860–1945 photographic print 300gsm cotton paper, ed. 7/35 Serpent vase c.1924 13.6 x 8.7cm 49.6 x 32.7cm Dark amber frosted with moulded glass Acc. 2020.191 Acc. 2020.058 25 x 26cm Gift of Ross Searle through the Acc. 2019.131 Queensland Art Gallery | Gallery of Mother and daughter reunion 2014 Bequest of Emanuel Theodore Modern Art Foundation 2020 Etching and aquatint on Arches BFK Cassimatis in memory of his parents 300gsm cotton paper, ed. 11/35 Theodore and Stella Cassimatis KOOLMATRIE, Yvonne 49.2 x 39.6cm through the Queensland Art Gallery | Ngarrindjeri people Acc. 2020.059 Gallery of Modern Art Foundation 2019 Australia b.1944 Burial basket 2018 Youth under siege 2014 LANDGRAF, Kapulani Coil-woven sedge rushes Etching and aquatint on Arches BFK 300gsm cotton paper, ed. 8/35 Kanaka ‘Ōiwi 29 x 55 x 118cm 49.5 x 33.9cm United States b.1966 Acc. 2019.116 Acc. 2020.060 ‘A’ua 2019 Purchased 2020 with funds from Digital prints on aluminium, with Burial basket (with handle) 2017 Brian and Megan Sheahan through the sound, ed. 1/3 Coil-woven sedge rushes Queensland Art Gallery | Gallery of 108 sheets: 75 x 50cm (each), 57 x 46 x 113cm Modern Art Foundation installed dimensions variable Acc. 2019.117 Acc. 2019.134.001–109 Purchased 2019 with funds from KUNISADA, Utagawa Purchased 2019 with funds from the Cathryn Mittelheuser AM through the Japan 1786–1865 Bequest of Jennifer Taylor through Queensland Art Gallery | Gallery of The actor Hanshirō Iwai c.1820s the Queensland Art Gallery | Gallery Modern Art Foundation Colour woodblock print on paper of Modern Art Foundation 36 x 24cm KOOWOOTHA, Heather Marie Acc. 2019.222 LARTER, Pat (Wunjarra) Gift of Carol Fripp and John Blakeley England/Australia 1953–96 Wik-Mungkan and Yidinji/Djabugay through the Queensland Art Gallery | Jazzy Jazz 1993 people Gallery of Modern Art Foundation 2019 Synthetic polymer paint and glitter Australia b.1966 on board Poleen 2019 KUSAMA, Yayoi 91.8 x 61.8cm Lithograph on Dutch 250gsm cotton Japan b.1929 Acc. 2020.115 etching paper, ed. 1/15 One of the Endless Narcissus 2001 Gift of Timothy Morrell through the 60 x 43cm Stainless steel ball, ed. of 2000 Queensland Art Gallery | Gallery of Acc. 2020.053 18cm (diam.) Modern Art Foundation 2020 Acc. 2019.186 Booboo kutjarr (Ghost children) 2017 Purchased 2019. Queensland Art LEE, Lindy Lithograph on Arches BFK 300gsm Gallery | Gallery of Modern Art Australia b.1954 cotton paper, ed. 3/10 Foundation Transformation by fire2017 32 x 49cm Fire on cold-pressed paper Acc. 2020.054 LAING, Rosemary 154.5 x 102cm Australia b.1959 Acc. 2020.131 The story tellers 2017 NASA – Kennedy Space Center #1 Drypoint on Arches BFK 300gsm 1998–99 Earth and fire2018 cotton paper, ed. 2/25 Type C photograph on paper, ed. 2/3 Fire on cold-pressed paper 118 x 266cm 65 x 82cm 154.5 x 102cm Gift in recognition of John Sharpe Acc. 2020.055 Acc. 2020.132 and Claire Armstrong through the Queensland Art Gallery | Gallery of The land lady 2015 Elliptical rain 2018 Modern Art Foundation 2020. Donated Drypoint on Arches BFK 300gsm Chinese ink, rain and fire on through the Australian Government’s cotton paper, ed. 5/35 cold-pressed paper Cultural Gifts Program 54 x 43.5cm 154.5 x 102cm Acc. 2020.056 Acc. 2020.133 bulletproofglass #7 2002 The land lord 2015 Type C photograph on paper, ed. 10/15 70 x 112cm Resting in a cloud of stars 2018 Drypoint on Arches BFK 300gsm Chinese ink and fire on cold-pressed cotton paper, ed. 5/35 Acc. 2020.222 Gift of Clinton Ng through the paper 54 x 48cm Queensland Art Gallery | Gallery of 154.5 x 102cm Acc. 2020.057 Modern Art Foundation 2020. Donated Acc. 2020.134 through the Australian Government’s Cultural Gifts Program 34 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Quiescence 2018 (Standing lady with plaited hair, Pepper’s ghost, wind turners, Chinese ink and fire on cold-pressed Brisbane) c.1860s blue and yellow 2018 paper Albumen photograph on paper Acrylic, foam core, steel, reflective 154.5 x 102cm mounted on card tinting, LEDs, motor, paint, wood, vinyl Acc. 2020.135 10 x 6.1cm Reflective screen: 200 x 120 x 7cm; Acc. 2020.153 hanging sculpture: 150 x 80 x 80cm; Write, erase, re-write 2018 brackets: 120 x 120cm Chinese ink, fire, and giclée print on William Albert Lidden Court, Born Dec. Acc. 2020.048.001–003 cold-pressed paper 20 79 (Brisbane) c.1880 Purchased 2020 with funds from 154.5 x 102cm Albumen photograph on paper the Future Collective through the Acc. 2020.136 mounted on card, hand-coloured Queensland Art Gallery | Gallery of Purchased 2020. Queensland Art 10.3 x 6.3cm Modern Art Foundation Gallery | Gallery of Modern Art Acc. 2020.154 Foundation Gift of Ross Searle through the MACNAMARA, Shirley Queensland Art Gallery | Gallery of Indjalandji/Alyawarr Without Providence 1988 Modern Art Foundation 2020 Australia b.1949 Oil and wax on canvas Spinifex and Peach 2019 193 x 141.5cm LOSIN, Idas Woven spinifex (Triodia pungens), Acc. 2020.218 Taiwan b.1976 horse hair, porcupine (echidna) quills, Gift of Suzanne Davies and Richard Floating 2017 ochres and spinifex resin Dunn through the Queensland Art Oil on canvas 45 x 35 x 32cm Gallery | Gallery of Modern Art 135 x 179cm Acc. 2019.161 Foundation 2020. Donated through Acc. 2019.118 Purchased 2019. Queensland Art the Australian Government’s Cultural Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Gifts Program Gallery | Gallery of Modern Art Foundation Foundation LEURA TJAPALTJARRI, Tim Nhugu (Waterlilies) 2019 Anmatyerre/Arrernte people LY, Ly Hoàng Spinifex (Triodia pungens), feathers, Australia c.1929–84 Vietnam b.1975 bone, ochre, spinifex resin, waxed Bushfire Corroboree1973 boat home boat 2016 thread and fixative Synthetic polymer paint on Wood, double-sided silkscreen on Five parts: 38 x 74cm (approx., each) composition board paper, ed. unlimited Acc. 2020.002.001–005 60 x 57cm Box: 25 x 18 x 4cm; Acc. 2020.035 book: 13 x 300 x 25cm Dyinala Bine By 2018 Purchased 2020 with the support of Acc. 2019.119a–c Arches paper, archival paper, fixative, the Australian Government through Purchased 2019. Queensland Art copper, ink, ed. 1/3 the National Cultural Heritage Gallery | Gallery of Modern Art Nine sheets: 78 x 57cm (each); Account and the Queensland Art Foundation 57 x 35cm (comp., each) Gallery | Gallery of Modern Art Acc. 2020.003a–i Foundation MacFARLANE, Stewart Purchased 2020. Queensland Art Australia/United States b.1953 Gallery | Gallery of Modern Art LIPUNDJA, Jimmy Outcast 1996 Foundation Gupapunygu, Daygurrgurr people Oil on canvas Australia 1912–68 166 x 120cm MacPHERSON, Robert The Rainbow Serpent in a waterhole Acc. 2020.231 Australia b.1937 date unknown Gift of Alex and Kitty Mackay through A note to Sister Bonaventure 1983 Natural pigments on eucalyptus bark the Queensland Art Gallery | Gallery Photocopy and Kodak ‘Box Brownie’ 90 x 37.5cm of Modern Art Foundation 2020. camera, ed. 1/5 Acc. 2020.284 Donated through the Australian Photocopy: 29.7 x 21cm; camera: Gift of Robert Bleakley through the Government’s Cultural Gifts Program 11 x 11 x 8.5cm Queensland Art Gallery | Gallery of Acc. 2020.098a–b Modern Art Foundation 2020. Donated MACKENZIE, Taree through the Australian Government’s Australia b.1980 “DRY RIVER: 22 STOCKROUTES 22 Cultural Gifts Program White Light Shadows: Circles, Squares, FROG POEMS”. IN MEMORY OF ALEX Triangles 2014 WILSON MASTER HORSEMAN 1996 LOMER, Albert Mixed media kinetic light installation Graphite, ink and stain on paper Australia active 1862–1905 with three-channel live video 23 sheets: 30 x 42.5cm (each) (Seated lady with plaited hair, projection Acc. 2020.099 Brisbane) c.1860s Kinetic sculpture: 165 x 220 x 220cm; Gift of an anonymous donor in Albumen photograph on paper projections: dimensions variable memory of Peter Beiers through the mounted on card Acc. 2020.047a– Queensland Art Gallery | Gallery of 10 x 6.1cm Modern Art Foundation 2020 Acc. 2020.152 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 35

MAHONY, Frank MANGGUDJA, Samuel Ganarradj MARIKA, Wandjuk Australia 1862–1916 Kunwinjku people Rirratjingu people Ser[geant] Major Iveireimei, Fijian Australia c.1909–83 Australia 1927–87 Armed Constabulary 1902 Rainbow Serpent date unknown MARIKA, Mawalan 2 Oil on paper laid on card Natural pigments on eucalyptus bark Rirratjingu people 18.5 x 13.5cm 34.9 x 47cm Australia b.1957 Acc. 2020.095 Acc. 2020.265 Djan’kawu and his sisters 1980s Gift of Ross Searle through the Gift of Robert Bleakley through the Natural pigments on eucalyptus bark Queensland Art Gallery | Gallery of Queensland Art Gallery | Gallery of 214 x 71cm Modern Art Foundation 2020 Modern Art Foundation 2020. Donated Acc. 2020.291 through the Australian Government’s Gift of Robert Bleakley through the MAILESENI, Sione Cultural Gifts Program Queensland Art Gallery | Gallery of Tonga b.1983 Modern Art Foundation 2020. Donated Kato kafa toho 2018 MARIKA, Dhuwarrwarr through the Australian Government’s Cultural Gifts Program Woven coconut husk fibres (pulu) and Rirratjingu/Miliwurrwurr people coconut leaf midrib (tu’a niu) Australia b.c.1945 38.1 x 130.6 x 130.6cm Milngurr 2018 MATHEWSON, Thomas Australia 1842–1934 Purchased 2020. Queensland Art Enamel paint on aluminium composite Mrs Selby (Brisbane) c.1870s Gallery | Gallery of Modern Art board (Alupanel) Albumen photograph on paper Foundation 150 x 150cm mounted on card Acc. 2019.135 10.3 x 6.3cm MAKANI Wilinggar, Mick Purchased 2019 with funds from Acc. 2020.155 Mildjingi Djinang people Anne Best through the Queensland Australia 1920–84 Art Gallery | Gallery of Modern Art (Seated lady with open umbrella, Morning Star ceremony c.1960s Foundation Brisbane) c.1870 Natural pigments on eucalyptus bark Albumen photograph on paper 133 x 46cm Yalangbara 2019 mounted on card Acc. 2020.285 Natural earth pigments on bark 10.5 x 6.4cm Gift of Robert Bleakley through the 176 x 91cm Acc. 2020.156 Queensland Art Gallery | Gallery of Acc. 2019.136 Gift of Ross Searle through the Modern Art Foundation 2020. Donated Purchased 2019. Queensland Art Queensland Art Gallery | Gallery through the Australian Government’s Gallery | Gallery of Modern Art of Modern Art Foundation 2020 Cultural Gifts Program Foundation MATHEWSON, Thomas MAMINYAMANJA, Nakanapa Trevor MARIKA, Mathaman (Photographer) Anindilyaugwa people Rirratjingu/Miliwurrwurr, Australia 1842–1934 Australia active 1980s Dhangu people MATHEWSON & Co (Studio) Minyamanja c.1980s Australia c.1916–70 Australia 1876–late 1890s Natural pigments on eucalyptus bark Untitled (Buralku – spirit place for the (Young woman with lace bow, 41 x 135.5cm (irreg.) dead) c.1960 Brisbane) c.1880s Acc. 2020.296 Natural pigments on eucalyptus bark Albumen photograph on paper Gift of Robert Bleakley through the 76 x 37.5cm mounted on card Queensland Art Gallery | Gallery of Acc. 2020.290 10.6 x 6.3cm Modern Art Foundation 2020. Donated Gift of Robert Bleakley through the Acc. 2020.157 through the Australian Government’s Queensland Art Gallery | Gallery of Gift of Ross Searle through the Cultural Gifts Program Modern Art Foundation 2020. Donated Queensland Art Gallery | Gallery through the Australian Government’s of Modern Art Foundation 2020 MANDARRK, Wally Cultural Gifts Program Dangbon/Kune people MELLOR, Danie Australia 1915–87 MARIKA, Mawalan 1 Mamu/Ngadjonji and Birlmu (five barramundi)c.1960s Rirratjingu/Miliwurrwurr, Dhangu people Anglo-Australian heritage Natural pigments on eucalyptus bark Australia 1908–67 Australia b.1971 47 x 100cm Sacred totem animals c.1960 The pleasure and vexation Acc. 2020.274 Natural pigments on eucalyptus bark of history 2017 Gift of Robert Bleakley through the 98 x 45cm Wax pastel, wash with oil pigment, Queensland Art Gallery | Gallery of Acc. 2020.125 watercolour and pencil on paper Modern Art Foundation 2020. Donated Gift of Robert Bleakley through the 220 x 140cm through the Australian Government’s Queensland Art Gallery | Gallery of Acc. 2019.113 Cultural Gifts Program Modern Art Foundation 2020. Donated The Taylor Family Collection. Purchased 2019 with funds from through the Australian Government’s Paul, Sue and Kate Taylor through the Cultural Gifts Program Queensland Art Gallery | Gallery of Modern Art Foundation 36 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

A street in the Tatar City (plate Self-portrait with mannequin 1975, MENNIE, Donald XXII from ‘The Pageant of Peking’ printed 1994 Scotland 1875/87–c.1944; book) c.1920 Cibachrome photograph active China c.1899–1944 Photogravure tipped on paper page 30 x 30cm Temple of Confucius (plate LXIII from 23.2 x 25.2cm (sheet); 21.0 x 23.6cm Acc. 2020.311 ‘The Pageant of Peking’ book) c.1920 (photogravure) Gift of Alex and Kitty Mackay through Photogravure tipped on paper page Acc. 2019.236 the Queensland Art Gallery | Gallery 38 x 28cm (sheet); 27.2 x 20.2cm of Modern Art Foundation 2020. (photogravure) The Pageant of Peking 1920, Donated through the Australian Acc. 2019.225 third edition printed 1922 Government’s Cultural Gifts Program Book with 66 mounted ‘Vandyke’ Through the Ping Tzu Men, Peking photogravures, first limited edition MOLVIG, Jon (plate X from ‘The Pageant of Peking’ of 1000 Australia 1923–70 book) c.1920 33.2 x 43 x 4.5cm (closed) Madam Z c.1958–60 Photogravure tipped on paper page Acc. 2019.237 Watercolour on paper 26.6 x 22cm (complete page) Gift of Gael Newton AM through the 58.5 x 44cm Acc. 2019.228 Queensland Art Gallery | Gallery of Acc. 2020.096 Modern Art Foundation 2019 Gift of Alex and Kitty Mackay through A Peking shop (plate XXIX from the Queensland Art Gallery | Gallery ‘The Pageant of Peking’ book) c.1920 METCALFE, Daniel F of Modern Art Foundation 2020. Photogravure tipped on paper page Australia active in Qld c.1868–90 Donated through the Australian 25.4 x 21cm (complete page) (Five gentlemen, Brisbane) c.1860s Government’s Cultural Gifts Program Acc. 2019.229 Albumen photograph on paper mounted on card MONTANO, AA Anting Men street Peking (plate IV 10.2 x 6.4cm United States 1847–1910 from ‘The Pageant of Peking’ book) Acc. 2020.158 Queen Emma of Hawai’i, c.1920 Honolulu 1886 Photogravure tipped on paper page (Young girl with pink ribbons) c.1870s Albumen photograph on paper 18.2 x 19.6cm (complete page) Albumen photograph on paper mounted on card Acc. 2019.230 mounted on card, hand-coloured Image: 14.4 x 10.4cm; card: 17.1 x 12.8cm 10.2 x 6.4cm Acc. 2020.080 Peking from Coal Hill (plate XLII from Acc. 2020.159 Purchased 2020 with funds from the ‘The Pageant of Peking’ book) c.1920 Gift of Ross Searle through the Estate of Jessica Ellis through the Photogravure tipped on paper page Queensland Art Gallery | Gallery Queensland Art Gallery l Gallery of 23 x 27cm (complete page) of Modern Art Foundation 2020 Modern Art Foundation Acc. 2019.231

MILLER, Godfrey MULLER, Emil Camel study (plate XIII from ‘The Australia 1893–1964 Australia active Toowoomba Pageant of Peking’ book) c.1920 Nude study c.1954 1885–1904 Photogravure tipped on paper page Pencil on paper (Man in buttoned jacket, Toowoomba) 27 x 22cm (complete page) 37 x 27cm c.1890 Acc. 2019.232 Acc. 2020.112 Albumen photograph on paper Gift of Timothy Morrell through the mounted on card The midday meal (plate XV from Queensland Art Gallery | Gallery of 10.5 x 6.4cm ‘The Pageant of Peking’ book) c.1920 Modern Art Foundation 2020 Acc. 2020.160 Photogravure tipped on paper page Gift of Ross Searle through the 23 x 25.6cm (complete page) Queensland Art Gallery | Gallery Acc. 2019.233 MOLINIER, Pierre of Modern Art Foundation 2020 France 1900–76 Marble gate at Chu Yung Kuan, Untitled (study of the French MUNGATOPI, Deaf Tommy Peking (plate XIV from ‘The Pageant performance artist Thierry Agullo) Tiwi people of Peking’ book) c.1920 1976, printed 1994 Australia c.1925–85 Photogravure tipped on paper page Cibachrome photograph All-bin-mix-up c.1957 28.4 x 21.1cm (complete page) 29.8 x 29.5cm Natural pigments on eucalyptus bark Acc. 2019.234 Acc. 2020.309 100 x 34cm Acc. 2020.126 Along the sunlit dusty street (near the Untitled (study of the French Yung Ting Men) Peking (plate XV from performance artist Thierry Agullo) ‘The Pageant of Peking’ book) c.1920 1976, printed 1994 Photogravure tipped on paper page Cibachrome photograph 19.8 x 29.4cm (complete page) 30 x 29.5cm Acc. 2019.235 Acc. 2020.310 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 37

Coral Dreaming Pukamani design Telia rumal with nine symbol repeat NAINA, Clinton c.1964 c.1990s Ku’a Ku’a & Erub/Mer people Natural pigments on eucalyptus bark Dyed cotton, warp and weft ikat Australia b.1971 81 x 51.5cm 105 x 108cm Untitled c.2011 Acc. 2020.127 Acc. 2020.017 Bleach on paper Gift of Robert Bleakley through the Gift of Dana McCown through the 74.7 x 54cm (sight) Queensland Art Gallery | Gallery of Queensland Art Gallery | Gallery of Acc. 2020.052 Modern Art Foundation 2020. Donated Modern Art Foundation 2020 Purchased 2020. Queensland Art through the Australian Government’s Gallery | Gallery of Modern Art Cultural Gifts Program NAMATBARA, Paddy Compass Foundation Iwaidja people MURAKAMI, Takashi Australia c.1890–1973 NAJOMBOLMI (Charlie Barramundi Japan b.1962 Naiyombolmi) Untitled (spirit figures)c.1960 Oval 2000 Jawoyn-Kundedjnjenghmi people Natural pigments on eucalyptus bark Plastic, vinyl, mini CD, ed. of 3000 Australia c.1890–67 94 x 46cm 25.5 x 18 x 18cm (overall) Untitled (six mimihs copulating) c.1958 Acc. 2020.129 Acc. 2019.187a–e Natural pigments on eucalyptus bark Gift of Robert Bleakley through the Purchased 2019. Queensland Art 70 x 40cm Queensland Art Gallery | Gallery of Gallery | Gallery of Modern Art Acc. 2020.128 Modern Art Foundation 2020. Donated Foundation through the Australian Government’s Spiny ant-eater spirits of Balawurru Cultural Gifts Program MUYBRIDGE, Eadweard 1966 United States 1830–1904 Natural pigments on eucalyptus bark NAMOK, Rosella Kangaroo Jumping (plate 751 from 56 x 30cm Ungkum people ‘Animal Locomotion’ album) 1887 Acc. 2020.260 Australia b.1979 Collotype on paper Gift of Robert Bleakley through the Yiipay & Kungkay (Stormy Day) 2000 21 x 34.3cm Queensland Art Gallery | Gallery of Synthetic polymer paint on canvas Acc. 2020.147 Modern Art Foundation 2020. Donated 130 x 174cm through the Australian Government’s Acc. 2020.244 Cockatoo in Flight (plate 760 from Cultural Gifts Program Gift of Suzanne Davies and Richard ‘Animal Locomotion’ album) 1887 Dunn through the Queensland Art Collotype on paper NALGONDA WEAVER Gallery | Gallery of Modern Art 22.2 x 32.4cm India Foundation 2020. Donated through Acc. 2020.148 Double dupatta rumal early 20th the Australian Government’s Cultural century Gifts Program Man leaping forwards (plate 163 from Dyed cotton, warp and weft ikat, ‘Animal Locomotion’ album) 1887 corner grids with supplementary weft NAROMI Collotype on paper 115 x 257cm Nakara people 22.9 x 33cm Acc. 2020.011 Australia 1923–unknown Acc. 2020.149 Bark painting of body painting c.1970 Purchased 2020 with funds from the Embroidered dupatta rumal 2004 Natural pigments on eucalyptus bark Henry and Amanda Bartlett Trust Puttapaka saree, cotton yarn, silk 90 x 38cm through the Queensland Art Gallery | embroidery, warp and weft ikat, dyes Acc. 2020.276 Gallery of Modern Art Foundation 92 x 250cm Acc. 2020.013 Wandurrk: Spirit figure and birddate NABUNU, Spider Namirrki unknown Gunwinggu (Kunwinjku) people Telia rumal with lions, clocks and Natural pigments on eucalyptus bark Australia c.1925–75 swastikas c.1990s 73.5 x 27 cm Male and female Namarnday, Dyed cotton, warp and weft ikat in Acc. 2020.277 spirits of the Stone Country c.1966 centre, supplementary weft lines in Gift of Robert Bleakley through the Natural pigments on eucalyptus bark border corner Queensland Art Gallery | Gallery of 107 x 52cm 112 x 208cm Modern Art Foundation 2020. Donated Acc. 2020.266 Acc. 2020.014 through the Australian Government’s Gift of Robert Bleakley through the Cultural Gifts Program Queensland Art Gallery | Gallery of Telia rumal with Arab motifs c.1990s Modern Art Foundation 2020. Donated Cotton with alizarin dye, warp and through the Australian Government’s weft ikat, supplementary corner lines Cultural Gifts Program 115 x 103cm Acc. 2020.015 38 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Legend of Nimbuwah Rock 1968 NAROMI, Mick NILSEN, Laurie Natural pigments on eucalyptus bark Nakara people Mandandanji people 69 x 33cm Australia 1923–unknown Australia 1953–2020 Acc. 2020.269 Wandurk: Spirit figure from Gurrgoni Once were Fishermen I 2014 Country 1980 Barbed wire, wire mesh, enamel paint, Mimihs spearing a kangaroo date Natural pigments on eucalyptus bark food packaging and household debris unknown 94 x 24cm Natural pigments on eucalyptus bark 49 x 236 x 49cm (irreg.) Acc. 2020.275 78 x 60cm Acc. 2020.050a– Gift of Robert Bleakley through the Acc. 2020.270 Queensland Art Gallery | Gallery of Once were Fishermen II 2014 Modern Art Foundation 2020. Donated Sacred and secret – Kunapipi Wire mesh, bicycle tyre frames, through the Australian Government’s Ceremony date unknown PVC piping, cable ties, netting, Cultural Gifts Program Natural pigments on eucalyptus bark food packaging 75 x 47cm 63 x 190 x 63cm (irreg.) NAWIRRIDJ, Barnabas Gadjak Acc. 2020.271 Acc. 2020.051 Australia c.1920–unknown Purchased 2020. Queensland Art Ceremonial dance in a sacred cave Mythical Rainbow Serpent date Gallery | Gallery of Modern Art c.1966 unknown Foundation Natural pigments on eucalyptus bark Natural pigments on eucalyptus bark 32.1 x 24.5cm 28 x 44.5cm NOBLE, Anne Acc. 2020.267 Acc. 2020.272 New Zealand b.1954 Gift of Robert Bleakley through the Conversatio: A Cabinet of Wonder 2018 Queensland Art Gallery | Gallery of Mimih hunting goanna and fishc.1966 Photographs, wooden cabinet, metal, Modern Art Foundation 2020. Donated Natural pigments on eucalyptus bark glass, sound, scent, patterned perspex, through the Australian Government’s 35.6 x 47cm colony of bees Cultural Gifts Program Acc. 2020.273 190 x 70 x 170cm (closed) Gift of Robert Bleakley through the Acc. 2019.114.001–003 NEWILI Queensland Art Gallery | Gallery of Gift of the artist through the Marri Ammu, Marri Ngarr and Murrinh Modern Art Foundation 2020. Donated Queensland Art Gallery | Gallery of Thebin people through the Australian Government’s Modern Art Foundation 2019 Australia c.1910–93 Cultural Gifts Program Tribal battle in the mangroves at Dead Bee Portrait #1 2015, Sandfly Creek1971 NGULEINGULEI MURRUMURRU, Dick printed 2018 Natural pigments on eucalyptus bark Bularlkdja clan, Kunwinjku/Dangbon Pigment on archival paper, ed. 6/10 42 x 72cm people 74 x 99cm Australia c.1920–88 Acc. 2020.246 Acc. 2019.120 Gift of Robert Bleakley through the Mimih hunting echidnas date unknown Natural pigments on eucalyptus bark Queensland Art Gallery | Gallery of Dead Bee Portrait #2 2015, 58 x 58cm Modern Art Foundation 2020. Donated printed 2018 Acc. 2020.258 through the Australian Government’s Pigment on archival paper, ed. 6/10 Cultural Gifts Program 74 x 99cm Spirit people and flying foxdate Acc. 2019.121 unknown NGALLAMETTA, Joel Natural pigments on eucalyptus bark Kugu-Muminh/Kugu-Uwanh people Dead Bee Portrait #3 2015, 39.4 x 66cm Australia 1966–2019 Acc. 2020.259 printed 2018 Thap Yonk 4 2018 Gift of Robert Bleakley through the Pigment on archival paper, ed. 6/10 Natural pigments and synthetic Queensland Art Gallery | Gallery of 74 x 99cm polymer paint on canvas Modern Art Foundation 2020. Donated Acc. 2019.122 Six panels: 121 x 35cm (each); through the Australian Government’s 242 x 105cm or 121 x 210cm Cultural Gifts Program Dead Bee Portrait #7 2015, (installed) printed 2018 Acc. 2019.156a–f NGULMARMAR, Dick Pigment on archival paper, ed. 6/10 Purchased 2019. Queensland Art Ganalbingu people 74 x 99cm Gallery | Gallery of Modern Art Australia 1911–79 Acc. 2019.123 Foundation Untitled c.1965 Natural pigments on eucalyptus bark Dead Bee Portrait #11 2015, NGANJMIRA, Bobby Barrdjaray 73 x 39cm printed 2018 Kunwinjku people Acc. 2020.286 Pigment on archival paper, ed. 2/10 Australia 1915–92 Gift of Robert Bleakley through the 74 x 99cm Snakes and mimih spirit c.1966 Queensland Art Gallery | Gallery of Acc. 2019.124 Natural pigments on eucalyptus bark Modern Art Foundation 2020. Donated 53.3 x 33cm through the Australian Government’s Acc. 2020.268 Cultural Gifts Program OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 39

