AGNSW_AnnRep_01 full - Parliament of NSW

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2001
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ART GALLERY OF NEW SOUTH WALES HIGHLIGHTS
TABLE OF CONTENTS
PRESIDENT’S REPORT
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DIRECTOR’S REPORT
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YEAR IN REVIEW
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AIMS/OBJECTIVES/PERFORMANCE INDICATORS
26
CORPORATE GOVERNANCE
32
LIFE GOVERNORS
34
SENIOR MANAGEMENT PROFILE
34
ORGANISATION CHART
36
FINANCIAL STATEMENTS
41
APPENDICES
62
INDEX
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GENERAL INFORMATION
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Bob Carr MP
Premier, Minister for the Arts, and Minister for Citizenship
Level 40
Governor Macquarie Tower
1 Farrer Place
SYDNEY NSW 2000
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NEW ATTENDANCE RECORD SET FOR THE POPULAR ARCHIBALD, WYNNE
AND SULMAN PRIZES, WHICH HAD MORE THAN 98,000 VISITORS.
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DEDICATION OF THE MARGARET OLLEY TWENTIETH CENTURY EUROPEAN
GALLERIES IN RECOGNITION OF HER CONTINUING AND SUBSTANTIAL
ROLE AS A GALLERY BENEFACTOR.
4
COLLECTION ACQUISITIONS AMOUNTED TO $7.8 MILLION WITH 946
PURCHASED AND GIFTED WORKS ACCESSIONED INTO THE PERMANENT
COLLECTION.TOTAL ACQUISITIONS HAVE GROWN BY MORE THAN $83.4
MILLION IN THE PAST 10 YEARS.
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MORE THAN 1.04 MILLION VISITORS TO OVER 40 TEMPORARY, TOURING
AND PERMANENT COLLECTION EXHIBITIONS STAGED IN SYDNEY,
REGIONAL NSW AND INTERSTATE.
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COMMENCED A THREE-YEAR, $2.3 MILLION, NSW GOVERNMENT
FUNDED PROGRAMME TO DIGITISE IMAGES OF ALL WORKS IN THE
GALLERY’S PERMANENT COLLECTION.
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DEVELOPED GALLERY WEBSITE TO ALLOW ONLINE USERS ACCESS TO
DATABASE INFORMATION ON THE GALLERY’S COLLECTION, INCLUDING
AVAILABLE IMAGES AND SPECIALIST RESEARCH LIBRARY CATALOGUE.
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CREATED A MAJOR NEW FAMILY PROGRAMME, FUNDAYS AT THE
GALLERY, IN PARTNERSHIP WITH A FIVE-YEAR SPONSORSHIP FROM THE
SUNDAY TELEGRAPH.
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VISASIA, THE INSTITUTE OF ASIAN CULTURE AND VISUAL ARTS,
LAUNCHED BY FORMER PRIME MINISTER HON. PAUL KEATING, AND ITS
BUSINESS COUNCIL ESTABLISHED.
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IN CONJUNCTION WITH THE EXHIBITION PAPUNYA TULA: GENESIS AND
GENIUS, THE GALLERY HOSTED A SOTHEBY’S AUCTION OF ABORIGINAL
AND TORRES STRAIT ISLANDER ART AND RAISED $1 MILLION FOR THE
WESTERN DESERT DIALYSIS APPEAL.
Dear Premier,
In accordance with the requirements of the Annual Report (Statutory Bodies)
Act 1984, we have pleasure in submitting to you the Annual Report for the
Art Gallery of New South Wales for the year ended 30th June, 2001, for
presentation to Parliament.
The annual report of the Gallery, in our opinion, has been prepared in full
compliance with the requirements of the Annual Reports (Statutory Bodies)
Act and the Annual Reports (Statutory Bodies) Regulations.
Yours sincerely,
Top: Paul Newton
Roy and H.G. (John Doyle and Greig Pickhaver)
People’s choice Award 2001 Archibald Prize
© Paul Newton
Middle: David Gonski, President Art Gallery
Trust, Edmund Capon, Director and artist
Margaret Olley
Bottom: Fundays at the Gallery launch featuring
Monica Trapaga
David Gonski
President
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Edmund Capon
Director
Cover: Tjuntupulnga 2000 (detail)
Bobby West Tjupurrula, Kenny Williams
Tjampitjinpa, Charlie Tjapangati,
Warlimpirrnga Tjapaltjarri
sand and wamulu, 3.6 x 4 metres
© Aboriginal Artists Agency Ltd
TWO NEW MAJOR AGNSW PUBLICATIONS, AUSTRALIAN ART IN THE
ART GALLERY OF NEW SOUTH WALES AND PAPUNYA TULA: GENESIS
AND GENIUS.
PRESIDENT’S FOREWORD
A year of outstanding artistic achievements by the Art Gallery of New South Wales
has been consolidated by major steps towards extending and upgrading the building
as a means of offering even greater opportunities to the public for enjoying art and
activities connected with it.
The first project to be undertaken by the Centenary Fund has
been under construction in the year under review and will
open before the end of 2001. This is the 100-seat auditorium,
which is located directly below the Gallery Shop and beside
the main gallery for temporary exhibitions.
The new auditorium will provide a first-class venue for the
Art Gallery to undertake its role as a centre for discussion
and education. This would not have been possible without
the generosity of the Centenary Fund patrons and we thank
them most sincerely.
After a delay while funding was confirmed, the new Asian
gallery project is moving ahead. Designs have been prepared
for the additional gallery above and connected to the present
Asian area, for the extension of conservation studio and
display space for contemporary art gallery, the relocation of
the restaurant and café with a new functions area. The
budget for this project has increased by over $1 million to a
new total of $16 million
Clearly, as we go into the rebuilding phase, the Trustees
understand that is going to be difficult for everybody – those
who work at the Art Gallery and our visitors. We know that
all at the Art Gallery will do their utmost to minimise
disruptions and we are sure that the reward is undoubtedly
going to be enormous.
During the year, we have received encouraging support from
the NSW Government with numerous visits from the Premier,
Bob Carr, and also the Treasurer, Michael Egan. We thank
them for their interest and assistance in our activities.
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Roger Wilkins, the newly appointed Director General of the
Ministry for the Arts, has also visited us on numerous
occasions. We welcome him and thank him for the help he
has already given us.
We also acknowledge with thanks the assistance we received
over many years from Roger’s predecessor, Evan Williams.
The Art Gallery has, as in previous years, received enormous
assistance from so many people. These include the members
of the President’s Council, the Art Gallery Foundation, the
Art Gallery Society and their excellent voluntary guides.
Without the involvement and commitment of these groups
and their members, the Art Gallery would not be the place it
is today.
I take this opportunity of thanking all Trustees and welcome,
as a new Trustee, the well-known and respected Australian
artist Imants Tillers. Particular thanks to Mary Turner, who
left the Trust this year. Her assistance, especially on regional
matters, is much appreciated.
ASIAN GALLERY AND ASSOCIATED WORKS
Asian gallery
Restaurant & café (below)
Temporary exhibition gallery
Conservation
New Asian gallery and associated works by Johnson, Pilton, Walker. Colour highlights show planned new works zones.
Above all, I thank the Director and staff of the Art Gallery.
Their commitment and expertise are the keys to the vibrancy
and relevance of the Art Gallery, its exhibitions and its many
related activities.
David Gonski
President
Art Gallery of New South Wales
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DIRECTOR’S REPORT
This reporting year has included many highlights including the Art Gallery’s participation
in the 2000 Sydney Olympics Arts Festival with two fantastic Australian and Aboriginal
art shows plus the Dead Sea Scrolls presented in Australia for the very first time.
The first show being the Australian Icons exhibition featuring
20 key Australian artists and their works all sourced from
our permanent Collection – this free exhibition was extended
for an additional two months due to it popularity with the
visiting public. It’s curator Barry Pearce was also responsible
for the Australia Art in the Art Gallery of New South Wales
book published this year.
The second exhibition was the major temporary exhibition
Papunya Tula: Genesis and Genius, curated by Hetti Perkins,
which for the first time traced the phenomena of the Papunya
Tula art movement out of the small remote community of the
same name in the Northern Territory. The other major
publication this year was this exhibition’s catalogue featuring
more than 150 paintings. This book was awarded the Art
Exhibitions Australia Inaugural Award for best catalogue
issued through the Art Association of Australia and New
Zealand.
In additional, the continuing support of two of our most
generous benefactors have added two major works to the
Collection. A very beautiful painting by the French artist,
Pierre Bonnard Bust in profile, red background c.1920 was
purchased with funds provided by the Art Gallery of New
South Wales Foundation and the Margaret Hannah Olley Art
Trust and an exceptionally rare Khmer bronze, Hevajra
mandala, from the Bayon period (12th/13th century) was
purchased with funds provided by the Edward and Goldie
Sternberg Southeast Asian Art Purchase Fund with a special
extra contribution provided by Mrs Goldie Sternberg.
The Khmer bronze, Hevajra mandala, is the most important
work from ancient Cambodia to enter the collection. It is a
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three-dimensional mandala, or cosmic diagram, of Hevajra.
The base is in the shape of an eight-petalled lotus with
Hevajra in the centre, originally surrounded by seven dakini
or yogini, minor female divinities in Tantric Buddhism, and
one erect figure. Typically this Hevajra figure has sixteen
arms fanned out like wings and eight heads arranged on three
levels in the order of three, four and one head at the top. The
hands each hold the correct attributes as ascribed to Hevajra
by the Tantric texts. Hevajra’s dance posture symbolises the
dynamics of the process of enlightenment, which includes
trampling underfoot the four chief evils, personified here by a
four headed prostrate figure. The deity Hevajra is the chief
deity of the Tantric Buddhist path to enlightenment. The cult
of Hevajra flourished in Cambodia between the tenth and
thirteenth centuries, only to disappear with the collapse of the
Angkor Empire.
In 1972, the Art Gallery purchased Self Portrait c.1940 by
Pierre Bonnard. This painting is one of the most important
paintings in the Art Gallery’s Modern European Collection
and has been extensively exhibited and reproduced. Bust in
profile, red background, c. 1920 is an fine complement to the
Self Portrait as it is an example of the artist’s most recurrent
theme depicting candid images of his wife, Marthe, having a
bath or in an unposed naked state. These uncontrived poses,
lying down, reaching for something, looking in the mirror,
etc. give these painting a sensuous voyeuristic feel as if the
subject was unaware of the artist’s adoring scrutiny. This
painting is essentially a study in form and colour – on one
side the distinctive profile of Marthe is silhouetted against an
almost abstract background of red and yellow while the
illusion of depth is created by the receding sofa on the right
hand side.
Hevajra mandala
12th – 13th century bronze 39 x 23.5 cm
Edward and Goldie Sterberg Southeast
Asian Art Purchase Fund 2001
Launch of VisAsia, May 2001 – John Yu, Art Gallery Trustee and Chairperson of
VisAsia, Hon. Bob Debus, Minister Assisting the Premier on the Arts, Former
Prime Minister Hon. Paul Keating and Kenson Kwok, Director Asian Civilisation
Museum, Singapore.
Margaret Olley also donated two major etchings to the Art
Gallery; After Chardin 2000 by Lucian Freud and Still life with
five objects 1956 by Giorgio Morandi. The Morandi print is
the second etching by this artist to be donated by Margaret
Olley following her 1999 gift of Still life 1933. The major
painting by Morandi, Still life 1957 was purchased in 1997
with the assistance of funds provided by the Margaret Hannah
Olley Art Trust. On 30 May, 2001, at a special function,
these and other examples of Margaret Olley’s extraordinary
generosity were recognised by the renaming of the 20th
century European galleries on level 2, which is now called the
Margaret Olley Twentieth Century European Galleries.
A new initiative, VisAsia was launched this year by the Hon.
Paul Keating, with major support from the Ipoh Corporation
and other corporate donors. The objective of the venture is to
further the awareness and appreciation for Asian art and
culture, nationally and regionally. VisAsia seeks to establish a
network of special interest groups, regional galleries and
museum, educational institutions and corporations with a
specific interest in the Asian region. A website
www.visasia.com.au was established providing global access
to the information on exhibitions, lecture courses and other
activities from around the region. We have already
commenced an education program through a series of
lectures courses and in due course we hope to provide
scholarships for research, sponsorship of exhibitions,
publication of catalogues, brochures, videos etc. all of which
are intended to promote the understanding and appreciation
of Asian art and culture.
Margaret McLenaghan and artist Margaret Olley
will double the permanent exhibition space for Asian art as
well as provide space for temporary Asian exhibitions. This
year we have been busy building the new Centenary Fund
Auditorium underneath the bookshop which is due to open in
November 2001.
As always, my gratitute extends to all the staff and volunteers
for their continuing effort and support. This year I would like
to express a particular gratitude to Margaret McLenaghan
who will be retiring from the Art Gallery in September 2001.
Margaret started working in the Public Sector in 1978 and
for the past 21 years has been my extremely efficient personal
assistant. She will be greatly missed by us all and we wish her
great happiness in her retirement.
Finally, I would like to thank David Gonski and the other
members of the Board of Trustees for their continuing
support and to express our gratitude to the generosity and
effort of the Art Gallery Foundation and its board of
Trustees, The President’s Council, The Centenary Fund and
the Art Gallery Society and its Council.
Pierre Bonnard
Bust in profile, red background (study) c.1920
oil on canvas 46 x 52 cm
Purchased with funds provided by the Art Gallery of New South Wales Foundation
and the Margaret Hannah Olley Trust 2000
The launch of VisAsia is also a prelude to our building of a
new Asian Gallery due to commence in early 2002, which
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YEAR IN REVIEW
Some outstanding acquisitions this year have boosted the primary objective of the Art
Gallery of New South Wales: developing the collections. New additions range from
three important paintings by Sidney Nolan, two 1933 paintings by Ian Fairweather,
Pierre Bonnard’s Buste de profil, fond rouge c.1920, to a rare Cambodian Khmer
bronze figure of Hevajra with attendant deities.
Gifts of art works and donations from individuals, as well as
money raised by the Art Gallery Society and the Art Gallery
Foundation, have assisted in expanding the collections.
Without this help, it would not have been possible to make
acquisitions at this level.
The value of our art holdings increased this year by $7.78
million with 275 purchased and 671 gifted works being
accessioned into the permanent Collections. The value of the
Collection has increased by more than $83.35 million in the
past ten years.
COLLECTIONS
AUSTRALIAN ART
Three superb Sidney Nolan paintings make a significant
addition to what is already a relatively strong holding of this
artist’s work. They take another step to representing Nolan at
his very best, and add to the themes of his prolific output.
Colonial head and Fraser Island, both from 1947, and the
nostalgic European landscape Boat 1959, were bought with
funds from the Art Gallery Society.
Until two 1933 paintings of Chinese subjects by Ian
Fairweather came into the collection, this artist’s work was
not well represented in that area. Chinese mountain and West
Lake, Hangchow were painted the year before Fairweather
arrived in Melbourne, where the artists he got to know
included Lina Bryans, in whose memory one of these works
was donated.
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Ian Fairweather
Chinese Mountain 1933
oil and gouache on cardboard 48.7 x 59 cm
Purchased 2001
Such is Margaret Olley’s generosity that she is probably better
represented in the Art Gallery as a benefactor than an artist.
Purchase of a 1948 painting Still life in green goes some way
towards amending that situation – and it is particularly
important in that her early paintings are rare because so many
were destroyed in a fire at her mother’s house.
Seven watercolours by the Australian Impressionist John Peter
Russell, who live on Belle-Ile and painted with Monet, form a
varied group in approach and subject matter. They were
purchased from a private collection in France, and were
originally owned by the artist’s daughter.
Three artists books and 140 drawings for almost all the
paintings made by James Gleeson since 1983 - the most
significant and consistent period of his work to date - have
been given by the artist. Adding to his work already held by
the Art Gallery, they make the most important collection of
Gleeson’s drawings in Australia. It includes more than 100
early drawings given in 1993 by Frank O’Keefe and bound
this year into an album with funds from the Sir William
Dobell Foundation through the Friends of Conservation.
Rosemary Madigan, arguably Australia’s most significant
figurative carver, has had her representation at the Art Gallery
extended through the purchase of Mnemosyne 1976, with
funds from the David George Wilson Bequest.
Other highlights acquired in the past year include work by the
South Australian artist Horace Trenerry, sculptor Rayner
Hoff, Charles Blackman and Shay Docking.
Ian Fairweather
West Lake, Hangchow 1933
oil and gouache on paper on canvas on cardboard 47.5 x 55 cm
Gift of Edward Bryans 2001
Far right: Owen Yalandja Yawk Yawk 1999
natural pigments on Kurrajong
261.5 x 12.2 x 8.5 cm
Mollie Gowing Aquisition Fund for Contemporary
Aboriginal Art 2000
© Owen Yalandja
Right: Owen Yalandja Yawk Yawk 1999
natural pigments on Kurrajong
22.7 x 9.8 x 8.4 cm
Mollie Gowing Aquisition Fund for Contemporary
Aboriginal Art 2000
© Owen Yalandja
Left: John Mawurndjul Mardayin Ceremony 2000
natural pigments on eucalyptus bark 170 x 78cm
Don Mitchell Bequest Fund 2000
© John Mawurndjul
ABORIGINAL AND TORRES STRAIT ISLANDER ART
Realisation of the exhibition Papunya Tula: Genesis and
Genius provided the opportunity to acquire significant recent
paintings by artists who have painted for Papunya Tula
Artists over the past 30 years. The Mollie Gowing Acquisition
Fund for Contemporary Aboriginal Art purchased a
significant body of this work, including major paintings by
Turkey Tolson Tjupurrula, Timmy Payungka Tjapangati,
Naata Nungarruyi, Walangkura Napanangka and Makinti
Napanangka. This Fund also bought two carved and painted
figures of Yawk Yawks by Owen Yalandja from Maningrida
in central Arnhem Land.
Paintings were acquired from Ikuntji (Haasts Bluff) artists
Mitjili Naparrula, Long Tom Tjapanangka and Narputta
Nangala, and an etching by Alice Nampitjinpa. Other
acquisitions include a series of etchings by Walayirti artists
Lucy Yukenbarrie, Eubena Nampitjin and Helicopter
Tjungurrayi as well as two important paintings based on
Kimberley massacres from Jirrawun artists Dirrji (Rusty
Peters) and the late Kamaliny Palmentarri (Timmy Timms).
A major painting, Mardayin ceremony 2000, by John
Mawurndjul from Maningrida was purchased by the Don
Mitchell Bequest Fund, which also bought two paintings by
Kutuwalumi Purawarrumpatu (Kitty Kantilla) from Melville
Island.
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Dragon ewer, mid 15th century
porcelain, moulded with underglaze blue and white decoration
22.3 x 17 x 7.8cm
Purchased 2000
Insignia badge for the wife of a 6th rank official, 1736-1795
embroidery, 23.6 x 23.6cm
Gift of Judith Rutherford 2001
The first painting by Ningura Naparula to join the collection,
Untitled (Wirrulnga) 2000, is a tour de force depicting designs
associated with the rockhole site of Wirrulnga, east of the
Kiwirrkura community in the Northern Territory. It is the
second large painting done by one of the Pintupi women to
date.
WESTERN/EUROPEAN ART
Pierre Bonnard’s Self portrait c. 1940, purchased by the Art
Gallery in 1972, was complemented this year by the
acquisition of a portrait of his wife Marthe, Buste de profil,
fond rouge c. 1920. It is essentially a study in form and
colour, and is already proving very popular with the public.
George Tjungurrayi is one of the senior Papunya Tula artists
and his painting Untitled 2000 is considered a definitive work
in terms of its scale. Featuring designs associated with the
travels of Tingari men and women across the country, it is
typical of this artist whose bold linear compositions evoke
sand hills and the marks made on them by the wind.
Auguste Rodin’s Burghers of Calais were cast in a limited
edition of 12 by the Musee Rodin in 1972 from the original
modelling of 1885. Number five of this edition, plus several
other Rodin limited edition bronze casts have been given to
the Art Gallery.
WESTERN / AUSTRALIAN CONTEMPORARY ART
Key acquisitions of Australian art included Simryn Gill’s
Roadkill 2000, which is made up of small objects found
squashed on the roads of various cities and fitted with tiny
wheels. They are placed on the floor in a compelling
configuration, all heading like lemmings in the same direction
towards an unspecified direction. Roadkill embodies the
interweaving of humour and politics in her practice.
ASIAN ART
A Khmer bronze Hevajra mandala of the Bayon period
(12th/13th Century) is a rare piece of outstanding quality.
Surrounded by six dancing dakinis and one erect figure
offering lotus buds, this Hegajra figure has 16 arms fanned
out like wings and eight heads arranged on three levels in the
order of three, four and one head on top. The acquisition was
significantly assisted by the Edward and Goldie Sternberg
Southeast Asian Art Purchase Fund.
Other highlights in Asian art acquisitions for the year include
a dragon ewer from Vietnam; a massive pottery horse from
China, dating from the Han dynasty, 1st-2nd Century CE; a
colour woodcut, Three lights 1998, by Hasegawa Yuichi; and
a Qing dynasty embroidery insignia badge for the wife of a
6th rank Chinese military official.
WESTERN/INTERNATIONAL CONTEMPORARY ART
British artists Gilbert and George, who have performed their
art at the Art Gallery, are now represented in a permanent
form by the 30-panel, ink transfer on paper Reaming 1982.
Its purchase was funded by the Art Gallery Society.
Stephen Willats, another British artist, pioneered the concept
of making portraits of people and communities by assembling
objects of significance to them and collecting their thoughts
on their context. Pat Purdy and the glue sniffers camp 1981,
set in a West London housing estate, is considered a seminal
work in his development.
Two etchings by Lucian Freud enable the Art Gallery to
represent this major British artist, whose paintings sell at such
high prices that they are out of reach. The etchings are Self
portrait: Reflection 1996 and Head of an Irishman 1999.
John Young’s Hermit painting #3 is a superb example of his
recent work, combining painted copies of found images of
nudes with a digital scan of a Chinese landscape painting. It
encapsulates the dialectic in his practice between his Hong
Kong born Chinese background and experiences growing up
in Australia.
Geoff Kleem’s 35º 09’ 53” S - 150º 34’ 35” E 2000 and 33º 36’
52” S - 150º 16’ 05’ E are photographic sculptures with titles
derived from the global positioning system. Kleems’ work is
distinguished by its ambiguous conceptual nature and references
to American minimalism, and these works are significant
additions to the Art Gallery’s Collection of works in this style.
Mike Parr’s 26 Untitled self-portraits plus portraits of F & C
1981-1996 and 12 Untitled portraits of G 1998-1999 add
greatly to the Art Gallery’s breadth and depth of Parr’s
drawing work and his self-portrait project. Parr later gave
video and photographic work relating to his performances
from the early 1970s to now, making the Art Gallery the key
repository of his performance works.
