IPCT Report 2009

02 contents Trustees of The Ian Potter Cultural Trust Staff The Ian Potter Cultural Trust Mr Charles B Goode AC (Chair) Chief Executive Officer ABN 65 807 851 867 Professor Geoffrey N Blainey AC Mrs Janet Hirst Level 3, 111 Collins Street Melbourne VIC 3000 Mr Leon Davis AO Finance Telephone 03 9650 3188 The Hon Sir Daryl Dawson AC KBE CB Mr John Kellaway Facsimile 03 9650 7986 The Hon Sir James Gobbo AC CVO Ms Therese Reidy Email [email protected] Mr John B Gough AO OBE Program Manager Professor Thomas W Healy AO Ms Maria Roberts ianpotterculturaltrust.org.au Dr Thomas H Hurley AO OBE Administration Mr Allan Myers AO, QC Ms Gail Lewry Mr Frank L Nelson Ms Rebecca Clark Lady Primrose Potter AC Dr P John Rose AO Communications Mrs Avalee Weir Professor Graeme B Ryan AC the ian potter cultural trust 2008–09 Overview 04 contents Funding Principles 05 Chairman’s Report 06 CEO’s Report 07 Crafts and Design 08 Literature 12 Music 14 Visual Arts 18 Performing Arts 22 Grants Paid 27 04 overview The Ian Potter Cultural Trust was established in overview 1993 by The Ian Potter Foundation to encourage and support the diversity and excellence of emerging Australian artists. The Trust offers grants to assist exceptionally talented early career artists to undertake professional development, usually overseas. The Ian Potter Cultural Trust’s support of individual artists is unique in Australia. In the 16 years of the Trust’s existence, more than 950 artists have been supported by grants totalling over $3.7million. The grants have afforded these talented individuals the opportunity to travel overseas to meet and learn from their international peers; attend workshops; undertake research and post-graduate study, private lessons and training courses, and participate in international competitions. These experiences allow them to showcase their talents and skills on an international stage and develop valuable relationships with mentors and colleagues. The Trust’s remit is to support individual artists from across the country and the Trust encourages applications from all states. the ian potter cultural trust 2008–09 Funding Principles and Requirements When assessing applications to The Ian Potter Cultural Trust, the Trust looks for: A commitment to excellence. We support individuals who are passionate about their work, and have the potential to be outstanding in their field, in an international context. Evidence of the applicant’s initiative and exceptional talent, with an ability to convert their ambitions to reality. Clear objectives as to why this project will be of most benefit to the applicant at this stage of their career development. Projects that have been carefully planned to maximise opportunities for building mentoring relationships and advancing career prospects. An emphasis on education and developing skills overseas, rather than for projects within Australia or performances, exhibitions or the making of recordings. Support from other sources. These might include other trusts and foundations, scholarships and awards, service clubs, family or business. We are very happy to be one of a number of supporters. We do however expect a reasonable financial contribution from the applicant themselves. The Trust will not fund 100% of the costs of the project. A detailed and well researched tight budget. An informed and detailed travel and project schedule. 06 reports Chairman’s Report The projects and artists supported by The Ian Potter This year, the Trust has supported artists from almost Cultural Trust change each year, but one constant is the every state and territory, and they have travelled passion that these talented young artists bring to their to every corner of the globe, from Argentina to work and ultimately to the cultural life of our society. Amsterdam, Berlin to Bordeaux and Prague to San This passion seems to be fundamental to their success Francisco. The diversity of their experiences makes and the factor that drives them to challenge themselves fascinating reading and I recommend you look at the and to realise their potential. The level of underlying information about this year’s recipients at the back of talent among our young artists is very exciting, as this report. It provides a good insight into the range illustrated by the achievements of young stars such of opportunities that await those with the talent and as pianist Amir Farid, film-maker Lauren Anderson and passion to pursue them. opera singer Claire Egan, who each received funding This year marks the final year of the biennial Music this year. Commissions Fellowships, which the Trust has offered The Cultural Trust was specifically established to since 1999. The program has assisted 23 composers recognise, support and encourage young artists and to and produced over 40 significant new works. While the provide them with the means to travel and expand their curtain now closes on this program, the Trust will go on skills, networks and horizons. The