Dead Bee Portrait #14 2016, Flower study c.1885 PICCININI, Patricia printed 2018 Albumen silver photograph Australia b.1965 Pigment on archival paper, ed. 3/10 in carte de visite format The Field (Planting) 2018 74 x 99cm 8 x 5cm ABS and PPE plastic Acc. 2019.125 Acc. 2019.191.004 200 objects: 100 x 25 x 10cm (each, The Taylor Family Collection. Purchased 2019 with funds from the approx.); installed dimensions variable Purchased 2019 with funds from Henry and Amanda Bartlett Trust Acc. 2020.226.001–200 Paul, Sue and Kate Taylor through the through the Queensland Art Gallery | Gift of the artist through the Queensland Art Gallery | Gallery of Gallery of Modern Art Foundation Queensland Art Gallery | Gallery of Modern Art Foundation Modern Art Foundation 2020. Donated PARKER, Harold through the Australian Government’s Eidolon (II) #3 2017 Australia 1873–1962 Cultural Gifts Program 3D resin print Narcissus 1920 12 x 10 x 10cm Bronze statuette Sacrifice(from ‘Your time starts now’ Acc. 2019.130 31.8 x 13.5 x 15.5cm series) 1996 Gift of the artist through the Acc. 2020.089 Type C photograph on paper, ed. of 6 Queensland Art Gallery | Gallery Gift of Rosamond Shepherd through 135 x 135cm (sight) of Modern Art Foundation 2019 the Queensland Art Gallery | Gallery Acc. 2020.227 of Modern Art Foundation 2020. Gift of Mark Pennings through the OGAWA, Kazuma Donated through the Australian Queensland Art Gallery | Gallery of Japan 1860–1929 Government’s Cultural Gifts Program Modern Art Foundation 2020. Donated A waitress c.1900 through the Australian Government’s Hand-coloured collotype PENNINGTON, Lawrence Cultural Gifts Program 36 x 29.9cm; 26.2 x 18.2cm (image) Pitjantjatjara people Acc. 2019.192 Australia b.c.1934 POULSEN, Poul C Pukara 2014 Australia 1857–1925 Morning glory (frontispiece from album Synthetic polymer paint on linen (Gentleman with moustache, Brisbane) ‘Japan: Described and illustrated by 133 x 105cm c.1890s the Japanese’ vol.4 1897–98) c.1895 Acc. 2019.210 Albumen photograph on paper Hand-coloured collotype The Glenn Manser Collection. Gift of mounted on card 40.0 x 31.8cm; 26.7 x 21.6cm (image) Glenn Manser in memory of Martin 10.5 x 6.3cm Acc. 2019.193 Wardrop through the Queensland Acc. 2020.162 Purchased 2019 with funds from the Art Gallery | Gallery of Modern Art Henry and Amanda Bartlett Trust Foundation 2019. Donated through (Working man with hat) c.1880s through the Queensland Art Gallery | the Australian Government’s Cultural Albumen photograph on paper Gallery of Modern Art Foundation Gifts Program mounted on card 10.6 x 6.3cm OGAWA, attrib. to Kazuma PICASSO, Pablo Acc. 2020.163 Japan 1860–1929 Spain 1881–1973 Flower study c.1885 Head of a young woman 1956 (Young gentleman, Maryborough) Albumen silver photograph Lithograph on paper, ed. unknown c.1880s in carte de visite format 19.5 x 13.5cm Albumen photograph on paper 8 x 5cm Acc. 2019.133 mounted on card Acc. 2019.191.001 Bequest of June Marie Sherrin 8.6 x 7.5cm through the Queensland Art Gallery | Acc. 2020.164 Flower study c.1885 Gallery of Modern Art Foundation Albumen silver photograph 2019 (Young lady, standing with in carte de visite format hand on chair) c.1880s 8 x 5cm Au Cirque (At the circus) (from Albumen photograph on paper Acc. 2019.191.002 ‘La Suite des Saltimbanques’ series) mounted on card 1905–06, printed 1913 10.6 x 6.3cm Flower study c.1885 Drypoint on Japon laid paper, Acc. 2020.170 Albumen silver photograph ed. 27 or 29 [Bloch 9; Baer 11.b.1] Gift of Ross Searle through the in carte de visite format 22.2 x 14cm Queensland Art Gallery | Gallery 8 x 5cm Acc. 2020.001 of Modern Art Foundation 2020 Acc. 2019.191.003 Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation 40 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

POULSEN, Poul C (Photographer) RAMALINGUM, Chiluveru RICTOR, Mick AMERICAN STUDIO (King William India b. unknown Pitjantjatjara people Street, Adelaide & Queen Street, Geometric rumal 1997 Australia b.c.1956 Brisbane) (Studio) Dyed cotton, warp and weft ikat Pila Nguru 2018 Australia 93 x 100cm Synthetic polymer paint on canvas (Lady with lace neck ruff and jewelled Acc. 2020.020 137 x 90cm pinned bow) c.1880s Gift of Dana McCown through the Acc. 2019.218 Tintype: emulsion on tin in paper Queensland Art Gallery | Gallery of The Glenn Manser Collection. Gift of mount Modern Art Foundation 2020 Glenn Manser in memory of Martin 9.8 x 6.1cm Wardrop through the Queensland Acc. 2020.161 RARRU, Margaret Art Gallery | Gallery of Modern Art Gift of Ross Searle through the Liyagawumirr people Foundation 2019. Donated through Queensland Art Gallery | Gallery Australia b.1940 the Australian Government’s Cultural of Modern Art Foundation 2020 Dhumala (Makassan canoe sail) Gifts Program 2019–20 PRESLEY, Patju Woven pandanus (Pandanus spiralis), ROBERTS, Luke Pitjantjatjara people hand-rolled kurrajong (Brachychiton Australia b.1952 Australia b.c.1845 populneus) bark string Alpha 1991 Kalaya Piti 2017 150 x 281cm Watercolour on paper Synthetic polymer paint on canvas Acc. 2020.049 28 x 27.5cm 137 x 110cm Commissioned 2019 with funds from Acc. 2020.113 Acc. 2019.220 the Queensland Art Gallery | Gallery Gift of Timothy Morrell through the The Glenn Manser Collection. Gift of of Modern Art Foundation Queensland Art Gallery | Gallery of Glenn Manser in memory of Martin Modern Art Foundation 2020 Wardrop through the Queensland RENNIE, Reko Art Gallery | Gallery of Modern Art Kamilaroi people ROGGENKAMP, Martin Foundation 2019. Donated through Australia b.1974 Australia active 1874–1900 the Australian Government’s Cultural Untitled #I (from ‘ALWAYS’ series) (Young child seated on chair, Gifts Program 2018 Toowoomba) c.1880s Synthetic polymer and flash paint Albumen photograph on paper PURUNTATAMERI, Stanislaus on cotton on cedar stretches mounted on card Tiwi people 240 x 148cm (irreg.) 10.3 x 6.3cm Australia 1906–87 Acc. 2019.145 Acc. 2020.165 The death of the first ancestordate Purchased 2019 with funds from Gift of Ross Searle through the unknown Belinda and Darren Elderton through Queensland Art Gallery | Gallery Natural pigments on eucalyptus bark the Queensland Art Gallery | Gallery of Modern Art Foundation 2020 68 x 60cm of Modern Art Foundation Acc. 2020.250 ROONEY, Robert Gift of Robert Bleakley through the RICTOR, Ian Australia 1937–2017 Queensland Art Gallery | Gallery of Pitjantjatjara people Jennifer Phipps 1, July 1978 1978 Modern Art Foundation 2020. Donated Australia b.c.1955 Type C photograph on paper through the Australian Government’s Untitled 2005 20 x 30.5cm Cultural Gifts Program Synthetic polymer paint on linen Acc. 2020.004 132 x 127cm PUTTAPAKA WEAVER Acc. 2019.217 Jennifer Phipps 2, 1980 1980 India The Glenn Manser Collection. Gift of Type C photograph on paper Telia rumal with clocks and planes Glenn Manser in memory of Martin 20 x 30.5cm c.1990s Wardrop through the Queensland Acc. 2020.005 Dyed cotton, warp and weft Art Gallery | Gallery of Modern Art Gift of the Estate of Jennifer Margaret ikat, corner grids warp ikat and Foundation 2019. Donated through Phipps through the Queensland supplementary weft, alizarin dye the Australian Government’s Cultural Art Gallery | Gallery of Modern Art 120 x 120cm Gifts Program Foundation 2020 Acc. 2020.016 ROUGHSEY, Goobalathaldin Dick Sari 1999 Lardil people Cotton, warp and weft ikat, double ikat Australia 1924–85 on border, synthetic dyes The Creation Story of the Lardil Tribe 114 x 565cm c.1964 Acc. 2020.025 Natural pigments and synthetic Gift of Dana McCown through the polymer paint on bark (likely Messmate Queensland Art Gallery | Gallery of Stringybark (Eucalyptus obliqua)) Modern Art Foundation 2020 70 x 50.4cm (irreg.) Acc. 2019.152 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 41

Gidegal, the Moon Man c.1964 mo screen recording #2 2013 SHERRIN, Frank Natural pigments and synthetic Oil on panel Australia 1893–1968 polymer paint on bark (likely 21.5 x 32.5cm Boat anchorage, Breakfast Creek 1945 Messmate Stringybark Acc. 2020.234 Oil on canvas on board (Eucalyptus obliqua)) 35.5 x 45.5cm 61.5 x 36.5cm selfie #12013 Acc. 2019.129 Acc. 2019.153 Oil on panel Bequest of June Marie Sherrin 45.1 x 30cm through the Queensland Art Gallery | The coming of the Balamando Acc. 2020.235 Gallery of Modern Art Foundation 2019 people 1964 SO HAPPY 2 b in yr photo 2014 Synthetic polymer paint on bark SILVY, Camille Oil on panel (Eucalyptus sp.) France/United Kingdom 1835–1910 120 x 45cm 62 x 56cm (irreg.) Queen Emma of Hawai’i in Paris 1865 Acc. 2020.236 Acc. 2019.154 Albumen photograph on paper mounted on card Untitled 2015 First Missionary, Mornington Island 1977 Image: 8.3 x 5.7cm; card: 9.5 x 6.4cm Oil on panel Synthetic polymer paint on Acc. 2020.079 122 x 61cm composition board Purchased 2020 with funds from the Acc. 2020.237 60 x 90cm Estate of Jessica Ellis through the Gift of Alex and Kitty Mackay through Acc. 2019.155 Queensland Art Gallery l Gallery of the Queensland Art Gallery | Gallery Purchased 2019 with funds from Modern Art Foundation the Mather Foundation through the of Modern Art Foundation 2020. Donated through the Australian Queensland Art Gallery | Gallery of SITTHIKET, Vasan Government’s Cultural Gifts Program Modern Art Foundation Thailand b.1957 Thai Youth! (from ‘This World STIEGLITZ, Alfred SAICK, Sosereen is not a Theatre’ series) 2000 United States 1864–1946 Federated States of Micronesia Synthetic polymer paint on canvas In the New York Central Yards 1903, b.c.1971 200 x 200cm [published in ‘Camera Work’, no. 36, Tetua (rooster) 2019 Acc. 2020.305 Coconut fibre and rib, pandanus October 1911] Photogravure on Japanese tissue leaf and shells Thai Prostitutes Monument! (from mounted to paper 67 x 68 x 3.5cm ‘This World is not a Theatre’ series) 19.4 x 13.5cm Acc. 2019.200 2000 Acc. 2020.118 Purchased 2019 with funds from the Synthetic polymer paint on canvas Purchased 2020 with funds from the Bequest of Jennifer Taylor through 200 x 200cm Henry and Amanda Bartlett Trust the Queensland Art Gallery | Gallery Acc. 2020.306 of Modern Art Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation Unlimited Happiness of Minister! (from SHAW, Muriel ‘10 Evil Scenes of Thai Politic’ series) Australia 1911–90 STILLFRIED-RATENICZ, Baron 2010 (Portrait of a woman) c.1938 Raimund von Synthetic polymer paint on canvas Oil on canvas mounted on board Austria 1839–1911; active Japan 165 x 180cm 45 x 40cm 1871–86 Acc. 2020.307 Acc. 2020.090 WATKINS, Carleton Gift of Alex and Kitty Mackay through United States 1829–1916 the Queensland Art Gallery | Gallery recto: (Cubist abstract) 1938 BARKER, attrib. to George of Modern Art Foundation 2020. verso: (Lady in white blouse) Canada 1844–94 Donated through the Australian Oil on canvas ‘Photographic views’ album of Government’s Cultural Gifts Program 51.2 x 41cm Japanese photographs and American landscapes bound in London by Tapper Acc. 2020.091a–b STEWART, Tyza booksellers and printers circa 1873 Gift of Margaret Shaw and Helen Australia b.1990 1860s–70s Creagh in memory of Muriel FS Shaw Green and Gold 2012 Bound album with 50 albumen through the Queensland Art Gallery | Oil on panel silver photographs Gallery of Modern Art Foundation 2020 Diptych: 45 x 30cm; 45.1 x 30cm 33.2 x 43 x 5cm (closed) Acc. 2020.232a–b Acc. 2019.196.001–050 Purchased 2019 with funds from the Untitled (self) 2012 Henry and Amanda Bartlett Trust Oil on panel through the Queensland Art Gallery | 45.1 x 30cm Gallery of Modern Art Foundation Acc. 2020.233 42 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

I get so emotional 2006 TABER, Isiah West (Photographer) TJAMPITJINPA, Kaapa Mbitjana Single-channel SD video: 4:30 United States 1830–1912 Anmatyerre/Arrernte people minutes, colour, sound, ed. 1/4 TABER & CO. (Studio) Australia c.1925–89 Acc. 2020.141 United States 1875–1906 Untitled (Goanna Story) 1971 Samoan Chief Lanulo and wife Synthetic polymer paint on Dressing up: Ode to Mogul 2013 1893–94 composition board Single-channel HD video: 9:17 Albumen photograph on paper 78.5 x 54.5cm minutes, colour, sound, ed. 1/4 mounted on card Acc. 2020.033 Acc. 2020.142 Image: 11.6 x 20.4cm; sheet: Purchased 2020 with the support of 12.4 x 20cm; card: 13.4 x 20.4cm the Australian Government through Pocari sweat 2014 Acc. 2020.069 the National Cultural Heritage Single-channel HD video: 4:46 Purchased 2020 with funds from the Account and the Queensland Art minutes, colour, sound, ed. 1/4 Estate of Jessica Ellis through the Gallery | Gallery of Modern Art Acc. 2020.143 Queensland Art Gallery | Gallery of Foundation Modern Art Foundation Skull video (from ‘Sometimes TJAPALTJARRI, Mick Namarari TATTERSALL, AJ you make me nervous’) 2015 Pintupi people New Zealand/Samoa 1866–1951 Single-channel HD video: 7:30 Australia 1926–98 Taupou (village maid) 1890s minutes, colour, silent, ed. 1/4 ‘Tingari’ Cycle Dreaming Journey 1972 Albumen photograph on paper Acc. 2020.144 Synthetic polymer paint on mounted on card composition board Image: 20.8 x 13.6cm; Guard 2017 70 x 42cm card: 22.2 x 14.6cm Single-channel HD video: 5:45 Acc. 2020.034 Acc. 2020.067 minutes, colour, sound, ed. 1/4 Purchased 2020 with the support of Acc. 2020.145 the Australian Government through Häuptling mit familie Samoa Purchased 2020 with funds from the National Cultural Heritage (Chief with the Samoa family) c.1890s the Bequest of Jennifer Taylor Account and the Queensland Art Albumen photograph on paper through the Queensland Art Gallery | Gallery | Gallery of Modern Art mounted on card Gallery of Modern Art Foundation Foundation Image: 13.8 x 8.7cm TEQAE, Imelda Vaevavini Acc. 2020.068 TJUNGARRAYI, Shorty Lungkarda Tavula language group Purchased 2020 with funds from the Pintupi people Solomon Islands b.1968 Estate of Jessica Ellis through the Australia c.1920–87 Sekeke Pua (clay pot) 2018 Queensland Art Gallery | Gallery of Water Dreaming 1972 Earthenware, hand-built Modern Art Foundation Synthetic polymer paint on 14 x 16 x 17cm composition board TAWALE, Salote Acc. 2020.146 34 x 46cm Fiji/Australia b.1976 Purchased 2020 with funds from the Acc. 2020.036 Person peel 2002 Oceania Women’s Fund through the Purchased 2020. Queensland Art Single-channel SD video: 2:05 Queensland Art Gallery | Gallery of Gallery | Gallery of Modern Art minutes, colour, silent, ed. 1/6 Modern Art Foundation Foundation Acc. 2020.137 THANAKUPI TJUNGARRAYI, Yala Yala Gibbs Thaynakwith people Ripper 2002 Pintupi people Australia 1937–2011 Single-channel SD video: 6:40 Australia c.1928–98 Tribal brothers 1980s minutes, colour, sound, ed. 1/6 Classic Travelling Dreaming 1971 Hand-built earthenware tiles Acc. 2020.138 Synthetic polymer paint on with underglazes composition board Four panels: 75 x 110 x 4cm (each, The Peel 2004 34.5 x 28.5cm irreg.); 160 x 230 x 4cm (overall, irreg.) Single-channel HD video: 5:08 Acc. 2020.037 Acc. 2020.130a–d minutes, colour, sound, ed. 1/6 Purchased 2020 with the support of Gift of Rio Tinto through the Acc. 2020.139 the Australian Government through Queensland Art Gallery | Gallery of the National Cultural Heritage Modern Art Foundation 2020. Donated Rollergirl 2004 Account and the Queensland Art through the Australian Government’s Single-channel SD video: 2:48 Gallery | Gallery of Modern Art Cultural Gifts Program minutes, colour, sound, ed. 1/6 Foundation Acc. 2020.140 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 43

TJUNGURRAYI, Patrick TREVOR, R UNDERWOOD, Roy Pintupi/Kukatja people Australia active c.1895–98 Pitjantjatjara people Australia c.1940–2017 This is Tom’s family taken four years Australia b.c.1937 Untitled (Ngaru) 2009 ago without the last boy (Childers) Mulaya 2013 Synthetic polymer paint on linen c.1890s Synthetic polymer paint on linen 183 x 244cm Albumen photograph on paper 136 x 90cm Acc. 2020.032 mounted on card Acc. 2019.209 Purchased 2020. Queensland Art 10 x 13.8cm (image); The Glenn Manser Collection. Gift of Gallery | Gallery of Modern Art 10.6 x 16.3cm (card) Glenn Manser in memory of Martin Foundation Acc. 2020.171 Wardrop through the Queensland Gift of Ross Searle through the Art Gallery | Gallery of Modern Art TO, Hiram Queensland Art Gallery | Gallery Foundation 2019. Donated through Australia 1964–2017 of Modern Art Foundation 2020 the Australian Government’s Cultural The Pledge (from ‘I love you more Gifts Program than my own death’ series) 2007 TUTTLE & CO (Sydney) Steel, fibreglass, lenticular Australia 1883–92 UNKNOWN (Photographer) transparency, lights Cunningham troupe in Sydney 1883 Japan Four parts: 180 x 100 x 60cm Albumen photograph on paper Rice harvest c.1890 (installed) mounted on card Hand-coloured albumen silver Acc. 2020.215a–d 12.8 x 19.8cm (image) photograph Acc. 2020.087 19.2 x 24.3cm The Prestige (from ‘I love you more Purchased 2020 with funds from the Acc. 2019.195 than my own death’ series) 2007 Estate of Jessica Ellis through the Purchased 2019 with funds from the Steel, fibreglass, lenticular Queensland Art Gallery | Gallery of Henry and Amanda Bartlett Trust transparency, lights Modern Art Foundation through the Queensland Art Gallery | Three parts: 220 x 300 x 50cm Gallery of Modern Art Foundation (installed, approx.) TYNDALL, Peter Acc. 2020.216a–c Australia b.1951 UNKNOWN ARTIST detail Federated States of Micronesia 8 Models (No. 1–8) (from ‘I love you A Person Looks At A Work Of Art/ Urohs dereht (thread skirt) more than my own death’ series) 2007 someone looks at something... with flower mwahi (design)2019 Lithographic printing plates LOGOS/HA HA Poly-cotton machine embroidery Eight parts: 89 x 112 x 3cm ] In memory of Peter Beiers ( 2018 on cotton with acetate (each, framed) A Person Looks At A Work Of Art/ 71 x 90 x 6cm Acc. 2020.217a–h someone looks at something... Acc. 2019.199 Gift of Helen Lai in memory of her son, CULTURAL CONSUMPTION Purchased 2019 with funds from the Hiram To, through the Queensland PRODUCTION Bequest of Jennifer Taylor through Art Gallery | Gallery of Modern Art Marker on paper with artist stamp, the Queensland Art Gallery | Gallery Foundation 2020 handwritten label on screenprint of Modern Art Foundation on paper TRAILL, Jessie Two sheets: 42.5 x 29.5cm; UNKNOWN ARTIST Australia 1881–1967 11.5 x 20cm Marshall Islands A Japanese Mt Warning, Tweed River Acc. 2020.101a–b Ek (fish)2019 NSW 1921 Gift of Peter Tyndall in memory of Teneriffe needlework: Coconut fibre Aquatint on paper, 2nd state, ed. 4/5 Peter Beiers through the Queensland and rib, pandanus leaf and shells 24.5 x 15.5cm Art Gallery | Gallery of Modern Art 30 x 59 x 2cm Acc. 2019.141 Foundation 2020 Acc. 2019.201 Purchased 2019. Queensland Art Gallery | Gallery of Modern Art detail Ek (fish)2019 Foundation A Person Looks At A Work Of Art/ Teneriffe needlework: Coconut fibre someone looks at something… 1985 and rib, pandanus leaf, raffia and shells A Person Looks At A Work Of Art/ 23.5 x 58 x 4cm someone looks at something... Acc. 2019.202 CULTURAL CONSUMPTION PRODUCTION Ek (fish)2019 Oil on canvas; gilded and varnished Teneriffe needlework: Coconut fibre wood on canvas; gilded and varnished and rib, pandanus leaf and shells wood 26 x 61.5 x 3cm 68 x 28.5cm Acc. 2019.203 Acc. 2020.116 Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020 44 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Ek (fish)2019 Hair dressed in mourning, Aborigines, UNKNOWN (Photographer) Teneriffe needlework: Coconut fibre N. Queensland (from ‘Coloured Shell Australia and rib, pandanus leaf and shells Series: Queensland Views’) 1914 (Woman, baby and three children in 27.5 x 54 x 2.5cm Postcard: Colour photographic print front of Brisbane shingle-roofed house) Acc. 2019.204 8.7 x 13.7cm c.1870s Acc. 2020.193 Albumen photograph on paper Ek (fish)2019 mounted on card Teneriffe needlework: Coconut fibre Kanaka built house, Queensland 6.3 x 10.3cm and rib, pandanus leaf and shells c.1900 Acc. 2020.166 23.5 x 45.5 x 3cm Postcard: Colour photographic print Acc. 2019.205 8.7 x 13.7cm (Woman, baby, three children and dog Acc. 2020.194 in front of Brisbane shingle-roofed Ek (fish)2019 house) c.1870s Teneriffe needlework: Coconut fibre “Yaragar”, King of Barron. “Ye-i-nie” Albumen photograph on paper and rib, pandanus leaf, raffia and shells King of Cairns. Crowned Empire Day mounted on card 20 x 43 x 3cm 1906 1906 6.3 x 10.3cm Acc. 2019.206 Postcard: Black-and-white Acc. 2020.167 photographic print Gift of Ross Searle through the Ek (fish)2019 13.8 x 8.7cm Queensland Art Gallery | Gallery of Teneriffe needlework: Coconut fibre Acc. 2020.195 Modern Art Foundation 2020 and rib, pandanus leaf and shells 19 x 43 x 1.5cm UNKNOWN ARTIST (Aboriginal clan group, North Acc. 2019.207 Australia Queensland) c.1900 Chest of drawers c.1880s Postcard: Black-and-white Juon Bwijin in ek (school of fish)2019 Queensland Kauri pine, Black Bean, photographic print Teneriffe needlework: Coconut fibre Australian Red Cedar, with ebony 8.7 x 13.8cm and rib, pandanus leaf and shells veneer inlays Acc. 2020.196 20 pieces: 7 x 12.5cm, 7 x 13cm, 126.5 x 126.5 x 62cm 6.5 x 12cm, 6 x 12.5cm, 8.5 x 13cm, Acc. 2019.158a–h Aboriginals, Mulgrave district 1904 7.5 x 12.5cm, 7 x 12.5cm, 7.5 x 13cm, Gift of Meredith Osmond in memory Postcard: Black-and-white 8 x 13cm, 7 x 11.5cm, 6.5 x 12cm, of her mother Edith Meryl Cullen photographic print 8 x 13.5cm, 8 x 12cm, 7.5 x 12cm, (née Raff) and great-grandfather 8.7 x 13.6cm 8 x 13.5cm, 6.5 x 14cm, 8 x 14cm, Alexander Raff through the Acc. 2020.197 8 x 13.5cm, 7.5 x 13cm, 6.5 x 11cm Queensland Art Gallery | Gallery Acc. 2019.208a–t of Modern Art Foundation 2019. Kauri pine tree, L. Barrine, NQ c.1900 Purchased 2019 with funds from the Donated through the Australian Postcard: Black-and-white Bequest of Jennifer Taylor through Government’s Cultural Gifts Program photographic print the Queensland Art Gallery | Gallery 13.5 x 8.2cm of Modern Art Foundation UNKNOWN (Photographer) Acc. 2020.198 Australia UNKNOWN (Photographer) A Torres Strait man ready for dance Chinese orchard, Cardwell, Q c.1900 China c.1900 Postcard: Colour photographic print China – Golden Island, River Yangtsze Gelatin silver photograph on paper 8.6 x 13.7cm c.1885 7 x 11.4cm Acc. 2020.199 Albumen silver photograph Acc. 2020.173 17.5 x 25.5cm Barron River, Cairns (with three Acc. 2019.224 Judge Real’s residence and family Indigenous figures)(from ‘Shell Series: group, Brisbane, Queensland c.1900 Queensland scenery, rivers and Canton – view across the river Gelatin silver photograph on paper creeks, series 1’) 1905 to Shameen c.1890 8.9 x 14.5cm Postcard: Black-and-white Albumen silver photograph Acc. 2020.174 photographic print 20 x 27cm 8.1 x 13.5cm Acc. 2019.227 Native dancer and musician, Acc. 2020.200 Gift of Gael Newton AM through the Murray Island c.1900 Queensland Art Gallery | Gallery of Postcard: Black-and-white Barron River, Cairns. Tropical Modern Art Foundation 2019 photographic print Queensland c.1905 8.7 x 13.9cm Postcard: Colour photographic print Acc. 2020.192 9.1 x 14cm Acc. 2020.201 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 45