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László Moholy-Nagy
An outline of the universe 1930
gelatin silver photograph, vintage 23.9 x 18.2 cm
Purchased with funds provided by the
Photography Collection Benefactors’ Program 2001
Ken Unsworth gave his 1976 sculpture Propped stone piece,
and further Australian acquisitions – all made this year with
funds raised by the Contemporary Collection Benefactors –
included Department One: The Drawing Room 1993-94 by
Aleks Danko, Helga Groves’ Flood 1999 and Peter Callas’
Fish Market, Manaus 1999.
PHOTOGRAPHY
Australian photographer Tracey Moffatt, now based in New
York, has been praised for the breakthrough in content and
technique with her Invocations 2000, a series of 13 photo
silkscreens printed in an edition of 60 by Gene Licht. Two
of these have been bought for the Art Gallery.
Well 1986, a cibachrome photograph by Berlin-based
Australian Simone Mangos who is also known for her
installations, makes a handsome addition to the collection.
It was given by Alan Matthews.
Gilbert and George
Reaming 1982
photo-piece: ink transfer on paper (30 panels) 302 x 302 cm
Purchased with funds provided by the Art
Gallery Society of New South Wales 2000
© Gilbert and George
Sidney Nolan
Fraser Island 1947
Synthetic polyer paint on hardboard 76 x 104 cm
Purchased with funds provided by the
Art Gallery Society of New South Wales 2001
© Lady Nolan
Ignacy Witkiewicz - and a contemporary photograph by
Adam Fuss from the series My Ghost 2000.
ARCHIVE
The Art Gallery’s Archive was greatly enriched this year with
the donation by the research library’s principal patron, Patrick
Corrigan, of more than 400 original drawings and prints for
bookplates and Christmas cards by Australian artists
including Margaret Preston, Lloyd Rees, Roy de Maistre and
Francis Lymburner.
The Goethe Institute in Sydney donated 300 monographs and
45 videos on German art and photography of the 19th and
20th Centuries. Baroness Brigitte von Wietersheim gave a fine
collection of about 3,000 20th century monographs and other
works on German, Dutch and Italian medieval and
Renaissance artists.
EXHIBITION
A gelatin silver photograph by László Moholy-Nagy, An
outline of the universe 1930, reflects the utopian vision
amongst the European avant garde of the era in which artists
would create a “visual order expressive of a new world”
where education for the masses would be guaranteed.
It was a strong and varied year for exhibitions at the Art
Gallery of New South Wales, with more than 1.26 million
visitors attracted to over 40 temporary, touring and
permanent collection exhibitions staged in Sydney, regional
New South Wales and interstate.
Purchase of this photograph was funded by the Photography
Collection Benefactors Program, as were two other vintage
European photographs – Portrait of Grit Kallin, Bauhaus
Dessau 1928 by Irene Bayer and Fright 1931 by Stanislaw
While Sydney was overflowing with visitors for the 2000
Olympic Games, the Art Gallery was showing two major
exhibitions of Australian work: Aboriginal paintings from
Papunya Tula and Australian Icons, comprising 19th and
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Sidney Nolan
Boat 1959
Polyvinyl acetate on hardboard 122.5 x 154 cm
Purchased with funds provided by the
Art Gallery Society of New South Wales 2001
© Lady Nolan
Australian Galleries
including Tom Roberts Bailed up
Australian Icons 4th August 2000 to 31st January 2001
20th century works from the collection. There was also a photographic exhibition spanning 125 years, My City of Sydney.
World Without End, the photographic tour de force, was the
main event over the summer holiday period and Renoir to
Picasso: Masterpieces from the Musee de l’Orangerie – opening
a month before the end of the year under review - was showing
the promise of continuing to attract large audiences.
AUSTRALIAN ART
The highlight of the year was Australian Icons: Twenty artists
from the Collection. It was timed to coincide with the
Olympic Games in Sydney and generously sponsored by ABN
AMRO Rothschild, whose support included conservation and
restoration of these important works from the collection.
Barry Pearce, Head Curator of Australian Art put together
more than 300 paintings, sculptures and works on paper
presented a powerful panorama of Australian art. From Roberts
and Streeton, representing that inspiring moment of national
identity first achieved by the Heidelberg school, this exhibition of
work by 20 artists went through to major figures of the late 20th
century such as John Olsen, Fred Williams and Brett Whiteley.
This exciting and refreshing presentation of selected strengths
of the collection was free and drew large crowds, resulting in
its extension to the end of the calendar year and plans for a
companion show. ABN AMRO Rothschild has generously
agreed to sponsor a second exhibition in this series for early
2002 which will be entitled Parallel Visions.
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Between these two major projects, a rehanging in the Dorothy
Street Galleries of Twentieth Century Art for a year from
February 2001 has taken the opposite direction to the
monographic basis of Australian Icons. Entitled Decades, it is
structured on a chronological sequence of spaces containing
works executed within a decade – 1910-1920, 1920-1930 and
so on through to 1970. In addition, for six weeks around the
month of May 2001, works from 1970-2000 were exhibited
in the ground level project space, enabling the public to see a
range of Australian artistic practice to the end of the millennium.
The Australian Collection Focus series of exhibitions
sponsored by ABN AMRO Rothschild continued to give a
high profile to works in the Art Gallery’s Collection. It
remains extremely popular – all brochures are sold out – and
received wide and positive critical review. Highlights this year
included Colin Lanceley’s The dry salvages 1964 and Gemini
1964, John Glover’s Natives on the Ouse River, Van Dieman’s
Land 1838 and Russell Drysdale’s Sunday Evening 1941.
The Archibald Prize remains the Art Gallery’s great annual
crowd-pleaser, attracting a wide range of people not only to
see its finalist entries but also those of its companion events,
the Wynne, Sulman and Dobell Drawing Prize. The Wynne
and Sulman Prizes were sponsored by the Colonial Foundation
Charitable Trust. The Dobell Drawing Prize, which was
judged by Margaret Olley, and was sponsored by the Sir
William Dobell Foundation.
Nicholas Harding
Portrait of John Bell as King Lear 2001
© Nicholas Harding
Winner 2001 Archibald prize
Archibald, Wynne and Sulman Prizes 17th March to 15th May, 2001
Head with gold leaf
Late Shang (c. 1200-11BCE)
Bronze height 42.5cm, width 19.6 cm, weight 2550 g
Excavated from Sanxingdui Pit II
Sanxingdui: Masks of Mystery 21st December, 2001 to 18th March, 2001
This year the Archibald Prize broke records. It set a new
attendance record with 98,000 visitors, and achieved a record
level of media coverage nationally on TV and radio, with
front page news stories in major newspapers including The
Age and The Canberra Times, as well as international
attention in Asia and New Zealand. The 2001 Archibald
Prize was won by Nicholas Harding for his portrait of John
Bell as King Lear. The People’s Choice went to Paul Newton’s
Roy and H.G. (John Doyle and Greig Pickhaver).
of Papunya, about 250 kilometres west of Alice Springs. They
showed why this extraordinary art movement has placed
Aboriginal art – some would say Australian art – firmly in the
international arena.
Artexpress, the annual free exhibition of outstanding works
created for the HSC was again extremely popular, attracting
more than 100,000 visitors, including 13,030 booked students.
It was presented in association with Papunya Tula Artists Pty Ltd,
and after it closed an auction of more than 20 donated paintings
and four commissioned collaborative canvases were auctioned,
raising $1 million for the Western Desert Dialysis Appeal.
A series of exhibitions mounted at the Brett Whiteley Studio,
organised with help from Wendy Whiteley, included the Brett
Whiteley Travelling Art Scholarship, Brett Whiteley Graphics
and Affinities: Brett Whiteley and Lloyd Rees.
The paintings in this exhibition were drawn from major public
collections – many from the Art Gallery’s own Collection – as
well as private collections in Australia, Canada, England,
Germany, Holland and the USA.
Title Deeds: Works from the Aboriginal and Torres Strait
Islander Collection was also on display during the Olympic
Arts Festival. It was followed by Ochre: bark paintings from the
Collection, and then an exhibition of recently acquired paintings.
ABORIGINAL AND TORRES STRAIT ISLANDER ART
Papunya Tula: Genesis and Genius was the first major
exhibition of Aboriginal art, curated by Hetti Perkins, Senior
Curator of Aboriginal Art, to trace the phenomena of the
Papunya Tula movement from the early 1970s to the present.
The exhibition was part of the Art Gallery’s contribution to
the Sydney 2000 Olympic Arts Festival.
ASIAN ART
Sanxingdui: Masks of Mystery brought to Australia for the first
time a remarkable exhibition of bronze masks from the sacrificial
pits of the ancient Shu kingdom in southwest China, dating
from the Bronze Age more than 3000 years ago. They were found
accidentally in 1986 by workers digging for earth to make bricks.
Some 150 paintings charted the development of the Western
Desert art movement which originated in the small community
Buried with about 1000 objects in bronze, gold, jade and
pottery under a layer of elephant tusks and charred bones,
15
Above: ONCHI Kôshirô
A face 1914
colour woodcut 14.7 x 11.1 cm
Yasuko Myer Bequest Fund 2000
© ONCHI Kôshirô
Hanga: Japanese Creative Prints 28th October, 2000 to 7th February, 2001
Right top: Lalit ragini c.1640
Central India
Private collection
Indian Paintings 6th April to 11th June, 2001
Opposite: Masterpieces of Victorian Art from John and Julie Schaeffer Collection
including sculptures by Frederick, Lord Leighton
12th October, 2000 to 24th June, 2001
there were more than 100 bronze human and semi-human
images with large, dramatic eyes, strongly curled nostrils and
tight-lipped mouths. Other characteristics were curiously long
pupils bulging from their eyes and faces covered with gold leaf.
Indian Painting curated by Haema Sivanesan, Assistant
Curator, Asian Art featured more than 80 works from the Art
Gallery’s growing collection of Indian art, as well as from
private collections. Spanning four centuries to the present, this
exhibition provided a survey of the diverse, aesthetically rich
tradition of painting in India, reflecting the wide range of
influence that continues to shape it.
Heroes and Villains from Japan’s Floating World curated by
Chiaki Ajioka, Curator of Japanese Art presented characters
immortalised in Japanese literature, poetry and folklore in
paintings, prints and objects. They ranged from 12th Century
samurai to popular kabuki actors and sumo wrestlers of the
Edo period (1615-1867) when the hedonistic “floating world”
flourished.
Hanga: Japanese Creative Prints also curated by Chiaki Ajioka,
investigated the theme of Western inspiration in the arts of
Japan, raising the notion of individuality in a culture known
for its conformity. Five decades were represented by a panorama
of prints, many of which came from the Art Gallery’s Collection.
Much time during the year under review has been spent by
Jackie Menizes, Head Curator of Asian art and her team,
preparing Buddha: Radiant Awakening, which will run from
10 November 2001 to 24 February 2002. This is an
enormous undertaking by the Art Gallery, which is not only
bringing images of Buddha from many countries for a major
and exclusive exhibition, but is also planning a wide range of
public program that, even before it opens, has generating
exceptional interest and involvement from local Buddhist
community groups. The exhibition will be presented by VisAsia.
WESTERN/EUROPEAN ART
Renoir to Picasso: Masterpieces from the Musee de
l’Orangerie, Paris organised by Terence Maloon, Curator
Exhibitions showcased 81 paintings by some of the greatest
names in modern French art, including Renoir, Cezanne,
Matisse, Monet, Modigliani, Derain, de Chirico, Utrillo,
Soutine and Picasso.
They came from a legendary collection founded by the
Parisian art dealer Paul Guillaume over two decades from
1913 until his death in 1934 at 42. His widow, Domenica,
bequeathed the collection to the Musee de l’Orangerie in Paris,
where renovations enabled its three-State Australian tour.
Masterpieces of Victorian Art from the John and Julie Schaeffer
Collection marked the inauguration of the gallery which bears
the names of these two generous benefactors. Together with
the Art Gallery’s most famous works of the period, they made
up what was almost certainly the finest representation of
British Victorian painting to be seen in the world.
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Background: Action Men 2000 Christopher Langton
Foreground: Car nuggets; they’re good for you 1998 Patricia Piccinini
Plastic Life: Patricia Piccinini and Christopher Langton
16th July to 20th August 2000
Two major events scheduled for the next financial year – for
which preparations have been made over the year under
review – are Belle-Ile, curated by Ursula Prunster, Museum
Educator, which will present work by the Australian
Impressionist John Peter Russell in context with colleagues
Monet and Matisse, and Australasia’s first intensive exploration
of work by the celebrated European artist Anselm Kiefer.
CONTEMPORARY ART
Phenomena: New Painting in Australia is the first of a series
of current painting in this country. It shows that the art of
painting is still important in the 21st Century despite the
diversions of technology and popular fashion. Fourteen artists
from around Australia explored the phenomena of the human
imagination in diverse styles. Andersen was the Primary
Sponsor and the exhibition will also be seen in the Potter
Gallery at the University of Melbourne.
The contemporary projects series has seven or eight
exhibitions a year to profile the most innovative examples of
contemporary art practice with new works created by artists
such as Aleks Danko, Patricia Piccinini and Christopher
Langton, Stephen Birch, Nigel Helyer, David Sequeira and
John Meade. It is unique in Australian State Galleries and
evidence of the Art Gallery’s commitment to fostering a
critical contemporary culture.
Being prepared for opening early in the new financial year is
Space Odysseys: Sensation and Immersion described by its
18
Rineke Dijkstra
Kolobrzeg, Poland, July 26 1992 1992
type C photograph 153.0 x 129.0
courtesy the artist, Amsterdam
World Without End: Photography and the 20th Century
1st December, 2000 to 25th February, 2001
curator, Victoria Lynn, as “an all-encompassing aesthetic
experience”.
PHOTOGRAPHY
World Without End: Photography and the 20th Century,
curatored by Judy Annear, Senior Curator of Photography,
brought together some 200 works by 42 acclaimed Australian
and international artists, including Diane Arbus, Max
Dupain, Frank Hurley, Man Ray, Tracey Moffatt and Alfred
Stieglitz. In addition, more than 80 publications were exhibited
to reflect the broad influence of images in the 20th century on
the perceptions and sensibilities of the modern world.
This was the first major international photographic exhibition
to have been curated and organised from Australia. Among
the 40 institutional and private lenders to World Without End
were the J. Paul Getty Museum, George Eastman House, the
National Gallery in Washington, New York’s Metropolitan
Museum of Art and the Museum of Modern Art.
A wide range of public programs and a substantial catalogue
accompanied the exhibition. Its examination of the imaginative
hold that photographs have on artist and audience made it a
critical success and a major event in the 2001 Sydney Festival.
My City of Sydney, on show during the Sydney Olympic
Games, introduced viewers to the harbour city through
photographs taken over a century, the earliest from as long
ago as 1875.
Psalm Scroll. Fragment from the Dead Seas Scroll Psalms and Hymns (chapters 101-105), courtesy Israel Antiquities Authority
Dead Sea Scrolls Exhibition 14th July to 15th October 2000
SPECIAL OLYMPIC EXHIBITION
An exhibition of those enigmatic manuscripts, the Dead Sea
Scrolls, was presented for the first time in Australia by the Art
Gallery of New South Wales with the Israel Antiquities Authority.
A selection of Dead Sea Scroll fragments was displayed within
the context of archaeological fragments from the Khirbet
Qumran site, including textile, stone, numismatic and leather
artefacts. The presentation of this material was designed to
illuminate significant issues about the study of these ancient
texts, and their relevance for Judaism and Christianity.
ARCHIVE
The research library and archive held four exhibitions during the
year. The first was devoted to the art of Arthur Murch, drawn
from his extensive collection of correspondence, notebooks,
teaching diagrams and photographs in the Art Gallery’s Archive.
A seasonal exhibition was devoted to Christmas cards by
Australian artists. An exhibition dedicated to the Sydney
Camera Circle showed the work of Sydney photographers
document from 1930 to 1940. The Art Gallery’s Collection of
artists’ books provided material for the final exhibition,
encouraged by art students’ requests about the book as a
medium for art.
PUBLICATIONS
Two major publications were produced this year by the Art
Gallery of New South Wales in addition to its customary
output. Both are on the art of Australia and they reinforce the
Art Gallery’s strong reputation as an art publisher.
Australian Art in the Art Gallery of New South Wales records
the many great artists represented in the Art Gallery’s
permanent collection. They range from John Glover of the
colonial era to artists working today such as William
Robinson, Colin Lanceley and Aida Tomescu. Through
paintings, sculptures and works on paper, it offers a
panorama of non-indigenous Australian art in more than 300
pages with 200 colour plates, which are accompanied by
extracts of contemporary letters and journals.
Head Curator of Australian art, Barry Pearce, conceived and
compiled the volume. He also wrote the introduction and
several of the 12 essays, all by Art Gallery staff, which reflect
the history and character of collecting in the Art Gallery of
New South Wales – in turn echoing the life and times of the
nation over more than a century.
Papunya Tula: Genesis and Genius records in book form the
first major exhibition of Aboriginal art tracing the Papunya
Tula movement from the early 1970s to the present. This full
colour catalogue features more than 150 paintings –
reproductions of all works in the exhibition – and 11 essays,
including an interview with artist Turkey Tolson Tjupurrula
and accounts by people associated with the Papunya Tula
movement over the years. It is distributed in the UK and
Europe, as well as Australia, by Thames and Hudson.
19
Chinese Dance School of Sydney,
Sanxingdui: Masks of Mystery Performance December 2000
Hanga: Japanese Creative Prints embraces five decades of
Japanese creativity, with many examples from the Art
Gallery’s Collection and new research by the Curator of
Japanese art, Chiaki Ajioka.
Although Fragrant Space: Chinese Flower and Bird Painting
from the Guangdong Provincial Museum exhibition finished
at the close of the last financial year, its exhibition catalogue
by Art Gallery Curator Liu Yang, with bi-lingual entries,
continues to be distributed by Thames and Hudson in Europe,
the UK and Australia.
Launch of Fundays at the Gallery featuring Monica Trapaga, April 2001. A free programme to explore art through drama, storytelling, music, mine and workshops.
Brett Whiteley Graphics 1961-1992 by Hendrik Kolenberg
and Affinities: Brett Whiteley and Lloyd Rees by Lou Klepac
were also published by the Art Gallery in 2001.
Publishing plans for next year include a book on the Art
Gallery’s Contemporary art collection, 1968-2002, and an
Asian art handbook.
All these publications are produced substantially in-house,
with design by the Graphics Department.
AUDIENCES
World Without End: Photography and the 20th Century, the
first major international photographic exhibition to be
curated and organised from Australia, was the source of a
substantial catalogue by the Art Gallery’s Curator Judy Annear.
Pre-Raphaelites and Olympians brought together fascinating
examples of Victorian art from the John and Julie Schaeffer
collection, which are displayed at the Art Gallery alongside
paintings from our own Collection and that of the National
Gallery of Victoria.
Smaller publications include three in the Australian Collection
Focus Series. They are Colin Lanceley: The Dry Salvages 196364 and Gemini 1964, written by the artist, Barry Pearce and
Deborah Edwards; John Glover: Natives on the Ouse River; and
Russell Drysdale: Sunday evening 1941
20
The Art Gallery’s Public Programmes department is seen as a
trend-setter amongst Australian art museums for developing
existing and new audiences in this specialised field through
relevant, stimulating, imaginative and wide-ranging Programmes.
In the year under review, overall participation rates at events
and programmes were above 200,000, including 83,617
booked students. This means that about one in five visitors to
the Art Gallery participated in an education or public
programme. Student visitation to major temporary exhibitions
over the year remained high at 29,862. The most popular was
the Archibald, Wynne and Sulman Prizes exhibition at
12,221, but in the first four weeks only of Renoir to Picasso,
5,534 student visits were recorded.
Some of the most successful and innovative programmes
during the last 12 months occurred in conjunction with the
Olympic Arts Festival. At the time of the Dead Sea Scrolls
exhibition, a mutually beneficial professional relationship was
forged with ABC TV and Radio National. The Art Gallery’s
audience reach was significantly extended through live webcasting of specific programmes, and through ABC marketing
and publicity. Broadcaster Dr Rachael Kohn introduced and
chaired these events, including an international symposium
and a series of dialogue seminars. Another initiative for this
exhibition was the Ecumenical Blessing, a unique event of
spiritual and cultural significance. It was necessary to repeat
many events due to audience demand.
temporary exhibitions, and for marketing and educational
purposes. The videos also provide important documentation
of lectures, performances, art installations, special events and
artists’ profiles. Art Gallery videos were seen in regional NSW
galleries accompanying touring exhibitions and in NSW
schools. They included the 2001 Archibald Prize exhibition, a
symposium video for World Without End, the Papunya Tula
introductory video and the documentary of the sand-painting
at the Art Gallery, the Colin Lanceley Focus Exhibition and
Phenomena: New Painting in Australia.
During the Papunya Tula exhibition, an international symposium
brought together key figures associated with Papunya Tula
and Western Desert art: Geoffrey Barden, art teacher at
Papunya 1971-72, Professor Fred Miles, Profession and Chair
of Anthropology at New York University, Professor Marcia
Langton, Chair of Australian Indigenous Studies, University
of Melbourne, Dr Vivien Johnson, author and academic, and
John Kean producer Australian Studies, Museum of Victoria.
The profile of film at the Art Gallery has been significantly
raised with curated film programmes covering a diverse range
of cinema classics, documentaries, experimental films, animation
and shorts. They are screened with major temporary
exhibitions and have attracted a new, committed following.
Fundays at the Gallery was launched with a five-year
sponsorship from The Sunday Telegraph to continue
development of the Art Gallery’s children and family
programmes. They include Sunday Afternoon for Families and
free kids activity booklets for the permanent collections, with
the first released this year: The Great Australian Art Hunt.
A new education kit for the Australian collection, Aspects of
Australian Art includes 16 colour reproductions of key works
accompanied by informative text and student activities for
years K-12 school groups. Wide-ranging exhibition programmes
were developed for Australian Icons, Papunya Tula, Hanga:
Japanese Prints, World Without End, Masks of Mystery, the
Archibald, Wynne and Sulman Prizes, Denise Green and
Renoir to Picasso. Education kits were produced for the six
major events and hosted on the Art Gallery’s website.
The Audio-Visual department has developed a new capacity
to produce professional standard videos for use with
Free performances were given of two theatrical pieces produced
to complement the Australian collection - By Jingo and Hester
21
– and dance performances with replicas of ancient Chinese
bells to go with the Sanxingdui: Masks of Mystery exhibition.