stories in the ‘Down supporting young musicians and composers through The Track’ feature articles are particularly meaningful to the main grants program and we have started a process the Trust as they highlight the importance and validity of consultation to focus on a new cultural program. of the Trust’s individual funding and its ongoing role in We are looking forward to announcing the winners of the development of a vibrant cultural life in Australia. the final Music Commissions Fellowships in October, and to enjoying their music for years to come. Charles Goode Chairman Facts & Figures 2008–09 Cultural Trust Grants Approved by State 2008–09 Victoria (28) $286,320 New South Wales (15) Total grants paid Australian Capital Territory (3) Northern Territory (1) Number of recipients: 59 Queensland (1) Average grant amount: $4,800 South Australia (6) Number of countries visited: 24 Western Australia (3) Other/Currently overseas (5) the ian potter cultural trust 2008–09 07 reports CEO’s Report This year, the Trust has awarded $286,320 to 59 The Commissions are judged by some of Australia’s talented emerging artists to assist their development. most respected music artists, conductors and The increasingly diverse art practices of our recipients composers, and this year we are very fortunate to have include film making, dance, choreography, conducting, Professor Barry Tuckwell AC OBE, Dr Richard Mills AM, printmaking, painting conservation, trapeze, Japanese Ms Elena Kats-Chernin and Professor John Hopkins OBE lacquering and music including violin, double bass, as our judging panel. We believe that the Music saxophone and cello. Commissions will leave a lasting legacy. Elena Kats- Our Cultural Trust recipients are inspired by their Chernin, won a Music Commission back in 2003, and overseas experiences, the opportunity to study at further on in this report you can read about the impact internationally acclaimed institutions and to be taught of the grant on Elena’s career. Damien Barbeler won the by world renowned artists. They have the opportunity Emerging Composer Fellowship in 2005 and his words to experiment with new working methods, to think and sum up nicely the impact we believe the Commissions be challenged about their art practice and to exchange have had and will continue to have. “It’s clear to me ideas with their peers. They return to Australia with already that the fellowship will have a life-long effect. new ideas, new skills, expanded networks and the The experiences of the last two years will influence my confidence to take their art practice to a new level. composing for decades to come. And when I’m eighty, I’ll still be thanking my lucky stars for the opportunity As mentioned by the Chairman, this year, will see the you’ve given me”. finale of The Ian Potter Music Commissions Fellowships. Established in 1999, the Music Commissions offer two The winners of the 2009 Fellowships will be announced fellowships: $80,000 to an Established Composer and in October 2009 at a function with performances of works $20,000 to an Emerging Composer, for the composition by Dr Liza Lim, Dr Richard Mills AM, Damian Barbeler and performance of new Australian music. This year has and Anthony Pateras, to celebrate the decade of the seen a 100% increase in the number of applications Music Commissions. received. The Cultural Trust is very proud of the I would like to thank our expert reviewers and our staff, contribution the biennial Commissions have made to in particular, our Communications Manager, Avalee Weir the cultural life of Australia through the professional who has so successfully managed The Ian Potter Music development of some of the country’s most talented Commissions 2009 Fellowships, and the Trust’s Program composers and the production of several highly Manager, Maria Roberts. successful works. Janet Hirst Chief Executive Officer the ian potter cultural trust 2008–09 08 crafts & design the ian potter cultural trust 2008–09 crafts & design 10 crafts & design Bic Tieu is a talented and dedicated designer and maker of contemporary jewellery with special interest in the craft of traditional Japanese lacquering. Bic holds a Master of Design (Hons) from the College of Fine Arts at The University of Sydney. Her project was to travel to Waijima, the lacquer centre of Japan. Japanese urushi (lacquer) is a material comprised of the resin of the ‘lacquer tree’ which is exhaustively layered and sanded to produce a rich, highly lustrous finish. Lacquer is a traditional craft with sophisticated histories, specialised technologies and specific regional cultural expressions. From Japan, Bic reports that she is working under the guidance of lacquer master Kitamura Tatsuo, developing and refining her knowledge of lacquer tools, materials, This opportunity to work at the Kitamura Kobo and learning various lacquer techniques. Kitamura’s works are represented in galleries around the world.

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