Mark, centre figure, somewhere in UNKNOWN ARTIST UNKNOWN ARTIST Queensland (Three figures seated Australia North-western Arnhem Land on rock on the beach) c.1900 Sea plants date unknown Australia Postcard: Black-and-white Natural pigments on eucalyptus bark Longneck turtle c.1950s photographic print 87 x 47cm Natural pigments on eucalyptus bark 8.7 x 13.7cm Acc. 2020.294 47 x 31cm Acc. 2020.202 Gift of Robert Bleakley through the Acc. 2020.251 Queensland Art Gallery | Gallery of Gift of Robert Bleakley through the Dunk Island Queensland Aus Modern Art Foundation 2020. Donated Queensland Art Gallery | Gallery of (Group of sailors) 1918 through the Australian Government’s Modern Art Foundation 2020. Donated Postcard: Black-and-white Cultural Gifts Program through the Australian Government’s photographic print Cultural Gifts Program 13.5 x 8.7cm UNKNOWN (Photographer) Acc. 2020.203 Native village, Murray island c.1900 UNKNOWN ARTIST Postcard: Black-and-white Western Arnhem Land Dunk Island Queensland 1918 photographic print Australia Postcard: Black-and-white 8.7 x 13.9cm Mimihs hunting echidna c.1960s photographic print Acc. 2020.212 Natural pigments on eucalyptus bark 13.5 x 8.7cm Gift of Ross Searle through the 73.5 x 44cm Acc. 2020.204 Queensland Art Gallery | Gallery Acc. 2020.256 of Modern Art Foundation 2020 Aboriginal Camp, Queensland c.1900 Crocodile and water plant c.1950s Postcard: Black-and-white UNKNOWN (Photographer) Natural pigments on eucalyptus bark photographic print Queensland Aborigines. Calboonya, 44 x 39cm 8.7 x 13.7cm Fraser Island Aboriginal, with necklace Acc. 2020.257 Acc. 2020.206 of kangaroo teeth and seagull Gift of Robert Bleakley through the headdress c.1900 Queensland Art Gallery | Gallery of Queensland Aboriginals, near Postcard: Black-and-white Modern Art Foundation 2020. Donated Townsville, North Queensland c.1900 photographic print through the Australian Government’s Postcard: Black-and-white 13.2 x 8.6cm Cultural Gifts Program photographic print Acc. 2020.213 8.9 x 13.9cm Gift of Ross Searle through the UNKNOWN ARTIST Acc. 2020.207 Queensland Art Gallery | Gallery of Groote Eylandt Modern Art Foundation 2020 Australia Aborigines, Nanango, Queensland Untitled (the artist’s Country) (series II) c.1890 UNKNOWN ARTIST date unknown Postcard: Black-and-white Bathurst Island Natural pigments on eucalyptus bark photographic print Australia active 1930s–40s 45.5 x 25cm 8.5 x 13.2cm Ceremonial dance ritual objects Acc. 2020.312 Acc. 2020.208 c.1940s or earlier Natural pigments on eucalyptus bark Untitled (bark of a butterfly) Mainland Blacks Gulf of Carpentaria 47 x 82.5cm date unknown c.1900 Acc. 2020.248 Natural pigments on eucalyptus bark Postcard: Black-and-white Gift of Robert Bleakley through the 65 x 41.5cm photographic print Queensland Art Gallery | Gallery of Acc. 2020.298 8.6 x 13.7cm Modern Art Foundation 2020. Donated Acc. 2020.209 through the Australian Government’s Turtles and a dolphin against a black Cultural Gifts Program background and surrounded by the Olanda and others at Coconut constellation of the Seven Sisters (Poruma) Island c.1900 UNKNOWN ARTIST date unknown Postcard: Black-and-white Bathurst and Melville Islands Natural pigments on eucalyptus bark photographic print Australia active 1960s 58 x 32.5cm 8.6 x 13.7cm Untitled (Pukumani story) c.1960 Acc. 2020.299 Acc. 2020.210 Natural pigments on eucalyptus bark 75 x 53cm Untitled (painting of a barracuda) Spear throwing Palm Is. Qld 1957 Acc. 2020.249 date unknown Postcard: Black-and-white Gift of Robert Bleakley through the Natural pigments on eucalyptus bark photographic print Queensland Art Gallery | Gallery of 29 x 43cm 14.1 x 8.9cm Modern Art Foundation 2020. Donated Acc. 2020.300 Acc. 2020.211 through the Australian Government’s Gift of Ross Searle through the Cultural Gifts Program Queensland Art Gallery | Gallery of Modern Art Foundation 2020 46 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Untitled (painting of a fish) USUI, Shuzaburo WEED, Charles L date unknown Japan active 1869–89 United States 1824–1903 Natural pigments on eucalyptus bark Woman spinning cotton c.1880 Fiji cannibals c.1880 38.5 x 64.5cm Hand-coloured albumen silver Albumen photograph on paper Acc. 2020.301 photograph mounted on card 24.3 x 19.3cm Image: 8.6 x 5.8cm; card: 10.4 x 6.3cm Untitled (three barracuda) date Acc. 2019.194 Acc. 2020.070 unknown Purchased 2019 with funds from the Purchased 2020 with funds from the Natural pigments on eucalyptus bark Henry and Amanda Bartlett Trust Estate of Jessica Ellis through the 33 x 22cm through the Queensland Art Gallery | Queensland Art Gallery | Gallery of Acc. 2020.302 Gallery of Modern Art Foundation Modern Art Foundation

Sea creatures c.1960 WALKER, Kara WHITELEY, Brett Natural pigments on eucalyptus bark United States b.1969 Australia 1939–92 39 x 88cm Freedom, a fable 1997 Small hissing painting 1965 Acc. 2020.303 Offset lithographs and laser-cut paper, Oil and metal tube on board bound in brown leather, ed. of 4000 Board: 43 x 38cm; frame: 55 x 49.5cm Cephalopod squid ‘Dilyimba’ 1950s 23.5 x 21 x 1.9cm Acc. 2020.120 Natural pigments on eucalyptus bark Acc. 2019.188 Gift of Suzanne Davies in memory of 45.5 x 28cm Purchased 2019. Queensland Art John Dowell Davies AO, Betty Olive Acc. 2020.304 Gallery | Gallery of Modern Art and Pamela Jane Davies through the Gift of Robert Bleakley through the Foundation Queensland Art Gallery | Gallery of Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated Modern Art Foundation 2020. Donated WALKER, Lennard through the Australian Government’s through the Australian Government’s Pitjantjatjara people Cultural Gifts Program Cultural Gifts Program Australia b.c.1946 Minyma Tjutaku 2014 WILDER, Joseph Warrin UNKNOWN (Photographer) Synthetic polymer paint on linen Australia active 1862–82 France/Australia 137 x 90cm (Indian gentleman, Rockhampton) Nouvelles Hebrides – Arrivee de Acc. 2019.212 c.1872–82 nouveaux recrues a bord d’une The Glenn Manser Collection. Gift of Albumen photograph on paper goelette, [New Hebrides – arrival Glenn Manser in memory of Martin mounted on card of new recruits aboard a schooner] Wardrop through the Queensland 10.5 x 6.4cm (Blackbirders/returnees) c.1900 Art Gallery | Gallery of Modern Art Acc. 2020.168 Postcard: Black-and-white Foundation 2019. Donated through Gift of Ross Searle through the photographic print the Australian Government’s Cultural Queensland Art Gallery | Gallery of 13.7 x 8.9cm Gifts Program Modern Art Foundation 2020 Acc. 2020.205 Gift of Ross Searle through the WARRABADALUMBA, attrib. Queensland Art Gallery | Gallery of to Jabarrgwa Kneepad THE WILEY STUDIO (Brisbane) Modern Art Foundation 2020 Anindilyaugwa people Australia Australia c.1896–1975 Mrs O’Neill with love from [illeg.]. UNKNOWN (Photographer) Untitled (clouds) c.1962 Brisbane, Sept 1896 c.1896 United States Natural pigments on eucalyptus bark Albumen photograph on paper CENTENNIAL PHOTOGRAPHIC 38.5 x 66cm mounted on card CO. (Sole licencee for photography, Acc. 2020.297 13.2 x 9.2cm (image); 16.5 x 10.7cm Centennial International Exhibition, Gift of Robert Bleakley through the (card) Philadelphia) Queensland Art Gallery | Gallery of Acc. 2020.172 United States Modern Art Foundation 2020. Donated Gift of Ross Searle through the The Queensland Court at the through the Australian Government’s Queensland Art Gallery | Gallery of

Philadelphia International Cultural Gifts Program Modern Art Foundation 2020 Exhibition 1876 Stereoscopic albumen photographs WATSON, John WILSON, Regina Pilawuk 10.4 x 8cm (each) Australia active 1855–75 Ngan’gikurrunggurr people Acc. 2020.097 Robert Wallace (Brisbane) c.1870 Australia b.1948 Gift of Gael Newton AM through the Albumen photograph on paper Yerrdagarri (Message stick) 2018 Queensland Art Gallery | Gallery of mounted on card Synthetic polymer paint on linen Modern Art Foundation 2020 Image: 8.5 x 5.3cm; 200 x 220cm card: 14.3 x 10.7cm Acc. 2019.149 Acc. 2020.175 Purchased 2019. Queensland Art Gift of Ross Searle through the Gallery | Gallery of Modern Art Queensland Art Gallery | Gallery Foundation of Modern Art Foundation 2020 OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 47

WOODBURY AND PAGE WURRKIDJ, Anchor Barbuwa YUNUPINGU, Munggurruwuy (Photographic studio) Kunwinjku people Gumatj people England/Indonesia; active Indonesia Australia 1924–77 Australia c.1907–78 1857–1908 Mythical echidna hunted by mimih Macassan Praus c.1958 UNKNOWN (Photographers) c.1960s Natural pigments on eucalyptus bark Middle East 19th century Natural pigments on eucalyptus bark 110 x 72cm UNKNOWN (Photographers) 40.6 x 66cm Acc. 2020.292 England 19th century Acc. 2020.261 Gift of Robert Bleakley through the ‘Photographic views’ album of Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Indonesian and Middle Eastern Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated landscapes bound in London by Tapper Modern Art Foundation 2020. Donated through the Australian Government’s booksellers and printers circa 1873 through the Australian Government’s Cultural Gifts Program 1860s–70s Cultural Gifts Program Bound album with 45 albumen silver ZAVROS, Michael photographs YIRAWALA Australia b.1974 33.2 x 43 x 5cm (closed) Kunwinjku people Homework 2014 Acc. 2019.197.001–045 Australia c.1894–1976 Giclée print on cotton rag paper, Purchased 2019 with funds from the Lorrkon ceremony dance of skeletons ed. A.P. 1/8 Henry and Amanda Bartlett Trust date unknown 112.5 x 150cm through the Queensland Art Gallery | Natural pigments on eucalyptus bark Acc. 2020.228 Gallery of Modern Art Foundation 78 x 37cm Gift of the artist through the Acc. 2020.252 Queensland Art Gallery | Gallery of WULULU, Jimmy Modern Art Foundation 2020. Donated Gupapuyngu people Waterholes date unknown through the Australian Government’s Australia 1936–2005 Natural pigments on eucalyptus bark Cultural Gifts Program Hollow log ceremony 1965 82.5 x 27cm Natural pigments on eucalyptus bark Acc. 2020.253 129.5 x 66cm Acc. 2020.287 Lumaluma c.1970 Gift of Robert Bleakley through the Natural pigments on eucalyptus bark Queensland Art Gallery | Gallery of 64 x 33cm Modern Art Foundation 2020. Donated Acc. 2020.254 through the Australian Government’s Cultural Gifts Program Untitled (mimih spirit) c.1970 Natural pigments on eucalyptus bark WUNUNGMURRA, Djirrirra 71 x 31cm Dhalwangu/Narrkala people Acc. 2020.255 Australia b.1968 Gift of Robert Bleakley through the Buyku 2019 Queensland Art Gallery | Gallery of Natural pigments on incised bark Modern Art Foundation 2020. Donated 181 x 79cm through the Australian Government’s Acc. 2019.137 Cultural Gifts Program

Buyku (Larrakitj) 2019 YOUNGHAE CHANG HEAVY Stringybark wood with natural INDUSTRIES pigments on hollow stringybark pole South Korea est. 1999 271 x 30 x 30cm CRUCIFIED TVS – NOT A PRAYER IN Acc. 2019.138 HEAVEN 2018 Purchased 2019. Queensland Art Five-channel video installation: 19:14 Gallery | Gallery of Modern Art minutes, black and white, sound, 16:9, Foundation ed. 1/3 (+ 2 A.P.) Installed dimensions variable Acc. 2019.115 Gift of YOUNGHAE CHANG HEAVY INDUSTRIES through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019 48 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Exhibitions and programs

Exhibitions Creative Generation Excellence Awards in Visual Art (2019) Unless otherwise stated, all exhibitions are organised 25 May – 25 August 2019 | GOMA by QAGOMA. An initiative of the Department of Education and Training, supported by QAGOMA * Indicates an exhibition where its duration was impacted by the Gallery's temporary closure in line with COVID-19 This annual exhibition showcased the achievements of senior restrictions. The Gallery was closed from midday on visual art students from schools throughout Queensland. 23 March 2020 to 21 June 2020 (QAG) and from midday 23 March to 6 August 2020 (GOMA). Desert Colours: Central Australian Painting 25 May – 15 December 2019 | GOMA Indigenous Australian Art Collection: Namatjira Story* Curated by Bruce Johnson McLean 17 June 2017 – 5 October 2020 | QAG Since the 1970s, Australia’s arid interior has been redefined Curated by Bruce Johnson McLean by Aboriginal artists as a place of great natural and cultural ‘Namatjira Story’ interweaves works by renowned Aboriginal vibrancy. In ‘Desert Colours’, works by some of the best artist Albert Namatjira with paintings by his mentor Rex known ‘colour painters’ from the Central and Western Battarbee, and explores the legacy of Namatjira’s influence Desert attest to their spiritual connection to Desert Country, on the first, second and fourth generation of artists in the culture and life in the region, and the brilliance of its landscape. Arrernte landscape painting and ceramics tradition. Geometries A Fleeting Bloom: Japanese Art from the Collection 25 May 2019 – 2 February 2020 | QAG 8 September 2018 – 29 September 2019 | QAG Curated by Peter McKay and Ellie Buttrose Curated by Tarun Nagesh This exhibition showcased works by artists who excel in This exhibition celebrated the classic arts of Japan. creating mesmerising optical effects using deceptively simple Magnificent folded screens, ceramics, photography and strategies. Their works explore the structuring relationships paintings captured moments of beauty through seasonal between the most elementary components of shape, scale aspects of nature, the passages of history, and the and sequencing. philosophies of transcendence and impermanence that underpin forms of Buddhist art. The exhibition featured key Perceptions of Time* works bequeathed by James Fairfax AC. 25 May 2019 – 23 March 2020 | GOMA Curated by Amanda Slack-Smith Goobalathaldin Dick Roughsey: Stories of this Land ‘Perceptions of Time’ looked at the different ways in which 30 March – 18 August 2019 | QAG artists explore how perceptions of time can be altered through A collaboration between Cairns Art Gallery and QAGOMA, the intervention of personal experiences and histories. curated by Teho Ropeyarn (Cairns Art Gallery) and Bruce Johnson McLean (QAGOMA) ‘Stories of this Land’ was the first major retrospective celebrating the life and work of Goobalathaldin Dick Roughsey (1924–85). The exhibition brought together 70 works, including barks, paintings, ceremonial and historical objects, draft illustrations from Roughsey’s children’s book, The Rainbow Serpent, and three storybook films.

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A collaboration between Queensland Art Gallery | Gallery of Modern Art and Cairns Art Gallery OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 49

Margaret Olley: A Generous Life Work, Work, Work* 15 June – 13 October 2019 | GOMA 3 August 2019 – 23 March 2020 | GOMA Curated by Michael Hawker Curated by Ellie Buttrose ‘A Generous Life’ examined the legacy and influence of ‘Work, Work, Work’ brought together artworks from the much-loved Australian artist Margaret Olley (1923–2011), Gallery’s Collection from across the globe that responded who spent a formative part of her career in Brisbane. Olley to the ideas of work and labour. was a charismatic character who exerted a lasting influence on many artists, from William Dobell to Jeffrey Smart, as a I, Object* mentor, friend and muse over several decades. 3 August 2019 – 29 August 2021 | GOMA Curated by Bruce Johnson McLean and Katina Davidson PRINCIPAL BENEFACTOR MAJOR BENEFACTOR ‘I, Object’ looks at the many complex relationships Indigenous Australian artists have with objects: from the histories informing their creation to the social and cultural TOURISM & MEDIA PARTNERS WINE PARTNER consequences of their collection. Many Indigenous people consider their cultural objects as family or as part of themselves — physical, tangible products of their cultural inheritances. Throughout the world, many museums hold Nicolas Molé: They look at you* significant items of Indigenous cultural material. These items, 15 June 2019 – 23 March 2020 | GOMA considered by many to be ancestors, are a great source of pride and inspiration; however, their housing in public and Nicolas Molé’s immersive animated installation embodies private collections over many generations also represents the forest environment of his ancestral home, Lifou, in New a great source of cultural loss and trauma. Caledonia. This major installation was last seen in Brisbane in 2015 when it premiered as part of ‘The 8th Asia Pacific Triennial of Contemporary Art’. Jon Molvig: Maverick 14 September 2019 – 2 February 2020 | QAG Curated by Michael Hawker Quilty 29 June – 13 October 2019 | GOMA Jon Molvig (1923–70) spent the greater part of his productive A partnership between the Art Gallery of South Australia, life in Brisbane, where he dominated the art scene into the QAGOMA and the Art Gallery of New South Wales. late 1960s. Brisbane was the catalyst for his major works, Curated by Lisa Slade (Art Gallery of South Australia) providing him with scope for his expressionist view of the world. This survey exhibition acknowledged his contribution Ben Quilty is one of Australia’s most acclaimed contemporary to the local art community, featured his early, vibrant works artists. ‘Quilty’, his first major survey exhibition in a decade, drawing on European influences, and brought his stylistic explored his early reflections on the initiation rituals eclecticism to the fore. performed by young Australian men, his experience as an official war artist in Afghanistan and his campaign to save the PUBLICATION SPONSOR TOURISM AND MEDIA PARTNER lives of Bali Nine pair Andrew Chan and Myuran Sukumaran. The exhibition also included works inspired by Quilty’s visits with author Richard Flanagan to Lebanon, Lesbos and Serbia; his revisions of the Australian landscape; and raw, intimate portraits of himself, family and friends.

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Shirley Macnamara: Dyinala, Nganinya Water* 21 September 2019 – 1 March 2020 | QAG 7 December 2019 – 23 March 2020 | GOMA Curated by Diane Moon Curated by Geraldine Kirrihi Barlow. Ticketed exhibition Queensland sculptor and weaver Shirley Macnamara of the From major immersive experiences to smaller-scale treasures Indjalandji/Alyawarr people is an inspirational Indigenous by Australian and international artists, ‘Water’ highlighted Australian artist. This exhibition highlighted Macnamara’s this precious resource and aimed to spark conversations on unique sculptural pieces crafted from the spinifex plant and the environmental and social challenges faced by the world its runner roots, and featured works from the full span of her today. Among the must-see artworks in the exhibition were practice from 1997 to 2019. Riverbed 2014 by Danish–Icelandic artist Olafur Eliasson, featuring a stream running through a vast landscape, which PRINCIPAL BENEFACTOR was created from more than 110 tonnes of rock; Peter Fischli and David Weiss’s Snowman 1987/2017–19; Julian Charrière’s The Blue Fossil Entropic Stories I 2013, a powerful image of an iceberg being blowtorched; RE FORMATION 2016–19, a large Setting the Stage sculptural oyster-shell midden by Quandamooka artist Megan 21 September 2019 – 22 March 2020 | GOMA Cope; and Cai Guo-Qiang’s Heritage 2013, an installation of 45 Curated by Amanda Slack-Smith life-size animals gathered around a pristine blue lake.

'Setting the Stage' featured artists who reflect on the STRATEGIC PARTNER PRINCIPAL PARTNER MAJOR PARTNER theatrical stage within their work, drawing on its construction, aesthetic language and purpose. The exhibition accompanied the 2019 Brisbane International Film Festival (BIFF) and TOURISM & MEDIA PARTNERS brought together works across various media that use sets, props, costumes and staging.

Works from the Asian Collection* 26 October 2019 – 11 October 2020 | QAG SUPPORTING PARTNERS Curated by Tarun Nagesh This exhibition explores the gradual shifts in pattern, colour and technique that can be traced across thousands of years in ceramics from China, Japan, Korea and South-East Asia, Indigenous Women Painters* along with shared motifs, technological developments, and 23 December 2019 – 23 March 2020 | GOMA the marks of artistic influence that have spread through ages Curated by Katina Davidson and across cultures. Indigenous women painters contribute significantly to the cultural life of Queensland. In the majestic Dibirdibi Country 2008, Kaiadilt artist Mirdidingkingathi Juwarnda Sally Gabori represents the site of Kabararrji, on Bentinck Island off the coast of Queensland in the Gulf of Carpentaria. Makarrki – King Alfred's Country 2008, a collaboration involving seven senior painters from Bentinck Island, shows the country of King Alfred, a senior Kaiadilt law man and leader at a time when the Kaiadilt people were uprooted from Bentinck and Sweers Islands to Mornington Island. Jolene Roughsey, a Lardil painter from Gununa, is a granddaughter of the well-known painter Goobalathaldin Dick Roughsey (1924–85). Her bold painting Headband 2005 is an interpretation of the distinctive headband worn by male dancers of her family group. OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 51

Ai Weiwei: Boomerang* Creative Generation Excellence Awards in Visual Art (2020) 29 February 2020 – 8 August 2021 | QAG 18 April – 22 June 2020 An initiative of the Department of Education and Training, Composed of 270 000 crystal pieces, Ai Weiwei’s Boomerang, supported by QAGOMA first installed during ‘The 5th Asia Pacific Triennial of Contemporary Art’ in 2006, fills the soaring space of QAG’s This annual exhibition showcases the achievements of senior Watermall. The work is both a dreamscape and a monument visual art students from schools throughout Queensland. In to consumption and the conspicuous display of new wealth. 2020, the exhibition and supporting collateral was presented online only due to the impacts of COVID-19. Errant Objects* 29 February 2020 – 8 August 2021 | QAG Curated by Reuben Keehan Inspired by Ai Weiwei's Boomerang 2006, ‘Errant Objects’ explores the legacy of the readymade, as well as assemblage and the re-contextualisation of cultural objects, through works from the Gallery’s contemporary Asian art holdings.

Gods and Gridlock* 29 February 2020 – 8 August 2021 | QAG Curated by Reuben Keehan ‘Gods and Gridlock’ features works by artists who, by experimenting with techniques and iconography, seek the relevance of classical thangka painting in an age of digital communication. Scroll paintings that emerged from Buddhist figurative traditions in India and China, thangka flourished in Tibet from the eleventh century onwards. Recognisable for their precise brushwork, detailed imagery and strictly proportionate geometry, these paintings principally depict the Buddha and other deities or teachers. They function as educational, devotional and meditational aids, but also serve as sources of artistic innovation and reflection.

Mavis Ngallametta: Show Me the Way to Go Home* 21 March 2020 – 7 February 2021 | QAG Curated by Bruce Johnson McLean and Katina Davidson Mavis Ngallametta (1944–2019) made a profound contribution to arts and culture nationally and particularly in her home state of Queensland. An elder of the Putch clan and a cultural leader of the Wik and Kugu people of Aurukun, Mavis Ngallametta was one of the most well-regarded, senior, community-based artists in Australia. This exhibition surveys a decade of her intricate and animated paintings, bringing together major works from her Pamp/Swamp, Kendall River, Wutan, Ikalath, Yalgamunken, intertidal estuary and bushfire series for the first time.

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QAGOMA Learning project Children’s Art Centre exhibitions and projects

Open Studio* Ben Quilty: Family Portrait 8 June 2019 – ongoing | QAG 15 June – 20 October 2019 | GOMA Curated by Tamsin Cull, Laura Mudge and Jacqueline Tunny Open Studio explores the creative practice of contemporary Australian artists. Featured artists share their studio practice Opening in advance of the major exhibition ‘Quilty’ at GOMA, and provide insights into how they work. Artists included John ‘Ben Quilty: Family Portrait’ invited young visitors to explore Honeywill (8 June – 29 September 2019), Natalya Hughes portraiture in an artist studio setting. The exhibition was (5 October 2019 – 27 January 2020) and Grace Lillian Lee developed in collaboration with the artist and his two children. (1 February – 5 October 2020).

GRANTOR Island Fashion 10 August 2019 – 15 March 2020 | GOMA Curated by Tamsin Cull, Laura Mudge and Jacqueline Tunny This project is supported by the Copyright Agency's Cultural Fund. ‘Island Fashion’ celebrated the influence of cultural traditions, contemporary art and fashion design in the work of Australian and Pacific artists. The exhibition showcased the work of Grace Lillian Lee, Letila Mitchell, Maryann Talia Pau and Ranu James, all of whom act to preserve cultural knowledge and strengthen ties in their communities through their art practice. Hands-on making and multimedia activities encouraged children to explore fashion and adornment.

Below the Tide Line* 7 December 2019 – 23 March 2020 | GOMA Developed by QAGOMA in collaboration with Erub Arts and artists Marion Gaemers and Lynnette Griffiths, and presented in association with ‘Water’ at GOMA Curated by Tamsin Cull, Laura Mudge, Jacqueline Tunny and Cosima Scales The artists featured in 'Below the Tide Line' create sculptures made out of ghost nets to raise awareness about ocean pollution. 'Below the Tide Line' featured a spectacular display of ghost net artworks, as well as a drawing activity and an interactive screen-based animation exploring ocean conservation issues. A number of workshops invited members of the public to work with ghost nets to make a piece of coral to add to a collaborative ‘coral bommie’ in the exhibition. OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 53

Australian Cinémathèque programs and screenings

Nothing But Time Brisbane International Film Festival 2019 5 July – 1 September 2019 | GOMA 3–13 October 2019 | GOMA and cinema partners Curated by Rosie Hays Artistic Director: Amanda Slack-Smith ‘Nothing But Time’ considered our complex relationship with This was the second iteration of the long-running and the temporal experience, balancing the relentless ticking of much-loved Brisbane International Film Festival (BIFF) the clock with our desire to savour life before it passes us by. presented by QAGOMA. Across 11 days, BIFF 2019 celebrated Screening in association with ‘Perceptions of Time’ (GOMA), contemporary international and Australian screen culture these films examined how we negotiate our emotional with new-release features, documentaries, short films and connection to the passage of time, and how this informs the curated programs, alongside screenings with live music, narratives we construct. The program featured a special event conversations and panel discussions. BIFF was presented in screening of the classic silent film Safety Last! 1923, directed association with six cultural and commercial partners. Festival by Fred C Newmeyer and Sam Taylor, which was accompanied Patrons were Academy Award-nominated writer, director and by a new score performed by David Bailey on the Gallery’s producer Baz Luhrmann, and his collaborator of over 30 years, 1929 Wurlitzer organ. Academy Award-winning costume and production designer Catherine Martin. SPONSOR

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Peter Strickland: Capturing the Uncanny CINEMA PARTNERS 26–28 July 2019 | GOMA Presented in partnership with the Queensland Film Festival MAJOR PARTNER WINE PARTNER HOTEL PARTNER This retrospective of Peter Strickland’s films and radio plays included the Queensland premiere of his most recent feature, In Fabric 2018.

TOURISM AND MEDIA PARTNERS Mahamat-Saleh Haroun 6–22 September 2019 | GOMA Curated by Rosie Hays Mahamat-Saleh Haroun is a unique voice in contemporary cinema. His subtly crafted films engage with the African experience, whether critiquing the strictness of Muslim PROGRAM AND VENUE PARTNERS schools in Chad or presenting a gentle portrait of the refugee experience on the streets of Paris.

BIFF acknowledges the generous support of its 2019 Champions: Belinda Elderton, Darren Elderton, Gina Fairfax, Mary-Jeanne Hutchinson, Professor Emeritus Ian O’Connor AC, Liz Pidgeon and Rick Wilkinson. 54 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Staged Directions Kinokonzert: Ensemble Offspring & Nosferatu 25 October – 16 November 2019 21 November 2019 Curated by Amanda Slack-Smith Presented in partnership with the Goethe-Institut Australien Inspired by ‘Setting the Stage’ in GOMA, ‘Staged Directions’ This special live music and film event brought together looked at the way filmmakers draw on the formal aspects of the virtuoso musicians of the Sydney-based contemporary the stage — construction, aesthetics, language and purpose — chamber group Ensemble Offspring and FW Murnau’s iconic to role-play social and political ideas within their works. silent film Nosferatu: A Symphony of Horror 1922.

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APSA 2019 Best Animated Feature Film Nominees Paul Schrader: God's Lonely Man 16–17 November 2019 22 November – 15 December 2019 Presented in partnership with SIGGRAPH Asia and the Asia Curated by Robert Hughes Pacific Screen Awards Director and screenwriter Paul Schrader is one of the most This program showcased the nominees for Best Animated influential and revered figures of 1970s New Hollywood Feature Film at the 2019 Asia Pacific Screen Awards. A cinema, with his screenplays having been adapted by many short film winner from the 2018 SIGGRAPH Asia Computer highly respected filmmakers, including Sydney Pollack (The Animation Festival preceded the screening of each feature film. Yakuza 1974), Martin Scorsese (Taxi Driver 1976) and Brian De Palma (Obsession 1976). Stepping behind the camera as In Conversation + Film: Sunday Too Far Away director for the first time with Blue Collar 1978, Schrader 20 November 2019 is now in his fifth decade of filmmaking and remains one of Presented in partnership with the Asia Pacific Screen Awards the most incisive and prescient figures in modern American and in association with NFSA Restores, the National Film and cinema. His most recent film, First Reformed 2017 earned Sound Archive’s digital restoration program Schrader his first nomination for Best Original Screenplay at the 2019 Academy Awards. This program presented A landmark film in the re-emergence of Australian film a selected retrospective of Schrader’s screenplays, both production in the 1970s, Sunday Too Far Away 1975 tells the directed by the writer and by a number of his notable story of a shearers' strike in the 1950s. The screening was contemporaries. followed by an in-conversation with APSA Academy President Jack Thompson AM, the star of the film, and renowned SPONSOR Australian actor David Wenham.