As the Art Gallery’s regular formal education courses are
conducted on a calendar year basis during the 2000/01
reporting period there were two part years of different Art
Appreciation courses held including the diploma lecture series
organised in conjunction with the Art Gallery Society; two
diploma Contemporary art courses – Conversations with
Contemporary Artists, 2000 and Making Connections:
Contemporary Art + Everything Else, 2001 and a further two
Asian art diploma courses Fifteenth to Twentieth Century 2000
and The Arts of Buddhism 2001. In addition, during this
reporting period there was a once-off Australian art lecture
series held relating to the Australia Icons Collection presentation.
DIGITISATION
New equipment for capturing and delivering first class images
for all kinds of applications has been installed in space set
aside in the sub basement. More than 8,000 images a year can
be processed in this facility.
The new equipment enables the Art Gallery to scan from
transparencies and deliver images electronically or to produce
slides, large format transparencies or top quality colour prints
in house at a fraction of the cost of laboratory processing –
for instance 50 cents for a 35 mm slide from digital format
compared with $27 charged commercially. The prime
application of digitisation is to replace the film archive of the
Art Gallery collection with a permanent digital record. This not
only has a longer life than film, it can be exported to the website
for access by the public. Audio-visual Services have moved in
with Photography Studio Department as a step towards the
creation of a media unit that can share digital resources.
In April 2001, responsibility for the website was given to the
Public Programme department under the newly created
position Manager of Information. Improvements by the end
of June included more easily accessible listing for all events,
and the addition of a mailing list and bulk email facility for
alerting interested people to new developments. The entire
research library catalogue is on-line – allowing remote access
by the public and Art Gallery staff - and almost the entire
Collection database, with images available for some works
and more to come as the digitisation project proceeds.
The Art Gallery’s website achieved number one ranking for
Australian art-related sites, according to Hitwise Australia. In
the last week of June 2001, the Art Gallery’s share of hits was
12.73%. Plans for next year include E-commerce on the website
– purchasing merchandise and booking for events on-line – as
well as enhancing the site with video and audio content, and
creating a network with other art museum and art-related sites.
REGIONAL CONTACT
Many works were lent to other institutions for exhibitions
around Australia, with particular assistance given this year to
Inverell Art Gallery for its Tom Roberts Festival, to
Hazelhurst Regional Art Gallery for its Bodyline exhibition –
based entirely on Australian figure drawings from the Art
Gallery’s Collection – and to Dubbo Regional Gallery for an
exhibition on the work of George Lambert mounted in
conjunction with celebrations for the Centenary of Federation.
22
Seven portraits by Tom Roberts were lent to the Inverell Art
Gallery, highlighting the diversity of his interests in subjects
across Australian society and illuminating his distinguished
achievement in portraiture. Festival organisers declared the
paintings to be integral to the success of the festival, which
will continue its impact through a video made of Art Gallery
curator Barry Pearce’s lecture which will be shown in local
schools and neighbouring Galleries.
Inverell Art Society secretary Beth Farrell wrote to Art Gallery
Director, Edmund Capon,: “Your undertaking of this loan to
our Gallery has confirmed your commitment to establishing
‘regional partnerships’ and we look forward to strengthening
this partnership in the future.”
More than 50 drawings from the Art Gallery and three from
the Brett Whiteley Studio were supplied on loan to Sydney’s
newest Regional Gallery, Hazelhurst, which directed its
exhibition towards senior secondary students in the
Sutherland Shire area to give them the opportunity to study
diverse approaches to figure drawing.
The George Lambert exhibition, reflecting the regard in which
he was held for championing Australian art at the time of
Federation, began at the Dubbo Regional Gallery in May
2001, and will tour for more than a year to Galleries in
Armidale, Gosford, Albury, Bendigo and Gymea.
The 2000 Archibald Prize touring exhibition opened in
Dubbo Regional Gallery in July 2001 ahead of Tweed Heads,
Lismore then travelled on to Melbourne.
Further a field, Fire’s on 1891 by Arthur Streeton was lent to
the Victoria and Albert Museum in London for the exhibition
Inventing New Britain: The Victorian Vision. The painting
was sought for its heroic scale and achievement in capturing
the light, heat and colour of Australia; its subject showing the
impact of Victorian technology so far from Britain; and for
Streeton’s command of a modern subject.
Back on home ground, Australian artworks were lent to the
National Gallery of Australia for Federation: One Hundred
Years of Australian Art, scheduled for an interstate tour after
its Canberra showing. The exhibition’s aim was to investigate
the way political, social and religious issues have been
portrayed in the nation’s art over the 20th century.
Two paintings by Fred Williams were lent to the New
England Regional Art Museum for its exhibition of Australian
landscape to celebrate the Centenary of Federation. Works
were also lent to Wollongong City Gallery and approved for
exhibitions in the next financial year at the new Coffs
Harbour Regional Art Gallery, Global Arts Link, Ipswich, and
the Phillips Collection, Washington DC, which wants Pierre
Bonnard’s Self portrait c1940 for a proposed exhibition of his
work to help “provide a powerful glimpse into the
complexities of the artist at the end of an important decade in
his career”.
In support of regional contact, the Art Gallery library has
included all Regional Galleries in its exchange programme.
They receive all Art Gallery publications free of charge.
George W. Lambert Holiday in Essex 1910
oil on canvas 183.8 x 230.6 cm
Purchased with the assistance from the Art Gallery Society of New South Wales and the Marshall Bequest Fund 1981
Frame conservation work by David Bulter, funded by ABN AMRO Rothschild Australian art and exhibition sponsors
Australian Icons 4th August, 2000 to 31st January, 2001
SUPPORT
The Art Gallery of New South Wales enjoys a wide range of
strategic partnerships with the corporate sector through its
extensive sponsorship programme. In the past year, a total of
$729,000 in cash and in-kind support of $926,000 were
secured. This was an increase from the previous year of 27.3%
for cash contributions and 87.1% for in-kind contributions.
It is the Art Gallery’s objective to develop long-term, mutually
beneficial partnerships with major corporations across all its
activities. This is achieved through the establishment and
maintenance of flexible and dynamic relationships between
the Gallery and each sponsor. These relationships ensure that
each company’s objectives are met in full.
Support for the Art Gallery can be provided as a cash
contribution or in kind, or as a combination of both, and is
directed largely towards the Art Gallery’s programme of
temporary exhibitions. These exhibitions provide high public
and media exposure, branding and awareness opportunities,
as well as client entertainment in a unique setting.
The Art Gallery gratefully acknowledges the continuing
support of its Corporate Partners, who provide valuable links
between the Art Gallery and the business sector. We also
welcome several new corporate partners, including Tower,
The Sydney Morning Herald, Westfield, The Australian, the
Bass Hotel Group, Merrill Lynch HSBC and The Sunday
Telegraph. We look forward to a continuing relationship with
these major companies.
PRINCIPAL SPONSORS
ABN AMRO Rothschild’s substantial support for Australian
art at the Art Gallery culminated in the landmark exhibition
Australian Icons, which was part of the 2000 Sydney
Olympics Arts Festival. The Australian also provided
invaluable support as media sponsor for the exhibition.
Westfield was principal sponsor of the Dead Sea Scrolls
exhibition, which was in the programme for the 2000 Sydney
Olympic Arts Festival.
Qantas continued its support of Aboriginal and Torres Strait
Islander art as principal sponsor of Papunya Tula: Genesis
and Genius, also part of the 2000 Sydney Olympic Arts
Festival.
The Sydney Morning Herald was principal sponsor of World
Without End: Photography and the 20th Century, presented
as an event in the 2001 Sydney Festival.
The Sunday Telegraph became Principal Sponsor of the fiveyear programme, Fundays at the Gallery – a year-long
programme of free performances, workshop and activities
especially for families and younger children.
Andersen were Principal Sponsor of the first of three annual
exhibitions, New Painting in Australia.
The Colonial Foundation Charitable Trust was principal
financial supporter for the 2001 Archibald, Wynne and
Sulman Prizes.
Merrill Lynch HSBC was the NSW Sponsor for Renoir to
Picasso: Masterpieces from the Musee de l’Orangerie, Paris.
Tower sponsored Sanxingdui: Masks of Mystery, also part of
the 2001 Sydney Festival.
23
The last in the annual Guinness Contemporary Art project series,
Fun Five Fun Story, presented the work of five artists from Africa.
The following companies provided invaluable support in cash
and kind throughout the year as supporting sponsors:
JCDecaux, Hotel Inter-Continental Sydney, Bass Hotel Group,
CODY Outdoor, The Mode Group, The Seven Network,
Bloomberg, Squiz.net, McWilliams Wines, Lion Nathan,
Avant Card.
VISASIA
VisAsia, the Institute of Asian Culture and Visual Arts, was
formally launched and its Business Council established in
May 2001. VisAsia’s aims are “to further the study,
promotion and appreciation of Asian visual arts and culture”.
At the launch by former Prime Minister Paul Keating, Art
Gallery Director Edmund Capon said the creation of VisAsia
“recognises the crusial role which our understanding of Asian
culture will play in the development of Asian-Australian
relations in the 21st century”.
The VisAsia Business Council was established to support the
objectives of the Institute and to provide companies with
access to business and cultural links in the region. Please see
appendices for full membership listing.
Membership is by invitation only to the Chairman, CEO or
Senior Executives of major companies. This year, there were
three new members: Justin Miller, Chairman of Sotheby’s
Australia, Robin Dixon, Managing Director of Getronics
(Australia) Pty Limited, and Scott Walters, CEO of Merrill
Lynch HSBC – please see appendices for a full membership
listing.
ART GALLERY SOCIETY
The Art Gallery Society remains the largest body of arts
supporters in the country, and by the end of the financial year
its membership had begun to grow again, with visitors to
Renoir to Picasso joining up in the hundreds, taking the total
membership to more than 31,000 people.
The Society provided funds for some major acquisitions
during 2000/2001: Gilbert and George’s Reaming 1982, and
three important works by Sidney Nolan – Fraser Island 1947,
Colonial head 1947 and Boat 1959.
The Society’s two volunteer bodies contributed substantially
to the work of the Gallery. The Volunteer Guides conducted
29,000 adults (including many overseas visitors) and 12,500
children during the year, and the Task Force provided almost
15,000 hours of voluntary labour on entry desks at
exhibitions and functions. The estimated saving to the Gallery
was some $1.12 million. For its support to the exhibition
Sculpture by the Sea in October, the Task Force has been
nominated for a National Year of the Volunteer award.
enabling it to help purchase Pierre Bonnard’s Buste de profil,
fond rouge c.1920.
COMMERCIAL
VENUE HIRE
The Venue Hire Department, which is responsible for the
management of the retail food outlets, Art Gallery functions
and corporate functions, achieved a record revenue level
during the year with income at $793,000 (up from $672,000
in the previous year).
This 29% increase in net revenue from the previous year was the
result of a targeted marketing strategy and a strong exhibition
schedule. The Dead Sea Scrolls, Archibald, Wynne and Sulman
Prizes and Renoir to Picasso exhibitions all provided higher
than usual utilisation of the retail food outlets and appealed
to corporate clients for functions. Many new corporate clients
were secured, adding to those who return to host events year
after year in the Art Gallery’s unique and stylish environment.
Highlights of the year included two Deutsche Bank Olympic
dinner functions and the launch of VisAsia.
A sales and marketing plan will be developed to promote the
Art Gallery’s new restaurant and refurbished café, due to
open in 2003.
GALLERY SHOP
The Gallery Shop turnover was maintained at last year’s
record levels, despite GST implementation – which had an
adverse impact on most retail establishments in the early part
of the year - shop relocation and modest attendances during
the Olympic period.
The Conservation Department will gain space in the long run,
but for nine months next year the Department’s activities will
be curtailed in temporary office accommodation without a
studio causing a reuction in loans and limited conservation
work on the collection.
This project involves issues of building in an operating
environment, a constrained site establishment space, a high
profile public building and complex Art Gallery exhibition
programming requirements. Everything will be kept open as
much as possible, however as building construction will be
done in business hours it will be noisy with some areas facing
reduced natural lighting.
AUDITORIUM
Work has been undertaken on the new 100-seat auditorium
which is the Centenary Fund’s first project. It is located
alongside the main temporary exhibition gallery, directly
below the new Gallery Shop. It is due to open early in the
new financial year, providing the Art Gallery with a wellequipped venue to carry out its role in offering a forum for
discussion and education.
MARGARET OLLEY
The Margaret Olley Twentieth Century European Galleries
were named in May 2001 by Art Gallery director Edmund
Capon in honour of this artist’s generosity as a benefactor.
There are now 93 works that owe their place in the Art
Gallery’s permanent Collection due to her generosity.
GALLERY ACCESS
Fresh schemes have been submitted to the relevant
stakeholders to improve pedestrian access to the Domain car
park.
Key publications this year included Australian Art in the Art
Gallery of New South Wales and Papunya Tula: Genesis and
Genius. They added to the Art Gallery’s reputation as a major
art publisher, with distribution of its publications national
and internationally.
Jackie Menizes, Art Gallery Head Curator of Asian Art, Christina Chu, Chief
Curator Hong Kong Museum of Art, John Yu, Art Gallery Trustee and Chairperson
of VisAsia at May 2001 launch of VisAsia
In May, 2001 Director Edmund Capon helped celebrate International Year of the
Volunteer with many of the Society’s Volunteer Guides thanking them for their
valuable contribution to the Art Gallery.
CENTENARY FUND
The Centenary Fund is limited to 100 patrons who have been
invited to contribute $100,000 over a specified period of time.
It was launched on 24 February 2000 and its first project – a
new auditorium which is critical to the Art Gallery’s role as a
forum for discussion and education – is due to be completed
in November, 2001. So far, 27 patrons have pledge their
support – please see appendices for full membership listing.
Despite interruptions to the programme resulting from the
Sydney Olympic Games, a surplus of $813,222 was achieved
on activities during the year 2000. The Society enhanced its
programme of events by establishing a concert series titled
Resonate, and marked the Centenary of Federation by
devoting its diploma lecture series for 2001 to Australian art.
THE PRESIDENT’S COUNCIL
The President’s Council, established in 1995, builds business
networks and financial support for the Art Gallery’s
exhibitions and publications programme, with its members
giving high-level business advice.
24
ART GALLERY FOUNDATION
The principal objective of the Art Gallery Foundation is to
raise funds for investment and apply the derived income to
purchase works of art for the Art Gallery’s permanent
Collection. This year the Foundation’s capital increased to
$13.4 million (compared with $12.5 m in 1999/2000 and
$12.2 m in 1998/99), generating more than $1 million and
During the year, the Gallery Shop commissioned reprints of
AGNSW publications Let’s Face It (revised second edition),
Orientalism (1,500 copies for the UK market) and Jeffrey
Smart Retrospective (17,000 copies sold) to supply local and
international demand.
BUILDING
ASIAN ART GALLERY AND ASSOCIATED WORKS
The project of building a new Asian gallery has recommenced
after a break since October 1998 while funding was secured.
The budget is now $1 million, design plans have been
approved and construction is due to commence in early 2002.
The architect is Richard Johnson from Johnson Pilton Walker.
Construction underway for the new Centenary Fund Auditorium due for
completion in November, 2001.
The new Asian gallery will be built directly above the present
one, with a linking stairway. The upper level temporary
exhibition space will increase to 550 square metres with the
relocation of the conservation studio and resturant. The café
will be renovated and extended, with its present outdoor area
brought indoors and replaced with a new outdoor section.
The restaurant will reappear in an exciting new site on the
top level with a large function room.
25
STRATEGIES
AIM, OBJECTIVES AND PERFORMANCE INDICATORS
CHARTER
The primary purpose of the Art Gallery, as defined by the Art
Gallery of New South Wales Act 1980, is to develop and
maintain a Collection of works of art, and to propagate and
increase knowledge and appreciation of art.
VISION
To be the great Australian arts museum reflecting our heritage
and vitality, and to be recognised nationally and internationally
for our Collection, services and commitment.
MISSION
To achieve the purpose stated in the charter, the Art Gallery
has set itself the following goals:
• To acquire, collect and present to the public the finest
works of art available, with a special emphasis on the
artistic traditions of Australia.
• To explore and inspire through our collection and exhibitions,
the emotional and intellectual resources of our audiences.
• To create a sense of belonging and provide our visitors with
an enjoyable and enduring experience.
OBJECTIVES
Strategies have been developed in the corporate plan 19992005 to meet the following objectives:
• Enhance and conserve the State’s art collection and heritage
building.
• Operate a varied, exciting and active exhibition programme
to encourage visitors and expand appreciation of art.
• Provide educational and research programmes and services to
an ever-broadening public.
• Inspire and explore artistic attitude and aspiration.
• Operate the Art Gallery in an efficient and effective manner
that encourages an increasing level of public visitation.
• Ensure effective funding sources for the Art Gallery to
support its acquisition program and expansion of services.
TARGETS
PERFORMANCE OUTCOMES
Objective 1 Enhance and preserve the states art collection and heritage building.
1.1 Increase acquisitions of art
works
1.2 Maintain high standards
of curatorial work and
conservation to achieve a
‘centre of excellence’
standard.
26
Increase Collection value by
1%
Over $7.8 million of artworks were acquired / gifted this year,
an increase of 1%; Total value of the Collection increased by
over $63 million to $588 million due to acquisition and
appreciation in value of artworks.
Develop a major acquisition
fund for the year 2005
The acquisition fund amounted to over $300,000, as at 30th
June, 2001.
Enhance the quality of our
Collection with a major work
• Acquired Pierre Bonnard’s Buste de profil, fond rouge c 1920.
• Acquired a Cambodian Khmer (12th-13th century) bronze
figure of Hevajra.
Focus acquisitions of works on
Collection priority areas
The acquisition of 3 major Sidney Nolan works has ensured
this prominent Australian artist is represented at his best in his
various focus series.
Publish a Collection book.
Australian Art in the Art Gallery of New South Wales
published – major book with 320 pages, with 200 colour images.
Curatorial staff to publish
information about the
Collection.
6 books specifically on the Art Gallery’s Collection published
since 1994 featuring major essays by curators. Refer
information see Publication listing appendix.
Increase staff skills levels –
training courses, seminars,
conference.
• Peter Raissis, Art Gallery Curator, undertook a 3 month
internship at Musee du Louvre, Paris.
• Edmund Capon, Director awarded a Doctor of Letters
honoris causa from University of New South Wales and the
Chevalier of arts and letters from the French Government.
1.3. Maintain and refurbish the
building in keeping with
its heritage value and as a
public venue
PERFORMANCE OUTCOMES
Review and revise Collection
information prior to database
integration with website.
Collection registration database was reviewed and updated to
allow over 90% of defined fields of information on works of
art held within our Collection to be released for website
integration.
Focus conservation priorities
on permanent Collection to
meet in-house developed
exhibition programme needs.
• ABN AMRO Rothschild sponsorship of the Australian art
Collection Exhibition Australian Icons, enabled frame
conservation including the magnificent hand carved/glided
frame for George Lambert’s Holiday in Essex.
• Conservation benefactors also sponsored conservation of
Lambert’s The White Glove.
• Art Gallery Society continued to sponsor the conservation of
the Aboriginal bark painting Collection.
• The Art Gallery commissioned a review on the conservation
of the contemporary Aboriginal paintings on canvas.
Provide professional
development, through external
or in-house workshops and
internships, to representatives
from other arts institutions.
• Presented an intensive conservation workshop at Te Papa
Museum in Wellington, NZ.
• A German and a French university student worked
Conservation Department internships.
• Assisted the Inverell Art Gallery with their Tom Roberts
Festival exhibition.
• Assisted Hazelhurst Regional Art Gallery with their Bodyline
exhibition, based entirely on Australian figure drawings from
our Collection.
• Assisted Dubbo Regional Gallery with an exhibition of
George Lambert works – a Centenary of Federation event
• Australian Art Department’s internship continued with
students from College of Fine Arts, Sydney; University of
Western Sydney; and University of Sydney.
Design and build a new 100
seat auditorium providing
enhanced public facilities for
access to Art Gallery’s
education programmes /
activities.
Construction of the Centenary Fund Auditorium commenced in
May to be completed by November 2001 – totally funded by
the private sector.
Finalise building extension
plans to expanded exhibition
display area by 10%.
NSW Government Capital works funding of $15 million
approved. Design plans approved and expression of interest
sought for construction tender. However, the construction has
been delayed due to Olympic period - work now scheduled to
start following completion of the auditorium with the building
extension targeted to be completed within 2 years.
Implement second year of the
five year Total Asset
Maintenance (TAM) plan.
Maintenance work completed on time and on budget for items
such as lifts, escalators, compactus storage, electrical upgrade
of plant room, parquet flooring in Asian Gallery, lighting
upgrade to display courts 6 and 7; safe and accessible building
conditions maintained for both the protection of the Collection
and visitors.
Upgraded storage facilities
Transferred off-site storage to a location with superior security
and environmental storage conditions; new lease ensures long
term safe housing of equipment and archival records materials
Measures of achievement towards these objectives are set out
in a chart of key performance indicators following the review
of activities in the year to 30 June 2000.
KEY PERFORMANCE INDICATORS – 2000/2001
STRATEGIES
TARGETS
Objective 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand their appreciation of art.
2.1 Exhibit and feature the
permanent Collection in as
attractive a manner as possible;
Provide Temporary
Exhibitions.
Profile Australian artist from
the permanent Collection via
‘focus series’ exhibition
programme.
• Artists highlighted in focus series included Colin Lanceley,
John Glover and Russell Drysdale – all free entry exhibitions.
• In addition, this year the Australian Icons exhibition
highlighted 20 major Australian artists from our Collection –
also free entry.
27
STRATEGIES
2.2 Foster our visitors to
encourage loyalty and
longer-term commitments.
TARGETS
Major temporary exhibition
programme to include Dead
Sea Scrolls; World Without
End; Renoir to Picasso.
Balance free vs paid exhibition
entry to ensure equitable access
to art for all visitors by
neutralising the impact of the
GST and competition on
pricing.
Provided our visitors with an educational and personally
enriching opportunity to view, in many cases for the first time
in Australia, major art works with some items entrusted on
loan exclusively to the Art Gallery of New South Wales.
• Paid entry imposed on only 6 of 38 exhibitions at the Art
Gallery.
• Ticketed exhibition programme supported cost of all
exhibitions.
Target for new Art Gallery
Society memberships achieved.
The Art Gallery Society attracted 2,543 new members during
the year keeping the total membership the highest membership
level for arts associations within Australia.
Capture an increased youth
audience.
Introduced a successful programme of non-exclusive art
activities such as free Sunday lunchtime concerts performed by
Students of the Australian Institute of Music.
Expand tourism packages /
opportunities available to
visitors.
2.3 Raise awareness of the Art
Gallery and its exhibitions
so that the public is keen
to attend and be
associated with the Art
Gallery
2.4 Expand the Art Gallery
profile by establishing a
‘centre of excellence’ in
Asian arts and maintaining
Australian cultural focus
2.5 Lend / Borrow works of
art to / from other
galleries to make a wide
range of art accessible to
the public.