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OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 55

The Noise of Waters Portrait of a Woman on Fire: Céline Sciamma 17 January – 8 March 2020 13–22 March 2020 Curated by Robert Hughes Curated by Victoria Wareham Presented in association with ‘Water’ (GOMA), ‘The Noise of An exciting voice in contemporary French cinema, filmmaker the Waters’ brought together films that explored humanity’s Céline Sciamma approaches themes of gender fluidity, complex and contradictory relationship with water. Two adolescence and love in an authentic way. Sciamma received silent films with new scores featured — the newly restored widespread critical acclaim for her coming-of-age trilogy Buster Keaton comedy Steamboat Bill, Jr 1928, directed by (Water Lilies 2007, Tomboy 2011 and Girlhood 2014), and is Charles Reisner, was accompanied by David Bailey playing highly sought after as a scriptwriter. She was awarded the the Gallery’s 1929 Wurlitzer organ; and Jean Grémillon’s The Best Screenplay and Queer Palm awards at the most recent Lighthouse Keepers 1929 was accompanied by a soundtrack Cannes Film Festival for her directorial feature Portrait of a by local New Wave band Corporate Vibes. Lady on Fire 2019. This program showcased Sciamma as both writer and director. SPONSOR

Cancelled programs Some Australian Cinémathèque programs were cancelled —

screenings for the World Science Festival Brisbane 2020, ‘All in a Day’s Work’ and ‘Live Music and Film: Modern Times’ — Kinokonzert: Ashley Hribar and The Cabinet of Dr Caligari due to the Gallery’s temporary closure in alignment with 5 March 2020 COVID-19 restrictions. Presented in partnership with the Goethe-Institut Australien Considered a quintessential work of German expressionist cinema, The Cabinet of Dr Caligari 1920 tells the story of a deranged hypnotist who uses a somnambulist to commit murders on his behalf. Celebrating the centenary of its release with a new 4K digital restoration, the screening was accompanied by a score by Australian pianist–composer Ashley Hribar.

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56 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

QAGOMA Touring Robert MacPherson: BOSS DROVERS Exhibitions presented in regional Queensland Curatorial coordinators: Peter McKay, Henri van Noordenburg and Simon Wright The dates listed below reflect tour venues in 2019–20; some of these exhibitions also toured in 2018–19 or will tour in 2020–21. ‘Robert MacPherson: BOSS DROVERS’ is a touring installation of 200 drawings from the 2400 individual sheets that form the single work 1000 FROG POEMS: 1000 BOSS DROVERS Physical Video (“YELLOW LEAF FALLING”) FOR H.S. 1996–2014 by Robert Curated by Amanda Slack-Smith MacPherson. 'Physical Video' features video art drawn from the Gallery’s Artspace Mackay Collection that shows how artists use physical gestures and 4 May – 7 July 2019 actions to illustrate social, political and aesthetic concerns. Perc Tucker Regional Gallery, Townsville Logan Art Gallery 13 July – 1 September 2019 2 August – 7 September 2019 Toowoomba Regional Art Gallery Hervey Bay Regional Gallery 19 October – 1 December 2019 14 September – 20 October 2019 Redland Art Gallery Gympie Regional Gallery 8 December 2019 – 26 January 2020 20 November 2019 – 11 January 2020 Caboolture Regional Art Gallery The Centre Beaudesert 13 June – 12 September 2020 17 January – 18 March 2020 Venues in Gympie and Bundaberg were also scheduled to host The Butter Factory Cooroy this exhibition, but these tour dates were cancelled due to 26 June – 1 August 2020* COVID-19 restrictions. ‘Physical Video’ at The Butter Factory Cooroy was rescheduled from its original advertised dates Exhibitions presented internationally (27 March – 3 May 2020) due to COVID-19 restrictions. Contemporary Art from Asia, Australia and the Pacific: Island Fashion on Tour* Selected Works from QAGOMA’s Asia Pacific Triennial 1 January – 30 October 2020 23 August – 18 October 2019, Centro Cultural Palacio la Developed by the Children’s Art Centre in collaboration with Moneda (CCLM), Santiago, Chile artists Grace Lillian Lee, Letila Mitchell, Maryann Talia Pau This exhibition was a collaboration between QAGOMA and Ranu James and CCLM Curated by Tamsin Cull, Laura Mudge, Jacqueline Tunny Following an invitation from CCLM Director Beatriz Bustos and Henri van Noordenburg Oyanedel — an Australia Council-funded international visiting This free program — planned for more than 110 venues professional to ‘The 9th Asia Pacific Triennial of Contemporary around Queensland and the Torres Strait — encourages Art’ (APT9) — QAGOMA presented an exhibition of works from children and families to get creative with fashion and APT9 and previous APTs at Santiago’s CCLM. adornment through hands-on making and multimedia Due to civil unrest in Santiago, this exhibition closed earlier activities. ‘Island Fashion on Tour’ celebrates the influence of than its original advertised end date of 8 December 2019. traditional cultures, contemporary art and fashion design in the work of Australian and Pacific artists. ‘Island Fashion on Tour’ was extended from its original advertised end date of 30 April 2020 to 30 October 2020 due to COVID-19 restrictions. A total of 21 venues hosted the program from 1 January to 30 April 2020; the remaining venues are scheduled to host the program between 1 July and 30 October 2020. GOVERNANCE Queensland Art Gallery Board of Trustees Annual Report 2019–20 57

GOVERNANCE

Organisational chart as at 30 June 2020

Queensland Art Gallery Board of Trustees Chair, Professor Emeritus Ian O'Connor AC

QAGOMA Foundation Audit and Risk Committee Management Committee President, Tim Fairfax AC Chair, Catherine Sinclair

Directorate Director, Chris Saines CNZM

Collection Learning and Development and Operations QAGOMA and Exhibitions Public Engagement Commercial Services and Governance Foundation Deputy Director, Assistant Director, Assistant Director, Assistant Director, Simon Elliott Simon Wright Tarragh Cunningham Duane Lucas

Business Asian and Design, Workshop Development Facilities Pacific Art and Installation and Partnerships

Information Digital Australian Art Finance and Publishing Transformation

Food and Beverage Australian Governance Learning Services and Cinémathèque and Reporting Events

Marketing, Information Conservation and Public Advertising Management Registration Engagement and Digital and Technology

Exhibition Protection and Media Management Visitor Services

International Art Retail 58 Queensland Art Gallery Board of Trustees Annual Report 2019–20 GOVERNANCE

Management and structure Queensland Art Gallery Board of Trustees

The Queensland Art Gallery Act 1987 stipulates that the Board • Risk Appetite Statement consists of the number of members appointed by the Governor • major Gallery policies or key documents of relevance to in Council. In appointing a member, regard must be had to or approved by the Board the person’s ability to contribute to the Board’s performance and the implementation of its strategic and operational plans. • performance reports and exhibition outcomes A person is not eligible for appointment as a member if the • QAGOMA Foundation Committee performance review person is not legally able to manage a corporation under the • governance improvement recommendations following Corporations Act 2001 (Cth). Members are appointed for terms external review of the Board and Audit and Risk of not more than three years and are eligible for reappointment Management Committee, undertaken from January upon expiry of their terms. Members are appointed on the to April 2019 conditions decided by the Governor in Council. • annual performance review of the Director. The Board met six times during the year and considered In November, the Board and the QAGOMA Foundation matters including: Committee held a strategic workshop focused on own- • the Strategic Plan 2020–24 and Operational Plan 2020–21 source revenue. In April, an induction session and supporting resources were provided to the Board’s two new members. • the financial statements for 2018–19 and quarterly financial reports for 2019–20 Remuneration for members of the Board of Trustees and the Audit and Risk Management Committee is set in accordance • COVID-19 response, impacts and management with the Queensland Government’s Remuneration • appointments to the QAGOMA Foundation Committee Procedures for Part-Time Chairs and Members of Queensland and to the Audit and Risk Management Committee, Government Bodies. Annual remuneration is set at $7500 for including a new Chair the Chair and $3000 for members of the Board of Trustees, and $1250 for the Chair and $750 for members of the Audit • trusts of which the Board is trustee, including The and Risk Management Committee. Josephine Ulrick and Win Schubert Charitable Trust and The Frank Sherrin Purchase Fund The transactions of the Board are accounted for in the financial statements. • progress presentations on the Gallery’s All-Ages Learning Centre, the development of a Reconciliation Further information about the Board can be accessed at Action Plan, and Digital Transformation Initiative www.qagoma.qld.gov.au/about/our-team. • acquisitions and loan requests Members of the Board during 2019–20 are listed below.

Number of Board member Role Term of appointment Remuneration meetings attended Professor Emeritus 2/3/17 – 1/3/20 Chair and member 5 $7500 Ian O’Connor AC 2/3/20 – 1/3/23 Rick Wilkinson Deputy Chair and member 2/3/17 – 1/3/20 4 $2250 2/3/17 – 1/3/20 5 $3000 Elizabeth Pidgeon Deputy Chair^ and member 2/3/20 – 1/3/23 Dr Bianca Beetson Member 1/11/18 – 31/10/21 6 $3000 The Honourable Justice Member 2/3/20 – 1/3/23 2 Nil# Martin Daubney AM 2/3/17 – 1/3/20 Gina Fairfax Member 5 $3000 2/3/20 – 1/3/23 The Honourable John Mickel Member 9/3/17 – 4/2/20 3 $1786.88 Catherine Sinclair Member 2/3/20 – 1/3/23 2 $1000 2/3/17 – 1/3/20 Paul Taylor Member 6 $3000 2/3/20 – 1/3/23 Remuneration listed above is in line with the period of the relevant appointment. The Board incurred $0 total out-of-pocket expenses during the year.

^ Appointed Deputy Chair 27/4/20 # Not eligible for fees as a public sector employee GOVERNANCE Queensland Art Gallery Board of Trustees Annual Report 2019–20 59

Board Members

CHAIR Gina Fairfax Professor Emeritus Ian O’Connor AC Gina Fairfax is a trustee of the Tim Fairfax Family Foundation Professor Emeritus Ian O’Connor AC was Vice Chancellor and and an advocate for access to art and education in rural, President of Griffith University from 2005 to 2018 and is Chair regional and remote communities. In 2018, Gina and her of the Federal Government’s Higher Education Standards husband Tim Fairfax AC were awarded the 2018 Creative Panel. In 2017, he was awarded the Companion of the Order Partnerships Australia Award for Philanthropy Leadership, an of Australia for his contributions to the community. acknowledgment of their significant and enduring legacy to the arts in Australia. DEPUTY CHAIR Liz Pidgeon Catherine Sinclair Elizabeth (Liz) Pidgeon is co-founder and Director of Catherine Sinclair is a Director of The Consultancy Bureau and Cornerstone Properties and a Director of the Pidgeon Group of a Councillor of the Royal National Agricultural and Industrial Companies. Liz is a former president of the Property Council Association of Queensland (RNA). She has experience as a of Australia (Queensland Division) and is a past Director of member of tribunals and boards in transport, the arts, and Brisbane Marketing. She is also a former Board Member of the local government sectors. Former roles include Chair of the Wesley Research Institute, Property Industry Foundation, and Residential Tenancies Authority, Director of the Brisbane former Chair of the Surf Life Saving Foundation. Airport Corporation, Deputy Chair of the Port of Brisbane and Director of Brisbane Festival. Dr Bianca Beetson Dr Bianca Beetson is a Gubbi Gubbi/Kabi Kabi (Sunshine Paul Taylor Coast) Waradjuri (NSW) artist, and is Director of the Paul Taylor is the head of Australian equities and portfolio Indigenous Research Unit at Griffith University. She is also manager of the Fidelity Australian Equities Fund. He is the an accomplished curator and was a former member of the Chair of the Dean’s Society for Business, Economics and Law at seminal Aboriginal artist collectives Campfire group and the University of Queensland, and, together with his wife Sue, proppaNOW. Bianca is a member of the Artist Advisory Board played a key role in establishing the University of Queensland’s at the Museum of Contemporary Art Australia and a board Centre for the Business and Economics of Health. member of Digi Youth Arts.

The Honourable Justice Martin Daubney AM The Honourable Justice Martin Daubney AM has been a judge of the Supreme Court of Queensland since 2007, and is currently serving as President of the Queensland Civil and Administrative Tribunal. In 2018, Justice Daubney was appointed a Member of the Order of Australia for significant service to the law, the judiciary, education and the community. 60 Queensland Art Gallery Board of Trustees Annual Report 2019–20 GOVERNANCE

Executive Management Team

DIRECTOR ASSISTANT DIRECTOR, Chris Saines CNZM OPERATIONS & GOVERNANCE For more than 35 years, Chris Saines has led galleries in Duane Lucas Australia and New Zealand as a director, curatorial and Duane Lucas leads governance; Board, government and collection manager, educator and curator. Prior to joining stakeholder reporting; audit and risk management; strategic QAGOMA as Director, Chris was Director of Auckland Art and operational plan development; financial, human Gallery Toi o Tāmaki, New Zealand, from 1996 to 2013. He resources and information technology functions and activities; regularly judges major art prizes and is on the board of the protection and visitor services; facilities management; and Australia–Japan Foundation. He has sat on the selection cultural precinct liaison and coordination. Duane has more panels for both Australian and New Zealand representations than 30 years’ experience in the public sector, specialising in at the Venice Biennale, most recently for the 2019 Biennale. governance and corporate services.

The Director is appointed as Director of the Queensland ASSISTANT DIRECTOR, Art Gallery | Gallery of Modern Art by the Governor in LEARNING & PUBLIC ENGAGEMENT Council upon recommendation by the Minister for the Arts Simon Wright and approved by the Board. The Director is appointed for a Simon Wright is responsible for design (encompassing Queensland Art term of not more than five years under the exhibition, graphic, multimedia and web design), information Gallery Act 1987 and is eligible for reappointment upon and publishing, learning (education, access and regional expiry of the term. services) and public engagement (public programs, Members and Children’s Art Centre). Simon has held curatorial and DEPUTY DIRECTOR, management positions in commercial and public galleries and COLLECTION & EXHIBITIONS museums. He was Director of Griffith Artworks and Griffith Simon Elliott University Art Gallery from 2005 to 2012, and, since 2013, has Simon Elliott oversees curatorial, exhibition management, been a Board member of Brisbane’s Institute of Modern Art. conservation, imaging and registration activities, with direct responsibility for managing and developing the Gallery’s Collection. Simon has more than 30 years’ experience in leading Australian galleries and is currently Vice-President of the Australian Museums and Galleries Association.

ASSISTANT DIRECTOR, DEVELOPMENT & COMMERCIAL SERVICES Tarragh Cunningham Tarragh Cunningham is responsible for developing audiences and partnerships through media, marketing and sponsorship; overseeing digital transformation; and leading the Gallery’s commercial services. Tarragh has worked in the museum and gallery sector for almost 25 years. In 2020, she was accepted into the Australia Council Leadership Program, and in 2019 was a Mentor in the Creative Partnerships Australia Arts Leadership Mentoring Program. GOVERNANCE Queensland Art Gallery Board of Trustees Annual Report 2019–20 61

Audit and Risk Management Committee

The Audit and Risk Management Committee (ARMC) • external audit strategy and plan, including a review is a sub-committee of the Board of Trustees and provides of findings of external audit reports and management independent assurance and assistance to the Board on responses to recommendations the Gallery’s: • internal audit plan for 2020 and 2021 and internal audit reports • internal control structure • review of the QAGOMA Strategic Risk Register • risk management practices • work health and safety performance • internal and external audits • the Risk Management Group’s quarterly reporting • financial accountability, as prescribed under the Financial on strategic and operational risks Accountability Act 2009, particularly in relation to the preparation of annual financial statements • Collection revaluation • compliance with relevant laws, regulations and • major Gallery policies of relevance to the role government policies. of the committee The committee met four times during the year and considered • financial guarantees and leave liability. matters including: In performing its functions, the ARMC observed its Terms • COVID-19 response and planning of Reference and had due regard to Queensland Treasury’s Audit Committee Guidelines: Improving Accountability and • financial statements for 2018–19 and quarterly financial Performance. reports for 2019–20 Members of the committee during 2019–20 are listed below.

Number of Name Role Term of appointment Remuneration meetings attended Rick Wilkinson Chair and member 26/4/17 – 1/3/20 3 $937.50 Catherine Sinclair Chair and member 9/4/20 – 1/3/23 1 $283.47 Dr Bianca Beetson Member 1/11/18 – 31/10/21 4 $750 The Honourable John Mickel Member 26/4/17 – 4/2/20 2 $446.72 12/6/17 – 1/3/20 Paul Taylor Member 4 $750 2/3/20 – 1/3/23

Remuneration listed above is in line with the period of the relevant appointment. 62 Queensland Art Gallery Board of Trustees Annual Report 2019–20 GOVERNANCE

Queensland Art Gallery | Gallery of Modern Art Foundation Committee

The QAGOMA Foundation supports the development of the The Foundation gratefully acknowledges the inspiring support state art collection and the presentation of major national of Paul, Sue and Kate Taylor; the Neilson Foundation; Liz and international exhibitions and community-based public Pidgeon and Graeme Wikman; and Cathryn Mittelheuser AM. programs, including regional and children’s exhibition programs. The Foundation receives support through Gifts of 273 artworks valued at $2.759 million were also donations, bequests and gifts of artworks from individual made through the Foundation. The Foundation particularly benefactors, as well as Queensland Government funding. acknowledges Robert Bleakley, Suzanne Davies, Alex and Kitty Mackay, and Paul, Sue and Kate Taylor for their gifts to The Foundation Committee is established as a committee the Collection. of the Board under section 40C of the Queensland Art Gallery Act 1987. Its function is to raise funds to assist in the This year, 39 new members joined the QAGOMA Foundation fulfilment of the Board’s functions, including by: and 20 members upgraded their level of membership. The Foundation’s group for young philanthropists, the Future • encouraging gifts, donations, bequests and legacies of Collective has a total of 64 members. The Foundation’s property for the benefit of the Board Contemporary Patrons group has 20 members, as at 30 June 2020. • managing and investing property made available to the committee by the Board. Further details of the QAGOMA Foundation’s operations The transactions of the committee are accounted for in the and activities are available in the Foundation Year in Review financial statements of the Board. 2019–20, to be published in November 2020.

The committee met four times in 2019–20. Members of the committee during 2019–20 are listed below.

Cash donations and bequests totalling $2.972m were received by the Foundation during the year, thanks to the invaluable support of donors.

Number of meetings Name Role Term of appointment Remuneration attended in 2019–20 11/10/19 –10/10/22 Tim Fairfax AC President 4 Nil 31/8/16 – 31/8/19 27/4/20 – 26/4/23 Philip Bacon AM Member 3 Nil 26/4/17 – 26/4/20

The Honourable Justice Thomas Bradley Member 31/8/16 – 31/8/19 0 Nil

11/10/19 – 10/10/22 Anna Cottell Member 2 Nil 31/8/16 – 31/8/19 11/10/19 – 10/10/22 Kathy Hirschfeld AM Member 3 Nil 31/8/16 – 31/8/19 11/10/19 – 10/10/22 Mary-Jeanne Hutchinson Member 1 Nil 31/8/16 – 31/8/19

John Lobban Member 31/8/16 – 31/8/19 1 Nil

Judy Mather Member 11/10/19 – 10/10/22 3 Nil

11/10/19 – 10/10/22 Joseph O’Brien Member 3 Nil 31/8/16 – 31/8/19 19/3/20 – 1/3/23 Professor Emeritus Ian O’Connor AC Trustee member 3 Nil 26/4/17 – 1/3/20 19/3/20 – 1/3/23 Elizabeth Pidgeon Trustee member 3 Nil 26/4/17 – 1/3/20

Dr Sally Sojan Member 11/10/19 – 10/10/22 3 Nil

Paul Spiro Member 31/8/16 – 31/8/19 1 Nil 19/3/20 – 1/3/23 Paul Taylor Trustee member 4 Nil 26/4/17 – 1/3/20 GOVERNANCE Queensland Art Gallery Board of Trustees Annual Report 2019–20 63

Risk management and accountability

Risk management On 26 May 2020, QAGOMA submitted a draft COVID Safe Operational Work Health and Safety Plan and COVID-19 The Gallery’s Board and Executive Management Team are Recovery Strategy for the Queensland Art Gallery building committed to a robust organisational culture and processes (QAG COVID Safe Plan) for approval by Queensland Health. that identify and manage risks. QAGOMA aims to engage with Following receipt on 16 June of Queensland Health’s approval risk in a measured and informed way, and this approach is of the QAG COVID Safe Plan, and pursuant to consultation underpinned by the Gallery’s risk management framework and with the Arts Minister and formal written instruction from the risk appetite statement. The Gallery has a Risk Management Board Chair, QAG reopened to the public on 22 June 2020. As Group that supports, advises and reports quarterly to the outlined in the QAG COVID Safe Plan, comprehensive work Executive Management Team. The Group provided reports to health and safety measures are in place to address the safety the Audit and Risk Management Committee on areas including of staff and visitors. operational risk management matters and related risks arising from the activities and operations of the Gallery. Internal audit Risk management in response to COVID-19 An internal audit function is carried out on the Gallery’s behalf by the Corporate Administration Agency under a service level In response to the COVID-19 pandemic, the Gallery activated agreement. The internal audit function is independent of its framework of emergency management plans on 14 management and external auditors. The role of the internal February 2020 (‘Lean forward’ response from 2 February; audit includes: ‘Stand up’ response from 12 March ongoing). Implementation of these plans and other responses to issues as they emerge • appraising the Gallery’s financial administration and its is coordinated by the Gallery’s Crisis Management Team effectiveness with regard to the functions and duties (CMT), chaired by the Director. imposed on it by Section 61 of the Financial Accountability Act 2009 The framework through which the Gallery is managing its response to COVID-19 incorporates the following • providing audit services and advice to the Audit and interfacing plans: Risk Management Committee and the Gallery on the effectiveness, efficiency, appropriateness, legality and • Pandemic Management Plan probity of the Gallery’s operations. • Business Continuity Plan The internal audit operates under a charter that is consistent • IT Disaster Recovery Plan with relevant audit and ethical standards, has due regard for • Disaster Management Plan Queensland Treasury’s Audit Committee Guidelines, and is approved by the Audit and Risk Management Committee. • Emergency Response Plan • Security Management Plan and procedures. The effectiveness of the internal audit function is monitored by the Audit and Risk Management Committee, with the The Gallery’s disaster activation response is aligned with internal auditor attending committee meetings and presenting the Queensland State Disaster Management Plan, which internal audit reports directly to the committee. The internal was developed by the Queensland Disaster Management auditor consulted with Gallery management and evaluated Committee. auditable systems against established criteria to develop the Internal Audit Plan 2019–20. The following audits were At midday on 23 March 2020, the Gallery closed to the public, completed in 2019–20: aligning to the National Cabinet discussion on 22 March and its direction regarding the closure of non-essential services. • procurement Following guidance provided by the Arts Minister's office, • assets and portable equipment through Arts Queensland, the Chair of the Queensland Art Gallery Board of Trustees formally directed that the Gallery • corporate credit card. be closed to the public. All audit outcomes indicated that the Gallery has robust systems in place, with some minor adjustments recommended and accepted by the Audit and Risk Management Committee, and implemented by relevant managers and staff. 64 Queensland Art Gallery Board of Trustees Annual Report 2019–20 GOVERNANCE

External scrutiny The Queensland Art Gallery Board of Trustees was not subject to any external audits other than the Queensland Audit Office’s mandated audit report on financial controls and the financial statements.

Information systems and record governance QAGOMA is committed to using digital technology to increase efficiency and to contribute to sustainability by reducing paper use. Electronic approval processes are being implemented where appropriate. The Gallery employed a full-time Digital Transformation Manager to further increase the use of digital technology and lead the Gallery’s Digital Transformation Initiative.

The Gallery continues to progress its compliance with Queensland regulatory requirements, including the Public Records Act 2002 and the policy requirements of the Records Governance Policy and Information Standard 34: Metadata.

The use of an appropriate Electronic Document and Record Management System (eDRMS) is a key component in attaining compliance. The record governance function is managed by dedicated record management staff, in accordance with Gallery policy and legislative requirements. Access to records within the eDRMS is restricted to staff who require access to perform their roles. Disposal of Gallery records occurs only in accordance with the policy requirements of the Records Governance Policy.

QAGOMA has approved procedures outlining record management rules and responsibilities for preserving the Gallery’s public records. Staff are informed of new developments in record management practices through the Gallery’s record management intranet page and regular emails. GOVERNANCE Queensland Art Gallery Board of Trustees Annual Report 2019–20 65

Human resources

Workforce planning and performance Employment arrangements and COVID-19 As at 30 June 2020, the Gallery’s workforce consisted of In line with the Queensland Government Directive 01/20 – 269 full-time equivalent staff. The permanent employee Employment Arrangements in the Event of a Health Pandemic, separation rate was 4.35 per cent. the Gallery retained existing staff during the COVID-19 pandemic, including temporary and casual employees. The Corporate Administration Agency (CAA) is the main Pursuant to Queensland Government expectations, the provider of human resource services to the Gallery, including Director exercised the discretion to continue to pay casual payroll services, recruitment, training and development, employees who were not working during the pandemic, job evaluation, workforce strategy, policy development and through the agency of paid special leave; noting that the workplace relations. majority of casuals who were not able to perform their usual roles were redeployed to other departments during The Gallery plays an active role in Cultural Centre-wide this period. QAGOMA offered flexible working arrangements networks to ensure employees have access to appropriate during the pandemic, specifically so that staff who could support when specific workplace matters arise (rehabilitation, work from home did so whilst operationally convenient, with harassment and discrimination). QAGOMA continued its approximately 60 per cent of the workforce working remotely collaboration with the State Library of Queensland and during the closure of QAGOMA to the public. Queensland Museum to deliver a combined corporate induction program for new staff. The program provided detailed information on staff responsibilities and entitlements, as well Public sector ethics as in-depth training on the Queensland Government’s Code of The Board, the Director and all Gallery employees are bound Conduct and ethical responsibilities of staff. The Gallery also by the whole-of-government Code of Conduct for the continued the staff tours program to orientate new staff and Queensland Public Service under the Public Sector Ethics encourage overall engagement; the program offers tours of Act 1994. The Gallery’s administrative procedures and major exhibitions, as well as buildings and facilities. management practices are developed and conducted according to the ethics, principles and values set out in the In January, QAGOMA commenced its participation in the Public Sector Ethics Act 1994 and the Code of Conduct for Cultural Centre First Nation Graduate Program. The program the Queensland Public Service. gives two First Nation graduates the opportunity to work full- time across Cultural Centre institutions and Arts Queensland Integrity and accountability are a significant ongoing focus over a two-year period, with the aim of increasing the number for the Board and its Audit and Risk Management Committee of Aboriginal and Torres Strait Islander employees within (ARMC).The Gallery has robust controls to manage the risk of these agencies. fraud and corruption, including a clear delegation policy and procedural framework, targeted staff awareness and training Through CAA, the Gallery delivered an annual training and initiatives, specialist internal expertise and oversight from the development calendar targeted at frontline supervisors Finance department, quarterly self-assessment checks on (Managing in a Public Service Environment) and team internal controls (reported to ARMC), and an ongoing schedule leaders/managers (Reasonable Management Action), of independent internal and external audits to ensure the while staff lunchbox training sessions addressed career monitoring of areas susceptible to fraudulent activity. planning, work–life balance, job applications and interview skills. Further, the Gallery was part of a consortium of CAA Across QAGOMA, active reporting occurs at governance clients that transitioned in the latter half of the year to a new forums on related initiatives, with a focus on continual online learning management system, ELMO, which provides improvement and monitoring the integrity and accountability staff with access to professional development and skills- framework in the workplace. based courses. In 2019–20, full-time and part-time employees completed QAGOMA has an Agency Consultative Committee, made up mandatory online training on the Code of Conduct and of representatives from staff, management and the Together Fraud and Corruption Awareness (Queensland Government). union. The Committee liaises as required to resolve identified In addition, public sector ethics training was delivered issues. Gallery management consulted staff delegates by the Gallery’s shared service provider, the Corporate throughout the year to address workplace issues, with no Administration Agency (CAA). CAA also delivered Reasonable formal Committee meetings held in 2019–20. Management Action and Managing in a Public Sector 66 Queensland Art Gallery Board of Trustees Annual Report 2019–20 GOVERNANCE

Environment programs to Gallery managers and supervisors Queensland public service values to promote ethical behaviour and standards, and to improve QAGOMA supports the values of the Queensland public communication to create a positive workplace. service by: The Gallery plays an active role in the Cultural Centre • putting customers first, seeking to know audiences and Referral Officer network, ensuring employees who believe meet their needs they have been bullied or harassed in the workplace have access to an initial point of contact who can provide impartial • turning ideas into action by presenting transformative support and resolution options. experiences in the visual arts

Human rights • unleashing potential with a focus on young people and emerging creatives In line with the Human Rights Act 2019, QAGOMA acknowledges the importance of respecting, protecting • being courageous by presenting art that both challenges and promoting human rights. and delights

Since the introduction of the Act in January 2020, the Gallery: • empowering staff by offering opportunities to work in multidisciplinary project teams and to engage in • discussed the new legislation at executive level and agreed professional development. to promote awareness and education from leadership to all QAGOMA staff Disclosure of additional information • included acknowledgment of the Act in the Gallery’s The Gallery publishes reports on the following areas Strategic Plan 2020–24 on the Queensland Government Open Data website (https://data.qld.gov.au) in lieu of including them in this • advised all staff of the introduction of the new laws and annual report: promoted education resources and online training via the Queensland Human Rights Commission (QHRC) website • consultancies

• encouraged representatives attend Queensland • overseas travel. Government information sessions on the Act, including the Statutory Authorities information session and the Notice of correction to the Queensland Art Gallery QHRC Commissioner’s presentation to the Department Board of Trustees Annual Report 2018–19 of Environment and Science In the table of Board members on p.64 of the 2018–19 report, attendance for Elizabeth Pidgeon should read four meetings, • consulted with staff who manage complaints and provide not three; and in the table of Audit and Risk Management visitor services on acting compatibly with human rights laws Committee members on p.67, attendance for The Honourable • installed posters made available by QHRC in staff areas; John Mickel should read four meetings, not two. these posters listed protected rights and a step-by-step guide on acting compatibly with human rights

• offered and encouraged staff to complete an eLearning Management System Human Rights training course (as at 30 June, completed by 83 staff members). GLOSSARY Queensland Art Gallery Board of Trustees Annual Report 2019–20 67

GLOSSARY

APT Asia Pacific Triennial of Contemporary Art

ARMC Audit and Risk Management Committee

BIFF Brisbane International Film Festival

CAA Corporate Administration Agency

CCLM Centro Cultural Palacio la Moneda

CMT Crisis Management Team

COVID-19 A disease caused by a new strain of coronavirus. 'CO' stands for corona, 'VI' for virus, 'D' for disease, ‘19’ represents 2019.

GOMA Gallery of Modern Art

LED Light-emitting diode

LTIFR Lost Time Injury Frequency Rate

QAG Queensland Art Gallery

QAGOMA or ‘the Gallery’ Queensland Art Gallery | Gallery of Modern Art

QAO Queensland Audit Office

QHRC Queensland Human Rights Commission

TEQ Tourism and Events Queensland 68 Queensland Art Gallery Board of Trustees Annual Report 2019–20 SUMMARY OF FINANCIAL PERFORMANCE

SUMMARY OF FINANCIAL PERFORMANCE

Financial Summary 2019–20 Grants and other User charges Services contributions – and fees received free This summary provides an overview of the financial Qld Government $7.8m of charge $37.7m $10.9m performance and position for 2019–20 for the Queensland Art Gallery Board of Trustees.i

Statement of Comprehensive Income The Statement of Comprehensive Income sets out income and expenditure of the Gallery.

2020 2019 Statement of Comprehensive Income $000 $000 Total Income 66 522 64 172

Total Expenses 60 640 57 040 Interest and Operating Result from distributions Continuing Operations 5 882 7 132 $1.0m Increase in asset revaluation surplus 41 273 46 012 Other grants and Total Comprehensive Income 47 155 53 144 Other revenue contributions $0.6m $8.5m

Income Expenses The Gallery’s base funding comes from the Queensland Government which comprises cash grants ($37.7m), and the Expenses for the Gallery were $60.7m in 2019–20. Major fair value of rental services provided by Arts Queensland costs were employee expenses ($30.6m or 50.4% of total for nil consideration ($10.9m). Grants and contributions cost), supplies and services ($16.4m or 27.1%), and the fair from other entities were $8.5m, of which $3.0m was from value of rental services provided by Arts Queensland for nil cash donations, bequests and fundraising, $2.8m was from consideration ($10.9m or 17.9%). Expenditure in 2019–20 was donations of artworks, $2.1m was from cash and contra $3.6m above the previous year mainly due to a unrealised sponsorship, and $0.6m was from other grants. User charges loss on investments of $1.6m and an increase in employee and fees were $7.8m, of which $3.2m was from food and expenses of $1.5m (due to award increases and payment beverage operations, $1.9m was from retail operations, of a one-off $1250 certified agreement signing bonus to and $2.0m was from exhibition ticket sales. In addition, the employees), and an increase in supplies and services of Gallery received interest and distributions from managed $0.6m (which can be highly variable from year to year funds of $1.0m and sundry revenue of $0.6m. depending on the nature and timing of exhibition programs).

Income for 2019–20 was $2.4m above the previous financial Supplies year primarily due to increases in Queensland Government and services grants (up $3.3m), admission revenues (up $1.4m — the major $16.4m exhibition in 2018–19 was unticketed); donations (up $0.5m) and sponsorships (up $0.4m). Offsetting these increases, Employee investment returns and revenue from food and beverage expenses operations decreased by $1.9m and $1.2m, respectively, 30.6m mainly due to the impact of the COVID-19 pandemic.

Services received free of charge $10.9m Other expenses 2.8m SUMMARY OF FINANCIAL PERFORMANCE Queensland Art Gallery Board of Trustees Annual Report 2019–20 69

Operating Result from Continuing Operations Financial Governance

The Operating Result from Continuing Operations (income less The Gallery is managed in accordance with the requirements expenses) was $5.9m in 2019–20, of which $2.8m represents of the Financial Accountability Act 2009, the Financial and the fair value of artworks donated to the Gallery. Performance Management Standard 2019, the Statutory Bodies Financial Arrangements Act 1982 and the Queensland Other Comprehensive Income – Art Gallery Act 1987. Increase in asset revaluation reserve The Gallery has a well-developed risk management framework As at 30 June 2020, the Gallery’s Collection was revalued in and internal audit oversight, both under the supervision of the line with accounting requirements, resulting in an increase Audit and Risk Management Committee. The Gallery maintains in value of $41.3m (approximately 8% of the Collection value a strong system of internal controls, and expenditures are prior to revaluation). monitored to provide value for money. The risk management framework under the supervision of the Audit and Risk Management Committee ensures that potential liabilities Statement of Financial Position and risks are appropriately reviewed and treated. In addition, The Statement of Financial Position sets out the Net Assets the Gallery’s financial operations and accounts are externally (that is, assets less liabilities) and Equity of the Gallery. audited by the Queensland Audit Office.

As at 30 June 2020, the Net Assets of the Gallery were Assurances to this effect have been provided by Professor $603.9m, up $46.4m on the 30 June 2019 position. Emeritus Ian O’Connor AC, Chair of the Queensland Art Gallery Board of Trustees, and Mr Chris Saines CNZM, The Gallery’s major assets were the Art Collection ($553.1m) Director of the Queensland Art Gallery | Gallery of Modern Art, and financial assets held in respect of the QAGOMA to the Queensland Audit Office. Foundation ($42.0m).

ii Comparison to the 2019–20 Budget i Trading as the Queensland Art Gallery | Gallery of Modern Art. ii 2019–20 Queensland State Budget – Service Delivery Statements – Actual Budget Variance Queensland Art Gallery $000 $000 $000 Total Income 66 522 65 546 976 Total Expenses 60 640 61 169 (529) Operating Result from Continuing Operations 5 882 4 377 1 505 Increase in asset revaluation surplus 41 273 5 000 36 273 Total Comprehensive Income 47 155 9 377 37 778

Total income for 2019–20 was $1.0m favourable to budget, primarily due to greater than expected grants and sponsorships of $4.6m (which because of their variability and nature are difficult to estimate), offset by unfavourable variances in user charges ($1.9m) and investment returns ($1.7m) due to COVID-19 impacts.

Total expenditure for 2019–20 was $0.5m favourable to budget, primarily due to savings in supplies and services of $2.1m (due to the payment of an exhibition fee in 2020–21 rather that 2019–20 as budgeted) and unrealised losses on investments due to the impact of COVID-19 on investment valuations ($1.6m).

Overall, the Gallery’s Operating Result from Continuing Operations was $1.5m favourable to budget. 70 Queensland Art Gallery Board of Trustees Annual Report 2019–20 COMPLIANCE CHECKLIST

COMPLIANCE CHECKLIST

Annual Report Summary of requirement Basis for requirement reference Letter of • A letter of compliance from the accountable officer ARRs – section 7 1 compliance or statutory body to the relevant Minister/s • Table of contents 3 ARRs – section 9.1 • Glossary 67 • Public availability ARRs – section 9.2 Inside back cover Queensland Government Accessibility • Interpreter service statement Language Services Policy Inside back cover ARRs – section 9.3 Copyright Act 1968 • Copyright notice Inside back cover ARRs – section 9.4 QGEA – Information Licensing • Information licensing Inside back cover ARRs – section 9.5 • Introductory information ARRs – section 10.1 4–5

General • Machinery of Government changes ARRs – section 31 and 32 n/a information • Agency role and main functions ARRs – section 10.2 4–11

• Operating environment ARRs – section 10.3 11

• Government’s objectives for the community ARRs – section 11.1 10

Non-financial • Other whole-of-government plans/specific initiatives ARRs – section 11.2 n/a performance • Agency objectives and performance indicators ARRs – section 11.3 10–21

• Agency service areas and service standards ARRs – section 11.4 12 Financial • Summary of financial performance ARRs – section 12.1 68–9 performance • Organisational structure ARRs – section 13.1 57

• Executive management ARRs – section 13.2 60 • Government bodies ARRs – section 13.3 58–62 Governance – (statutory bodies and other entities) management Public Sector Ethics Act 1994 • Public Sector Ethics 65–6 and structure ARRs – section 13.4 Human Rights Act 2019 • Human Rights 66 ARRs – section 13.5 • Queensland public service values ARRs – section 13.6 66

• Risk management ARRs – section 14.1 63

• Audit committee ARRs – section 14.2 61 Governance – risk management • Internal audit ARRs – section 14.3 63 and accountability • External scrutiny ARRs – section 14.4 64

• Information systems and record governance ARRs – section 14.5 64

• Strategic workforce planning and performance ARRs – section 15.1 65 Governance – Directive No.04/18 Early Retirement, human resources • Early retirement, redundancy and retrenchment Redundancy and Retrenchment n/a ARRs – section 15.2 • Statement advising publication of information ARRs – section 16 66

• Consultancies ARRs – section 33.1 data.qld.gov.au Open data • Overseas travel ARRs – section 33.2 data.qld.gov.au

• Queensland Language Services Policy ARRs – section 33.3 n/a FAA – section 62 • Certification of financial statements FPMS – sections 38, 39 and 46 B: 48 Financial ARRs – section 17.1 Statements FAA – section 62 • Independent Auditors Report FPMS – section 46 B: 49–51 ARRs – section 17.2

FAA Financial Accountability Act 2009 FPMS Financial and Performance Management Standard 2019 ARRs Annual report requirements for Queensland Government agencies

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 1 PART B

PART B

QUEENSLAND ART GALLERY BOARD OF TRUSTEES FINANCIAL STATEMENTS

FOR THE FINANCIAL YEAR ENDED 30 JUNE 2020 2 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Financial Statements for the year ended 30 June 2020

TABLE OF CONTENTS Financial Page Statements Statement of Comprehensive Income 4 Statement of Financial Position 5 Statement of Changes in Equity 6 Statement of Cash Flows (includes Notes to the Statement of Cash Flows) 7 Notes to A1. Basis of Financial Statements Preparation 9 the Financial A1-1 General Information 9 Statements A1-2 Compliance with Prescribed Requirements 9 Section 1 About the A1-3 Presentation Details 9 Gallery and A1-4 Authorisation of Financial Statements for Issue 9 this Financial Report A1-5 Basis of Measurement 10 A1-6 The Reporting Entity 10 A2. Objectives of the Gallery 10 A3. Accounting Estimates and Judgements 10 B1. Revenue 11 B1-1 Grants, Sponsorships and Contributions 11 B1-2 Rent Received Below Fair Value 14 B1-3 User Charges and Fees 14 B1-4 Interest and Distributions from Managed Funds 16 Section 2 B1-5 Other Revenue 16 Notes about our Financial B2. Gains on Disposal and Re-measurement of Assets 17 Performance B3. Expenses 18 B3-1 Employee Expenses 18 B3-2 Supplies and Services 19 B3-3 Depreciation and Amortisation 19 B3-4 Loss on Disposal and Re-measurement of Assets 19 B3-5 Other Expenses 19 C1. Cash and Cash Equivalents 20 C2. Receivables 20 C3. Inventories 20 C4. Other Financial Assets 21 C5. Property, Plant and Equipment and Related Depreciation Expense 22 C5-1 Closing Balances and Reconciliation of Carrying Amount 22 C5-2 Recognition and Acquisition 23 C5-3 Measurement using Historical Cost 23 Section 3 Notes about C5-4 Measurement using Fair Value 23 our Financial C5-5 Depreciation Expense 24 Position C5-6 Impairment 24 C6. Payables 25 C7. Accrued Employee Benefits 25 C8. Other Liabilities 26 C9. Right-to-use Assets and Lease Liability 27 C9-1 Leases as Lessee 27 C10 Equity 28 C10-1 Asset Revaluation Surplus by Asset Class 28

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 3 PART B

Queensland Art Gallery Board of Trustees Financial Statements for the year ended 30 June 2020

TABLE OF CONTENTS (continued)

D1. Fair Value Measurement 29 D1-1 Accounting Policy and Inputs for Fair Value 29 Section 4 D1-2 Categorisation of Assets and Liabilities Measured at Fair Value 29 Notes about D2. Financial Risk Disclosures 30 Risks and Other D3. Commitments 31 Accounting D4. Contingencies 31 Uncertainties D5. Events Occurring after the Balance Date 31 D6. Future Impact of Accounting Standards Not Yet Effective 31 D7. Significant Financial Impacts from COVID-19 Pandemic 31 Section 5 E1. Budgetary Reporting Disclosure 32 Notes about our E2. Budget to Actual Comparison – Statement of Comprehensive Income 32 Performance E3. Budget to Actual Comparison – Statement of Financial Position 34 compared to Budget E4. Budget to Actual Comparison – Statement of Cash Flows 36 F1. Key Management Personnel (KMP) Disclosures 38 F2. Related Party Transactions 40 F3. Transactions in relation to the Queensland Art Gallery ǀ Gallery of Modern Art (QAGOMA) Foundation 40 F3-1 QAGOMA Foundation Statement of Financial Income 40 F3-2 QAGOMA Foundation Statement of Financial Position 41 F3-3 Restricted Assets Held by QAGOMA Foundation 41 Section 6 F4. Restricted Assets Held by the Gallery 41 Other F5. Trust Transactions and Balances 42 Information F6. First Year Application of New Accounting Standards or Change in Accounting Policy 42 F6-1 AASB 15 Revenue from Contracts with Customers 42 F6-2 AASB 1058 Income of Not-for-Profit Entities 43 F6-3 Impact of Adoption of AASB 15 and AASB 1058 in the Current Period 44 F6-4 AASB 16 Leases 45 F7. Taxation 47 F8. Climate Risk Disclosures 47 Certification Management Certificate 48

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4 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Statement of Comprehensive Income for the year ended 30 June 2020

OPERATING RESULT Notes 2020 2019 $’000 $’000 Income from continuing operations Grants, sponsorships and contributions B1-1 46,232 42,075 Rent received below fair value B1-2 10,874 10,941 User charges and fees B1-3 7,806 7,420 Interest and distributions from managed funds B1-4 990 1,967 Other revenue B1-5 618 913 Total revenue 66,520 63,316

Gains on disposal and re-measurement of assets B2 2 856

Total income from continuing operations 66,522 64,172

Expenses from continuing operations Employee expenses B3-1 30,571 29,093 Supplies and services B3-2 16,412 15,853 Grants and subsidies - 40 Depreciation and amortisation B3-3 574 552 Finance costs 1 - Rent received below fair value B1-2 10,874 10,941 Other expenses B3-5 588 537 Total expenses 59,020 57,016

Loss on disposal and re-measurement of assets B3-4 1,620 24 Total expenses from continuing operations 60,640 57,040

Operating result from continuing operations 5,882 7,132

OTHER COMPREHENSIVE INCOME Increase in asset revaluation surplus C10-1 41,273 46,012 Total other comprehensive income 41,273 46,012

TOTAL COMPREHENSIVE INCOME 47,155 53,144

The accompanying notes form part of these statements.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 5 PART B

Queensland Art Gallery Board of Trustees Statement of Financial Position as at 30 June 2020

Notes 2020 2019 $’000 $’000 Current assets Cash and cash equivalents C1 10,963 10,560 Receivables C2 357 647 Inventories C3 843 725 Prepayments 447 222 Total current assets 12,610 12,154

Non-current assets Other financial assets C4 40,582 41,043 Property, plant and equipment C5 557,743 511,968 Right-of-use assets C9 140 - Total non-current assets 598,465 553,011

Total assets 611,075 565,165

Current liabilities Payables C6 3,905 4,405 Lease liabilities C9 67 - Accrued employee benefits C7 2,369 3,026 Other liabilities C8 808 261 Total current liabilities 7,149 7,692

Non-current liabilities Lease liabilities C9 61 - Total Non-current liabilities 61 -

Total liabilities 7,210 7,692

Net assets 603,865 557,473

Equity Contributed equity 19,314 19,314 Accumulated surplus 220,685 215,566 Asset revaluation surplus C10-1 363,866 322,593 Total equity 603,865 557,473

The accompanying notes form part of these statements.

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6 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Statement of Changes in Equity for the year ended 30 June 2020

Contributed Accumulated Asset Total Equity Surplus Revaluation Surplus (Note C10-1) $000 $000 $000 $000

Balance as at 1 July 2018 19,314 208,434 276,581 504,329 Operating result Operating result from continuing operations - 7,132 - 7,132 Other comprehensive income Increase in asset revaluation surplus - - 46,012 46,012

Balance as at 30 June 2019 19,314 215,566 322,593 557,473

Balance as at 1 July 2019 19,314 215,566 322,593 557,473

Net effect of changes in accounting policies/prior - (763) - (763) year adjustment

Operating result Operating result from continuing operations - 5,882 - 5,882

Other comprehensive income Increase in asset revaluation surplus - - 41,273 41,273

Balance as at 30 June 2020 19,314 220,685 363,866 603,865

The accompanying notes form part of these statements.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 7 PART B

Queensland Art Gallery Board of Trustees Statement of Cash Flows for the year ended 30 June 2020

Notes 2020 2019 $’000 $’000 Cash flows from operating activities Inflows: Grants, sponsorships and contributions 41,804 39,417 User charges and fees 7,823 7,273

Interest receipts and distributions from managed funds 990 1,967 GST collected from customers 861 1,082 GST input tax credits from ATO 1,452 1,377 Other 557 854 Outflows: Employee expenses (31,132) (28,787) Supplies and services (14,109) (14,534) Grants and subsidies - (40) GST paid to suppliers (1,275) (1,463) GST remitted to ATO (920) (1,099) Other (642) (518) Net cash provided by operating activities CF-1 5,409 5,529

Cash flows from investing activities CF-2 Inflows: Sales of property, plant and equipment 3 21

Outflows:

Payments for investments (1,073) (1,394) Payments for property, plant and equipment (3,776) (3,620) Net cash used in investing activities (4,846) (4,993)

Cash flows from financing activities CF-3 Outflows: Lease payments (160) - Net cash used in financing activities (160) -

Net increase (decrease) in cash and cash equivalents 403 536 Cash and cash equivalents – opening balance C1 10,560 10,024 Cash and cash equivalents – closing balance C1 10,963 10,560

The accompanying notes form part of these statements.

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8 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Statement of Cash Flows for the year ended 30 June 2020

NOTES TO THE STATEMENT OF CASH FLOWS

CF-1 RECONCILIATION OF OPERATING RESULT TO NET CASH PROVIDED BY OPERATING ACTIVITIES

2020 2019 $’000 $’000

Operating surplus/(deficit) 5,882 7,132

Non-cash items included in operating result: Depreciation expenses 574 552 (Gain)/loss on sale of property, plant and equipment 13 21 Donated assets received (2,759) (1,124) (Gain)/loss on financial assets at fair value through profit 1,534 (853) and loss Other non-cash items - -

Changes in assets and liabilities: (Increase)/decrease in GST input tax credits receivable 118 (103) (Increase)/decrease in receivables 172 134 (Increase)/decrease in inventories (118) (30) (Increase)/decrease in prepayments (241) (52) Increase/(decrease) in payables 1,106 (99) Increase/(decrease) in accrued employee benefits (657) 199 Increase/(decrease) in other current liabilities (215) (248)

Net cash provided by operating activities 5,409 5,529

CF-2 NON- CASH INVESTING ACTIVITIES

Assets donated to the Gallery (principally artwork) are recognised as revenues (refer Note B1-1), but are not included in Statement of Cash Flow as they are non-cash.

CF-3 CHANGES IN LIABILITIES ARISING FROM FINANCING ACTIVITIES

2020 Opening Non-cash Cash Closing balance changes changes balance New leases Cash acquired repayment principal

Lease liabilities 260 28 (160) 128 Total 260 28 (160) 128

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 9 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

SECTION 1 ABOUT THE GALLERY AND THIS FINANCIAL REPORT

A1 BASIS OF FINANCIAL STATEMENTS PREPARATION A1-1 GENERAL INFORMATION These financial statements are for the Queensland Art Gallery Board of Trustees. The Queensland Art Gallery Board of Trustees is a Queensland Government statutory body established under the Queensland Art Gallery Act 1987. The Queensland Art Gallery Board of Trustees (which will hereafter be referred to as the Gallery) is controlled by the State of Queensland which is the ultimate parent. The head office and principal place of business of the Gallery is: Queensland Art Gallery | Gallery of Modern Art Stanley Place South Brisbane QLD 4101 The principal objectives of the Gallery are disclosed at Note A2. For information in relation to these financial statements please call (07) 3840 7303, email [email protected] or visit the Gallery's website. A1-2 COMPLIANCE WITH PRESCRIBED REQUIREMENTS The Gallery has prepared these financial statements in compliance with section 39 of the Financial and Performance Management Standard 2019 and with Queensland Treasury's Minimum Reporting Requirements for reporting periods beginning on or after 1 July 2019. The Gallery is a not-for-profit entity and these general purpose financial statements are prepared on an accrual basis (except for the Statement of Cash Flows which is prepared on a cash basis) in accordance with Australian Accounting Standards and Interpretations applicable to not-for-profit entities. New accounting standards early adopted and/or applied for the first time in these financial statements are outlined in Note F6. A1-3 PRESENTATION DETAILS Currency and rounding Amounts included in the financial statements are in Australian dollars and have been rounded to the nearest $1,000 or, where that amount is $500 or less, to zero unless disclosure of the full amount is specifically required. Comparatives Comparative information reflects the audited 2018-19 financial statements. Current/non-current classification Assets and liabilities are classified as either 'current' or 'non-current' in the Statement of Financial Position and associated notes. Assets are classified as 'current' where their carrying amount is expected to be realised within 12 months after the reporting date. Liabilities are classified as 'current' when they are due to be settled within 12 months after the reporting date, or the Gallery does not have an unconditional right to defer settlement to beyond 12 months after the reporting date. All other assets and liabilities are classified as non-current. A1-4 AUTHORISATION OF FINANCIAL STATEMENTS FOR ISSUE The financial statements are authorised for issue by the Chair of the Queensland Art Gallery Board of Trustees and Director of the Gallery at the date of signing the management certificate.

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10 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

A1-5 BASIS OF MEASUREMENT Historical cost is used as the measurement basis in this financial report except for the following: • the Art Collection and the Library Heritage Collection are measured at fair value • non-current financial assets are measured at fair value • right-of-use assets are measured at cost less any accumulated depreciation and any accumulated impairment losses; and • inventories are measured at the lower of cost and net realisable value. Historical cost Under historical cost, assets are recorded at the amount of cash or cash equivalents paid or the fair value of the consideration given to acquire them at the time of their acquisition. Liabilities are recorded at the amount of proceeds received in exchange for the obligation or at the amounts of cash or cash equivalents expected to be paid to satisfy the liability in the normal course of business. Fair value Information about the Gallery’s Property, plant and equipment valuations and the Gallery's financial instrument valuations are included in Notes C5 and D2. Present value Present value represents the present discounted value of the future net cash inflows that the item is expected to generate (in respect of assets) or the present discounted value of the future net cash outflows expected to settle (in respect of liabilities) in the normal course of business. Net realisable value Net realisable value represents the amount of cash or cash equivalents that could currently be obtained by selling an asset in an orderly disposal. A1-6 THE REPORTING ENTITY The financial statements include all income, expenses, assets, liabilities and equity of the Gallery. Included in these results are the income, expenses, assets, liabilities and equity of the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Foundation, which is a committee of the Queensland Art Gallery Board of Trustees. Additional disclosures pertaining to the operations of the QAGOMA Foundation are provided at Note F3. All material transactions and balances internal to the economic entity have been eliminated. A2 OBJECTIVES OF THE GALLERY The principal objective of the Gallery, as set out in the Queensland Art Gallery Act 1987, is to contribute to the cultural, social and intellectual development of all Queenslanders. The following guiding principles, also set out in the Queensland Art Gallery Act 1987, provide the framework for the delivery of the Gallery's programs and services: • Leadership and excellence should be provided in the visual arts. • There should be responsiveness to the needs of communities in regional and outer metropolitan areas. • Respect for Aboriginal and Torres Strait Islander cultures should be affirmed. • Children and young people should be supported in their appreciation of, and involvement in, the visual arts. • Diverse audiences should be developed. • Capabilities for lifelong learning about the visual arts should be developed. • Opportunities should be developed for international collaboration and for cultural exports, especially to the Asia Pacific region. • Content relevant to Queensland should be promoted and presented. A3 ACCOUNTING ESTIMATES AND JUDGEMENTS The preparation of financial statements necessarily requires the determinations and use of certain critical accounting estimates, assumptions, and management judgements that have the potential to cause a material adjustment to the carrying amounts of assets and liabilities within the next financial year. Such estimates, judgements and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised and in future periods as relevant. Estimates and assumptions that have a potential significant effect are outlined in the following financial statement notes: Property, plant and equipment and related depreciation expense – Note C5 Rental services received below fair value – Note B1-2 Other financial assets: fair value of QIC Cash Enhanced Fund and QIC Long Term Diversified Fund – Note C4

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 11 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

SECTION 2 NOTES ABOUT OUR FINANCIAL PERFORMANCE

B1 REVENUE

B1-1 GRANTS, SPONSORSHIPS AND CONTRIBUTIONS 2020 2019 $’000 $’000 Revenue recognised under AASB 15 Revenue from Contracts with

Customers Sponsorships Sponsorship – cash 441 206 Sponsorship – in-kind 1,669 1,534 2,110 1,740 Revenue recognised under AASB 1058 Income of Not-for-Profit

Entities Grants Queensland Government administered funding from Arts Queensland 36,719 32,986 Other Queensland Government grants 984 1,415 Other grants 665 692 38,368 35,093 Contributions Donations – cash 2,918 3,949 Donations – artwork 2,759 1,124 Bequests – cash 63 142 Fundraising 14 27 5,754 5,242

Total 46,232 42,075

Accounting policy - Sponsorships The Gallery’s sponsorships are entered into through formal sponsorship agreements under which a sponsor provides sponsorship revenue to the Gallery (either in cash or contra goods or services) in return for the right to be recognised or associated with the Gallery (e.g. through signage and publications) and the provision of sponsor benefits (e.g. invitations to events, provision of tickets to exhibitions). Sponsorships are generally provided as a contribution towards the cost of presenting an exhibition. Sponsorship revenue is accounted for under AASB 15 Revenue from Contracts with Customers. As nearly all performance obligations under the sponsorship agreement are provided over time and not at a point in time, revenue is recognised at the time of invoice under the sponsorship agreement. Where the sponsorship is enforceable and contains sufficiently specific performance obligations for the Gallery to transfer goods or services to a third-party, the revenue is initially deferred (as a contract liability) and recognised as or when the performance obligations are satisfied. In 2019-20, all of the Gallery’s sponsorship revenue was recognised on invoice.