28
PERFORMANCE OUTCOMES
• Special accommodation / exhibition tickets deals run in
conjunction with Sanxingdui Masks of Mystery, World
Without End: Photography and the 20th century and 2001
Archibald Prize exhibitions.
• Close to 4,000 joint entry tickets sold to the Art Gallery’s
World Without End and Full Moon exhibition held at the
Museum of Contemporary Art, Sydney.
• Family tickets available for all paying exhibitions held at the
Art Gallery.
Use the Art Gallery’s website to
increase public awareness of
our activities.
• Developed the website functionality to include a register of
interested online users to receive, approximately every two
weeks, an emailed electronic newsletter ‘Artmail’.
• Website visited increased to over 1,000 visitors per day;
consistently ranking our site as #1 arts website within
Australia.
Increase visitor attendance by
obtained extensive media
coverage for major exhibitions
including Archibald Prize and
Renoir to Picasso.
Record number of visitors attended the 2001 Archibald Prize
exhibition and over 57,146 attended the first month of the
Renoir to Picasso exhibition (June 2001) – this exhibition
continued into July, 2001 and attracted in total of 138,154 visitors.
Secure recognition of the Art
Gallery’s expertise with regard
to Asian art.
• Hon. Paul Keating, on behalf of the Art Gallery, officially
launched VisAsia in May 2001.
• Official VisAsia website launched.– www.visasia.com.au
Continue education
programme under VisAsia.
Fifteen to Twentieth Century Asian art lunch-time lecture series
held between February – November 2000.
Present Indian Painting,
Hanga: Japanese Prints,
Sanxingdui: Masks of Mystery
and Heroes and Villains from
the Floating World exhibitions
which featured Asian arts and
cultures.
• 3 of the 4 exhibitions had free entry to visitors.
• Enhanced presentation of exhibition by lecture series lead to
a greater audience understanding of cultural significance of
these works and / or events leading up to their creation.
Borrowed significant art works
from international museums
for World Without End and
Renoir to Picasso exhibitions.
• Over 250 works borrowed from over 40 institutions and
private lenders enable the presentation of world class
temporary exhibitions to the public.
• Relationships developed with other international museums
and individuals to the point of being able to obtain exclusive
art loans never before released to the care and control of an
Australian museum.
STRATEGIES
TARGETS
PERFORMANCE OUTCOMES
Lend works from our
Collection to all requesting
institutions.
• 160 works lent to other Australian galleries included 105 to
various NSW Museum and Galleries Association institutions
ensuring increased public access to the Art Gallery’s Collection.
• 4 major works lent internationally, including Australian artist
Arthur Streeton’s Fire’s On to the Victoria & Albert
Museum, London, enhancing the exhibitions presented by
these countries.
Toured exhibitions to Regional
NSW and other Australian
locations.
• Ensured our Collection was accessible to Regional NSW and
the general public in other Australian states; including 56
works from our Collection lent to Hazelhurst Regional
Gallery and Arts Centre for their Bodyline exhibition.
• Visitor numbers from touring exhibitions totalled 362,880
across Australia.
Objective 3 Provide educational and research programmes and services to an ever-broadening public.
3.1 Conduct public
programmes to further
enjoyment, appreciation and
understanding of art.
Continue to develop and
present comprehensive
educational lecture series.
• Presentation of academic lecture series including Art History
and Appreciation, Contemporary Art and Asian Art courses
met public demand for quality art eduction.
• Approximately 1 in 5 visitors to the Art Gallery participate
in an education or public programme.
3.2 Encourage young people to
appreciate, enjoy and
understand art through
stimulating education
programmes.
Develop education kits for
students based on major
exhibitions..
Education Kits were produced for The Dead Sea Scrolls;
Australian Icons; Papunya Tula; World Without End and the
Archibald, Wynne and Sulman exhibitions.
Develop and present education
programmes specifically for
young people / students.
• Education Co-ordinators presented K-6 Student programmes:
Art Adventures; Aboriginal Art Programmes; Asian Art
Programmes; 7-12 Students programmes Discussion Tours;
Workshop Tours; Studio Sessions; Study Mornings; Study
Days; Aboriginal Art Programmes and Asian Art
Programmes.
• Public Programmes had 83,617 booked students.
• For the 2nd year, awarded a Brett Whiteley Travelling Arts
Scholarship valued at $25,000 plus a three month residency in
the Art Gallery’s Paris studio, to an artist under 30 years.
Expand website functionality
to allow online database
interrogation.
Website search functionality allows users direct online access to
database information about art works held within our
collection and all art publications held with our specialist art
research library.
Reprint major AGNSW
publications.
Gallery shop commissioned reprints of Let’s Face It (revised
second edition); Orientalism (for UK markets) and Jeffrey
Smart (over 17,000 copies sold) to supply local and
international market demands.
3.3 Disseminate information
on art and contribute to
scholarship.
Objective 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand their appreciation of art.
Objective 3 Provide educational and research programmes and services to an ever-broadening public.
4.
Inspire and explore artistic
attitude and aspiration.
Continue encouragement and
financial support for Australian
artists.
A total over $119,200 from art prizes and scholarships
awarded to artists supporting their efforts to continue to create
new works and participate in the arts community.
Present ‘Level 2 Project’
contemporary art exhibition
programme.
By providing display space in Australia’s most respected arts
institution this specially developed exhibition programme
brings vital exposure for emerging contemporary artists to a
broad audience.
29
STRATEGIES
TARGETS
PERFORMANCE OUTCOMES
STRATEGIES
Review issues of permanency
for employees
Objective 5 Operate the Gallery in an efficient and effective manner that encourages an increasing level of public visitation.
5.1 Manage the Art Gallery
operations effectively.
5.2 Meeting customer needs
by improving service
levels.
5.3 Implement state of the art
technology and corporate
systems
5.4 Manage staff resources
effectively to ensure high
employee morale, high
skills level and support for
continued expansion.
30
TARGETS
PERFORMANCE OUTCOMES
Employee turnover of permanent staff remained low.
Continuous access for the
public without industrial action
or services disruptions.
Opened to the public 363 days this year without disruptions to
services in spite of building construction for auditorium being
underway.
Objective 6 Ensure effective funding sources for the Gallery to support its acquisition programme and expansion of services.
Extend opening hours for
exhibition programme as
required to meet public demand.
Taking advantage of daylight savings, opening hours were
extended to 8pm for the five Wednesday’s in January 2001
allowing the public greater access to the major temporary
exhibition World Without End.
6.1 Effective use of
Government funding and
improve government
relations.
Manage operations within
Government allocations
Continued successful operations and service level outputs
within budgetary constraints.
Maintain or improve net cost
of service per visitor.
Net cost of services per visitor decreased to $14.80 compared
with $15.20 in the previous 2 years while maintaining staffing
at 1999/2000 levels.
6.2 Increase funding from
commercial activities,
bequests, donations and
sponsorships
Increase both commercial
activities revenues and
sponsorship / donations.
• Total revenue from sales of goods and services increased
from $7.6m (1999/2000) to $8.3 million this year.
• Increased sponsorship and donations by $721,000 to just
under $2 million.
Complete EPA Waste
Reduction and Purchasing
Policy 3 year review.
Implementation of waste reduction strategies improved rubbish
disposal processing and assisted environmental conditions with
use of recycled products where possible.
Negotiate a major sponsorship
agreement.
5 year sponsorship deal agreed with Sunday Telegraph for the
kids programme Fundays at the Gallery launch in April 2001.
Continue commercial activities
to support general gallery
operations.
Provided greater accessibility to the Art Gallery and our total
commercial revenue increased by $1.4m (13%).
Meet all corporate governance
requirements.
Effectively managed operations to ensure that all statutory and
corporate governance requirements were met and GST
requirements were implementated for each of the four entities.
Provide multi language version
of the Gallery Guide
Developed new General Information Brochure in several
community languages including Italian, Spanish, French and
German
6.3 Manage our Trust,
Foundation, Brett
Whiteley Foundation,
VisAsia entities to comply
with statutory
requirements
6.4 Enhance returns from
Gallery funds, whilst
maintaining acceptable
risk levels and improve
contributions
Increase investment returns on
Art Gallery Funds
• Interest received on Bequests and Special Purpose Funds
increased from $545,000 to $657,000.
• Achieved a weighted interest rate of 5.9%.
• Art Gallery Foundation funds generated over $1 million in
net income
Participate in the Sydney 2000
Olympic Arts Festival.
Presented 3 exhibitions as a major contribution to the 2000
Sydney Olympic Festival visual art program.
Commence Digital Imaging
and Access IT Project.
Stage one of project completed on time and on budget.
Purchased an IBM eServer 660 as the platform for the new
image repository system.
Upgraded finance, human
resources and Internet systems
to meet new taxation and other
federal and state statutory
requirements.
• Computer systems configured with latest software releases
allowing complex analysis reporting which assists
management decisions on key areas of financial management
and personnel management.
• Participate in joint agency e-commerce portal development
for integration with our website – due for completeion in
October, 2001.
Review archive and record
management requirements.
Worked co-operatively with other national art galleries and
museums to develop a common Records Management
Thesaurus ensuring compliance with State Record Act 1999.
Combine with other Arts
Portfolio institutions develop
common benchmarks
Provided detailed statistical information against key
performance indicators to be published by the Council on the
Cost and Quality of Government in the 2001 Arts and Culture
review.
Improve reporting on workers
compensation claims.
Treasury Managed Fund statistics indicated improved reporting
times for workers compensation claims which assists faster
return to work of employees.
Maintain low instances of
employee industrial dispute.
Formal grievances were resolved in a timely manner; no major
disputes.
Provide skills development
opportunities to staff.
Casual vacancies filled through internal sources where possible;
9 staff were provided with development opportunities under
this arrangement.
31
Lachlan Murdoch Chairman and Chief
Executive of News Limited; Senior
Executive Vice President, and a Director
of The News Corporation Limited;
Chairman of Queensland Press; a
Director of The Herald & Weekly Times
Limited, Foxtel and One.Tel.; Deputy
Chairman of Star Television Limited.
Initial date of appointment was 1st
January, 1999 and expiry of current
term is 31st December, 2001.
CORPORATE GOVERNANCE
BOARD OF TRUSTEES
The Art Gallery of New South Wales Trust is constituted by
Section 5 of the Art Gallery of New South Wales Act, 1980.
Section 6 stipulates that: ‘the Trust shall consist of 9 Trustees
who shall be appointed by the Governor on the recommendation
of the Minister for the Arts and at least two of whom shall be
knowledgeable and experienced in the visual arts’. Trustees
are appointed for a term not exceeding three years and may
serve four consecutive terms.
PRESIDENT
Mr David Gonski Principal of Wentworth
Associates Pty Limited; Chairman of
Morgan Stanley Dean Witter Australia
Limited; Chairman Coca-Cola Amatil
Limited; Director of John Fairfax
Holdings Ltd and Westfield Holdings
Limited; Trustee of Sydney Grammar
School. Initial date of appointment was
1st January, 1997 and expiry date of
current term is 31st December, 2003.
VICE-PRESIDENT
Ms Jillian Broadbent Board Member of
the Reserve Bank of Australia; Director
of Woodside Petroleum Limited, CocaCola Amatil Limited, and of the Sydney
Theatre Company; Member of the
Advisory Board of the Salvation Army.
Initial date of appointment was 1st
January, 1993 and expiry date of
current term is 31st December, 2001.
MEMBERS
Mr John Morschel Chairman of CSR
Limited and Deputy Chairman of
Leighton Holdings Limited. He is a
director of Rio Tinto plc, Rio Tinto
Limited, Singapore Telecommunications
Limited, Tenix Pty Ltd, and Gifford
Communications Pty Ltd. Patron of the
Property Industry Foundation. Initial date
of appointment was 1st January, 1995
and expiry date of current term is 31st
December, 2003.
32
Ms Anne Landa Director since inception
in 1984 of the Landa Piano Scholarship;
Member of the Quality Review
Committee of the Darling Harbour
Authority; Advisory Council Member
for the Australian Chamber Orchestra;
for the College of Fine Arts, University
of New South Wales; for the Centre for
Immunology, St Vincents Hospital and
for the New Children’s Hospital,
Westmead. Initial date of appointment
was 1st January, 1996 and expiry of
current term is 31st December, 2001.
Ms Janet Laurence Mixed media
installation artist. Former member of
SOCOG Cultural Committee (Visual
Arts) and Board of Australian Centre of
Photography; RAIA Lloyd Rees award
for urban design 1995; Rockefeller
Fellowship 1996 and Australia Council
Fellowships 1992, 1996; Permanent
public commissions include the Tomb of
the Unknown Soldier in Canberra, The
Edge of the Trees at the Museum of
Sydney, Stilled Lives, Melbourne Museum,
Veil of Trees in the Domain, Sydney, 49
Veils windows for the Central Synagogue
in Bondi and environmental art work
for the Homebush Bay Olympic site.
Initial date of appointment was 1st
January, 1997 and expiry of current
term is 31st December, 2002.
Dr John Yu AC, Hon MD(Syd.), Hon
Dlitt (UWS), MB BS DCH (RCP&S),
FRACP, FRACMA. Chancellor,
University of New South Wales; Chair,
Australia China Council of DFAT;
Chair, Specialist Advisory Committee of
NSW Commission for Children and
Young People; Chair, VisAsia; Member
of Board of National Australia Day
Council, Walter and Eliza Hall Trust,
Myer Grace Bros Community Fund;
Formerly Chief Executive, Royal
Alexandra Hospital for Children. Initial
date of appointment was 1st January,
1997 and expiry of current term is 31st
December, 2002.
Pierce Cody Chairman and Managing
Director of Cody Outdoor. Director of
The Outdoor Advertising Association of
Australia; Member of the Director’s
Council of the National Gallery of
Victoria; Director of Adcorp; Director
and Governor of The Australian Ireland
Fund; Member of the Oasis Advisory
Board. Initial date of appointment was
1st January 2000 and expiry of current
term is 31st December, 2002.
Mary Turner OAM. Chair of the Orange Music Association;
Member of the Orange Regional Gallery Advisory Committee
since 1983; Member of the Music Committee of the Art
Advisory Council; Board Member of the Music Council of
Australia. Co-Director of the Macquarie Galleries, Sydney
(1956-1978); Director of the Murray Crescent Galleries,
Canberra (1978-1981). Received an Order of Australia in
1993 ‘for services to the arts, particularly music and painting’.
Board member Arts OutWest Inc since 1997-1999. Founder
and Managing Trustee of the Godfrey Turner Music Trust,
formed in 1989 “to raise the standard of appreciation and
practice of music in the region of which the centre is the City
of Orange..”; Trustee of the Margaret Henderson Music
Trust, established in 1996 “to assist by award of scholarship.
outstanding young musicians of Orange to pursue advanced
studies in music..’ Initial date of appointment was 1st January,
1998 and expiry of current term is 31st December, 2000.
Imants Tillers. Visual artist, widely exhibited internationally.
Initial date of appointment was 1st January 2001 and expiry
of current term is 31st December 2003.
Honorary Solicitors to the Trust: Freehill Hollingdale and
Page
TRUSTEE MEETINGS AND COMMITTEES
ATTENDANCES AT BOARD OF TRUSTEE MEETINGS
There were six board meetings of the Trust during the period
July, 2000 to June, 2001. Trustee attendances were as follows:
David Gonski (President)
Jillian Broadbent (Vice President)
Pierce Cody
Anne Landa
Janet Laurence
John Morschel
Lachlan Murdoch
Imants Tillers
Mary Turner
Dr John Yu
6
4
3
6
2
6
1
3
3
5
(from 1.1.01)
(to 31.12.00)
Apologies were submitted for all Trustee absences and
authorised leave was granted.
TRUST COMMITTEES
Acquisitions and Loans
John Yu, David Gonski (ex-officio), Anne Landa, Janet
Laurence Imants Tillers, Edmund Capon - Director, Anthony
Bond - General Manager, Curatorial Services, Michael
Wardell - Curatorial Services Co-ordinator.
Exhibitions
David Gonski (ex-officio), Pierce Cody, Janet Laurence, Anne
Landa, Greg Daniel, Edmund Capon – Director, Anne
Flanagan – General Manager, Exhibitions and Building
Services, Anthony Bond – General Manager, Curatorial
Services, Erica Drew - Exhibitions Co-ordinator.
Finance and Audit
Jillian Broadbent (Chairperson), David Gonski, Bruce Cutler,
Edmund Capon – Director, Rosemary Senn – General
Manager, Finance and Management Services
Building
John Morschel, David Gonski (ex-officio), Pierce Cody,
Edmund Capon - Director, Anne Flanagan - General Manager,
Exhibitions and Building Services
VisAsia
John Yu (Chairperson), Justice Kim Santow, Bob Seidler,
Goldie Sternberg, Stephen Menzies, Edmund - Capon,
Director, Jackie Menzies - Head Curator of Asian Art,
Rosemary Senn - General Manager, Finance and Management
Services.
Regional
John Yu, Imants Tillers, Jillian Broadbent, Mary Turner,
David Gonski, Michael Wardell - Curatorial Services Coordinator.
Paris Studio
Barry Pearce – Head Curator, Australian Art, Victoria Lynn –
Curator, Contemporary Art
33
FINANCIAL AND MANAGEMENT SERVICES
OTHER GALLERY ENTITIES
Financial Reporting
The Gallery’s financial soundness is a key priority, which is
maintained through rigorous budgetary/expenditure control,
stewardship of assets, cash flow management, and revenue
enhancement. Our accounting systems enabled timely and
effective reporting of financial information to the Board and
management. The annual financial statements were completed
within the planned 15 working days after the end of the year.
Monthly reporting to the Board encompasses operating
results, balance sheets, cash flow, debtors and foreign
currency reports. During the year we fully integrated the
management reporting system with the accounting system
enabling us to produce reports within 6-10 working days of
the end of the month. These reports enable management, the
Board and Government, to monitor financial aspects of the
Gallery and take action as needed in a prompt and targeted
manner.
The Art Gallery is also responsible for managing the activities
of its other entities, namely the Art Gallery of New South
Wales Foundation, the Brett Whiteley Foundation and the
VisAsia Foundation. Each of the Boards meets on a quarterly
basis. The support provided includes management, finance,
corporate secretariat and general administrative support.
Investments
Over $13 million of Trust funds are invested in a selection of
fixed interest and cash securities. These are spread over 5-6
financial institutions.
The Art Gallery also manages investments on behalf of its
related entities, namely the Art Gallery of NSW Foundation
[$15 million] and smaller amounts [less than $100,000 each]
for the Brett Whiteley Foundation and VisAsia entities.
Cultural Bequests/Taxation Incentives
The Art Gallery maintains a portfolio of over 30 bequests and
special funds, valued at $10 million, which have been granted
over several years. These contributions have provided a
significant resource for acquisitions of artworks and special
projects, which would not otherwise have been feasible.
Risk Management and Insurance
The Art Gallery, as a NSW Government Agency, continues to
be insured by the Treasury Managed Fund, a government selfinsurance scheme administered by the GIO. There were no
significant claims on this scheme during this financial year.
The annual premium amounted to $746,600 reflecting the
value of the State asset holdings of the Art Gallery’s
permanent art Collection, our heritage building plus art
works on loan for temporary exhibitions.
Internal Audit
Reviews were conducted during the year on Gallery Shop
operations, Accounts Receivable, Accounts Payable, Personnel
and Payroll Procedures, GST compliance and Chris (payroll)
system. Favourable reports were received on all audits with
no significant matters arising. All recommendations were
carefully considered and implemented where appropriate. The
Finance and Audit sub-committee of the Board are advised of
audit outcomes to re-affirm the importance of the Board’s role
in audit matters. The cost of internal audit work is borne by
the Ministry for Arts from a central allocation of funds for
the Arts Portfolio.
Secretariat Support
Corporate secretariat support is provided for the Trust Board
and five sub-committees, each of which meet approximately
six times a year. Support is also provided for the Boards of
the other Gallery entities.
34
Brett Whiteley Foundation
David Kent
Wendy Whiteley
Arkie Whiteley
Edmund Capon, Director
Barry Pearce, Head Curator, Australian Art
VisAsia Board
John Yu (Chairperson)
Justice Kim Santow
Bob Seidler
Goldie Sternberg
Stephen Menzies
Edmund Capon, Director
Jackie Menzies, Head Curator of Asian Art
He obtained his Master of Philosophy degree in Chinese Art
and Archaeology (including language) from the London
University School of Oriental and African Studies. Edmund
has also completed studies on 20th century painting at the
Courtauld Institute of Art, London University.
Edmund is recognised as a world expert in his particular field
and has published several books and catalogues including
Princes of Jade (1974); Art and Archaeology in China (1977);
Qin Shihuang: Terracotta Warriors and Horses (1982); and
Tang China: Vision and Splendour of a Golden Age (1989),
as well also many selected articles for Australian and
international newspapers and professional art journals.
Mr Capon was made a Member of the Order of Australia in
1994. In 2000 he was awarded a Doctor of Letters honoris
casua from University of New South Wales and a Chevalier of
arts and letters from the French Government He is also a
member of the Advisory Council of the Asia Society
AustralAsia Centre and a member of the Council of
Australian Art Directors (CAAMD).
SENIOR MANAGEMENT PROFILE
Anthony Bond
General Manager, Curatorial Services
Anthony Bond joined the Art Gallery in 1984 as Curator of
Contemporary Art. In January, 1995 he was appointed to the
position of General Manager, Curatorial Services to oversee
the curatorial staff together with responsibility for the overall
management of Curatorial Services Departments:
Conservation, Registration, Public Programmes, Library and
the Photography Studio. This is coupled with his role as
Head Curator, Western Art with special responsibility for
20th Century and contemporary International collections. He
was formerly Director of Wollongong City Gallery and
Assistant Director of Art Gallery of Western Australia.
Mr. Bond has published extensively and continues to maintain
a strong commitment to 20th Century International art
through collection development and curating thematic
exhibitions. In 1999 his book Body that accompanied the
exhibition of that name at the Art Gallery in 1997 was
awarded the inaugural Power institute award for the best
book of Art history, an award offered through the AAANZ.
In 1999 he was invited to Direct Trace, the inaugural
Liverpool Biennial of Contemporary Art in England. His
academic qualifications include B.Ed (Hons) from the
University of London and he is currently undertaking a Ph.D
at The University of Sydney. He is a member of various
committees including the Executive Committee of the
AAANZ, Australia 2002 committee at ARCO Madrid, City
of Sydney Sculpture Walk Selection Committee, Australian
Center for Photography (Chair), Bundanon Trust Residency
Committee and serves on Academic advisory panels and acts
as external assessor at several Universities. He also acts as an
assessor for the Australian Research Foundation (visual arts)
Edmund Capon, AM
Director
Edmund Capon has been the Director of the Art Gallery of
New South Wales since 1978. For five years before leaving
London he held the position of Assistant Keeper, Far Eastern
Section at the Victoria and Albert Museum, having started at
that Museum in 1966 in the Textile Department specialising
in Chinese textiles and costume, and European tapestries. He
has also managed a commercial gallery in London primarily
concerned with modern British paintings and sculpture.
Anne Flanagan
General Manager, Exhibitions and Building Services
Anne Flanagan joined the Art Gallery in March 1992. Her
academic background includes visual arts, interior design and
education. For the last fifteen years she has worked within
arts organisations initially at the Crafts Council of NSW,
Powerhouse Museum, Biennale of Sydney, Australian
Bicentennial Authority and then at the Historic Houses Trust
of NSW before joining the Art Gallery.
Foundation
Art Gallery of New South Wales Foundation produces a
separate Annual Report available from the Art Gallery.
The Art Gallery acknowledges the significant support of the
following individuals by awarding Life Governors membership.
Life Governors
Franco Belgiorno-Nettis AC CBE
Joseph Brender AO
Ken Cowley AO
James Fairfax AO
Michael Gleeson-White AO
Mollie Gowing
Shosuke Idemitsu
James Leslie AC, MC
Frank Lowy AO
Rupert Murdoch AC
Kenneth Myer (the late) AC, DSC
J. Hepburn Myrtle (the late) CBE
Margaret Olley AO
Max Sandow AM
John and Julie Schaeffer
Goldie and Edward Sternberg (the late) AM
Fred Street
Diana Walder OAM
Neville Wran AC, QC
Ms Flanagan is responsible for the exhibition programme
including design, development and financial management,
building services including capital and maintenance
programmes and all security services within the Art Gallery.
Rosemary Senn
General Manager, Finance and Management Services
Rosemary Senn is a Fellow of the Australian Society of
Certified Practising Accountants and holds a Degree of
Commerce with the University of Melbourne.
She also holds qualifications in company directorship and
taxation matters. She has been with the Art Gallery for close
to three years and prior to that she worked for a major listed
corporation, doing business both domestically and
internationally over several years.
Ms Senn is the Art Gallery’s chief financial officer, and is also
responsible for other management services, which include
corporate secretariat services for the Trust and other Art
Gallery entities, human resources management, corporate
services, administration and information technology. Also
included in her responsibilities is the Gallery Shop and
Copyright services.
Jane Westbrook
General Manager, Business Development
Jane Westbrook joined the Art Gallery in April 1999. She has
over 20 years experience in senior arts management in a wide
range of cultural institutions, including the Sydney Opera
House, the British Council, the Australia Council and the
Powerhouse Museum. She holds Masters and First Class
Honours degrees from the University of New South Wales and
was awarded a Churchill Fellowship.
Ms Westbrook is responsible for the Art Gallery’s Business
Development activities, which includes sponsorship and
fundraising, as well as all aspects of Marketing, including
public relations, advertising and promotions, venue
management and tourism.
From March, 2001 when Belinda Hanrahan returned to the
Art Gallery to manage the Marketing Division, Jane
Westbrook has focused exclusively on sponsorship and
fundraising as General Manager, Development.
Belinda Hanrahan
Manager, Marketing (from March 2001)
Belinda Hanrahan initially joined the Art Gallery in
November 1992 where she had responsibilities for marketing
and business development until September 1998, rejoining the
Art Gallery in March 2001. She holds a Bachelor of
Commerce from the University of New South Wales and has
twenty years experience in marketing management. Prior to
joining the Art Gallery, Belinda worked in marketing
management for Unilever and Johnson & Johnson for ten
years, later forming her own marketing training consultancy
for a major employer organisation.
As Marketing Manager, Belinda is responsible for advertising
and promotions, publicity, tourism and visitor service for the
Art Gallery and its exhibitions
35
ORGANISATIONAL STRUCTURE
The Art Gallery’s organisational structure was modified
slightly this year to split Business Development and Marketing
into separate function areas. There are currently five major
functions of the Art Gallery’s operations:
• Curatorial services
• Finance and Management services
• Building and Exhibition services
• Business Development
• Marketing
A General Manager heads each of the first four function areas
and a Manager heads the Marketing Department. Art Gallery
staffing has been organised into activity Departments under
these four major functions and each Department Manager
reports to their responsible General Manager.
STAFF PROFILE
Average over 12 months
30/6/01
Building and Security Services
Curatorial Services Staff
Curatorial Staff
Exhibitions/Display
Corporate Services
Commercial Services
Marketing
61
43
25
20
18
13
13
Total
193
ORGANISATION CHART
GENERAL MANAGER CURATORIAL SERVICES
AUSTRALIAN
Paintings & Sculpture
Prints, Drawings & Watercolours
Aboriginal & Torres Strait Islander
WESTERN
EUROPEAN ART
pre – 1900
Contemporary
Photography
ASIAN
Japan
China
South-East Asia
India
Conservation
Registration
Library
Public Programmes
Curatorial Services
Photography Studio
GENERAL MANAGER FINANCE & MANAGEMENT SERVICE
Human Resources
Finance
Administration and Copyright
Corporate Secretariat
Information Technology
Gallery Shop
DIRECTOR
GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES
Gallery Services
Building Management
Exhibitions
Workshop
Installation
Security
Graphics
GENERAL MANAGER BUSINESS DEVELOPMENT
Venue Management
Membership Services
Sponsorship
MANAGER MARKETING
Publicity
Information Desk and Tourism
36
Advertising / Promotions
ART GALLERY OF NEW SOUTH WALES FINANCIAL REPORTS
WORKS OF ART ACQUIRED (COMMULATIVE)
Exhibition Admission revenue
Artworks Purchased
Donations of Artworks/funds to acquire artworks
Total Works of Art Acquired
$'m
$'m
$'m
$'m
$3.7
$1.5
$4.3
$9.5
$8.4
$1.0
$7.9
$8.9
0.54
0.51
1.05
1991-92
*
1
$7.4
$0.8
$1.0
$2.3
$4.2
$3.2
$5.3
$2.8
$8.2
0.18
0.57
0.75
1992-93
*
2
$16.9
$16.3
$2.3
$0.9
$3.7
$7.0
$9.3
$1.6
$8.2
$9.8
0.43
0.48
0.91
1993-94
*
3
$11.5
$20.1
$19.9
$2.8
$1.5
$4.3
$8.6
$11.3
$1.9
$10.4
$12.4
0.35
0.63
0.99
1994-95
*
4
$10.9
$23.2
$20.4
$2.9
$3.1
$6.3
$12.4
$8.0
$2.9
$7.4
$10.3
0.40
0.59
0.99
1995-96
1.16
5
0.45
0.56
1.01
1996-97
1.23
6
0.27
0.65
0.92
1997-98
1.08
7
0.30
0.65
0.95
1998-99
1.17
8
0.26
0.64
0.90
1999-2000
1.03
9
0.28
0.72
1.00
2000-2001
1.26
10
$'m
$'m
153
$8.6
$29.1
$9.9
$1.3
$11.2
38%
$0.4
167
$3.0
$17.2
$8.5
$1.4
$9.8
57%
$485.0
$1.0
157
$10.1
$27.0
$8.7
$2.1
$10.7
40%
$11.70
$518.0
-$2.0
170
$12.1
$32.2
$10.7
$1.5
$12.2
38%
$11.00
$524.0
-$0.5
187
$9.5
$32.8
$11.0
$1.4
$12.4
38%
$13.10
$606.0
$0.8
197
$7.6
$31.3
$12.9
$2.9
$15.8
50%
$13.2
$23.7
$15.5
$2.5
$2.6
$5.4
$10.5
$5.0
$1.2
$4.3
$5.5
$17.60
$616.0
$0.4
189
$10.8
$37.0
$13.6
$4.2
$17.8
48%
$16.2
$26.1
$19.2
$2.4
$2.1
$5.4
$9.9
$9.3
$4.1
$7.2
$11.3
$15.20
$641.8
-$0.3
186
$7.2
$33.3
$13.6
$2.2
$15.8
47%
$14.5
$26.1
$17.5
$2.7
$3.8
$5.1
$11.6
$5.9
$0.3
$3.7
$4.1
$15.20
$712.8
-$1.0
193
$8.6
$33.1
$13.6
$3.5
$17.1
52%
$13.7
$24.6
$16.0
$2.1
$3.0
$5.7
$10.8
$5.2
$0.9
$4.3
$5.2
$14.80
$780.8
$1.2
193
$12.3
$39.4
$13.8
$4.4
$18.2
46%
$14.8
$27.1
$21.2
$2.5
$3.8
$6.1
$12.3
$8.9
$1.6
$6.2
$7.8
Employees - Effective Full time (EFT's)
$'m
Total Revenue
Number
$0.8
$474.0
$10.90
$'m
$'m
$'m
$'m
Net Surplus
$'m
$477.8
$13.40
Net Cost of Services per visitor
* Data not available
%
Net cash flows
$'m
$10.50
Government funding as a % of total revenues
Net Assets
$
million
million
million
Sponsorships and contributions
Other Commercial Activities/other misc
Revenue from Commercial activities
$18.0
$14.2
$9.9
Total Attendances - Incl Touring/Studio
Bequest/Special funds income
$'m
$20.5
$10.0
million
Total Revenue from commercial and private
sources
$'m
$11.0
Attendances - Paid exhibitions
Attendances - Free access - Main
Total Attendances - Main Building
Operating Expenses
$'m
ATTENDANCES
Net Cost of Services (exc. Bequests)
1
$'m
00
-2
00
Recurrent appropriation
20
$'m
WORKS OF ART ACQUIRED
Capital appropriation/Other
Total Govt Grants
Financial Summary
ART GALLERY OF NEW SOUTH WALES
NET COST OF SERVICES PER VISITOR
REVENUE AND GOVERNMENT FUNDING
$90.0
$312.5
$116.2
$24.9
$141.1
45%
$125.8
$222.5
$171.4
$24.8
$23.3
$48.7
$96.8
$74.6
$21.0
$62.4
$83.4
3.48
5.99
9.46
Total
6.92
$9.0
$31.2
$11.6
$2.5
$14.11
45%
$12.6
$22.3
$17.1
$2.5
$2.3
$4.9
$9.7
$7.5
$2.1
$6.2
$8.3
0.35
0.60
0.95
Average p.a.
1.15
39
38
REVENUES AND OPERATING EXPENSES
REVENUE RECEIVED OVER TEN YEARS TO 2000/01
$312 Million
Main Building
ART GALLERY OF NEW SOUTH WALES TRUST
STATUTORY FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001
ART GALLERY OF NEW SOUTH WALES TRUST
STATEMENT IN ACCORDANCE WITH SECTION41C(1C) OF THE PUBLIC FINANCE AND AUDIT ACT, 1983
In accordance with a resolution of the Board of Trustees of the Art Gallery of New South Wales we state that:
40
(a)
the accompanying financial statements have been prepared in accordance with the provisions of the
Public Finance and Audit Act 1983, the Financial Reporting Code for Budget Dependent General
Government Sector Agencies, the applicable clauses of the Public Finance and Audit (General)
Regulation 1995, applicable Accounting Standards, other mandatory reporting requirements and the
Treasurer’s Directions
(b)
the financial statements and notes thereto exhibit a true and fair view of the financial position as at
30 June 2001 and the operations for the year then ended; and
(c)
at the date of signing we are not aware of circumstances that would render the financial statements
misleading or inaccurate.
D.M. GONSKI
PRESIDENT
E.G CAPON
DIRECTOR
J.R. BROADBENT
HON. TREASURER
R. SENN
GENERAL MANAGER
FINANCIAL & MANAGEMENT SERVICES
41
ART GALLERY OF NEW SOUTH WALES TRUST
ART GALLERY OF NEW SOUTH WALES TRUST
STATEMENT OF FINANCIAL PERFORMANCE
STATEMENT OF FINANCIAL POSITION
For the year ended 30 June 2001
As at 30 June 2001
Notes
Expenses
Operating expenses
Employee related
Other operating expenses
Maintenance
Depreciation and amortisation
2(a)
2(b)
2(c)
2(d)
Total Expenses
Less:
Retained Revenue
Sale of goods and services
Investment Income
Grants and contributions
Other revenue
3(a)
3(b)
3(c)
3(d)
Total Retained Revenue
Gain(loss) on disposal of non current assets
4
Actual
2001
$'000
Budget
2001
$'000
Actual
2000
$'000
12,948
11,543
1,372
1,192
12,737
9,852
750
1,300
12,142
9,299
1,393
1,719
27,055
24,639
24,553
8,336
145
3,761
9
10,414
55
3,034
-
7,655
165
3,012
7
12,251
13,503
10,839
26
-
9
NET COST OF SERVICES BEFORE BEQUESTS
AND SPECIAL FUNDS
Bequests and Special Funds
14(b)
NET COST OF SERVICES AFTER BEQUESTS AND SPECIAL FUNDS
14,778
11,136
13,705
(8,913)
-
(5,178)
5,865
11,136
8,527
ASSETS
Current Assets
Cash
Receivables
Inventories
Other financial assets
Total Current Assets
Non-Current Assets
Property Plant and Equipment
- Land and Buildings
- Plant and Equipment
- Collection Assets
Total Property, Plant and Equipment
Other financial assets
Total Non-current Assets
Total Assets
LIABILITIES
Current Liabilities
Payables
Employee entitlements and other provisions
Total Current Liabilities
Notes
Actual
2001
$'000
Budget
2001
$'000
Actual
2000
$'000
6
7
8
9
1,347
1,523
1,577
10,598
15,045
279
7,548
1,725
1,385
10,937
126
1,556
1,385
7,548
10,615
10
173,228
4,939
587,647
765,814
2,996
768,810
783,855
172,579
4,986
529,138
706,703
5,490
712,193
723,130
171,216
4,686
524,181
700,083
5,490
705,573
716,188
1,946
1,119
3,065
2,614
953
3,567
2,460
953
3,413
780,790
719,563
712,775
216,993
563,797
780,790
171,390
548,173
719,563
161,311
551,464
712,775
9
12
13
Net Assets
Government Contributions
Recurrent appropriation
Capital appropriation
Acceptance by the Crown Entity of employee
entitlements and other liabilities
13,824
2,978
13,824
7,420
13,630
2,320
1,396
18,198
1,217
22,461
1,153
17,103
12,333
11,325
8,576
Net increase(decrease) in asset revaluation reserve
55,682
-
62,352
TOTAL REVENUES, EXPENSES AND VALUATION
ADJUSTMENTS RECOGNISED DIRECTLY IN
EQUITY
55,682
-
62,352
5
SURPLUS/(DEFICIT) FOR THE YEAR FROM
ORDINARY ACTIVITIES
EQUITY
Reserves
Accumulated funds
Total Equity
14
14
The accompanying notes form part of these statements
NON-OWNER TRANSACTION CHANGES IN EQUITY
TOTAL CHANGES IN EQUITY OTHER THAN THOSE RESULTING
FROM TRANSACTIONS WITH
OWNERS AS OWNERS
68,015
11,325
70,928
The accompanying notes form part of these statements
42
43
ART GALLERY OF NEW SOUTH WALES TRUST
ART GALLERY OF NEW SOUTH WALES TRUST
2001
SUMMARY OF COMPLIANCE WITH FINANCIAL DIRECTIVES
For the year ended 30 June 2001
Supplementary Financial Statements
2000
7,420
-
2,978
-
192
13,451
-
-
192
13,451
-
-
-
1,828
1,520
-
-
-
-
2,320
EXPENDITURE/ NET
CLAIM ON
CONSOLIDATED
FUND $000
13,824
-
CAPITAL
APPROPRIATION
$'000
13,829
-
EXPENDITURE/ NET
CLAIM ON
CONSOLIDATED FUND
$000
-
RECURRENT
APPROPRIATION
$'000
Appropriation Act
-
EXPENDITURE/ NET
CLAIM ON
CONSOLIDATED
FUND $000
*
Additional Appropriations
-
CAPITAL
APPROPRIATION
$'000
*
s21A PF&AA - special appropriations
-
EXPENDITURE/ NET
CLAIM ON
CONSOLIDATED FUND
$000
*
s24 PF&AA - transfers of functions between
departments
RECURRENT
APPROPRIATION
$'000
*
s26 PF&AA - Commonwealth specific purpose
payments
ORIGINAL BUDGET APPROPRIATION/
EXPENDITURE
*
*
*
Section 22 - expenditure for certain works and
services
Treasurer's Advance
-
-
-
13,829
-
-
-
13,824
-
-
-
7,420
-
-
-
2,978
-
-
-
13,643
-
-
-
13,643
-
-
-
3,348
-
-
-
2,320
OTHER APPROPRIATIONS / EXPENDITURE
*
-
2,320
-
3,348
-
13,643
-
13,643
2,320
2,978
13,643
7,420
2,978
13,824
13,824
13,829
-
-
-
-
-
-
-
-
Transfers from other agency (section 26 of the
Appropriation Act)
Total Appropriations[subtotal 2]Expenditure/Net
Claim on Consolidated Fund [Total 1] (includes
transfer payments)
Amount drawndown against appropriation [Total 3]
Liability to Consolidated Fund* [Total 4]
Actual
2001
$'000
Budget
2001
$'000
Actual
2000
$'000
Payments
Employee related
Other
(10,777)
(13,760)
(10,601)
(14,976)
(10,031)
(9,518)
Total Payments
(24,537)
(25,577)
(19,549)
9,169
145
4,728
9,240
520
2,780
7,373
165
3,299
14,042
12,540
10,837
Cash Flows from Government
Recurrent appropriation
Capital appropriation
Cash reimbursement from the Crown Entity
13,824
2,978
514
13,824
7,420
361
13,630
2,320
376
Net Cash Flows from Government
17,316
21,605
16,326
6,821
8,568
7,614
68
29,739
(5,112)
(8,420)
22
20,919
(5,072)
(30,295)
-
(24,498)
(5,600)
(8,420)
(8,629)
1,221
126
148
131
(1,015)
1,141
1,347
279
126
Notes
CASH FLOWS FROM OPERATING ACTIVITIES
Receipts
Sale of goods and services
Interest received
Other
Total Receipts
NET CASH FLOW FROM OPERATING ACTIVITIES 16
CASH FLOWS FROM INVESTING ACTIVITIES
Proceeds from sale of Land and Buildings, Plant and Equipment
and Collection Assets
Proceeds from sale of investments
Purchases of Land and Buildings, Plant and Equipment
and Collection Assets
Purchases of investments
NET CASH FLOWS FROM INVESTING ACTIVITIES
NET INCREASE/(DECREASE) IN CASH
Opening cash and cash equivalents
The accompanying notes form part of these statements
6
CLOSING CASH AND CASH EQUIVALENTS
45
44
The summary of compliances based on the assumption that Consolidated Fund moneys are spent first
(except where otherwise identified or prescribed).
For the year ended 30 June 2001
The expenditure/net claim on Consolidated Fund was lower than the Capital Appropriation due to the late commencement of the Gallery's
building extension program
STATEMENT OF CASH FLOWS
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR
THE YEAR ENDED 30 JUNE 2001.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR
THE YEAR ENDED 30 JUNE 2001.
(i)
1
SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES
(a)
Reporting Entity
The Art Gallery of NSW Trust, as a reporting entity comprises all the activities
Under its control, including the Gallery's commercial activities of exhibitions,
merchandising, venue hire, and catering.
An exception to the above is when appropriations are unspent at
year-end. In this case, the authority to spend the money lapses and
generally the unspent amount must be repaid to the Consolidated
Fund in the following financial year. As a result, unspent
appropriations are accounted for as liabilities rather than revenue.
Other entities associated with the Gallery but not under its direct control and hence
not consolidated, include the Art Gallery Foundation, the Brett Whiteley Foundation
and VisAsia Foundation.
The reporting entity is consolidated as part of the NSW Total State Sector and
as part of the NSW Public Accounts.
(b)
Basis of Accounting
The agency's financial statements are a general purpose financial report which
has been prepared on an accrual basis and in accordance with:
• applicable Australian Accounting Standards;
• other authoritative pronouncements of the Australian Accounting
Standards Board (AASB);
• Urgent Issues Group (UIG) Consensus Views;
the requirements for the Public Finance and Audit Act and Regulations;
and
• the Financial Reporting Directions published in the Financial Reporting
Code for Budget Dependent General Government Sector Agencies or
issued by the Treasurer under section 9(2)(n) of the Act.
Where there are inconsistencies between the above requirements, the
legislative provisions have prevailed. In the absence of a specific Accounting
Standard, other authoritative pronouncement of the AASB or UIG Consensus
View, the hierarchy of other pronouncements as outlined in AAS 6 "Accounting
Policies" is considered. With the exception of Land and Buildings and the majority
of Collection assets, the financial statements are prepared in accordance with
historical cost convention.
(e)
(ii)
Sale of Goods and Services
Revenue from the sale of goods and services comprises revenue
from the provision of products or services i.e. user charges. User
charges are recognised as revenue when the agency obtains
control of the assets that result from them.
(iii)
Investment income
Interest revenue is recognised as it accrues.
Employee Entitlements
(i)
Wages and Salaries, Annual Leave, Sick Leave and On-costs
Liabilities for wages and salaries, annual leave and vesting sick leave
are recognised and measured as the amount unpaid at the reporting
date at current pay rates in respect of employees' services up to that
date.
Unused non-vesting sick leave does not give rise to a liability, as it is
not considered probable that sick leave taken in the future will be
greater than the entitlements accrued in the future.
The outstanding amounts of payroll tax, workers' compensation
insurance premiums and fringe benefits tax, which are considered
consequential to employment, are recognised as liabilities and
expenses where the employee entitlements to which they relate have
been recognised.
All amounts are rounded to the nearest one thousand dollars and are
expressed in Australian currency.
46
(c)
Change to Accounting Policy
There were no changes to Accounting policies during the 2000/2001 financial year.
(d)
Revenue Recognition
Revenue is recognised when the agency has control of the good or right to
receive, it is probable that the economic benefits will flow to the agency and
the amount of revenue can be measured reliably. Additional comments
regarding the accounting policies for the recognition of revenue are
discussed below.
Parliamentary Appropriations and Contributions from Other Bodies
Parliamentary appropriations and contributions from other bodies
(including grants and donations) are generally recognised as
revenues, when the agency obtains control over the assets
comprising the appropriations/contributions. Control over
appropriations and contributions are normally obtained upon the
receipt of cash.
(ii)
Long Service Leave and Superannuation
The Gallery's liabilities for long service leave and superannuation are
assumed by the Crown Entity. The Gallery accounts for the liability
as having been extinguished resulting in the amount assumed being
shown as part of the non-monetary revenue item described as
"Acceptance by the Crown Entity of Employee Entitlements and other
Liabilities".