Accounting policy - Grants and contributions Grants and contributions are non-reciprocal transactions where the Gallery does not directly give approximately equal value to the grantor or donor. Where the grant or contribution is enforceable and contains sufficiently specific performance obligations for the Gallery to transfer goods or services to a third-party, the transaction is accounted for under AASB 15 Revenue from Contracts with Customers. Revenue is initially deferred (as a contract liability) and recognised as or when the performance obligations are satisfied. The Gallery did not have any grants or contributions accounted for under AASB 15 Revenue from Contracts with Customers in 2019-20 or 2018-19.

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12 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

B1-1 GRANTS, SPONSORSHIPS AND CONTRIBUTIONS (continued)

Otherwise, the grant or contribution is accounted for under AASB 1058 Income of Not-for-Profit Entities, whereby revenue is recognised upon receipt of the funding, except for special purpose capital grants received to construct non-financial assets to be controlled by the Gallery. Special purpose capital grants are recognised as unearned revenue when received, and subsequently recognised progressively as revenue as the Gallery satisfies its obligations under the grant through construction of the asset.

Disclosure - Sponsorships Sponsorship Nature and timing of satisfaction of Revenue recognition policies performance obligations, including significant payment terms Sponsorship: cash Sponsorships are entered into As at 30 June 2020, all revenue was through formal sponsorship recognised on invoice. agreements under which a sponsor provides cash to the Gallery (to allow the Gallery to further its objectives) in exchange for promotional benefit. Sponsorship: in-kind In-kind sponsorships (e.g. provision As at 30 June 2020, all revenue was of goods and services such as recognised as goods and services advertising, accommodation or as received. beverages) are entered into through formal sponsorship agreements under which a sponsor provides in- kind goods and services (to allow the Gallery to further its objectives) in exchange for promotional benefit.

Disclosure - Grants and contributions Specific purpose capital grants or contributions

Grant Nature and timing of satisfaction of Revenue recognition policies performance obligations, including significant payment terms Australian Government grants: Specific purpose grant from National Revenue is recognised as the Department of Communications and Cultural Heritage Account for artworks are acquired. the Arts: Australian Indigenous acquisition of Australian Indigenous artworks artworks (capital). As at 30 June 2020 all revenue has been recognised, as all requirements have been met.

Queensland Government grants

Grant Nature and timing of satisfaction of Revenue recognition policies performance obligations, including significant payment terms Arts Queensland – administered Recurrent grant provided for general Revenue is recognised on receipt. grant Gallery purposes.

Arts Queensland - specific purpose Periodically, specific purpose grants Revenue is recognised when the grants are received from Arts Queensland. grant conditions are met. Grant agreements are enforceable, and sufficiently specific to be able to As at 30 June 2020, $0.331m identify when the grant conditions are remains in unearned revenue in met. respect of the All-Ages Learning Centre concept design and feasibility study. Other Queensland Government Periodically, specific purpose grants Revenue is recognised when grants – specific purpose grants – are received from other Queensland invoiced as per the grant where the agreements were not Government entities where the grant agreement. sufficiently specific to identify when agreement was not sufficiently the grant conditions were met specific to identify when the grant conditions were met.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 13 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

B1-1 GRANTS, SPONSORSHIPS AND CONTRIBUTIONS (continued) Other grants

Grant Nature and timing of satisfaction of Revenue recognition policies performance obligations, including significant payment terms Australian Government grants: Grant provided to support the Revenue is recognised when invoiced Australia Council: Asia Pacific Gallery’s APT exhibition. Grant as per the grant agreement. Triennial (APT) agreement was not sufficiently specific to identify when the grant conditions were met. Australian Government grants: Grant provided to support the As at 30 June 2020, all the revenue Department of Foreign Affairs and Gallery’s Chiharu Shiota exhibition, remains in unearned revenue Trade/Australia–Japan Foundation which was postponed due to pending clarification in relation to COVID-19. The contract includes a whether the grant is to be repaid or clause requiring repayment if the transferred to the later exhibition grant is not used for its specified date. purpose.

Private sector grants: Gordon Darling Grant provided to support the Revenue is recognised when invoiced Foundation Unfinished Business: Art of Gordon as per the grant agreement. Bennett publication. Grant agreement was not sufficiently specific to identify when the grant conditions were met. Private sector grant: Copyright Grant provided to support the Revenue is recognised when invoiced Agency Cultural Fund Gallery’s Open Studio program. Grant as per the grant agreement. agreement was not sufficiently specific to identify when the grant conditions were met.

Contributions

Contribution Nature and timing of satisfaction of Revenue recognition policies performance obligations, including significant payment terms Donation, bequests, and fundraising: Donations, bequests and fundraising Revenue is recognised on receipt. cash received in 2019-20 to enable the Gallery to further its objectives. No donations or bequests were received in 2019-20 for the acquisition of specific non-financial assets.

Donations: in-kind (e.g. donated Gifts of artwork received in 2019-20. Revenue is recognised at fair-value at artwork) the time of acceptance by the Gallery.

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14 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

B1-2 RENT RECEIVED BELOW FAIR VALUE

Accounting policy - Rent received below fair value 2020 2019

$’000 $’000 Contribution of services are recognised only if the Rent of buildings 10,874 10,941 services would have been purchased if they had not been donated and their fair value can be reliably Total 10,874 10,941 measured. Where this is the case, an equal amount is recognised as revenue and an expense. Disclosure - Rent received below fair value Rent received below fair value consists of the market value rent on the premises occupied by the Gallery and provided by Arts Queensland for nil consideration. The value is based on market appraisal via the State Valuation Service. This is recognised as both an income and expense. These services would otherwise have been purchased by the Gallery and can be reliably measured.

B1-3 USER CHARGES AND FEES

2020 2019

$’000 $’000 Revenue from contracts with

customers: Admission revenues 1,982 624 Retail revenue 1,931 1,833 Food and beverage (F&B) revenue 3,243 4,157 Venue hire 167 259 Members revenue 229 267 Function revenue 176 191 Other user charge revenue 78 89 Total 7,806 7,420

Accounting policy - User charges and fees Revenue from contracts with customers is generally recognised when the Gallery transfers control over goods or services to the customer. In a small number of cases where the revenue is received ahead of the supply of goods or services, the amount is immaterial, and it would be onerous to do otherwise, the Gallery has elected to bring revenue to account on receipt. The following table provides information about the nature and timing of the satisfaction of performance obligations, significant payment terms, and revenue recognition for the Gallery’s user charge revenue from contracts with customers.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 15 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

B1-3 USER CHARGES AND FEES (continued)

Disclosure - User charges and fees User Nature and timing of satisfaction of Revenue recognition policies charge / performance obligations, including fee significant payment terms Admission Admission revenues are received for ticketed Approximately 95% of admission revenue is received at the revenues exhibitions and cinema programs. time the service is delivered (e.g. ticket is purchased at the entrance to the exhibition), and hence revenue is recognised at the time of sale. Approximately 5% of tickets will be purchased in advance (e.g. through QTIX). If tickets purchased in advance are for a specific date (e.g. an Up Late program), revenue is recognised on that date. Otherwise, revenue is recognised at the date of sale. The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for admission revenue. Retail Sale of retail products at the Gallery’s stores Approximately 96% of retail revenue is received revenue or online. simultaneously with the delivery of goods (sales are made onsite), and hence revenue is recognised on the day of sale. For the remaining 4% of sales, the purchase is made online, and hence the revenue is received prior to the delivery of the goods. As the revenue is immaterial, and as orders are fulfilled promptly, revenue is recognised on the date of sale. The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for retail revenue. F&B Sale of food and beverages at the Gallery’s Nearly all (over 99%) of revenue received on the day the Revenue: outlets (GOMA Bistro, GOMA Restaurant, service is provided. Revenue is recognised at the time of Outlets and QAG Cafe). sale, as services are delivered. For services paid in advance of delivery (e.g. gift vouchers), revenue is recognised as the services are delivered. The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for F&B outlet revenue. F&B The Gallery provides restaurant and function All revenue is brought to account on the day the catering is Revenue: catering in-house. provided. Catering The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for F&B catering revenue. Venue hire Hire of Gallery venue spaces. All revenue is brought to account on the date of venue hire. The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for venue hire revenue. Members Gallery membership can be acquired by Under AASB 15 Revenue from Contracts with Customers, revenue individuals or family groups for periods of one revenue is deferred until the Gallery satisfies the associated to three years with benefits provided in return performance obligations (that is, supplies the membership (e.g. discounts on admission to ticketed benefits). Given the nature of membership benefits (very exhibitions, discount on food, beverages and large numbers of small benefits; benefits mostly unrestricted retail purchases, invitations to exclusive in quantity and timing), the Gallery has determined that members events, and free Gallery performance obligations will be assessed as satisfied on an publications). even basis over the duration of the membership period. Consequently, revenue is recognised over the membership period. In prior years, the Gallery recognised revenue as the membership payment was received. Note F6-1 details the impact of this change on transition.

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16 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

B1-4 INTEREST AND DISTRIBUTIONS FROM MANAGED FUNDS

2020 2019 Disclosure – Other investment revenue – $’000 $’000 distributions Other investment revenue - distributions 773 1,678 Distributions are issued by the QIC Cash Enhanced Interest 217 289 Fund and the QIC Long Term Diversified Fund (see Note C4). Distributions are reinvested in the fund. Total 990 1,967

B1-5 OTHER REVENUE

2020 2019 Disclosure – Other investment revenue – franking

$’000 $’000 credits Other investment revenue – franking Consists of franking credits attached to distributions 60 154 credits from the QIC Long Term Diversified Fund. These amounts are refundable by the Australian Taxation Recovery from catering clients of 358 512 Office. thirdparty event costs Disclosure – Recovery from catering clients of Insurance recoveries from the third-party event costs Queensland Government Insurance 1 - Fund (QGIF) In order to streamline arrangements for clients, the Recovery of exhibition touring costs from Gallery pays agreed third-party event costs (e.g. audio- 132 4 other galleries visual screening) and recovers payment from the client. Revenue is recognised when the event is held. Miscellaneous 67 243 Disclosure – Insurance recoveries Total 618 913 As a result of the closure of the Gallery due to COVID-19, the Gallery incurred losses in respect of the early closure of the Water exhibition and other commercial services (e.g. closure of retail stores and food and beverage operations). The Gallery holds business interruption insurance with QGIF for these losses. As per Queensland Treasury requirements, the Gallery is only able to recognise QGIF insurance recoveries when it is almost certain that they will be received. As no confirmation has been received from QGIF that the claims ($1.521m) have been accepted, no insurance revenue has been recognised at 30 June 2020 for these losses. During 2019-20, the Gallery received an insurance recovery of $997 in relation to a travel claim.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 17 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

B2 GAINS ON DISPOSAL AND RE-MEASUREMENT OF ASSETS

Accounting policy - Unrealised gains on investments 2020 2019 held at fair value $’000 $’000 Gains arising from changes in the fair value of investments Unrealised gains on investments held - 853 are included in the operating result in the period in which at fair value they arise. Net gains from disposal of plant and 2 3 Refer to Note C4 and C5-1 for further information on the equipment Gallery’s investments. Total 2 856

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18 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

B3 EXPENSES

B3-1 EMPLOYEE EXPENSES Accounting policy - Long service leave levy 2020 2019 Employee benefits $’000 $’000 Under the Queensland Government’s Long Service Salaries and wages* 23,637 22,509 Leave Scheme, a levy of 2.35% (2.1% in 2018-19) is payable by the Gallery to cover the cost of employees' Employer superannuation 2,846 2,688 long service leave. The levies are expensed in the contributions period in which they accrue. Amounts paid to employees Annual leave expenses 1,782 1,806 for long service leave are claimed from the scheme Long service leave levy 566 468 quarterly in arrears. Employee Related Expenses Accounting policy – Employer superannuation Payroll tax 1,394 1,275 contributions Workers’ compensation premium 235 200 Fringe benefits tax 18 27 Post-employment benefits for superannuation are provided through defined contribution (accumulation) Staff recruitment and training 52 74 plans or the Queensland Government’s QSuper defined Other employee related expenses 41 43 benefit plan as determined by the employee’s conditions Total 30,571 29,093 of employment. Defined Contribution Plans - Contributions are made to Number of full-time equivalents eligible complying superannuation funds based on the 269 296 (FTEs) (30 June) rates specified in the relevant EBA or other conditions of employment. Contributions are expensed when they are * Wages and salaries includes $0.430m of $1,250 one-off, paid or become payable following completion of the pro-rata payments for 310 full-time equivalent employees employee’s service each pay period. (announced in September 2019). Defined Benefit Plan - The liability for defined benefits is held on a whole-of-government basis and reported in Accounting policy – Salaries and wages those financial statements pursuant to AASB 1049 Salaries and wages due but unpaid at reporting date are Whole of Government and General Government Sector recognised as employee expenses and in the Statement of Financial Reporting. The amount of contributions for Financial Position at the current salary rates. As the Gallery defined benefit plan obligations is based upon the rates expects such liabilities to be wholly settled within 12 months determined on the advice of the State Actuary. of reporting date, the liabilities are recognised at undiscounted amounts. Contributions are paid by the Gallery at the specified rate following completion of the employee’s service each Accounting policy - Sick leave pay period. The Gallery’s obligations are limited to those contributions paid. Prior history indicates that, on average, sick leave taken each reporting period is less than the entitlement accrued. This is Accounting policy – Payroll tax expected to continue in future periods. Accordingly, it is unlikely that existing accumulated entitlements will be used Payroll tax is payable to the Office of State Revenue at by employees and no liability for unused sick leave 4.95% of taxable wages (4.75% in 2018-19). Payroll tax entitlements is recognised. As sick leave is non-vesting, an is expensed each pay period, and is accrued when expense is recognised for this leave as it is taken. salaries and wages are due but unpaid. Accounting policy - Annual leave expenses Disclosure – Key management personnel The Gallery holds annual leave balances at undiscounted Key management personnel and remuneration values as the difference between the undiscounted and disclosures are detailed in Note F1. discounted values is immaterial.

Page 18 of 48

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 19 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

B3-2 SUPPLIES AND SERVICES 2020 2019 Accounting policy – Distinction between Supplies and $’000 $’000 services and Grants and subsidies Advertising, promotion and public 2,274 1,980 For a transaction to be classified as supplies and services, the relations value of goods or services received by the Gallery must be of COGS on food & beverage sales 1,010 1,182 approximately equal value to the value of the consideration COGS on retail sales 1,195 1,060 exchanged for those goods or services. Where this is not the substance of the arrangement, the transaction is classified in Contractors and consultants 2,554 2,324 expenses under grants and subsidies. Lease expenses 126 - Accounting policy - Lease expenses Other exhibition related expenses 992 - Lease expenses include lease rentals for short-term leases, Postage, freight and storage 658 1,297 leases of low value assets and variable lease payments which Property equipment and maintenance 3,814 4,238 are expensed on payment in accordance with AASB 16 costs Leases which took effect from 2019-20. The Gallery applied Stationery, printing, books and the modified retrospective transition method and has not 627 800 publications restated comparative information for 2018-19. Telecommunications and access fees 264 337 Refer to Note C9 for a breakdown of lease expenses and other lease disclosures. Travel expenses 410 741 Other supplies and services 2,488 1,894 Total 16,412 15,853

B3-3 DEPRECIATION AND

AMORTISATION

Refer to Note C-5 for accounting policy and disclosures in Depreciation – property, plant and 411 552 relation to Property, plant and equipment. equipment

Depreciation - right-of-use (leased) - Refer to Note C-9 for accounting policy and disclosures in 163 assets relation to AASB 16 Leases which took effect from 2019-20. Total 574 552 The Gallery applied the modified retrospective transition method and has not restated comparative information for 2018- 19.

B3-4 LOSS ON DISPOSAL AND RE-MEASUREMENT OF ASSETS

Revaluation decrement on investment In 2019-20, the Gallery incurred an unrealised loss in the fair 1,605 - of financial assets held at fair value value of investments, primarily following share market falls Loss on sale or disposal - plant & after COVID-19. Refer to Note B2 in relation to unrealised 15 24 equipment gains received in 2018-19. Total 1,620 24 Refer to Note C4 for further information on the Gallery’s investments.

B3-5 OTHER EXPENSES Disclosure – Audit fees - external Audit fees – external 50 49 Total Audit fees quoted by the Queensland Audit Office relating Bank and investment fees 239 226 to the 2019-20 financial statements are $49,500 (2018-19: $49,000). Insurance premiums – QGIF 170 156 Insurance premiums – other 22 29 Trustee fees and reimbursements 29 28 Other 78 49 Total 588 537

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20 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

SECTION 3 NOTES ABOUT OUR FINANCIAL POSITION

C1 CASH AND CASH EQUIVALENTS 2020 2019 Accounting policy – Cash and cash equivalents $’000 $’000 Cash at QTC – QTC Capital For the purposes of the Statement of Financial Position and the Statement of Cash Flows, cash and cash equivalents Guaranteed Cash Fund and foreign 7,950 9,193 currency reserves include deposits at call with the Queensland Treasury Corporation (QTC), and deposits at bank, including all cash Cash at bank and on hold 2,987 1,339 and cheques receipted but not banked at 30 June. Imprest accounts 26 28

Total 10,963 10,560

C2 RECEIVABLES Accounting policy – Receivables

Trade debtors 12 189 Trade debtors are recognised at the amounts due at the time GST receivable 83 260 of sale or service delivery i.e. the agreed purchase/contract price. Settlement of these amounts is required within 30 days GST payable (5) (64) from invoice date. Other receivables are recognised at their Franking credits receivable from the assessed values and are typically received within 90 days. No 215 154 Australian Tax Office interest is charged, and no security is obtained on receivables. Long service leave reimbursements 45 46 from Queensland Treasury Disclosure - Credit Risk Exposure of Receivables Other 7 62 The maximum exposure to credit risk at balance date for receivables is the gross carrying amount of those assets. No Total 357 647 collateral is held as security. Based on historical experience, the Gallery’s risk in relation to non-payment of receivables is minimal.

C3 INVENTORIES Accounting policy – Inventories

Retail 683 633 Retail inventories are held for sale through the Gallery stores. Publication 126 55 Publication inventories are held for sale through the Gallery Beverage 34 37 stores or commercial distributors. Total 843 725 Beverage inventories are held for sale in the Gallery’s cafes and restaurants. All food is expensed at the time of purchase.

Inventories are valued at the lower of cost or net realisable value. Net realisable value is determined on the basis of the Gallery's normal selling pattern.

Cost is assigned on a weighted average basis. Immaterial expenditure incurred in transporting inventory to the Gallery is expensed as incurred.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 21 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

C4 OTHER FINANCIAL ASSETS 2020 2019 Accounting policy – Other financial assets $’000 $’000 QIC investments are valued at the unit prices provided by QIC Non-Current as at 30 June each year. Changes to market value are At fair value recognised as income or expenditure in determining the net result for the period. QIC Long Term Diversified Fund 37,390 37,644 (Previously named as QIC Growth Fund) Included in Other financial assets are net assets of the QIC Cash Enhanced Fund 3,192 3,399 QAGOMA Foundation that must be preserved based on the conditions imposed at the time of donation or bequest. Refer 40,582 41,043 Total to Note F3-3 for further information. As these invested funds are preserved, the investments are classified as non-current financial assets.

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22 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

C5 PROPERTY, PLANT AND EQUIPMENT AND RELATED DEPRECIATION EXPENSE C5-1 CLOSING BALANCES AND RECONCILIATION OF CARRYING AMOUNT

Library Art Plant and Work in Heritage Total Collection Equipment Progress Collection

2020 2020 2020 2020 2020

$000 $000 $000 $000 $000 Gross 553,108 397 8,707 2,062 564,274 Less: Accumulated Depreciation - - (6,531) - (6,531) Carrying amount at 30 June 2020 553,108 397 2,176 2,062 557,743

Represented by movements in carrying

amount: Carrying amount at 1 July 2019 507,018 397 2,423 2,130 511,968 Acquisitions 2,058 - 112 - 2,170 Transfer between asset classes - - 68 (68) - Donations received 2,759 - - - 2,759 Disposals - - (16) - (16) Gains/(losses) recognised in other

comprehensive income:

Net revaluation increments 41,273 - - - 41,273

Depreciation - - (411) - (411) Carrying amount at 30 June 2020 553,108 397 2,176 2,062 557,743

Library Art Plant and Work in Heritage Total Collection Equipment Progress Collection 2019 2019 2019 2019 2019

$000 $000 $000 $000 $000 Gross 507,018 397 8,783 2,130 518,328 Less: Accumulated Depreciation - - (6,360) - (6,360) Carrying amount at 30 June 2019 507,018 397 2,423 2,130 511,968

Represented by movements in carrying

amount: Carrying amount at 1 July 2018 452,311 396 2,891 3,545 459,143 Acquisitions 5,749 1 40 493 6,283 Transfer between asset classes 1,822 - 86 (1,908) - Donations received 1,124 - - - 1,124 Disposals - - (42) - (42) Gains/(losses) recognised in other

comprehensive income: Net revaluation increments 46,012 - - - 46,012 Depreciation - - (552) - (552) Carrying amount at 30 June 2019 507,018 397 2,423 2,130 511,968

Page 22 of 48

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 23 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

C5-2 RECOGNITION AND ACQUISITION Basis of capitalisation and recognition thresholds Items of property, plant and equipment with a historical cost or other value equal to or exceeding the following thresholds in the year of acquisition are reported as property, plant and equipment in the following classes: Art Collection $1 Library Heritage Collection $1 Plant and equipment $5,000 Items with a lesser value are expensed in the year of acquisition. Expenditure on property, plant and equipment is capitalised where it is probable that the expenditure will produce future service potential for the Gallery. Subsequent expenditure is only added to an asset’s carrying amount if it increases the service potential or useful life of that asset. Maintenance expenditure that merely restores original service potential (lost through ordinary wear and tear) is expensed. Accounting policy – Cost of acquisition Historical cost is used for the initial recording of all property, plant and equipment acquisitions. Historical cost is determined as the value given as consideration and costs incidental to the acquisition (such as architects' fees and engineering design fees), plus all costs incurred in getting the assets ready for use. Assets acquired at no cost or for nominal consideration are recognised at their fair value at date of acquisition. C5-3 MEASUREMENT USING HISTORICAL COST Accounting policy Plant and equipment is measured at historical cost less any accumulated depreciation in accordance with the Queensland Treasury’s Non-Current Asset Policies for the Queensland Public Sector. The net carrying amounts are not materially different from their fair value. C5-4 MEASUREMENT USING FAIR VALUE Accounting policy Under the Queensland Treasury’s Non-Current Asset Policies for the Queensland Public Sector, all heritage and cultural assets are required to be carried at fair value. These assets are reported at their revalued amounts, being the fair value at the date of valuation. Art Collection The valuation of the Art Collection is conducted in accordance with the Gallery’s Art Collection Revaluation Policy which has been approved by the Board and which has been prepared in line with AASB 116 Property, Plant and Equipment, AASB 13 Fair Value Measurement and Queensland Treasury’s Non-Current Asset Policies for the Queensland Public Sector. The revaluation process is managed by the Deputy Director, Collection and Exhibitions, with revaluations approved by the Director, and then endorsed by the Board. The Gallery’s Art Collection is comprised of over 19,000 works which makes it impractical to revalue each work, every year. The Art Collection is materially influenced by the highest valued works while lower value works (particularly those below $50,000) have not historically resulted in large movements and any changes in value have not had a material impact on the overall value of the Art Collection. Consequently, the Gallery has adopted a systematic, risk-based approach to the revaluation with:

• top 10 works by value revalued every three years, with independent valuers used to support final Gallery valuations • works with a valuation above $500,000 revalued every three years generally by internal experts, although assistance is obtained from external experts at the Gallery’s discretion • works with a valuation between $50,000 and up to $500,000 revalued every three years by internal experts, although assistance is obtained from external experts at the Gallery’s discretion, and • works below $50,000 reviewed every ten years. In addition, works with a valuation above $500,000 are reviewed every year for movements in currency exchange rates which would have affected valuations. As part of the Art Collection Revaluation Policy, the Gallery has retained a provision to revalue the complete Art Collection if it is believes that there has been an underlying movement in art works not revalued in the current year of + or - 10% of the overall valuation.

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24 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

C5-4 MEASUREMENT USING FAIR VALUE (continued) In determining fair value, the Gallery uses a market valuation approach which takes into account: • publicly available sale prices of comparable works by the same or other artists (e.g. auction records) • the price paid for the item (noting that the fair value over time for some works could be significantly less than the purchase price and conversely, could be significantly more) • sales information provided by artist agents (noting that they should be treated with caution if they cannot be independently verified) • current conditions in the art market • physical condition and attributes of the artwork, and • valuation advice and opinions provided by experts. Considerable judgement is required in determining fair value, as the fair values of individual works may rise and fall depending on a variety of broad market factors such as overall economic conditions, trends in the art market, or the perceived importance of the artist, alongside the intrinsic elements of the object in question (size, date, subject matter, history, provenance, relevance or impact, rarity, etc.). For some artworks, and particularly for those with high values, there may be few or no comparable works that exist or have come to auction to allow comparison. Any revaluation increment arising on the revaluation of Art Collection assets is credited to the asset revaluation surplus, except to the extent it reverses a revaluation decrement previously recognised as an expense. A decrease in the carrying amount on revaluation is charged as an expense, to the extent it exceeds the balance, if any, in the asset revaluation surplus refer to Note C10-1. Heritage Library Collection As the value of the Heritage Library Collection is immaterial to the overall value of Property, plant and equipment (less than 0.08%) the Gallery has elected not to revalue the Heritage Library Collection in line with Queensland Treasury’s Non-Current Asset Policies for the Queensland Public Sector. C5-5 DEPRECIATION EXPENSE Accounting policy Property, plant and equipment is depreciated on a straight-line basis so as to allocate the net cost or revalued amount of each asset, less its estimated residual value, progressively over its estimated useful life to the Gallery. The Art Collection and the Library Heritage Collection are not depreciated due to the heritage and cultural nature of the assets. Assets under construction (work-in-progress) are not depreciated until construction is complete and the asset is put to use or is ready for its intended use, whichever is the earlier. These assets are then reclassified to the relevant class within property, plant and equipment. Key Judgement: The following depreciation rates are used for Property, plant and equipment: Class Rate % Computers and servers 20-30 Motor vehicles 25 Leasehold improvements 6-10 Other 10-20 C5-6 IMPAIRMENT Accounting policy Indicators of Impairment and Determining Recoverable Amounts All non-current physical assets are assessed for indicators of impairment on an ongoing basis, or where the asset is measured at fair value, for indicators of a change in fair value/service potential since the last valuation was completed. Where indicators of a material change in fair value or service potential since the last valuation arise, the asset is revalued at the reporting date under AASB 13 Fair Value Measurement. If an indicator of possible impairment exists, the Gallery determines the asset’s recoverable amount under AASB 136 Impairment of Assets. Recoverable amount is equal to the higher of the fair value less costs of disposal and the asset’s value in use.

Page 24 of 48

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 25 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

C5-6 IMPAIRMENT (continued) Where the carrying amount of the asset exceeds the recoverable amount, the impairment loss is accounted for as follows: • for assets measured at cost, an impairment loss is recognised immediately in the statement of comprehensive income; • for assets measured at fair value, the impairment loss is treated as a revaluation decrease and offset against the revaluation surplus of the relevant class to the extent available. Where no asset revaluation surplus is available in respect of the class of asset, the loss is expensed in the statement of comprehensive income as a revaluation decrement. Where an impairment loss subsequently reverses, the carrying amount of the asset is increased to the revised estimate of its recoverable amount, but so that the increased carrying amount does not exceed the carrying amount that would have been determined had no impairment loss been recognised for the asset in prior years. For assets measured at cost, impairment losses are reversed through income. For assets measured at fair value, to the extent the original decrease was expensed through the statement of comprehensive income, the reversal is recognised in income, otherwise the reversal is treated as a revaluation increase for the class of asset through asset revaluation surplus. When an asset is revalued using either a market or income valuation approach, any accumulated impairment losses at that date are eliminated against the gross amount of the asset prior to restating for the revaluation.