Long service leave is measured on a nominal basis. The nominal
method is based on the remuneration rates at year-end for all
employees with five or more years of service. It is considered that
this measurement techniques produces results not materially
different from the estimate determined by using the
present value basis of measurement.
47
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR
THE YEAR ENDED 30 JUNE 2001.
The superannuation expense for the financial year is determined by
using the formulae specified in the Treasurer's Directions. The
expense for certain superannuation schemes (i.e. Basic Benefit and
First State Super) is calculated as a percentage of the employee's
salary. For other superannuation schemes (i.e. State
Superannuation Scheme and State Authorities Superannuation
Scheme), the expense is calculated as a multiple of the employees'
superannuation contributions.
(f)
(g)
Insurance
The Gallery's insurance activities are conducted through the NSW Treasury
Managed Fund Scheme for self-insurance for Government agencies. The
expense (premium) is determined by the Fund Manager based on past experience.
Accounting for the Goods and Services Tax (GST)
Revenues, expenses and assets are recognised net of the amount of GST, except:
•
•
(h)
48
the amount of GST incurred by the agency as a purchaser that is not
recoverable from the Australian Taxation Office is recognised as part of the
cost of acquisition of an asset or as part of an item of expense.
receivables and payables are stated with the amount of GST included.
Acquisitions of Assets
The cost method of accounting is used for the initial recording of all acquisitions of
assets controlled by the agency. Cost is determined as the fair value of the assets
given as consideration plus the costs incidental to the acquisition.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR
THE YEAR ENDED 30 JUNE 2001.
(i) Property, Plant and Equipment
Land was valued by the Department of Public Works and Services at 30 June
2000. The amount of the revaluation was brought to account in the books of
the Gallery. Land is valued on an existing use basis. The building was
revalued as at 30 June 1997 at replacement cost by B.H. Hazelwood,
Executive Quantity Surveyor, State projects, Department of Works and
Services. Plant and equipment items are not revalued and are carried at
depreciated original cost which is considered to approximate replacement cost.
(ii) Collection
All works valued at $500,000 or more are revalued annually. All other works
are revalued on a rolling five-year basis, by identifying “sign post” works within
each category to facilitate the allocation of related percentage valuation
movement across that class/group of works.
(iii) Library Collection
The Library collection is revalued on an annual basis using the four most
valuable categories of the collection. The policy is to value all the remaining
categories at least once during the five-year period.
In accordance with Treasury policy, the gallery has applied the AAS38
“Revaluation of Non-Current Assets” transitional provisions for the public sector
and has elected to apply the same revaluation basis as the preceding reporting
period, while the relationship between value and the existing valuation basis in the
NSW public sector is further examined. It is expected, however, that in most
instances the current valuation methodology will approximate fair value.
When revaluing non-current assets by reference to current prices for assets newer
than those being revalued (adjusted to reflect the present condition of the assets),
the gross amount and the related accumulated depreciation is separately restated.
Assets acquired at no cost, or for nominal consideration, are initially recognised as
assets and revenues at their fair value at the date of acquisition. Fair value means
the amount for which an asset could be exchanged between a knowledgeable,
willing buyer and a knowledgeable, willing seller in an arm' s length transaction.
Conversely, where assets are revalue to market value and not by reference to
current prices for assets newer than those being revalue, any balances of
accumulated depreciation existing at the revaluation date in respect of those
assets are credited to the asset accounts to which they relate. The net asset
accounts are increased or decreased by the revaluation increments or
decrements.
Where settlement of any part of cash consideration is deferred, the amounts
payable in the future are discounted to their present value at the acquisition date.
The discount rate used is the incremental borrowing rate, being the rate at which a
similar borrowing could be obtained.
The recoverable amounts test has not been applied, as the gallery is a not-forprofit entity whose service potential is not related to the ability to generate net cash
flows.
(i)
Plant and Equipment
Plant and Equipment costing $5,000 and above individually are capitalised.
Revaluation increments are credited directly to the asset revaluation reserve,
except that, to the extent that an increment reverses a revaluation decrement in
respect of that class of asset previously recognised as an expense in the
surplus/deficit, the increment is recognised immediately as revenue in the
surplus/deficit.
(j)
Revaluation of Physical Non-Current Assets
Each class of physical non-current assets is included in a five year revaluation
plan, based on the estimated written down replacement cost of the most
appropriate modern equivalent replacement facility having a similar service
potential to the existing assets. Land is valued on an existing use basis, subject
to any restrictions or enhancements since acquisition. The Art Gallery building is a
heritage asset valued at replacement cost (not subject to write down) equivalent to
a building closely resembling the existing facility. Collection assets are also
heritage assets valued at replacement cost, which is current market buying price.
Revaluation decrements are recognised immediately as expenses in the
surplus/deficit, except that, to the extent that a credit balance exists in the asset
revaluation reserve in respect of the same class of assets, they are debited directly
to the asset revaluation reserve.
Revaluation increments and decrements are offset against one another within a
class of non-current assets, but not otherwise.
49
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR
THE YEAR ENDED 30 JUNE 2001.
(k)
(l)
Assets Not Able to be Reliably Measured
The agency does not hold any assets other than those recognised in the
Statement of Financial Position.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR
THE YEAR ENDED 30 JUNE 2001.
(r)
Depreciation of Non-Current Physical Assets
Depreciable assets include plant and equipment, permanent exhibition fit out and
Motor vehicles.
The agency receives monies and gifts in specie in a trustee capacity for various
trusts as set out in note 14(b). As the Gallery is restricted in the use of these
funds, they are not brought to account in the financial statements until after
calculation of the Net Cost of Services before Bequest and Special Funds. The
aggregate of contributions received for the year has been recognised as revenue
in the ‘Bequest and Special Funds’ Revenue and Expenditure Statement in Note
14(b). These revenues provide for expenditure in the current year and in future
years. Any revenues unspent in the current year have been carried forward for
appropriate expenditure in future years.
Depreciation is provided for on a straight-line basis for all depreciable assets so as
to write off the depreciable amount of each asset as it is consumed over its useful
life to the entity. Land and heritage assets comprising the Art Gallery building and
collection assets are not depreciable assets.
All material separately identifiable component assets are recognised and
depreciated over their shorter useful lives, including those components that in
effect represent major periodic maintenance.
(s)
Trustee benefits
No Trustee of the Gallery has received or become entitled to receive a benefit
because of a contract made by the Gallery or a related body with the Trustee or
with a firm of which the Trustee is a member, or with a company in which the
Trustee has a substantial interest.
(t)
Taxation status
The activities of the Gallery are exempt of income tax. The Gallery is registered
for GST/ABN purposes and has gift deductible recipient status.
(u)
Services provided at no cost
Where material contributions are made to the Gallery at no charge an expense is
recorded in the accounts to reflect activities at the Gallery and is offset by an
equivalent revenue entry. Refer to notes 2a, 2c and 3c.
i. Volunteer Services
Volunteers make a substantial and integral contribution to the operation of
the Gallery. Volunteer guides provide guided tours of the Gallery's
permanent and temporary exhibitions to the public and primary aged children.
Additional assistance is provided to the Gallery's library and study room.
Depreciation rates are listed below. For Plant and Equipment each asset's
effective life is assessed and a depreciation rate of 7%, 14% or 20% is applied.
Depreciation Rates for each class of depreciable assets are as follows:
Plant and Equipment
Motor Vehicles
Furniture and Fittings
Office Equipment
Computer Equipment
Catering Equipment
Other Equipment
(m)
(n)
Rate
7-20%
20%
20%
33%
33%
20%
20%
Maintenance and repairs
The costs of maintenance are charged as expenses as incurred, except where
they relate to the replacement of a component of an asset, in which case the costs
are capitalised and depreciated.
(o)
50
ii. Building Maintenance
The Department of public works is undertaking a programme of restoring
heritage buildings, including the Gallery. The cost of these works is being
borne by the Department of public works and the Gallery will not incur any
costs.
Leased Assets
The agency does not have any assets, which are subject to finance leases.
Operating lease payments are charged to the Statement of Financial Performance
in the periods in which they are incurred.
Receivables
Receivables are recognised and carried at the original invoice amount less a
provision for any uncollectible debts. An estimate for doubtful debts is made when
collection of the full amount is no longer probable. Bad debts are written off as
incurred.
(p)
Inventories
Inventories are stated at the lower of cost and net realisable value. The cost is
calculated using the “latest purchase price” of each stock item.
(q)
Investments
Marketable securities and deposits are valued at lower of cost and recoverable
amount.
Bequests and Special Funds
This note is considered to cover conditions of contributions and also covers
restricted assets.
(v)
Payables
These amounts represent liabilities for goods and services provided to the agency
and other amounts, including interest. Interest is accrued over the period it
becomes due.
(w)
Reclassification of financial information
As a result of applying AAS1 Statement of Financial Performance" and AAS36
"Statement of Financial Position", the format of the Statement of Financial
Performance (previously referred to as the Operating Statement) and the
Statement of Financial Position has been amended. As a result of applying these
Accounting Standards, a number of comparative amounts were represented or
reclassified to ensure comparability with the current reporting period.
51
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR
THE YEAR ENDED 30 JUNE 2001.
ART GALLERY OF NEW SOUTH WALES TRUST
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
(x)
Budgeted Amounts
The budgeted amounts are drawn from the budgets as formulated at the beginning
of the financial year and with any adjustments for the effects of any additional
appropriations, s21A, s 24 and/or s 26 of the Public Finance and Audit Act 1983.
The budgeted amounts in the Statement of Financial Performance and the
Statement of Cash Flows are generally based on the amounts disclosed in the
NSW Budget Papers (as adjusted above). However, in the Statement of Financial
Position, the amounts vary from the Budget Papers, as the opening balances of
the budgeted amounts are based on carried forward actual amounts ie per the
audited financial statements (rather than carried forward estimates).
(y)
Programme Statement
The Gallery operates one programme ñ Art Gallery of New South Wales. The
objective of the programme is to develop and maintain collections of art works for
the benefit of the community and to increase knowledge and appreciation of art.
2
EXPENSES
(a)
Employee related expenses comprise the
following specific items:
Salaries and wages (including Recreation Leave)
Superannuation
Long Service Leave
Workers' Compensation Insurance
Payroll tax and fringe benefit tax
Value of volunteer services (refer also Note 3c)
Other
(b)
(c)
(d)
52
Other operating expenses
Auditor's remuneration
-audit or review of the financial reports
Cost of sales
Bad and doubtful debts
Travel and Accommodation
Operating lease rental expense
- minimum lease payments
Insurance
Consumables
Exhibition fees and related costs
Fees- General professional
Freight, packing and storage
Marketing and promotion
Printing/Graphics
Property Expenses
Other
Maintenance
Routine maintenance
Maintenance undertaken free of charge Refer Note 3c
Depreciation and amortisation expense
Plant and Machinery
Furniture, Fixtures and Fittings
Computer Equipment
Office equipment and other sundry
2001
$'000
2000
$'000
9,568
1,002
338
173
678
1,123
66
12,948
8,803
855
250
265
644
1,248
77
12,142
31
1,849
689
29
1,828
2
442
145
508
1,712
1,410
700
589
1,490
301
1,221
898
11,543
64
698
657
549
490
418
1,100
796
1,148
1,078
9,299
723
649
1,372
897
496
1,393
794
49
193
156
1,192
943
367
206
203
1,719
53
ART GALLERY OF NEW SOUTH WALES TRUST
ART GALLERY OF NEW SOUTH WALES TRUST
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
2001
$'000
3
REVENUES
(a)
Sales of goods and services
Sale of goods
Merchandise, Book and Publication Sales
2000
$'000
6
(c)
Rendering of Services
Admission fees
Venue hire and catering
Other
Total Rendering of Services
2,450
793
866
4,109
2,098
672
602
3,372
Cash (per Statement of Financial Position)
1,347
126
Closing Cash and Cash Equivalents (per Statement of Cash flows)
1,347
126
Total Revenue
8,336
7,655
806
319
249
164
1,538
236
365
373
597
1,571
15
15
1,523
1,556
1,577
1,577
1,385
1,385
Current
Other Loans and Deposits
10,598
7,548
Non-Current
Other Loans and Deposits
2,996
5,490
13,594
13,038
Investment Income
Interest
145
145
165
165
1,126
643
134
86
1,123
649
3,761
604
495
65
104
1,248
496
3,012
CURRENT ASSETS-RECEIVABLES
Sale of Goods and services
Accrued Income
Other debtors
Prepayments
Total
Grants and contributions
Less: Provision for doubtful debts
Total Receivables
8
CURRENT- INVENTORIES
Other revenue
Workers compensation recovery
5
126
For the purpose of the Statement of Cash Flows, cash includes cash on hand, and
cash at bank.
CURRENT INVENTORIES
Stock on hand
4
1,347
4,283
Sponsorship - cash
Sponsorship - in kind
Donations - cash
Grants - Other
Value of Voluntary Services-Note 2(a)
Services provided at no charge-Note 2(c)
(d)
2000
$'000
4,227
7
(b)
CURRENT ASSETS - CASH
Cash at bank and on hand
2001
$'000
GAIN/(LOSS) ON DISPOSAL OF NON-CURRENT ASSETS
Property, Plant and Equipment
Proceeds from Disposal
Written down value of assets disposed
NET GAIN/LOSS ON DISPOSAL OF
NON CURRENT ASSETS
9
9
7
7
68
42
22
13
26
9
9
CURRENT/NON-CURRENT ASSETS- OTHER FINANCIAL ASSETS
Reconciliations
Reconciliations of the carrying amounts of each class of non-current other financial assets at the beginning
and end of the current and previous financial year are set out below
ACCEPTANCE BY THE CROWN ENTITY OF EMPLOYEE
ENTITLEMENTS AND OTHER LIABILITIES
The following liabilities and/or expenses have been assumed
by the Crown Entity or other government agencies
Other Loans and Deposits
Superannuation
Long service leave
Payroll Tax
54
995
338
63
1,396
847
250
56
1,153
Carrying amount at start of year
Additions
Disposals
Other Movements-Transfer to Current Assets
5,490
(2,494)
2,996
2,500
2,996
(6)
5,490
55
ART GALLERY OF NEW SOUTH WALES TRUST
ART GALLERY OF NEW SOUTH WALES TRUST
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
10
11
NON CURRENT ASSETS - PROPERTY, PLANT AND EQUIPMENT
2001
$'000
RESTRICTED ASSETS
2000
$'000
Included in the cash and investments are restricted use
assets (refer also note 14a)
Current Assets
Non-current Assets
Land and Buildings
Land - At Valuation
Buildings-At Cost
Buildings-At Valuation
Work in Progress
10,925
4,378
157,405
520
173,228
10,925
2,886
157,405
171,216
Art and Library Collections
At Cost
At Valuation
Total Property, Plant and Equipment
At Net Book Value
The Gallery continues to derive service potential and economic benefits
from the following fully depreciated assets
Plant and Equipment
16,429
11,490
4,939
15,031
10,345
4,686
14,982
572,665
587,647
7,198
516,983
524,181
765,814
700,083
10,261
2001
Plant and
Equipment
Collection of
Artworks
Trade Creditors
Capital Creditors
13
Depreciation written back on disposal of assets
524,181
7,784
55,682
-
700,083
11,283
(89)
55,682
(1,192)
47
Carrying amount at end of year
173,228
4,939
587,647
765,814
Net revaluation increment less revaluation decrements
Depreciation Expense
1,513
947
2,460
Employee entitlements
Recreation leave
Accrued salaries and wages
807
312
1,119
657
296
953
14
CHANGES IN EQUITY
Bequests and Accumulated
Special Funds
Funds
General Fund
Asset
Revaluation
Reserve
Total
Equity
Total
4,686
1,487
(89)
(1,192)
47
Disposals
1,943
3
1,946
CURRENT LIABILITIES - EMPLOYEE ENTITLEMENTS AND OTHER
PROVISIONS
(a)
171,216
2,012
-
Additions
1,841
8,238
10,079
CURRENT LIABILITIES - PAYABLES
Balance as at 1 July 2000
Carrying amount at start of year
7,961
2,996
10,957
3,901
Reconciliations
Reconciliations of the carrying amounts of each class of property, plant and equipment at the beginning
and the end of the current and previous financial year are set out below.
Land &
Buildings
2000
$'000
These funds represent donations and bequests held by the Gallery to be used in accordance with
the deed of trust or other documents governing these funds.
12
Plant and Equipment
At Cost
Accumulated Depreciation at Cost
2001
$'000
541,385
10,079
551,464
161,311
712,775
3,420
8,913
12,333
-
12,333
-
-
-
55,682
55,682
61
7,454
520
(61)
(7,454)
(520)
-
-
-
11,455
878
12,333
55,682
68,015
552,840
10,957
563,797
216,993
780,790
Changes in Equity-other than
transactions with owners as owners
Surplus/Deficit for the year
Increment on revaluation of
Collection Assets
Other Increases/(Decreases)
Transfer to/(from) General Fund
Plant and
Equipment
Collection of
Artworks
Total
Depreciation written back on disposal of assets
164,995
2,296
3,925
-
5,950
468
(110)
(1,719)
97
460,532
5,222
58,427
-
631,477
7,986
(110)
62,352
(1,719)
97
Carrying amount at end of year
171,216
4,686
524,181
700,083
2000
Carrying amount at start of year
Additions
Disposals
Net revaluation increment less revaluation decrements
Depreciation Expense
56
Art Acquisitions
Land &
Buildings
Other Capital Expenditure
Total
Balance as at 30 June 2001
57
ART GALLERY OF NEW SOUTH WALES TRUST
ART GALLERY OF NEW SOUTH WALES TRUST
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
Bequests and Accumulated
Special Funds
Funds
General Fund
2000
Balance as at 1 July 1999
2000
533,297
2000
9,591
542,888
16
Asset
Revaluation
Reserve
Total
Equity
2000
2000
98,959
641,847
Net Cash flow from Operating activities
Net Gain/Loss sale of non-current assets
Depreciation
Gifts of Works of art
Recurrent appropriation
Capital appropriation
Acceptance by Crown Entity of employees entitlements
and other liabilities
Increase(decrease) in accounts payable
(Increase)decrease in receivables
(Increase)decrease in inventories
Increase(decrease) in employee entitlements
Changes in Equity-other than
transactions with owners as owners
3,398
5,178
8,576
-
8,576
-
-
-
3,925
58,427
3,925
58,427
400
(5,090)
-
-
-
-
Other Capital Expenditure
(400)
5,090
-
-
-
-
Total
8,088
488
8,576
62,352
70,928
541,385
10,079
551,464
161,311
712,775
Surplus/Deficit for the year
Increment on revaluation of
Land and Buildings
Collection Assets
Other Increases/(Decreases)
Transfer to/(from) General Fund
Art Acquisitions
Balance as at 30 June 2000
(b) Bequests and Special Purpose Funds
2001
$'000
2000
$'000
2,064
6,171
253
10
8,498
657
(11)
9,144
1,368
2,914
203
531
5,016
545
49
5,610
Net cost of services after bequests and
special funds
17
Donations of works of art
Capital bequests
Expendable bequests
Interest received
Other income
Total Income
Other
Surplus for the year
15
29
202
231
8,913
44
388
432
5,178
BUDGET REVIEW
Net Cost of Services
The actual net cost of services before Bequests and Special Funds was higher than budget by $3.6M
This was due to lower than expected revenue from the Gallery's commercial activities including bookshop,
functions and exhibitions and also due to increased expenses in relation to employee expenses and operating
costs.
Assets and Liabilities
Net Assets increased by $61.2M against budget due to increased income from Bequests and Special
funds and revaluation of the Gallery's collection assets.
2000
$'000
(6,821)
(26)
1,192
(6,171)
13,824
2,978
(7,614)
(9)
1,719
(2,914)
13,630
2,320
1,396
(514)
33
(192)
166
1,153
580
(174)
(246)
82
5,865
8,527
NON-CASH FINANCING AND INVESTING ACTIVITIES
Donations of works of art - brought to account by creating
an asset and crediting non cash donations
6,171
2,914
1,123
1,248
643
629
495
496
The following items are brought to account as expenses in
the operating statement and are credited as income in the
form of non-cash sponsorships, non-cash donations
or services provided free of charge
Voluntary services provided
Advertising, freight, accommodation, travel
and similar expenses
Maintenance (Dept of Public Works)
Expenditure
Prizes and Scholarships
2001
$'000
The following non-cash transactions are included
in the financial accounts for the year
Revenue
Donations for purchase of works of art
RECONCILIATION OF CASH FLOWS FROM OPERATING
ACTIVITIES TO NET COST OF SERVICES AFTER BEQUESTS
AND SPECIAL FUNDS
18
FINANCIAL INSTRUMENTS
Cash
Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances
and paid monthly at the normal commercial rate of such deposits.
Receivables
All trade debtors are recognised as amounts receivable at balance date. Collectability of
trade debtors is reviewed on an on going basis. Debts which are know to be uncollectible
are written off. A provision for doubtful debts is raised when some doubt as to collection
exists. The credit risk is the carrying amount (net of any provision for doubtful debts). No
interest is earned on trade debtors. The carrying amount approximates net fair value. Sales
are made on 30 day terms.
Cash Flows
(a) Operating
Operating cash outflows were lower than planned by $1.7M due largely to an under expenditure in Capital
Works resulting in a decrease in the inflow of funds from Government.
(b) Investing
Investing cash flows were $2.8M lower due to the late commencement of the Gallery's building extension program.
58
59
ART GALLERY OF NEW SOUTH WALES TRUST
ART GALLERY OF NEW SOUTH WALES TRUST
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
Other Financial Assets
The Gallery has placed funds in Trustee approved bank deposits and can be placed
"at call" or for a fixed term. The interest rate payable on such deposits is negotiated
initially and is fixed for the term of the deposit.
20
At call
Less than one year
One to five years
Greater than five years
EXPENDITURE COMMITMENTS
(a) Capital Commitments
Aggregate capital expenditure for building improvements and digitisation project contracted for at
balance date and not provided for:
2001
$'000
2001
$'000
2000
$'000
2000
$'000
Carrying
Net Fair
Carrying
Net Fair
Amount
Value
Amount
Value
10,598
2,996
13,594
10,598
2,996
13,594
4,800
8,238
13,038
4,800
8,238
13,038
The deposits at balance date were earning an average interest rate of 5.5% (2000 6.3%),
whilst over the year the weighted average interest rate was 5.9% (2000 6.2%) on a
weighted average balance during the year of $12,722,180 (2000 $11,193,942).
Bank Overdraft
The Gallery does not have any bank overdraft facility
Trade Creditors and Accruals
The liabilities are recognised for amounts due to be paid in the future for goods or
services received, whether or not invoiced. Amounts owing to suppliers (which are
unsecured) are settled in accordance with the policy set out in Treasurer's Direction
219.01. If trade terms are not specified, payment is made no later than the end of
the month following the month in which and invoice or statement is received. Treasurer's
Direction 219.01 allows the Minister to award interest for late payment. No Ministerial
direction was given, nor did the Gallery incur any interest expense in relation to the late
payment of invoices for the financial years ended 2001 and 2000.
Not Later than on year
Later than one year and not later then 5 years
Later then 5 years
Total (including GST)
2001
$'000
2000
$'000
1,272
1,272
332
332
Contingent Assets
The total "Capital Commitments" above include input tax credits of $115,000 that are expected to be
recoverable from the Australian Taxation Office.
(b) Other Expenditure Commitments
Aggregate other expenditure payable in relation to exhibition agreements and computer network
outsourcing contracted for at balance date and not provided for:
Not Later than on year
Later than one year and not later then 5 years
Later then 5 years
Total (including GST)
659
659
194
210
404
Contingent Assets
The total "Other Expenditure Commitments" above include input tax credits of $1,200 that are expected
to be recoverable from the Australian Taxation Office.
(c) Operating Lease Commitments
OLYMPIC COSTS
(a) An $80,000 loan which was received from SOCOG to underwrite the Dead Sea Scrolls exhibition has
been repaid as planned.
Future non-cancellable operating lease rentals
not provided for and payable:
(b) During the Olympics, the number of overseas guests visiting the Gallery was higher than normal
Senior Gallery staff escorted these guests through the Gallery. This tour included a brief look
at the Exhibitions as well as the permanent collection. There was no additional cost involved other than
normal salaries. Some of these efforts will have a beneficial effect for the Gallery when we seek to borrow
works of art for future exhibitions.
Not Later than on year
Later than one year and not later then 5 years
Later then 5 years
Total (including GST)
c) Additional staff were used on the information desk at a cost of $1,700. Three full time staff were
seconded to the Games as volunteers during the Games period, at a cost of approximately $5,000.
Additional payments made to Front of House and Gallery Security Offices was $1.50 per hour, with
a total cost of $10,000 which was re-imbursed by the Ministry for the Arts.
Lease rentals (including GST) are payable to the lessor monthly in advance. The Gallery possesses
an option to renew the lease for a further two years.
(d) Other Costs totalling $15,000 were incurred in relation to payments to Gallery Guides and
Multilingual guides
The total "Operating Lease Commitments" above include input tax credits of $22,000 that are expected
to be recoverable from the Australian Taxation Office.
107
160
267
-
Contingent Assets
End of audited financial statements
60
61
APPENDICES
PURCHASES
AUSTRALIAN ART
Earle Backen (Australia, b.1927), set
of 9 states of one etching:
Composition, 1957 etching, aquatint,
scraping out, burnishing, softground,
open bite, black ink on ivory wove
paper; Composition, 1957 etching,
aquatint, burnishing, softground, red
and yellow ink on cream wove paper;
Composition, 1957 etching, aquatint,
softground, burnishing, blue, yellow
and orange ink on ivory wove paper;
Composition, 1957 etching, aquatint,
softground, burnishing, red ink on
ivory wove paper; Composition, 1957
etching, aquatint, softground,
burnishing, orange and grey/green
ink on ivory wove paper;
Composition, 1957 etching, aquatint,
softground, burnishing, red/brown,
aquamarine ink on ivory wove paper;
Composition, 1957 etching, aquatint,
softground, burnishing, purple,
orange, grey/green ink on ivory wove
paper; Composition, 1957 etching,
aquatint, softground, burnishing,
black ink on ivory wove paper;
Composition, 1957 etching, aquatint,
softground, burnishing, brown ink on
ivory wove paper. Purchased with
funds provided by the Arthur Boyd
Acquisition Fund 2000
Earle Backen (Australia, b.1927), 7
prints: Impression, 1967 engraving,
sugarlift aquatint on copper plate,
brown ink on ivory wove paper;
Landscape with light construction,
1965 drypoint, engraving, open bite,
stopping out, aquatint, black and
brown ink on ivory wove paper;
London series - Smithfield, 1977
photo-etching, aquatint, coloured
inks on three plates on white wove
Arches paper; Ecce homo, 1960
engraving, scraping out, burnishing
on copper plate, black, red and blue
ink on cream wove paper;
Metamorphosis of the city, 1961
engraving, black ink on ivory laid
paper; Contrasts/Obelisks, 1987
etching, aquatint, black ink on white
wove paper; Thunder, 1959 soft
ground, engraving, aquatint, stopping
out, open bite, deep etch, black and
yellow ink on ivory wove paper.
Purchased with funds provided by the
Arthur Boyd Acquisition Fund 2000
George Baldessin (Australia,
b.1939,d.1978), George Baldessin,
2000 (printed) six folded sheets with
additional cover sheet, six original
etchings on ivory Arches paper.
Purchased 2001
Robert Barnes (Australia, b.1947),
Bedroom, 1999 oil on canvas.
Margaret Hannah Olley Art Trust 2001
Rupert Bunny (Australia,
b.1864,d.1947) Self portrait, 1890s
sanguine on buff wove paper with
blue fibre. Accessioned 2000
Kevin Connor (Australia, b.1932),
Three figures, 1964 pen, brush and
62
black ink. Purchased with funds
provided by the Arthur Boyd
Acquisition Fund 2000
Janet Dawson (Australia, b.1935), 2
drawings: Italian landscape drawing,
1960 charcoal on thick ivory wove
paper; Italian landscape drawing,
1960 charcoal on thick ivory wove
paper Purchased with funds
provided by the Arthur Boyd
Acquisition Fund 2001
Ian Fairweather (United Kingdom;
Australia, b.1891,d.1974), Chinese
mountain, (1933) oil and gouache on
cardboard. Purchased 2001
Nicholas Harding (Australia, b.1956),
Margaret Olley, 2000 etching,
roulette, black ink on white wove
paper. D G Wilson Bequest Fund 2000
Rayner Hoff (Australia, b.1894,d.1937),
The kiss, 1923 plaster. Purchased
2000 from the collection of Stanley
Cecil Chamberlain with funds
provided by the 1000 Club
Jennifer Keeler-Milne (Australia,
b.1961), Visibility/Invisibility, 2000
charcoal. Purchased with funds
provided by the Art Gallery Society of
New South Wales 2000
George W. Lambert (Australia,
b.1873,d.1930), The wool wagon,
(1921) pencil on ivory paper. D G
Wilson Bequest Fund 2001
Rosemary Madigan (Australia,
b.1926), 1 sculpture and 1
sketchbook: Mnemosyne, 1976
bronze with green patina on a slate
base; Sketchbook, (1981) bound
sketchbook: 26 leaves, 26 life studies
of male model in black fibre-tipped
pen on white wove paper. D G
Wilson Bequest Fund 2000
Herbert McClintock (Australia,
b.1906,d.1985), Seated worker, 1957
pen and black ink, watercolour on
light grey laid paper. Purchased with
funds provided by the Arthur Boyd
Acquisition Fund 2001
Sallie Moffatt (Australia, b.1968),
Urban landscape II, 2000 charcoal on
paper. Purchased with funds
provided by the Art Gallery Society of
New South Wales 2000
Sidney Nolan (Australia; United
Kingdom, b.1917,d.1992), 3 paintings:
Colonial head, 1947 synthetic
polymer paint on hardboard; Fraser
Island, (1947) synthetic polymer paint
on hardboard; Boat, 1959 polyvinyl
acetate on hardboard. Purchased
with funds provided by the Art Gallery
Society of New South Wales 2001
Margaret Olley (Australia, b.1923),
Still life in green, 1948 oil on
hardboard. Jean Cameron Gordon
Bequest in memory of her mother
Mary Gordon 2001
John Peter Russell (Australia,
b.1858,d.1930), 7 watercolours:
Storm, Belle Ile, 1905 watercolour,
gouache on heavy wove buff paper;
Landscape with houses in distance,
circa 1907 pen and black ink,
watercolour, gouache on heavy wove
buff paper; Landscape with houses,
1907 pencil, watercolour on off white
wove paper; Les Aiguilles, Belle Ile,
1910 pencil, watercolour, gouache on
off-white wove paper; Cliffs, Belle Ile,
1906 pencil, watercolour on ivory
machine wove paper on thick card
album page; Landscape, Matlock,
1905 pencil, watercolour on ivory
wove paper; recto: View through
trees; verso: (Head of a woman in
profile), 1919 recto: pencil,
watercolour on ivory wove paper
verso: watercolour on ivory wove
paper. Jean Cameron Gordon
Bequest in memory of her mother
Mary Gordon 2000
Horace Trenerry (Australia,
b.1899,d.1958), Morning mists, circa
1945-circa 1947 oil on canvas on cardboard. Edward Stinson Bequest 2001
Brett Whiteley (Australia,
b.1939,d.1992), Woman in bath IV,
1964 oil, collage, tempera and
polyvinyl acetate emulsion on board.
Purchased with funds provided by
the Art Gallery Society of New South
Wales 2000
SUB TOTAL 44 WORKS
ABORIGINAL ART
Florence Ashley (Australia), 7 seed
necklaces, (1996) threaded seeds.
Mollie Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Lucy Ashley (Australia), 6 seed
necklaces, (1996) threaded seeds.
Mollie Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Judy Baypangala (Australia, b.1941),
5 twined open weave dillybags, (1996)
twined pandanus spiralis leaves,
natural dyes, bush string handle.
Mollie Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Bidingal (Australia), 2 coil-woven
baskets with bush string handles,
(1996) coil-woven pandanus spiralis
leaves, natural dyes, bush string loop
handle. Mollie Gowing Acquisition
Fund for Contemporary Aboriginal
Art 1997
Birraynu (Australia), 14 seed
necklaces, (1996) threaded seeds.
Mollie Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Guyula (Australia), 1 mat and 1
basket: Circular closed and open
weave, fringed mat, (1996) woven
pandanus spiralis leaves, natural
dyes; Coil-woven basket with handle,
(1996) coil-woven pandanus spiralis
leaves, natural dyes, coil-woven
handle, flat base. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 1997
Helicopter (Australia, b.circa 1937),
Yalkoora Soak, 1999 etching. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 2000
Wilson Lanydjura (Australia, b.1955),
Morning Star Pole, 1997 wood,
feathers, bark fibre string and natural
pigments. Mollie Gowing Acquisition
Fund for Contemporary Aboriginal
Art 1997
John Mawurndjul (Australia, b.1952),
Mardayin ceremony, 2000 natural
pigments on eucalyptus bark. Don
Mitchell Bequest Fund 2000
Eubena Nampitjin (Australia, b.circa
1925), Untitled, 1999 etching. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 2000
Alice Nampitjinpa (Australia, b.1945),
Tali (sandhills) at Talaalpi, 1999
etching. Mollie Gowing Acquisition
Fund for Contemporary Aboriginal
Art 2000
Narputta Nangala (Australia),
Karrkurutinytja, 1999 synthetic
polymer paint on linen. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 2000
Makinti Napanangka (Australia),
Untitled, 2000 synthetic polymer paint
on linen. Mollie Gowing Acquisition
Fund for Contemporary Aboriginal
Art 2000
Walangkura Napanangka (Australia,
b.circa 1938), Kutungka Napanangka
at Papunga, 1999 synthetic polymer
paint on canvas. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 2000
Mitjili Napurrula (Australia, b.circa
1945), Untitled, 1999 synthetic
polymer paint on linen canvas. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 2000
Ningura Napurrula (Australia, b.circa
1938), Untitled (Wirrulnga), 2000
synthetic polymer paint on linen
canvas. Patricia Lucille Bernard
Bequest Fund 2001
Naata Nungurrayi (Australia, b.circa
1932), Untitled, 1999 synthetic
polymer paint on linen canvas. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 2000
Tim Tjapangarti Payungka (Australia,
b.circa 1942,d.2000), Tingari cycle at
Wilkinkarra, 1996 synthetic polymer
paint on canvas. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 2000
Rusty Peters (Australia, b.1935),
Chinaman’s Garden Massacre at
Springvale Station, 2000 natural
pigments on linen canvas. Purchased
with funds provided by J.S. Watkins
Memorial Fund 2001
Kutuwalumi Purawarrumpatu
(Australia, b.circa 1928), 2 paintings:
Untitled, 2000 natural pigments on
paper; Untitled, 2000 natural
pigments on linen canvas. Don
Mitchell Bequest Fund 2001
Timmy Timms (Australia, b.circa
1915,d.2000), Bedford Downs
Massacre, 2000 natural pigments on
canvas. D G Wilson Bequest Fund 2000
Long Tom Tjapanangka (Australia,
b.circa 1929), Kanpaarka (Centipede)
Tjukurrpa, 1994 synthetic polymer
paint on linen canvas. Patricia Lucille
Bernard Bequest Fund 2001
George Tjungurrayi (Australia,
b.circa 1945), Untitled, 2000 synthetic
polymer paint on linen canvas.
Purchased 2000
Turkey Tolson Tjupurrula (Australia,
b.circa 1938), Straightening the
spears, 1999 synthetic polymer paint
on linen canvas. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 2000
Unknown (Australia), 3 coil-woven
baskets with bush string handle, (1996)
coil-woven pandanus spiralis leaves,
natural dyes, bush string loop handle.
Mollie Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Unknown (Australia), 1 twined tight
weave dillybag and 4 twined open
weave dillybags, (1996) twined
pandanus spiralis leaves, natural
dyes, bush string handle. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Unknown (Australia), 4 closed and
open weave, fringed conical mats,
(1996) woven pandanus spiralis
leaves, natural dyes, bush string.
Mollie Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Unknown (Australia), 6 ovoid closed
and open weave, fringed mats, (1996)
woven pandanus spiralis leaves,
natural dyes. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 1997
Unknown (Australia), 8 circular
closed and open weave, fringed
mats, (1996) woven pandanus spiralis
leaves, natural dyes. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 1997
Unknown (Australia), Circular open
weave, fringed mat, (1996) woven
pandanus spiralis leaves, natural
dyes. Mollie Gowing Acquisition Fund
for Contemporary Aboriginal Art 1997
Unknown (Australia), Knotted string
bag, (1996) spun string, natural dyes,
sheet bend knots. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 1997
Unknown (Australia), 20 string
looped bags with twined string
handles, (1996) bush string, natural
dyes. Mollie Gowing Acquisition Fund
for Contemporary Aboriginal Art 1997
Unknown (Australia), 13 back
harnesses, (1996), bushstring, Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Unknown (Australia), 13 headbands,
(1996), bushstring, Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 1997
Unknown (Australia), 18 twined
dillybags, (1996) twined pandanus
spiralis leaves, brown synthetic
polymer paint. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 1997
Unknown (Australia), Bark food and
water container, (1996) bark. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Unknown (Australia), 2 string of
painted snail shells, (1996) snail
shells, natural pigments. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Unknown (Australia), Woven
pandanus sail, (1996) woven
pandanus spiralis leaves. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 1997
Wanapuyngu (Australia), Coil-woven
basket with handle, (1996) coilwoven pandanus spiralis leaves,
natural dyes, handle. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 1997
Rosie Wudarn (Australia), Twined
alternating open and closed weave
dillybag, (1996) twined pandanus
spiralis leaves, natural dyes, bush
string handle. Mollie Gowing
Acquisition Fund for Contemporary
Aboriginal Art 1997
Lucy Yukenbarri (Australia, b.1934),
Untitled, 1999 screenprint. Mollie
Gowing Acquisition Fund for
Contemporary Aboriginal Art 2000
SUB TOTAL 154 WORKS
MODERN AND
CONTEMPORARY ART
Marina Abramovic (Yugoslavia,
b.1946) and Ulay (Germany, b.1943), I.
A Performance Anthology 1975-1980
[volumes 1-3] II. Modius Vivendi
1979-1986 [volumes 4-5] III.
Continental Videoseries 1983-1986
[volumes 6-7], 1975-1986 7 VHS-PAL
videos. Purchased 1996
Jean-Pierre Bertrand (France,
b.1937), Bright yellow green no.1, 2000
Flemish medium on paper, plexiglass,
steel frame. Purchased 2000
David Bomberg (England,
b.1890,d.1957), The garden and tower
of the sacristy, Cuenca Cathedral,
1934 oil on canvas. Purchased 2000
Pierre Bonnard (France,
b.1867,d.1947), Bust in profile, red
background (study), circa 1920 oil on
canvas. Purchased with funds
provided by the Art Gallery of New
South Wales Foundation and the
Margaret Hannah Olley Art Trust 2000
Peter Callas (Australia, b.1952), 1
digital print from the series Um Novo
Tempo (A new time), 1999: Fish
Market, Manaus 1999 digital print.
Purchased with funds provided by
the Contemporary Collection
Benefactors’ Program 2000
Aleks Danko (Australia, b.1950),
Department One: The drawing room,
1993-1994 Chinese linen, ink on paper,
plywood column and photographic
floods. Purchased with funds
provided by the Contemporary
Collection Benefactors’ Program 2000
Lucian Freud (Germany; England,
b.1922), Self Portrait: Reflection, 1996
etching on Somerset textured white
paper. Purchased 2000
Gilbert and George (Italy/England
b.1943, England b.1942), Reaming,
1982 Photo-piece: ink transfer on
paper [30 panels]. Purchased with
funds provided by the Art Gallery
Society of New South Wales 2000
Simryn Gill (Malaysia; Australia,
b.1959), Roadkill, 2000 found objects,
toy wheels. Purchased with funds
provided by the Contemporary
Collection Benefactors’ Program 2001
Helga Groves (Australia, b.1961),
Flood, 1999 triptych: woven
monofilament fishing line stretched
onto wooden frames. Purchased with
funds provided by the Contemporary
Collection Benefactors’ Program 2000
Geoffrey Kleem (Australia, b.1953), 2
light jet photographs, wood, steel from
the series International Trash, 2000: 35°
09’ 53” S - 150° 34’ 35” E, 2000 light jet
photograph, wood, steel; 33° 36’ 52” S 150° 16’ 05” E, 2000 light jet photograph,
wood, steel. Purchased with funds
provided by the Contemporary
Collection Benefactors’ Program 2000
Vik Muñiz (Brazil; United States of
America, b.1961), 1 silver dye bleach
photograph (Ilfochrome) from the
series Pictures of Dust, 2000:
Richard Serra, Prop, 1968... (Picture
of Dust), 2000 silver dye bleach
photograph (Ilfochrome). Don
Mitchell Bequest Fund 2001
Mike Parr (Australia, b.1945), 28
drawings: 26 drawings each titled
Untitled self portrait from the series
26 Untitled self portraits 1981-1996,
1981 pencil on paper; Portrait of F,
1995 pencil on paper; Portrait of C,
1995 pencil on paper. Purchased with
funds provided by the Contemporary
Collection Benefactors’ Program 2000
Slave Pianos (Michael Stevenson,
New Zealand/Germany b.1964 and
Danius Kesminas, Australia b.1966),
Slave Pianos collectable: in memoriam
George Maciunas, 1999 framed
archive material. Purchased 2000
Stephen Willats (England, b.1943),
Pat Purdy and the glue sniffers
camp, 1981 12 photographic prints,
photographic dye, gouache, Letraset
text, ink, felt tip pen and found
objects from the Lurky Place.
Purchased 2000
John Young (Australia, b.1956),
Hermit painting #3, Winter-Spring
1999 diptych: vutak digital scan and
oil on canvas. Purchased with funds
provided by the Contemporary
Collection Benefactors’ Program 2000
SUB TOTAL 55 WORKS
PHOTOGRAPHY
Irene Bayer (United States of America,
b.1898,d.1991), Portrait of Grit Kallin,
Bauhaus Dessau, 1928 gelatin silver
photograph. Purchased with funds
provided by Jill Hawker 2001
Pat Brassington (Australia, b.1942),
Lunch, 2000 pigment print. Purchased
with funds provided by the
Photography Collection Benefactors’
Program 2000
Max Dupain (Australia,
b.1911,d.1992), Illustration for
Kelvinator advertisment, 1936 gelatin
silver photograph. Purchased with
funds provided by the Photography
Collection Benefactors’ Program 2000
Adam Fuss (England; United States of
America, b.1961), from the series My
Ghost, 2000 daguerreotype.
Purchased with funds provided by
Amanda and Andrew Love, Lisa and
Egil Paulsen, Mike Hawker, Michael
Magnus, James Erskine, David Coe,
Michael and Katharine Hughes,
Maryanne Pagent, Photo Technica,
Photo King Professional Lab, Wheen
Family, and the Photography
Collection Benefactors’ Program 2001
Henry King (Australia, b.1855,d.1923),
2 albumen photographs: Australian
Aboriginal NSW (woman), circa
1870-1880 Australian Aboriginal
NSW (man), circa 1870-1880
Purchased with funds provided by
the Photography Collection
Benefactors’ Program 2000
Robert McFarlane (Australia, b.1942),
Charles Perkins on bus home after visit
to Tranby, Glebe, circa 1965 gelatin
silver photograph. Purchased with
funds provided by the Photography
Collection Benefactors’ Program 2000
Tracey Moffatt (Australia, b.1960), 2
photo silkscreens, printed in colour
ultraviolet inks on textured Somerset
satin paper from the series
Invocations, 2000 Purchased 2000
László Moholy-Nagy (Hungary;
United States of America,
b.1895,d.1946), An outline of the
universe, 1930 gelatin silver
photograph. Purchased with funds
provided by the Photography
Collection Benefactors’ Program 2001
Jacky Redgate (England; Australia,
b.1955), 2 type C photographs from
the series Untitled Day, 2000: London
c1965, 2000 London c1970, 2000
Purchased with funds provided by
Cosway Australia on behalf of Bevan
and Bronwyn Towning, Rebecca Dee,
David Bradbury, Robert and Judith
Harley, Mark and Pam Rudder, John
and Simonetta Frey 2001
Stanislaw Witkiewicz (Poland,
b.1885,d.1939) with Jozef Jan
Glogowski (Poland, b.1893,d.1969),
Fright, 1931 gelatin silver photograph.
Purchased with funds provided by
Penelope Seidler, Josef and Jeanne
Lebovic, Graham and Mary Beirman,
Michael Carr, Barbara Flynn and
William Grounds, Paul and Becky
Urla, Roslyn and Tony Oxley, The
Freedman Foundation, Rhonda Rose
and the Photography Collection
Benefactors’ Program 2001
SUB TOTAL 13 WORKS
63
ASIAN ART
CAMBODIA
Khmer, Hevajra mandala, 12th
century-13th century bronze. Edward
and Goldie Sternberg Southeast
Asian Art Purchase Fund 2001
Khmer, Bayon style, Nimbus
surmounted by a dancing ‘hevajra’,
late 12th century-early 13th century,
Angkor period 802 – 1431 bronze.