C6 PAYABLES

2020 2019 Accounting policy – Payables

$’000 $’000 Trade creditors are recognised upon receipt of the goods or Trade creditors 295 514 services ordered and are measured at the nominal amount i.e. Payroll tax payable 475 148 agreed purchase/contract price, gross of applicable trade and other discounts. Amounts owing are unsecured. Artwork accruals 1,513 3,119 Other accruals 1,578 530 Disclosure – Accruals Other payables 44 94 Artwork accruals are works that have been committed to the Art Collection but payment is yet to be finalised. Total 3,905 4,405 Other accruals are made up of purchase orders and other expenses incurred but not invoiced or paid in the period to

which they relate.

C7 ACCRUED EMPLOYEE BENEFITS

Accounting policy – Accrued employee benefits Accrued Employee Benefits Current The Gallery holds annual leave balances at undiscounted values as the difference between the undiscounted and Salaries and wages outstanding 124 776 discounted values are immaterial. Employee superannuation 17 86 contributions payable Parental leave payable 5 3 Long service leave levy payable 142 135 Annual leave payable 2,081 2,026 Total 2,369 3,026

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26 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

C8 OTHER LIABILITIES

Disclosure – Contract liabilities 2020 2019

$’000 $’000 Contract liabilities arise from contracts with customers under AASB 15 Revenue from Contracts with Customers. Contract liabilities Of the contract liability balance at 1 July 2019 of $0.260m Deposits held for venue hire and 171 260 (venue hire and catering), $0.226m was recognised as catering revenue in 2019-20. Membership revenue paid in advance 265 - Of the contract liability balance at 30 June 2020, all of the Unearned revenue balance is expected to be recognised as revenue in 2020-21 as performance obligations are performed. Other Queensland Government grants: Arts Queensland: All-Ages There were no significant changes in contract liabilities during Learning Centre concept design and 331 - the year. feasibility study Refer Note B1-1 and B1-3 for further information in relation to treatment of contracts with customers under AASB 15 Sponsorship revenue for an exhibition Revenue from Contracts with Customers. 30 - postponed due to COVID-19 Disclosure – Unearned revenue Other Queensland Government Unearned revenue arises from transactions that are not grants: Education Queensland: contracts with customers under AASB 15 Revenue from 9 - Creative Generation - prepayment of Contracts with Customers. grant for 2020-21 The unearned revenue in respect to the Arts Queensland grant is the unexpended portion of one enforceable and sufficiently Other liabilities specific grant for the All Ages Learning Centre concept design and feasibility study. Other liabilities - other 2 1 Refer Note B1-1 for further information in relation to the Total 808 261 treatment of Grants and contributions under AASB 1058 Income of Not-for-Profit Entities.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 27 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

C9 RIGHT-TO-USE ASSETS AND LEASE LIABILITIES A new accounting standard AASB 16 Leases came into effect in 2019-20, resulting in changes to the Gallery’s accounting for leases for which it is lessee. The transitional impact of the new standard is disclosed in Note F6-4. C9-1 LEASES AS LESSEE Right-of-use assets Buildings Plant and Total

equipment $'000 $'000 $'000 2019-20 Opening balance at 1 July 114 162 276 Additions - 27 27 Depreciation charge (98) (65) (163) Closing balance at 30 June 16 124 140

Lease liabilities 2020 2019 $’000 $’000 Current Lease liabilities 67 - Non-current Lease liabilities 61 - Total 128 -

Accounting policies – Leases as lessee As per Queensland Treasury’s Financial Reporting Requirements the Gallery has not recognised the right-of-use assets and lease liabilities arising from short-term leases (less than one year) and leases of low value assets (expected to cost less than $10,000 when new). Lease payments from these assets are recognised as expenses on a straight-line basis over the lease term. Where a contract contains both a lease and non-lease components (such as asset maintenance services) the Gallery has elected not to separate the lease and non-lease components and instead accounts for them as a single lease component. When measuring the lease liability, the Gallery uses its incremental borrowing rate as the discount rate (as the interest rates implicit in the leases cannot be readily determined). To determine its incremental borrowing rate, the Gallery uses loan rates provided by Queensland Treasury Corporation that correspond to the commencement date and term of the lease. Disclosures – Leases as lessee Details of leasing arrangements as lessee Plant and equipment leases The Gallery occasionally enters into leases for plant and equipment including photographic, photocopiers, and cinema equipment. Lease terms are generally five years or less. Some leases have renewal or extension options. The options are not included in the right-of-use asset or lease liability unless the Gallery is reasonably certain the lease will be renewed. The photocopier lease has variable lease payments that depend on the volume of usage. The usage-based payments are recognised as lease expenses in Note B3-2 when incurred. They are not expected to vary materially from year to year. Offsite Storage facilities The Gallery currently holds a lease for Unit A of an offsite storage facility. In May 2020 approval was requested for a modification to add Unit B to the current lease. In June 2020, the Gallery became reasonably certain that it would terminate the current lease on 31 August 2020 and start a new lease for both Unit A and Unit B from 1 September 2020. The new lease and surrender of the current lease was signed on 2 July 2020. The right-of-use asset value and the lease liability have been adjusted to reflect the new termination date of 31 August 2020.

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28 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

C9-1 LEASES AS LESSEE (continued) Motor vehicle lease with QFleet The Gallery has one motor vehicle lease with QFleet. As QFleet has substitution rights over the vehicle, this vehicle is categorised as a procurement of services rather than as a lease. The service expenses are included in Note B3-2. Amounts recognised in profit or loss 2020 2019 $’000 $’000 Interest expense on lease liabilities 1 - Breakdown of ‘Lease expenses’ included in Note B3-2 Expenses relating to short-term leases 69 - Expenses relating to leases of low value assets 5 - Expenses relating to variable lease payments 52 -

Total cash outflow for leases 127 -

2018-19 disclosures under AASB 117

Operating leases 2020 2019 $’000 $’000 No later than one year 8 146 Later than one year and not later than five years 1 139

Total 9 285

C10 EQUITY C10-1 ASSET REVALUATION SURPLUS BY ASSET CLASS Accounting policy The asset revaluation surplus represents the net effect of upwards and downwards revaluations of assets to fair value.

Library Heritage Art Collection Total Collection 2020 2019 2020 2019 2020 2019

$’000 $’000 $’000 $’000 $’000 $’000 Balance 1 July 322,496 276,484 97 97 322,593 276,581 Revaluation increment 41,273 46,012 - - 41,273 46,012

Balance 30 June 363,769 322,496 97 97 363,866 322,593

Page 28 of 48

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 29 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

SECTION 4 NOTES ABOUT RISKS AND OTHER ACCOUNTING UNCERTAINTIES

D1 FAIR VALUE MEASUREMENT D1-1 ACCOUNTING POLICY AND INPUTS FOR FAIR VALUE What is fair value? Fair value is the price that would be received to sell an asset or paid to transfer a liability in an orderly transaction between market participants at the measurement date under current market conditions (i.e. an exit price) regardless of whether that price is directly derived from observable inputs or estimated using another valuation technique. Observable inputs are publicly available data that are relevant to the characteristics of the assets/liabilities being valued. Unobservable inputs are data, assumptions and judgements that are not available publicly, but are relevant to the characteristics of the assets/liabilities being valued. Significant unobservable inputs used by the Gallery include valuation of the Art Collection and valuation of managed funds held with QIC. Unobservable inputs are used to the extent that sufficient relevant and reliable observable inputs are not available for similar assets/liabilities. A fair value measurement of a non-financial asset takes into account a market participant’s ability to generate economic benefits by using the asset in its highest and best use. Fair value measurement hierarchy Details of individual assets and liabilities measured under each category of fair value are set out in the tables at Note D1-2. All assets and liabilities of the Gallery for which fair value is measured or disclosed in the financial statements are categorised within the following hierarchy, based on the data and assumptions used in the most recent specific appraisals:

Level 1: Represents fair value measurements that reflect unadjusted quoted market prices in active markets for identical assets and liabilities. Level 2: Represents fair value measurements that are substantially derived from inputs (other than quoted prices that are included in Level 1) that are observable, either directly or indirectly. Level 3: Represents fair value measurements that are substantially derived from unobservable inputs.

None of the Gallery’s valuations of assets or liabilities are eligible for categorisation into level 1 of the fair value hierarchy. There were no transfers of assets between fair value hierarchy levels during the period. The Gallery’s financial investments with QIC are categorised at Level 2 and the Gallery’s Art Collection and Library Heritage Collection are categorised at Level 3. More specific fair value information about the Art Collection and Library Heritage Collections is included in Note C5-4. D1-2 CATEGORISATION OF ASSETS AND LIABILITIES MEASURED AT FAIR VALUE The following investments are held at their fair value:

Total Carrying Level 1 Level 2 Level 3 Amount

2020 2019 2020 2019 2020 2019 2020 2019 $'000 $'000 $'000 $'000 $'000 $'000 $'000 $'000 Art Collection - - - - 553,108 507,018 553,108 507,018 Library Heritage Collection - - - - 397 397 397 397

Investments in QIC - - 40,582 41,043 - - 40,582 41,043

Total - - 40,582 41,043 553,505 507,415 594,087 548,458

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30 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

D2 FINANCIAL RISK DISCLOSURES Financial assets and financial liabilities are recognised in the statement of financial position when the department becomes party to the contractual provisions of the financial instrument.The Gallery has the following categories of financial assets and financial liabilities.

Financial assets Note 2020 2019 $’000 $’000 Cash and cash equivalents C1 10,963 10,560 Financial assets at amortised cost: Receivables C2 357 647 Equity investments at fair value through QIC QIC Cash Enhanced Fund C4 3,192 3,399 QIC Long Term Diversified Fund C4 37,390 37,644

Total financial assets 51,902 52,250

Financial liabilities 2020 2019 $’000 $’000 Financial liabilities at amortised cost: Payables C6 3,905 4,405 Lease liabilities C9-1 128 -

Total financial liabilities as amortised cost 4,033 4,405

No financial assets and liabilities have been offset and presented net in the Statement of Financial Position. Credit risk Credit risk (the risk that the Gallery may incur a financial loss as a result of a counterparty to a financial instrument failing to discharge their obligation) exists in relation to cash and cash equivalents, non-current financial assets, and receivables. Credit risks in relation to cash and cash equivalents and non-current financial assets are minimal as deposits are held by the QTC, the QIC, and the Commonwealth Bank. Risks are further minimised by ensuring all investments are in accordance with the Gallery’s Investment Policy, which is consistent with the Queensland Government’s Statutory Bodies Financial Arrangements Act 1982 (the SBFAA). Based on historical experience, the Gallery’s risk in relation to non-payment of receivables is minimal. Currency risk Currency risk (the risk of loss from fluctuating foreign exchange rates) exists primarily to the extent that contracts, mainly exhibition contracts and art acquisition contracts, are in foreign currency. The Gallery minimises this risk by negotiating contracts in Australian dollars and by keeping payment terms short where possible. Where this is not possible and the amount is material, the Gallery may reduce currency risks by holding foreign currency when approved by the Treasurer under the SBFAA. Currently, the Gallery is holding USD $1.100m (equivalent to AUD $1.575m) and EUR €0.235m (equivalent to AUD $0.383m). Currency risks from financial investments is minimal as under the SBFAA the Gallery must hold all investments in Australian dollars. Indirectly, the Gallery is exposed to currency risk to the extent that QIC investments are held in foreign currency. This risk is managed by QIC principally through the use of currency hedging. Currency movements can impact the valuation of major international artworks. As these artworks are not held for trading, movements in valuations do not impact the Gallery’s cash flows and do not have an impact on the Gallery’s ability to meet its objectives.

Page 30 of 48

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 31 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

D3 COMMITMENTS 2020 2019 $’000 $’000 Forward exhibition contracts Not later than one year 2,295 793 Total 2,295 793

D4 CONTINGENCIES Litigation in progress The Gallery does not have any litigation before the courts. Contingent assets As at 30 June 2020, the only contingent asset relates to an insurance claim of $1.521m with the Queensland Government Insurance Fund for business interruption in respect of the Water exhibition, Retail and F&B related to COVID-19. D5 EVENTS OCCURRING AFTER THE BALANCE DATE No post balance date events have been identified. D6 FUTURE IMPACT OF ACCOUNTING STANDARDS NOT YET EFFECTIVE All Australian accounting standards and interpretations with future effective dates are either not applicable to the Gallery’s activities or have no material impact. D7 SIGNIFICANT FINANCIAL IMPACTS FROM COVID-19 PANDEMIC The following significant transactions were recognised by the Gallery during the 2019-20 financial year in response to the COVID-19 pandemic. Operating Statement $’000 Significant expense items arising from COVID-19 Reduction in expenses due to deferment of exhibitions and programs (1,059) Reduction in F&B expenses attributable to COVID-19 (321) Reduction in Retail expenses attributable to COVID-19 (192) Reduction in general supplies and services attributable to COVID-19 (120) Unrealised losses on investments attributable to COVID-19 impacts 1,534 (158) Significant revenue items arising from COVID-19 Reduction in F&B revenue attributable to COVID-19 (1,011) Reduction in admissions revenue for Water due to early closure of the (978) exhibition Reduction in gains on investment attributable to COVID-19 impacts (836) Reduction in investment distributions attributable to COVID-19 impacts (400) Reduction in Retail revenue attributable to COVID-19 (340) Reduction in revenue attributable to other exhibitions and programs (224) Reduction in QAGOMA memberships and function revenue (50) Payroll tax relief provided by the Queensland Government 265 (3,574) Balance Sheet Significant changes in assets arising from COVID-19 Decrease in cash due to reduction in cash revenue above ($2.738m) greater (1,046) than savings in cash expenses above ($1.692m) Investment revaluation (decrement) attributable to COVID-19 impact (2,370) (3,416) Significant changes in equity arising from COVID-19

Decrease in equity due to impact of revenue and expense impacts (3,416)

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32 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

SECTION 5 NOTES ABOUT OUR PERFORMANCE COMPARED TO BUDGET

E1 BUDGETARY REPORTING DISCLOSURE This section contains explanations of major variances between the Gallery’s actual 2019-20 financial results and the original budget presented to Parliament. Explanation of budget variances are provided for employee expenses where the variance is more than 5%, and for supplies and services where the variance is more than 10%. For all other reporting lines, explanations are provided where the variance is more than +/- $500,000 or where the Gallery believes that the explanation would assist in understanding of the financial statements. E2 BUDGET TO ACTUAL COMPARISON – STATEMENT OF COMPREHENSIVE INCOME OPERATING RESULTS Variance Original Actual Variance Notes Budget Result 2020 2020 % of $’000 $’000 $’000 original budget

Income from Continuing Operations Grants, sponsorships and contributions 1 41,648 46,232 4,584 11% Rent received free of charge 10,904 10,874 (30) - User charges and fees 2 9,722 7,806 (1,916) -20% Interest and distributions from managed funds 3 1,355 990 (365) -27% Other revenue 592 618 26 4% Total Revenue 64,221 66,520 2,299 4%

Gains on disposal/revaluation of assets 4 1,325 2 (1,323) -100% Total Income from Continuing Operations 65,546 66,522 976 1%

Expenses from Continuing Operations Employee expenses 30,616 30,571 (45) - Supplies and services 5 18,548 16,412 (2,136) -12% Grants and subsidies - - - - Depreciation 6 512 574 62 12% Rent received free of charge 10,904 10,874 (30) - Finance costs - 1 1 - Other expenses 589 588 (1) - Total expenses 61,169 59,020 (2,149) -4%

Loss on disposal and re-measurement of assets 7 - 1,620 1,620 - Total Expenses from Continuing Operations 61,169 60,640 (529) -1%

Operating Result from Continuing Operations 4,377 5,882 1,505 34%

Other Comprehensive Income Increase in asset revaluation surplus 8 5,000 41,273 36,273 725% Total Other Comprehensive Income 5,000 41,273 36,273 725%

Total Comprehensive Income 9,377 47,155 37,778 403%

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 33 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

E2 BUDGET TO ACTUAL COMPARISON – STATEMENT OF COMPREHENSIVE INCOME (continued)

V1. An increase in Grants, sponsorship and contributions was primarily due to unbudgeted additional donations ($1.504m), an additional grant from Arts Queensland for the Gallery’s exhibition LED lighting upgrade ($1.150m), greater than expected contra-sponsorship ($0.669m), supplementation from the Queensland Government for the $1,250 (pro-rata) one-off Certified Agreement signing bonus paid to employees ($0.430m), a one-off grant from Queensland Treasury for payroll tax relief during COVID-19 ($0.265m), supplementation from the Queensland Government for industrial award wage increases ($0.212m), and the recognition of an Arts Queensland grant for the All-Ages Learning Centre concept design and feasibility study ($0.169m). V2. A decrease in User charges was primarily due to the impact of COVID-19 on Food and Beverage Services revenue ($1.047m) and admissions to the Water exhibition ($0.978m). V3. A decrease in Interest and distributions from managed funds was due to a fall in distributions from the QIC Long Term Diversified Fund as a result of a COVID-19 market impact ($0.302m), and reduced interest rates on bank deposits ($0.063m). The budget had been prepared expecting a consistent revenue stream based on historical returns. V4. A decrease in Gains on disposal / revaluation of assets was due to a loss incurred by the QIC Long Term Diversified Fund as a result of falls in equity and other investments as a result of a COVID-19 market impact ($1.323m). V5. A decrease in Supplies and services was primarily due to the payment of an exhibition fee in 2020-21 rather than 2019-20 as budgeted ($1.508m), delays in exhibition and program expenditure primarily as a result of COVID-19 (approximately $1.050m), the deferral of expenses in relation to the Digital Transformation Initiative to 2020-21 rather than 2019-20 as budgeted ($0.916m), savings in electricity and gas charges due to a reduction in usage and lower than expected tariff increases ($0.187m), and the transfer of lease costs to Depreciation as a result of the introduction of the AASB 16 Leases ($0.164m). Offsetting these savings, additional expenditure was incurred as a result of unbudgeted expenditure on the Gallery’s exhibition LED lighting upgrade ($1.150m – offset by unbudgeted grant revenue) and greater than expected contra- sponsorship related expenses ($0.669m – offset by unbudgeted contra-sponsorship revenue). V6. An increase in Depreciation was primarily due to unbudgeted depreciation on right-of-use (leased) assets. V7. An increase in Loss on disposal and re-measurement of assets was due to the loss incurred by the QIC Long Term Diversified Fund as a result of COVID-19 market impact in equity and other investments ($1.620m). V8. An increase in the Asset revaluation surplus was due to a greater than expected revaluation increases for the “top 10” valued works in the Art Collection ($36.273m).

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34 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

E3 BUDGET TO ACTUAL COMPARISON – STATEMENT OF FINANCIAL POSITION Variance Original Actual Variance Notes Budget Result 2020 2020 % of $’000 $’000 $’000 original budget

Current Assets Cash and cash equivalents 9 7,797 10,963 3,166 41% Receivables 10 606 357 (249) -41% Inventories 11 700 843 143 20% Prepayments 12 220 447 227 103% Total Current Assets 9,323 12,610 2,287 35%

Non-Current Assets Other financial assets 13 36,900 40,582 3,682 10% Property, plant and equipment 14 479,710 557,743 78,033 16% Right-of-use assets - 140 140 - Total Non-Current Assets 516,610 598,465 40,582 16%

Total Assets 525,933 611,075 85,142 16%

Current Liabilities Payables 15 1,403 3,905 2,502 178% Lease liabilities - 67 67 - Accrued employee benefits 2,527 2,369 (158) -6% Other current liabilities 16 501 808 307 61%

Total Current Liabilities 4,431 7,149 2,718 61%

Non-Current Liabilities Lease liabilities - 61 61 - Total Non-Current Liabilities - 61 61 -

Total Liabilities 4,431 7,210 2,779 63%

Net Assets 521,502 603,865 82,363 16%

Equity Contributed equity 19,314 19,314 - - Accumulated surplus 215,607 220,685 5,078 2% Asset revaluation reserve 8 286,581 363,866 77,285 27% Total Equity 521,502 603,865 82,363 16%

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 35 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

E3 BUDGET TO ACTUAL COMPARISON – STATEMENT OF FINANCIAL POSITION (continued)

V9. An increase in Cash and cash equivalents was primarily due to greater than expected cash on hand at the beginning of the financial year of $2.403m (as a result of setting the budget in April 2019 prior to obtaining closing balances for 2018-19) and greater than expected net cash provided by operating activities in 2019-20 ($4.345m, refer notes V2, V3, V17, and V18), offset by additional investments and payments for art acquisitions ($3.417m, refer V19 and V20). V10. A decrease in Receivables was due to the COVID-19 closure of the Gallery in quarter four, which resulted in a decrease in account receivables and GST receivables ($0.221m), and a decrease in long service leave taken by employees in quarter four which reduced receivables from the Queensland Government’s Long Service Leave Scheme ($0.093m). These decreases were offset by an increase in franking tax credits receivables due to the late payment of 2018-19 franking tax credits by the Australian Tax Office ($0.065m). V11. An increase in Inventories was primarily due to publication expenses incurred in advance for 2020-21 exhibitions ($0.100m), and an increase in retail inventories ($0.050m), primarily due to reduced retail sales due to the COVID-19 closure of the Gallery in quarter four. V12. An increase in Prepayments was due to the payroll cycle which resulted in pays for 1 July 2020 to 3 July 2020 paid on 29 June 2020 ($0.232m). V13. An increase in Other financial assets was primarily due to greater than expected investments carried forward from 2018-19 (the result of setting the 2019-20 budget in April 2019 prior to obtaining closing balances for 2018-19) ($4.097m). V14. An increase in Property, plant and equipment was primarily due to greater than expected value of the Art Collection carried forward from 2018-19 ($42.293m - the result of setting the 2019-20 budget in April 2019 prior to obtaining closing balances for 2018-19), and greater than expected revaluation increases for the “top 10” valued works in the Art Collection in 2019-20 ($36.273m). V15. An increase in Payables was primarily due to the balance outstanding in relation to a major artwork acquired in 2018-19 under an installment payment arrangement ($1.444m), an accrual for specialised items ordered but not yet received for the Gallery’s exhibition LED lighting upgrade ($1.002m), the deferral of the payroll tax payment until January 2021 under the Queensland Government COVID-19 payroll tax relief scheme ($0.334m), offset by lower than normal accruals as a result of reduction in activity levels due to COVID-19 ($0.278m). V16. An increase in Other current liabilities was primarily due to an unspent grant in relation to the All-Ages Learning Centre concept design and feasibility study ($0.331m).

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36 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

E4 BUDGET TO ACTUAL COMPARISON – STATEMENT OF CASH FLOWS Variance Original Actual Variance Notes Budget Result 2020 2020 Cash flows from operating activities % of

original $’000 $’000 $’000 budget Inflows: Grants, sponsorships and contributions 17 38,148 41,804 3,656 10% User charges and fees 2 9,722 7,823 (1,899) -20% Interest and distributions from managed funds 3 1,355 990 (365) -27% GST collected from customers 962 861 (101) -10% GST input tax credits from ATO 1,744 1,452 (292) -17% Other 622 557 (65) -10%

Outflows: Employee expenses (30,616) (31,132) (516) 2% Supplies and services 18 (17,608) (14,109) 3,499 -20% Grants and subsidies - - - - GST paid to suppliers (1,744) (1,275) 469 -27% GST remitted to ATO (962) (920) 42 -4% Other (559) (642) (83) 15% Net cash provided by (used in) operating activities 1,064 5,409 4,345 408%

Cash flows from investing activities Inflows: Investments redeemed 19 1,371 - (1,371) -100% Sales of property, plant and equipment - 3 3 - Outflows: Payments for investments 19 - (1,073) (1,073) - Payments for property, plant and equipment 20 (2,800) (3,776) (976) 35% Net cash provided by (used in) investing activities (1,429) (4,846) (3,417) 239%

Cash flows from financing activities Outflows: Lease payment - (160) (160) - Net cash used in financing activities - (160) (160) -

Net increase (decrease) in cash and cash equivalents (365) 403 768 -210% Cash and cash equivalents at beginning of financial year 8,162 10,560 2,398 29% Cash and cash equivalents at end of financial year 7,797 10,963 3,166 41%

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 37 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

E4 BUDGET TO ACTUAL COMPARISON – STATEMENT OF CASH FLOWS (continued)

V17. An increase in Grants, sponsorships and contributions was primarily due to additional donations ($1.504m), an additional grant from Arts Queensland for the Gallery’s exhibition lighting upgrade ($1.150m), supplementation from the Queensland Government for the $1,250 (pro-rata) one-off payment paid to employees ($0.430m), a one-off grant from Queensland Treasury for payroll tax relief during COVID-19 ($0.265m), supplementation from the Queensland Government for public sector wage increases ($0.212m), and the recognition of an Arts Queensland grant for the All-Ages Learning Centre concept design and feasibility study ($0.169m). V18. A decrease in Supplies and services was primarily due to the payment of an exhibition fee in 2020-21 rather than 2019-20 as budgeted ($1.508m), delays in exhibition and program expenditure primarily as a result of COVID-19 (approximately $1.050m), the deferral of expenses in relation to the Digital Transformation Initiative to 2020-21 rather than 2019-20 as budgeted ($0.916m), savings in electricity and gas charges due to a reduction in usage and lower than expected tariff increases ($0.187m), and the transfer of lease costs to Depreciation as a result of the introduction of the AASB 16 Leases ($0.164m), offset by a decrease in payables ($0.269m) and an increase in inventory payments ($0.155m). V19. The QAGOMA Foundation recorded a cash surplus from operating activities in 2019-20 and as a result invested in, rather than redeemed, financial assets. V20. An increase in Payments for property, plant and equipment was primarily due to payments in relation to a major artwork acquired in 2018-19 under an installment payment arrangement ($1.465m). The quantum of Art Collection acquisitions is highly variable from year to year, being dependent on available works, donations, and funds, and therefore variances to budgeted estimates are expected.

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38 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

SECTION 6 OTHER INFORMATION

F1 KEY MANAGEMENT PERSONNEL (KMP) DISCLOSURES Details of Key Management Personnel The Gallery’s responsible Minister is identified as part of the Gallery’s KMP, consistent with additional guidance included in the revised version of AASB 124 Related Party Disclosures. That Minister is The Honourable Leeanne Enoch, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts. The following non-ministerial KMP include those positions that had authority and responsibility for planning, directing and controlling the activities of the Gallery during 2019-20 and 2018-19. Further information on these positions can be found in the body of the Annual Report under the section relating to Executive Management Team. Position Position Responsibility Board of Trustees The Board is responsible for reporting to the Minister, and for ensuring the Gallery achieves its strategic and operational plans and performs its functions in a proper, effective and efficient way. Director Provides strategic direction and leadership for the Gallery’s service delivery, with responsibility for the efficient, effective and economic management of operational outcomes, the QAGOMA Foundation and key stakeholder relations. Deputy Director, Collection and Portfolio responsibilities for Australian Art, Asian and Pacific Art, International Art, Exhibitions Australian Cinémathèque, Exhibition Management, Conservation and Registration. Assistant Director, Portfolio responsibilities for Marketing, Media, Corporate Communications, Sponsorship Development and Commercial and Business Development, Retail Services, and Food and Beverage Services. Services Assistant Director, Learning Portfolio responsibilities for Public Programs, Children’s Art Centre, Memberships, and Public Engagement Exhibition Design, Workshop, Installation, Graphic Design, Web and Multimedia, Access and Education and Regional Services. Assistant Director, Operations Portfolio responsibilities for Finance, Information Technology, Protection and Visitor & Governance Services, Property, Human Resources and Governance and Reporting.

Remuneration policies Ministerial remuneration entitlements are outlined in the Legislative Assembly of Queensland’s Members’ Remuneration Handbook. The Gallery does not bear any cost of remuneration of Ministers. The majority of Ministerial entitlements are paid by the Legislative Assembly, with the remaining entitlements being provided by the Ministerial Services Branch within the Department of the Premier and Cabinet. As all Ministers are reported as KMP of the Queensland Government, aggregate remuneration expenses for all Ministers are disclosed in the Queensland General Government and Whole of Government Consolidated Financial Statements, which are published as part of Queensland Treasury’s Report on State Finances. Remuneration entitlements for Board members are payable in accordance with Remuneration Procedures for Part-time Chairs and Members of Queensland Government Bodies published by the Department of Premier and Cabinet. Remuneration policy for the Gallery’s other KMP is aligned to the conditions set by the Queensland Public Service Commission as provided for under the Public Service Act 2008. Individual remuneration and other terms of employment (including allowances and motor vehicle entitlements) are specified in employment contracts. Remuneration expenses for KMP comprise the following components: Short term employee expenses Board fees Salaries, allowances and leave entitlements earned and expensed for the entire year, or for that part of the year during which the employee occupied a KMP position Non-monetary benefits – consisting of provision of parking together with fringe benefits tax applicable to the benefit. Long term employee expenses Long service leave levy expensed during the year Post-employment expenses Superannuation contributions expensed during the year Termination payments Payment in lieu of notice on termination

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 39 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F1 KEY MANAGEMENT PERSONNEL (KMP) DISCLOSURES (continued) Remuneration expenses The following disclosure focuses on the expenses incurred by the Gallery attributable to non-Ministerial KMP during the respective reporting periods. The amounts disclosed are determined on the same basis as expenses recognised in the Statement of Comprehensive Income.

2019-20 Short Term Employee Long Term Post- Termination Total Expenses Employee Employment Expenses Expenses Position Monetary Non- Expenses Expenses $'000 $'000 $'000 Monetary $'000 $'000 $'000 Board Member (Chair) – O’Connor, I 8 - - 1 - 9 Board Member – Mickel, J (to 04/02/2020) 2 - - - - 2 Board Member – Taylor, P 4 - - - - 4 Board Member (Deputy Chair) – Wilkinson, R (to 01/03/2020) 3 - - - - 3 Board Member – Beetson, B 4 - - - - 4 Board Member – Daubney, M ------Board Member – Fairfax, G 3 - - - - 3 Board Member (Deputy Chair from 27/04/20) – Pidgeon, L 3 - - - - 3 Board Member – Sinclair, C (from 02/03/2020) 1 - - - - 1 Director 342 3 41 48 - 434 Deputy Director, Collection & Exhibitions 171 3 17 19 - 210 Assistant Director, Development & Commercial Services 175 - 20 20 - 215 Assistant Director, Learning & Public Engagement 180 3 19 19 - 221 Assistant Director, Operations & Governance 182 3 17 20 - 221 Total 1,078 12 114 127 - 1,330

2018-19 Short Term Employee Long Term Post- Termination Total Expenses Employee Employment Expenses Expenses Position Monetary Non- Expenses Expenses $'000 $'000 $'000 Monetary $'000 $'000 $'000 Board Member (Chair) – O’Connor, I 8 - - - - 8 Board Member – Mickel, J 4 - - - - 4 Board Member – Taylor, P 4 - - - - 4 Board Member – Beetson, B (From 01/11/2018) 3 - - - - 3 Board Member – Fairfax, G 3 - - - - 3 Board Member – Pidgeon, L 3 - - - - 3 Board Member (Deputy Chair) – Wilkinson, R 4 - - - - 4 Director 331 3 37 48 - 419 Deputy Director, Collection & Exhibitions 178 3 17 19 - 217 Assistant Director, Development & Commercial Services 170 - 17 19 - 206 Assistant Director, Learning & Public Engagement 180 3 22 20 - 225 Assistant Director, Operations & Governance 170 3 14 20 - 207 Total 1,058 12 107 126 - 1,303

Performance payments No KMP remuneration packages provide for performance or bonus payments.

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40 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F2 RELATED PARTY TRANSACTIONS Transactions with people/entities related to KMP KMP and their relatives have gifted $1,911,173 in cash and $110,000 in artworks to the QAGOMA Foundation during the 2019- 20 financial year. Transactions with other Queensland Government controlled entities The Gallery’s primary ongoing source of funding is from the Queensland Government grant, which is provided via Arts Queensland (Note B1-1). Rental services are services provided free of charge by Arts Queensland (Note B1-2). The Gallery reimburses Arts Queensland on a full cost recovery basis for certain lease costs such as building maintenance, external security and cleaning. The Gallery’s human resource management, internal audit and some financial services are provided by the Corporate Administration Agency on a full cost recovery basis. The Gallery has insurance policies with the Queensland Government Insurance Fund (Note B3-5). The Gallery has funds invested in the Queensland Treasury Corporation (QTC) Capital Guaranteed Cash Fund (Note C4). The Gallery has investments with QIC in the Cash Enhanced Fund and Long Term Diversified Fund (Note B1-4, B2, B3-4 & C4). F3 TRANSACTIONS IN RELATION TO THE QUEENSLAND ART GALLERY ǀ GALLERY OF MODERN ART (QAGOMA) FOUNDATION Included in the Gallery’s Statement of Comprehensive Income and Statement of Financial Position as at 30 June are the following income and expenses of the QAGOMA Foundation. F3-1 QAGOMA FOUNDATION STATEMENT OF FINANCIAL INCOME 2020 2019 $‘000 $‘000

Income from Continuing Operations

Revenue Government Grants 503 500 Donations - cash 2,909 3,939 Bequest - cash 63 142 Donations - artwork 2,759 1,124 Fundraising 15 27 Interest 11 21

Distributions from managed funds 773 1,678 Franking credit 60 154 Other revenue 100 104 Gains Gains on revaluations of investments - 853 Total Income from Continuing Operations 7,193 8,542

Expenses from Continuing Operations Contributions to the QAG Board of Trustees 7,735 7,552 Loss on revaluation of investments 1,534 - Other expenses 556 504 Total Expenses from Continuing Operations 9,825 8,056 Operating Result from Continuing Operations (2,632) 486

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 41 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F3-2 QAGOMA FOUNDATION STATEMENT OF FINANCIAL POSITION Amounts included in the Gallery’s Statement of Financial Position in respect of QAGOMA Foundation are as follows:

2020 2019

$’000 $’000 Current Assets Cash and cash equivalents 1,178 573 Receivables 212 163 Prepayments 5 - Total Current Assets 1,395 736

Non-Current Assets Other financial assets – QIC Cash Enhanced Fund 3,192 3,399 Other financial assets – QIC Long Term Diversified Fund 37,390 37,644 Total Non-Current Assets 40,582 41,043 Total Assets 41,977 41,779

Current Liabilities

Payables 2,904 78 Other current liabilities 23 19 Total Liabilities 2,927 97 Net Assets 39,050 41,682

F3-3 RESTRICTED ASSETS HELD BY QAGOMA FOUNDATION Net assets of the QAGOMA Foundation are only available for use in accordance with the Foundation’s charter which is to develop the Gallery's Collections and assist with the provision of major exhibitions and community-based public programs. In addition, some of the earnings and net assets of the QAGOMA Foundation have further restrictions on their use, based on the conditions imposed at the time of donation or bequest (e.g. to acquire art of a particular era or type). The following donations and bequests are required to be preserved in accordance with the conditions imposed on their contribution.

Net assets of the Foundation required to be preserved: 2020 2019 $’000 $’000 Queensland Government Only income can be used for acquisitions, 10,222 9,972 contributions exhibitions or related purposes Other private donations to the Only income can be used for acquisitions, 16,000 16,000 QAGOMA Foundation exhibitions or related purposes Bequests For purposes specified in the original bequest, 5,904 5,904 such as acquisitions, prizes or scholarships Total 32,126 31,876

F4 RESTRICTED ASSETS HELD BY THE GALLERY Included in the Gallery’s Statement of Financial Position are the following assets that are restricted in their use.

Restricted assets held by the Gallery: 2020 2019 $’000 $’000 Bequest For purposes specified in the original bequest, such as acquisitions, prizes 410 417 or scholarships Total 410 417

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42 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F5 TRUST TRANSACTIONS AND BALANCES The Queensland Art Gallery Board of Trustees acts as trustee for three charitable trusts which were established in accordance with the last will and testament of the benefactors. As the Board acts only in a custodial role in respect of the trust’s assets, they are not included in these financial statements. Income and net assets of the charitable trusts are as follow:

2020 2019 $’000 $’000 Income 399 662 Expenses 56 67 Net Surplus 343 592 Assets 38,875 33,471 Liabilities - - Net Assets 38,875 33,471

F6 FIRST YEAR APPLICATION OF NEW ACCOUNTING STANDARDS OR CHANGE IN ACCOUNTING POLICY Accounting Standards applied for the first time Three new accounting standards with material impact were applied for the first time in 2019-20: • AASB 15 Revenue from Contracts with Customers • AASB 1058 Income of Not-for-Profit Entities • AASB 16 Leases The effect of adopting these new standards are detailed in notes F6-1 to F6-4. No other accounting standards or interpretations that apply to the Gallery for the first time in 2019-20 have any material impact on the financial statements. Accounting Standards early adopted No Australian Accounting Standards have been early adopted for 2019-20. F6-1 AASB 15 REVENUE FROM CONTRACTS WITH CUSTOMERS The Gallery applied AASB 15 Revenue from Contracts with Customers for the first time in 2019-20. The nature and effect of changes resulting from adoption of AASB 15 Revenue from Contracts with Customers are described below. New revenue recognition model AASB 15 Revenue from Contracts with Customers establishes a new five-step model for determining how much and when revenue from contracts with customers is recognised. The five-step model and significant judgements at each step are detailed below. Step 1 – Identify the contract with For the Gallery, AASB15 Revenue from Contracts with Customers applies to the customer User charges and fee revenue, and some Grants and contributions which require the Gallery to transfer goods and services to third parties. Contracts must be enforceable and contain sufficiently specific performance obligations. Step 2 – Identify the performance This step involves firstly identifying all the activities the Gallery is required to obligations in the contract perform under the contract, and determining which activities transfer goods or services to the customer. Where there are multiple goods or services transferred, the Gallery must assess whether each good or service is a distinct performance obligation or should be combined with other goods or services to form a single performance obligation. To be within the scope of AASB 15 Revenue from Contracts with Customers, the performance obligations must be ‘sufficiently specific’, such that the Gallery is able to measure how far along it is in meeting the performance obligations. Step 3 – Determine the transaction When the consideration in the contract includes a variable amount, the Gallery price needs to estimate the variable consideration to which it is entitled and only recognise revenue to the extent that it is highly probable a significant reversal of the revenue will not occur. For the Gallery, reversal of revenue is infrequent and immaterial.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 43 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F6-1 AASB 15 REVENUE FROM CONTRACTS WITH CUSTOMERS (continued) Step 4 – Allocate the transaction When there is more than one performance obligation in a contract, the price to the performance obligations transaction price must be allocated to each performance obligation, generally this needs to be done on a relative stand-alone selling price basis. Step 5 – Recognise revenue when Revenue is recognised when the Gallery transfers control of the goods or or as the Gallery satisfies services to the customer. A key judgement is whether a performance performance obligations obligation is satisfied over time or at a point in time. And where it is satisfied over time, the Gallery must also develop a method for measuring progress towards satisfying the obligation.

Other changes arising from AASB 15 Revenue from Contracts with Customers AASB 15 Revenue from Contracts with Customers, also:

• specifies the accounting for incremental costs of obtaining a contract and costs directly related to fulfilling a contract • requires contract assets (accrued revenue) and contract liabilities (unearned revenue) to be shown separately • requires contract assets to be distinguished from receivables, and • establishes extensive new disclosures, which have been included in Notes B1-1 and C9. Transitional impact

Description of transaction Classification (e.g. Total value of transaction Value of transaction donation, bequest) that has already been unperformed as at 1 July brought to account as 2019 revenue Members revenue User charges and fees An analysis of memberships $263,000 at 30 June 2019 indicated that $263,000 of revenue was prepaid.

The following table summarises the transitional adjustments on 1 July 2019 relating to the adoption of AASB 15 Revenue from Contracts with Customers.

$’000

Contract liabilities – Members revenue 263 Accumulated surplus (263)

F6-2 AASB 1058 INCOME OF NOT-FOR-PROFIT ENTITIES The Gallery applied AASB 1058 Income of Not-for-Profit Entities for the first time in 2019-20. The nature and effect of changes resulting from the adoption of AASB 1058 are described below. Scope and revenue recognition under AASB 1058 Income of Not-for-Profit Entities AASB 1058 applies to transactions where the Gallery acquires an asset for significantly less than fair value principally to enable the Gallery to further its objective, and to the receipt of volunteer services. The Gallery’s revenue line items recognised under this standard from 1 July 2019 include most Grants and contributions. General revenue recognition framework The revenue recognition framework for in scope transactions, other than specific-purpose capital grants, is as follows: • recognise the asset – e.g. cash, receivables, PP&E, a right-of-use asset or an intangible asset • recognise related amounts – e.g. contributed equity, a financial liability, a lease liability, a contract liability or a provision (grants and donations in many cases can have nil related amounts) • recognise the difference as income upfront.

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44 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F6-2 AASB 1058 INCOME OF NOT-FOR-PROFIT ENTITIES (continued) Specific-purpose capital grants In contrast with previous standards such as AASB 1004 Contributions, AASB 1058 Income of Not-for-Profit Entities allows deferral of income from capital grants or contributions where: • the contract requires the Gallery to use the funds to acquire or construct a recognisable non-financial asset (such as artwork or a building) to identified specifications • the contract does not require the Gallery to transfer the asset to other parties and • the contract agreement is enforceable. For these capital grants, the funding received is initially deferred in an unearned revenue liability and subsequently recognised as revenue as or when the Gallery satisfies the obligations under the agreement. Volunteer services Under AASB 1058 Income of Not-for-Profit Entities, the Gallery will recognise volunteer services only when the services would have been purchased if they had not been donated, and the fair value of the services can be measured reliably. This treatment is the same as in prior years. AASB 1058 Income of Not-for-Profit Entities optionally permits the recognition of a broader range of volunteer services, however the Gallery has elected not to do so. Transitional impact The Gallery applied the modified retrospective transition method and has not restated comparative information for 2018-19 which continue to be reported under relevant standards applicable in 2018-19, such as AASB 1004 Contributions. Revenue recognition for the most of the Gallery’s Grants and contributions will not change under AASB 1058 Income of Not-for- Profit Entities as compared to AASB 1004 Contributions. Revenue will continue to be recognised when the Gallery gains control of the asset (e.g. cash or receivable) in most instances. There was one Gallery grant as at 30 June 2019 that fell within the scope of AASB 1058 Income of Not-for-Profit Entities (that is, a grant of $500,000 from Arts Queensland received in 2018-19 for the All-Ages Learning Centre concept design and feasibility study). As at 30 June 2019, the full amount of $500,000 had been recognised in revenue in accordance with AASB 1004 Contributions. On the transition date (1 July 2019), no expenditure had been incurred in relation to the concept design and feasibility study, and as a result, the full amount of the grant was recognised as an unearned revenue liability as with a corresponding adjustment to opening accumulated surplus. The following table summarises the transitional adjustments on 1 July 2019 relating to the adoption of AASB 1058 Income of Not-for-Profit Entities.

$’000

Other current liabilities – Unearned revenue 500 Accumulated surplus (500)

F6-3 IMPACT OF ADOPTION OF AASB 15 AND AASB 1058 IN THE CURRENT PERIOD The following table shows the impacts of adopting AASB15 Revenue from Contracts with Customers and AASB 1058 Income of Not-for-Profit Entities on the Gallery's 2019-20 financial statements. It compares the actual amounts reported to amounts that would have been reported if the previous revenue standards (AASB 1004, AASB 118, AASB 111 and related interpretations) had been applied in the current financial year.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 45 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F6-3 IMPACT OF ADOPTION OF AASB 15 AND AASB 1058 IN THE CURRENT PERIOD (continued) As reported AASB 15 AASB 1058 Previous changes changes standards

$’000 $’000 $’000 $’000 Operating result for 2019-20 User charges 7,806 - (169) 7,637 Grants, sponsorships and - 46,234 46,232 2 contributions Other revenue 12,484 - - 12,484 Expenses (60,640) - - (60,640) Operating result for the year 5,882 2 (169) 5,715 Total comprehensive income 47,155 2 (169) 46,988

Balances as at 30 June 2020 Total Assets 611,075 - - 611,075

Liabilities Other liabilities 808 (265) (331) 212 Other current liabilities 6,402 - - 6,402 Total Liabilities 7,210 (265) (331) 6,614 Equity Accumulated surplus/deficit 220,685 265 331 221,281 Total Equity/Net assets 603,865 265 331 604,461

Significant differences in the financial statement line items are described below. User changes – Gallery membership During 2019-20, User charges and fees revenue of $0.265m was recognised under AASB15 Revenue from Contracts with Customers for Gallery membership. The amount of revenue recognised reflects the performance obligations satisfied during the period and is $0.002m less than the revenue that would have been recognised under the previous standards. Grants, sponsorships and contributions – All-Ages Learning Centre concept design and feasibility study During 2019-20, grant revenue of $0.169m was recognised under AASB 1058 Income of Not-for-Profit Entities in relation to the All-Ages Learning Centre concept design and feasibility study. This amount would not have been recognised under previous standards as all of the revenue would have been recognised in prior periods when received. At 30 June 2020, a contract liability of $0.331m remains for this grant which would not have existed under the previous standards. F6-4 AASB 16 LEASES The Gallery applied AASB 16 Leases for the first time in 2019-20. The Gallery applied the modified retrospective transition method and has not restated comparative information for 2018-19, which continues to be reported under AASB 117 Leases and related interpretations. The nature and effect of changes resulting from the adoption of AASB 16 are described below. Definition of a lease AASB 16 Leases introduced new guidance on the definition of a lease. For leases and lease-like arrangements existing at 30 June 2019, the Gallery elected to apply the practical expedient to grandfather the previous assessments made under AASB 117 and Interpretation 4 Determining whether an Arrangement contains a Lease about whether those arrangements contained leases. The Gallery did not have any leases or lease-like arrangements where no formal assessment had been conducted under AASB 117. Changes to lessee accounting Previously, the Gallery classified its leases as operating or finance leases based on whether the lease transferred significantly all of the risks and rewards incidental to ownership of the asset to the lessee.

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46 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F6-4 AASB 16 LEASES (continued) This distinction between operating and finance leases no longer exists for lessee accounting under AASB 16 Leases. From 1 July 2019, all leases, other than short-term leases (lease term of 12 months or less with the lease not containing a purchase option) and leases of low value assets (assets that cost less than $10,000 when new) are now recognised on the balance sheet as lease liabilities and right-of-use assets. Lease liabilities Lease liabilities are initially recognised at the present value of lease payments over the lease term that are not yet paid. The lease term includes any extension or renewal options that the Gallery is reasonably certain to exercise. The future lease payments included in the calculation of the lease liability comprise the following:

• fixed payments (including in-substance fixed payments), less any lease incentives receivable • variable lease payments that depend on an index or rate, initially measured using the index or rate as at the commencement date • amounts expected to be payable by the Gallery under residual value guarantees • the exercise price of a purchase option that the Gallery is reasonably certain to exercise • payments for termination penalties, if the lease term reflects the early termination. The discount rate used is the interest rate implicit in the lease, or the Gallery's incremental borrowing rate if the implicit rate cannot be readily determined. Subsequently, the lease liabilities are increased by the interest charge and reduced by the amount of lease payments. Lease liabilities are also re-measured in certain situations such as a change in variable lease payments that depend on an index or rate (e.g. a market rent review), or a change in the lease term. Right-of-use assets Right-of-use assets are initially recognised at cost comprising the following: • the amount of the initial measurement of the lease liability • lease payments made at or before the commencement date, less any lease incentives received • initial direct costs incurred, and • the initial estimate of restoration costs. Right-of-use assets will subsequently give rise to a depreciation expense and be subject to impairment. Right-of-use assets differ in substance from leased assets previously recognised under finance leases in that the asset represents the intangible right to use the underlying asset rather than the underlying asset itself. Short-term leases and leases of low value assets The Gallery has elected to recognise lease payments for short-term leases and leases of low value assets as expenses on a straight-line basis over the lease term, rather than accounting for them on balance sheet. This accounting treatment is similar to that used for operating leases under AASB 117. Currently, the Gallery does not have any short-term leases or leases of low value assets. Transitional impact Former operating leases as lessee On transition, the Gallery only had two qualifying operating leases requiring recognition of a lease liability and a right-of-use asset under AASB 16 Leases (lease of photographic equipment, and lease of photocopiers).

In calculating the lease liability and right-of-use assets:

• the Gallery’s weighted average incremental borrowing rate on 1 July 2019 was 1.469%. • all right-of-use assets were measured at an amount equal to the lease liability, adjusted by the amount of any prepaid or accrued lease payments. • all right-of-use assets were tested for impairment on transition and none were found to be impaired. As the impact on the Statement of Financial Position and Statement of Comprehensive Income was immaterial ($10,161), the Gallery elected not to make any transitional adjustment as at 1 July 2019 in relation to these assets. Three other leases did not require recognition of a lease liability and a right-of-use asset under AASB 16 Leases, namely: • a motor vehicle lease with QFleet which does not meet the definition of a lease under AASB 16 Leases (as QFleet has asset substitution rights) • an offsite storage lease which was not recognised under AASB 16 as the lease term at transition date was expected to be less than twelve months, and • a lease of QAG and GOMA buildings from Arts Queensland for nil consideration.

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FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 47 PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

F6-4 AASB 16 LEASES (continued) Reconciliation of operating lease commitments at 30 June 2019 to the lease liabilities at 1 July 2019

$’000 Total undiscounted operating lease commitments at 30 June 2019 285

less discount using the incremental borrowing rate at 1 July 2019 (1.469%) (4) Present value of operating lease commitments 281

less adjustments due to reassessments of lease terms (21)

Lease liabilities at 1 July 2019 260

F7 TAXATION The Gallery is a statutory body as defined under the Income Tax Assessment Act 1936 and is exempt from Commonwealth taxation with the exception of Fringe Benefits Tax (FBT) and Goods and Services Tax (GST). FBT and GST are the only taxes accounted for by the Gallery. GST credits receivable from and GST payable to the ATO are recognised and accrued (refer Note C2). Additionally, the Gallery pays Payroll Tax to the Office of State Revenue in respect of employee salaries, wages, allowances, superannuation and eligible termination payments. F8 CLIMATE RISK DISCLOSURE Climate Risk Assessment The Gallery addresses the financial impacts of climate-related risks by identifying and monitoring the accounting judgements and estimates that will potentially by affected, including asset useful lives, fair value of assets, provisions or contingent liabilities and charges to future expenses and revenue. The Gallery has not identified any material climate-related risks relevant to the financial report at the reporting date, however, constantly monitors the emergence of such risks under the Queensland Government’s Climate Transition Strategy. Current Year impacts No adjustments to the carrying value of recorded assets or other adjustments to the amounts recorded in the financial statements were recognised during the financial year.

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48 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS PART B

Queensland Art Gallery Board of Trustees

Management Certificate

for the year ended 30 June 2020

CERTIFICATE OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES

These general purpose financial statements have been prepared pursuant to s62(1) of the Financial Accountability Act 2009 (the Act), s39 of the Financial and Performance Management Standard 2019 and other prescribed requirements. In accordance with s62(1) of the Act we certify that in our opinion:

(a) the prescribed requirements for establishing and keeping the accounts have been complied with in all material respects; and

(b) the financial statements have been drawn up to present a true and fair view, in accordance with prescribed accounting standards, of the transactions of the Queensland Art Gallery Board of Trustees for the financial year ended 30 June 2020 and of the financial position of the Queensland Art Gallery Board of Trustees at the end of that year; and

(c) We acknowledge responsibility under s7 and s11 of the Financial and Performance Management Standard 2019 for the establishment and maintenance, in all material respects, of an appropriate and effective system of internal controls and risk management processes with respect to financial reporting throughout the reporting period.

Professor Emeritus Ian O’Connor AC Chair Queensland Art Gallery Board of Trustees

Date 21 / 08 / 2020

Chris Saines CNZM Director Queensland Art Gallery | Gallery of Modern Art

Date 21 / 08 / 2020

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019−20 49 PART B

• Queensland • • Audit Office Better public services

INDEPENDENT AUDITOR'S REPORT

To the Board of Queensland Art Gallery Board of Trustees

Report on the audit of the financial report Opinion

I have audited the accompanying financial report of Queensland Art Gallery Board of Trustees.

In my opinion, the financial report: a) gives a true and fair view of the entity's financial position as at 30 June 2020, and its financial performance and cash flows for the year then ended b) complies with the Financial Accountability Act 2009, the Financial and Performance Management Standard 2019 and Australian Accounting Standards.

The financial report comprises the statement of financial position as at 30 June 2020, the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, notes to the financial statements including summaries of significant accounting policies and other explanatory information, and the management certificate.

Basis for opinion

I conducted my audit in accordance with the Auditor−General Auditing Standards, which incorporate the Australian Auditing Standards. My responsibilities under those standards are further described in the Auditor's Responsibilities for the Audit ofthe Financial Report section of my report.

I am independent of the entity in accordance with the ethical requirements of the Accounting Professional and Ethical Standards Board's APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to my audit of the financial report in Australia. I have also fulfilled my other ethical responsibilities in accordance with the Code and the Auditor−General Auditing Standards.

I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my opinion. Other information

Other information comprises the information included in the entity's annual report for the year ended 30 June 2020, but does not include the financial report and my auditor's report thereon. The Board is responsible for the other information.

My opinion on the financial report does not cover the other information and accordingly I do not express any form of assurance conclusion thereon. 50 Queensland Art Gallery Board of Trustees Annual Report 2019−20 FINANCIAL STATEMENTS PART B

• Queensland • • Audit Office Better public. service5

In connection with my audit of the financial report, my responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial report or my knowledge obtained in the audit or otherwise appears to be materially misstated.

If, based on the work I have performed, I conclude that there is a material misstatement of this other information, I am required to report that fact. I have nothing to report in this regard. Responsibilities of the entity for the financial report

The Board is responsible for the preparation of the financial report that gives a true and fair view in accordance with the Financial Accountability Act 2009, the Financial and Performance Management Standard 2019 and Australian Accounting Standards, and for such internal control as the Board determines is necessary to enable the preparation of the financial report that is free from material misstatement, whether due to fraud or error.

The Board is also responsible for assessing the entity's ability to continue as a going concern, disclosing, as applicable, matters relating to going concern and using the going concern basis of accounting unless it is intended to abolish the entity or to otherwise cease operations.

Auditor's responsibilities for the audit of the financial report

My objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor's report that includes my opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with the Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of this financial report.

As part of an audit in accordance with the Australian Auditing Standards, I exercise professional judgement and maintain professional scepticism throughout the audit. I also:

• Identify and assess the risks of material misstatement of the financial report, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for my opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control.

• Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances. This is not done for the purpose of expressing an opinion on the effectiveness of the entity's internal controls, but allows me to express an opinion on compliance with prescribed requirements.

• Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by the entity. FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019−20 51 PART B

• Queensland • • Audit Office .3etter public services

• Conclude on the appropriateness of the entity's use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the entity's ability to continue as a going concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor's report to the related disclosures in the financial report or, if such disclosures are inadequate, to modify my opinion. I base my conclusions on the audit evidence obtained up to the date of my auditor's report. However, future events or conditions may cause the entity to cease to continue as a going concern.

• Evaluate the overall presentation, structure and content of the financial report, including the disclosures, and whether the financial report represents the underlying transactions and events in a manner that achieves fair presentation. I communicate with the Board regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that I identify during my audit. Report on other legal and regulatory requirements Statement

In accordance with s.40 of the Auditor−Genera/Act 2009, for the year ended 30 June 2020: a) I received all the information and explanations I required.

b) I consider that, the prescribed requirements in relation to the establishment and keeping of accounts were complied with in all material respects. Prescribed requirements scope

The prescribed requirements for the establishment and keeping of accounts are contained in the Financial Accountability Act 2009, any other Act and the Financial and Performance Management Standard 2019. The applicable requirements include those for keeping financial records that correctly record and explain the entity's transactions and account balances to enable the preparation of a true and fair financial report.

26 August 2020

Melissa Fletcher Queensland Audit Office as delegate of the Auditor−General Brisbane QUEENSLAND ART GALLERY I GALLERY OF MODERN ART Stanley Place, South Brisbane, Queensland, Australia PO Box 3686, South Brisbane, Queensland 4101, Australia

Tel: 07 3840 7303 Fax: 07 3844 8865 Email: [email protected] Web: www.gagoma.gld.gov.au

Queensland Art Gallery Board of Trustees Annual Report 2019−20

ISSN: 0157−020X (print) 1838−3165 (online)

0 Queensland Art Gallery Board of Trustees 2020

This annual report is licensed by the Queensland Art Gallery Board of Trustees under a Creative Commons Attribution (CC BY 4.0) International licence. 10) You are free to copy, communicate and adapt this annual report, as long as you attribute the work to the Queensland Art Gallery Board of Trustees (QAGOMA). To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/

This annual report can be accessed at www.gagoma.gld.gov.au/about/our−story/annual−reports

Please contact the Gallery by telephone 07 3840 7303 or email [email protected] for further information or to obtain a hard copy of this report.

The Queensland Government is committed to providing accessible services to Queenslanders from culturally and linguistically diverse backgrounds. If you have difficulty understanding this report, please call 07 3840 7303 and we will arrange an interpreter to effectively communicate the report to you.

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Interpreter

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