Purchased 2000
CAMBODIA / LAOS
Khmer, 2 wine jars: 12th century-13th
century stoneware with dark brownblack glaze; 12th century-13th
century stoneware with greenishbrown glaze. D G Wilson Bequest
Fund 2001
CHINA
Model of a horse and rider, 550 -577,
Northern Qi 550 – 577, Northern
dynasties 386 – 581 China grey
earthenware with some paint and
gilding. Purchased 2000
DING Yanyong (People’s Republic of
China, b.1902,d.1978), Guangdong,
The Eight Immortals, 1978 hanging
scroll; ink and colour on paper.
Purchased 2000
probably Shaanxi Province, Chinese
Buddhist stele, late 5th century,
Northern Wei 386 – 535, Northern
dynasties 386 – 581 sandstone.
Edward and Goldie Sternberg
Chinese Art Purchase Fund 2001
JAPAN
Arita ware, Shaving dish with flower
design, late 17th century-early 18th
century, Edo (Tokugawa) period 1615
– 1868 porcelain with underglaze
blue, overglaze enamel and gold.
Purchased 2000
VIETNAM
Hoi An, Dragon ewer, mid 15th
century porcelain, moulded, with
underglaze blue and white
decoration. Purchased 2000
SUB TOTAL 9 WORKS
GRAND TOTAL OF PURCHASED WORKS: 275
GIFTS
AUSTRALIAN ART
ANONYMOUS GIFT IN MEMORY OF
LINA BRYANS
Ian Fairweather (United Kingdom;
Australia, b.1891,d.1974), West Lake,
Hangchow, (1933) oil and gouache on
paper on canvas on cardboard
NANCY BORLASE
Nancy Borlase (Australia, b.1914),
Night of the full moon, 1960 oil,
tempera on hardboard
FRED CRESS
Fred Cress (Australia, b.1938), The
visit, 1982 synthetic polymer paint
on canvas
SIR WILLIAM DOBELL ART
FOUNDATION
Nicholas Harding (Australia, b.1956),
Eddy Avenue (3), 2001 black ink on
two sheets on white wove paper
LAURIS ELMS AM OBE
Shay Docking (Australia,
b.1928,d.1998), Ploughed fields at
Mirboo North near Thorpedale, Victoria,
1955 pencil, watercolour, gouache
GWEN FROLICH
Charles Blackman (Australia, b.1928),
(Sunbathers), circa 1953-circa 1954
charcoal on thin buff wove paper
HELEN GLAD IN MEMORY OF HER
MOTHER JANE GLAD (LINDSAY)
AND DAVID BRIAN
David Brian Wilson (Australia,
b.1946,d.1998), (Dead) hawk, 1996 oil
on canvas
JAMES GLEESON
James Gleeson (Australia, b.1915),
142 drawings and 3 artist’s books:
Study for ‘Land fall’, 1982 charcoal on
light green laid paper; Study for
‘Activated still-life’, 1983 charcoal on
light grey-green laid paper; Study for
‘Games in a bad-weather creche’,
1983 charcoal on ivory wove paper;
Study for ‘Locus Ganesa’, 1983
charcoal on ivory wove paper; Study
for ‘Lapsed exemplars’, 1984
charcoal on white wove Arches
Satine paper; Study for ‘Garden with
excised maze’, 1984 charcoal on
ivory wove paper; Study for ‘The
coast near Coolum augmented by a
64
recollection of Mazeppa’, 1985
charcoal, collage on ivory laid paper;
Study for ‘The moonrise
sharpshooter’, 1985 charcoal on
white wove paper; Study for ‘Fortforms torn by skyquakes’, 1985
charcoal on ivory wove paper; Study
for ‘Depot for used shadows’, 1988
charcoal, collage on white wove
paper; Study for ‘The dance’, 1988
charcoal, collage on white wove
paper; Study for ‘They arrived at
evening, not a moment too soon’,
1988 charcoal, collage on white
wove paper; Study for ‘Divisions’,
1988 charcoal, collage on white
wove paper; Study for ‘Sea hints’,
1988 charcoal, collage on white
wove paper; Study for ‘A parley of
Totems’, 1988 charcoal, collage on
white wove paper; Study for
‘Guarding against euphoria’, 1989
charcoal, collage, wash on white
wove paper; Study for ‘Ludus
Electrica’, 1989 charcoal on white
wove paper; Study for ‘Windgrids’,
1989 charcoal on white wove paper;
Study for ‘Morning strategies’, 1989
charcoal on white wove paper;
Study for ‘Estuary’, 1989 charcoal,
collage on white wove paper; Study
for ‘Study for ‘Sky divisions
gathering’, 1989 charcoal, collage on
white wove paper; Study for ‘The
theatre’, 1989 charcoal on white
wove paper; Study for ‘The Ear of
Dionysos’, 1989 charcoal, collage on
white wove paper; Study for ‘The
time of the hammer’, 1990 charcoal
on white wove paper; Study for ‘The
green oracle’, 1990 charcoal, collage
on white wove paper; Study for ‘The
cloud quarry’, 1990 charcoal,
squared with pencil on white wove
paper; Study for ‘Clouded answers’,
1990 charcoal, collage, squared with
pencil on white wove paper; Study
for ‘The prepared grove’, 1990
charcoal, collage, pencil, squared
with pencil on white wove paper;
Study for ‘An autumn incident’, 1991
charcoal, collage on white wove
paper; Study for ‘Genesis’, 1991
charcoal, collage, squared with
pencil on white wove paper; Study
for ‘The nest’, 1991 charcoal, collage,
white pastel on white wove paper;
Study for ‘The equation’, 1991
charcoal, collage on white wove
paper; Study for ‘The beginning of
the rain’, 1991 charcoal, collage on
white wove paper; Study for ‘Dawn
Toccata’, 1991 charcoal, collage on
white wove paper; Study for
‘Homeward returning’, 1991 charcoal,
collage on white wove paper; Study
for ‘Deployed energies’, 1991
charcoal, collage on white wove
paper; Study for ‘Re-articulations’,
1991 charcoal, collage on white
wove paper; Study for ‘The dark star’,
1991 charcoal, collage on white
wove paper; Study for ‘Storm
warning’, 1991 charcoal, collage on
white wove paper; Study for ‘Games
of the sun’, 1991 charcoal, collage on
white wove paper; Study for ‘Strange
visitation’, 1991 charcoal, collage on
white wove paper; Study for ‘The
screen of seeming’, 1991 charcoal,
collage on white wove paper; Study
for ‘Caught in a lunar synthesis’, 1991
charcoal, collage on white wove
paper; Study for ‘Metamorphosis’,
1991 charcoal, collage on white
wove paper; Study for ‘Threads in
the pattern’, 1991 charcoal, collage
on white wove paper; Study for ‘The
chrysalis dreams of empire’, 1991
charcoal, collage on white wove
paper; Study for ‘The waiting
garden’, 1991 charcoal, collage on
white wove paper; Study for ‘Fossils
of the devious air’, 1991 charcoal,
collage on white wove paper; Study
for ‘At the start of the long river’,
1992 charcoal, collage on white
wove paper; Study for ‘The authority
of the shell’, 1992 charcoal, collage
on white wove paper; Study for ‘The
pool’, 1993 charcoal, collage on
white wove paper; Study for ‘The
onset’, 1993 charcoal, collage on
white wove paper; Study for ‘Aurora
sapiens’, 1994 charcoal, collage on
white wove paper; Study for ‘Quasirecollections of a Venetian winter’,
1994 charcoal, collage on white
wove paper; Study for ‘The message
arrives’, 1995 charcoal, collage on
white wove paper; Study for
‘Deposits in the sunbank’, 1995
charcoal, collage on white wove
paper; Study for ‘An unpredictable
evening’, 1995 charcoal, collage on
white wove paper; Study for ‘What is
the question’, 1995 charcoal, collage
on white wove paper; Study for ‘At
the unfolding’, 1995 charcoal, collage
on white wove paper; Study for ‘Bird
calls at a fitful beginning’, 1995
charcoal, collage on white wove
paper; Study for ‘Checkpoint’, 1995
charcoal, collage on white wove
paper; Study for ‘Behind the curtain’,
1995 charcoal, collage on white
wove paper; Study for ‘The vital mist’,
1995 charcoal, collage on white
wove paper; Study for ‘The irregular
behaviour of a setting sun’, 1995
charcoal, collage on white wove
paper; Study for ‘Parnassus
Interchange’, 1995 charcoal, collage
on white wove paper; Study for ‘An
ordered flow’, 1995 charcoal, collage
on white wove paper; Study for
‘Guardian posts’, 1995 charcoal,
collage on white wove paper; Study
for ‘A trick of memory’, 1995
charcoal, collage on white wove
paper; Study for ‘The judgement’,
1995 charcoal, collage on white
wove paper; Study for ‘The oration’,
1995 charcoal, collage on white
wove paper; Study for ‘A tentative
calm’, 1995 charcoal, collage on
white wove paper; Study for ‘A
coded message’, 1995 charcoal,
collage on white wove paper; Study
for ‘The conference’, 1995 charcoal,
collage on white wove paper; Study
for ‘A disrupted cliff’, 1995 charcoal,
collage on white wove paper; Study
for ‘A coded signal’, 1995 charcoal,
collage on white wove paper; Study
for ‘A decision of the clouds’, 1996
charcoal, collage on white wove
paper; Study for ‘In the range of
memory’, 1996 charcoal, collage,
wash on white wove paper; Study
for ‘Reluctant Adam’, 1996 charcoal,
collage on white wove paper; Study
for ‘The fallacy of autumn’, 1996
charcoal, collage on white wove
paper; Study for ‘Reliable evidence’,
1996 charcoal, collage on white
wove paper; Study for ‘Break-out’,
1996 charcoal, collage on white
wove paper; Study for ‘Evading the
thought wardens’, 1996 charcoal,
collage on white wove paper; Study
for ‘An occurrence observed by daynight’, 1996 charcoal, collage, pencil
on white wove paper; Study for ‘A
sybil travelling incognito’, 1996
charcoal, collage on white wove
paper; Study for ‘An event in the
Islands’, 1996 charcoal, collage on
white wove paper; Study for ‘In the
eye of the beholder’, 1996 charcoal,
collage on white wove paper; Study
for ‘A sudden decision’, 1996
charcoal, collage, wash on white
wove paper; Study for ‘On the verge
of becoming’, 1996 charcoal, collage
on white wove paper; Study for ‘Exit
right, laughing’, 1996 charcoal,
collage on white wove paper; Study
for ‘The colonists arrive’, 1997
charcoal, collage on white wove
paper; Study for ‘Compound echoes’,
1997 charcoal, collage, pencil on
white wove paper; Study for
‘Dictates of the Uncertainty Principle
- even’, 1997 charcoal, collage, pen
and black ink on white wove paper;
Study for ‘Ambiguous evidence’, 1997
charcoal, collage on white wove
paper; Study for ‘Echoes from a lost
garden’, 1997 charcoal, collage on
white wove paper; Study for ‘Within
a waiting grove’, 1997 charcoal,
collage on white wove paper; Study
for ‘Carnival’, 1997 charcoal, collage
on white wove paper; Study for
‘Apprehended transitions’, 1997
charcoal, collage on white wove
paper; Study for ‘A guarded beach’,
1997 charcoal, collage on white
wove paper; Study for ‘A nightattack’, 1998 charcoal, collage on
white wove paper; Study for ‘An
unusual concurrence’, 1998 charcoal,
collage on white wove paper; Study
for ‘Iphegenia in Aulis’, 1998
charcoal, collage on white wove
paper; Study for ‘The dream of
Galileo’, 1998 charcoal, collage on
white wove paper; Study for ‘Cythera
Revisited’, 1998 charcoal, collage on
white wove paper; Study for ‘A
guarded beach’, 1998 charcoal,
collage on white wove paper; Study
for ‘Aspiring echoes’, 1998 charcoal,
collage on white wove paper; Study
for ‘Headland’, 1998 charcoal,
collage on white wove paper; Study
for ‘Arriving with the night’, 1998
charcoal, collage on white wove
paper; Study for ‘The gathering’, 1998
charcoal, collage on white wove
paper; Study for ‘A memory bank’,
1998 charcoal, collage on white
wove paper; Study for ‘Enclave’, 1998
charcoal, collage on white wove
paper; Study for ‘A darkness
constrained’, 1998 charcoal, collage
on white wove paper; Study for ‘A
memory mis-remembered’, 1998
charcoal, collage on white wove
paper; Study for ‘The seer’, 1998
charcoal, collage on white wove
paper; Study for ‘The prediction’,
1998 charcoal, collage on white
wove paper; Study for ‘Illusion
masters’, 1998 charcoal, collage,
black ink on white wove paper;
Study for ‘Where the weather lives’,
1998 charcoal, collage on white
wove paper; Study for ‘Time seed’,
1999 charcoal, collage on white
wove paper; Study for ‘The watching
eye of night’, 1999 charcoal, collage
on white wove paper; Study for ‘A
cool resonance’, 1999 charcoal,
collage on white wove paper; Study
for ‘The growing anvil’, 1999
charcoal, collage on white wove
paper; Study for ‘The soft geometry
of chance’, 1999 charcoal, collage on
white wove paper; Study for ‘The
cloak’, 1999 charcoal, collage on
white wove paper; Study for ‘The
riddle of the clouds’, 1999 charcoal,
collage on white wove paper; Study
for ‘Connections’, 1999 charcoal,
collage on white wove paper; Study
for ‘A haven for unemployed
shadows’, 1999 charcoal, collage,
pencil, black fibre-tipped pen on
white wove paper; Study for
‘Pandora’s gateway’, 1999 charcoal,
collage on white wove paper; Study
for ‘Meeting places’, 1999 charcoal,
collage on white wove paper; Study
for ‘Reinforcements’, 1999 charcoal,
collage, black fibre-tipped pen, pen
and white ink on white wove paper;
Study for ‘Possible jeopardy’, 1999
charcoal, collage on white wove
paper; Study for ‘Visitors’, 1999
charcoal, collage on white wove
paper; Study for ‘A session of the
secret court’, 1999 charcoal, collage
on white wove paper; Study for ‘An
unclassifier resort’, 2000 charcoal,
collage on white wove paper; Study
for ‘A quorum of entities’, 2000
charcoal, collage on white wove
paper; Study for ‘Three guardians two active, one retired’, 2000
charcoal, collage on white wove
paper; Study for ‘The home-coming
of Agamemnon’, 2000 charcoal,
collage on white wove paper; Study
for ‘A beckoning terminus’, 2000
charcoal, collage on white wove
paper; Study for ‘An invisible place
made manifest’, 2000 charcoal,
collage on white wove paper; Study
for ‘Dramatis personae’, 2000
charcoal, collage on white wove
paper; Study for ‘Rising to the night’,
2000 charcoal, collage on white
wove paper; Study for ‘The citadel
attacked’, 2000 charcoal, collage on
white wove paper; Study for ‘A
discourse at Olympus’, 2000
charcoal, collage on white wove
paper; Study for ‘A congregation’,
2000-2001 charcoal, collage on white
wove paper; (Artist’s book), late
1970s-1983 artist’s bound book: 15
leaves, 28 drawings on 30 pages, pen
and black ink, wash, collage, frottage
on paper; (Artist’s book), late 1970s
artist’s bound book: 15 leaves, 28
drawings on 30 pages, pen and black
ink, wash, collage, frottage on paper;
(Artist’s book), late 1970s artist’s
bound book: 1 leaf folded in the
‘accordian’ style to form 26 pages,
pen and black ink, wash, collage,
frottage on paper
PETA PHILLIPS
Janet Dawson (Australia, b.1935),
Study for ‘Foxy night’ series, 19781979 pencil, black ink wash, white
gouache on white wove paper, folded
NANCY GOLDFINCH
Nancy Goldfinch (Australia, b.1911),
2 paintings: From Vaucluse, 1939 oil
on canvas; Merrigang Street,
Bowral, 1937 oil on canvas
THEA PROCTOR MEMORIAL FUND
Theo Scharf (Australia; Germany,
b.1899,d.1987), 17 etchings from the
series ‘Night in a city’, circa 1923:
Dusk, circa 1923 etching, black ink on
cream laid paper; Saturday evening,
circa 1923 etching, black ink on
cream laid paper; Promenade, circa
1923 etching, black ink on cream laid
paper; Closing time, circa 1923
etching, black ink on cream laid
paper; Railway station, circa 1923
etching, black ink on cream laid
paper; Restaurant II, circa 1923
etching, black ink on cream laid
paper; Cinema, circa 1923 etching,
black ink on cream laid paper; The
music lovers, circa 1923 etching,
black ink on cream laid paper; The
concert, circa 1923 etching, black ink
on cream laid paper; Burglars, circa
1923 etching, black ink on cream laid
paper; Cabaret, circa 1923 etching,
black ink on cream laid paper; After
the concert, 1923 etching, black ink
on cream laid paper; Restaurant III,
1923 etching, drypoint, black ink on
cream laid paper; Street girl, circa
1923 etching, black ink on cream laid
paper; The lovers, 1923 etching,
black ink on cream laid paper; The
revelers, circa 1923 etching, drypoint,
black ink on cream laid paper; Dawn,
circa 1923 etching, black ink on
cream laid paper
PAM HALLANDAL
Pam Hallandal (Australia, b.1929),
My mother, 1979 (drawn on wood)
1999 (cut) 2000 (printed) woodcut,
black ink on thin white Korean
mulberry paper
KRISTEN HEADLAM
Kristen Headlam (Australia, b.1953),
10 prints from the The Blake suite;
‘Oh Rose’, 1996: O Rose I, 1996
drypoint, aquatint in black and pink
ink on ivory wove paper; O Rose II,
1996 drypoint, aquatint in black and
pink ink on ivory wove paper; O Rose
III, 1996 drypoint, aquatint in black
and pink ink on ivory wove paper;
O Rose IV, 1996 drypoint, aquatint in
black and pink ink on ivory wove
paper; O Rose V, 1996 drypoint,
aquatint in black and purple ink on
ivory wove paper; O Rose VI, 1996
drypoint, aquatint in black and
crimson ink on ivory wove paper;
O Rose VII, 1996 drypoint, aquatint in
black and pink ink on ivory wove
paper; O Rose VIII, 1996 drypoint,
aquatint in black and red ink on ivory
wove paper; O Rose IX, 1996
drypoint, aquatint in black and purple
ink on ivory wove paper; O Rose X,
1996 drypoint, aquatint in black and
crimson ink on ivory wove paper
NORMAN AND DAPHNE MILLS
Ethleen Palmer (Australia,
b.1908,d.1965), 1 drawing and 6
prints: Study for ‘Burnt out, circa
1952 pencil, watercolour, pastel,
gouache on ivory wove paper; Burnt
out, 1952 colour screenprint on ivory
wove paper; Long reef, 1950 colour
screenprint on thick buff paper; The
breaking wave, 1949 colour
screenprint on ivory wove paper; ‘At
peace that eve...’, 1949 colour
screenprint on thick buff paper; The
dead trees, 1949 colour screenprint
on cream wove paper; (Leaping
deer), circa 1944-1958 colour
screenprint on thick buff paper
TRANSFERRED FROM THE NEW
SOUTH WALES STATE
GOVERNMENT
Sydney Long (Australia,
b.1871,d.1955), The boatshed,
Narrabeen Lakes, 1942 oil on canvas
MARGARET HANNAH OLLEY
ART TRUST
Amanda Robins (Australia, b.1961), 2
drawings: Linen dress, 2000
charcoal, black and white pastel on
white Arches paper; Francisco
Lezcano riding the unicycle, 2001
black, grey, white and ochre pastel
on white wove paper, laminated onto
canvas
SHIRLEY PURSLEY
A.H. Fullwood (Australia,
b.1863,d.1930), 2 prints: Cumberland
Street, Sydney, 1920s etching, dark
brown ink on brown paper; First
Treasury Building in Australia
(Sydney 1823), 1923 etching, black ink
on ivory wove paper
Hilda Rix Nicholas (Australia,
b.1884,d.1961), Costume de Fête,
Finistère, 1925-1926 coloured pastel
on ivory wove paper
ALAN AND JANCIS REES
Lloyd Rees (Australia, b.1895,d.1988),
21 associated proofs and early states
of the portfolio Tribute to light, 19871988: Western sky, 1987-1988
lithograph; Western sky, 1987-1988
five-colour lithograph; The two
peaks, Southern Tasmania, 1988
lithograph; The two peaks, Southern
Tasmania, 1988 two-colour
lithograph; The boat race, 1987-1988
lithograph; The boat race, 1987-1988
four-colour lithograph; Sunshine in
Victoria, 1988 lithograph, umber ink
on grey paper; Sunshine in Victoria,
1988 lithograph; Sunshine in Victoria,
1988 lithograph; Tribute to Jørn
Utzon, 1988 lithograph; Tribute to
Jørn Utzon, 1988 two-colour
lithograph; Tribute to Jørn Utzon,
1988 lithograph, black ink on cream
paper; Tribute to Jørn Utzon, 1988
lithograph, black ink on ochre
‘Bemboka’ paper; Tribute to Jørn
65
Utzon, 1988 lithograph; Summer
morning, Tasmania, 1988 lithograph,
black ink on ‘Bemboka’ paper;
Summer morning, Tasmania, 1988
lithograph, black ink on ochre
‘Bemboka’ paper; Summer morning,
Tasmania, 1988 lithograph, black and
cream ink on ochre ‘Bemboka’ paper;
Spring morning, 1988 lithograph;
Spring morning, 1988 five-colour
lithograph; recto: Veteran tree, Bruny
Island; verso: Veteran tree, Bruny
Island, 1988 lithograph; Veteran tree,
Bruny Island, 1988 lithograph
Lloyd Rees (Australia, b.1895,d.1988),
Breezy day, Lane Cove River, 1980
lithograph, black ink on white
Johannot paper
MRS VERONICA ROWAN
Jean Bellette (Australia,
b.1909,d.1991), 5 drawings: Four
figures, pencil and brown oil paint on
cream wove paper; Woman lying on
her side, circa 1944 brown ink and
wash on cream wove paper; Two
drawings of a man’s head, circa 1944
pencil on cream wove paper; Three
figures, circa 1944 pencil and ink on
cream wove; Landscape, charcoal
Rupert Bunny (Australia,
b.1864,d.1947), Seated female nude,
black ink on cream wove paper
Douglas Dundas (Australia,
b.1900,d.1981), Drawings of street
scenes (Balmain?) (recto and verso),
pen, ink and pencil on cream
wove paper
Moya Dyring (Australia, b.1908,d.1967),
2 drawings: Two figures in boat
fishing on lake, brown ink and wash
on cream laid paper; Man and woman
on back of cart, brown ink and wash
on cream laid paper
André Masson (France,
b.1896,d.1987), Untitled (crayfish),
aquatint on white wove paper
Godfrey Miller (Australia,
b.1893,d.1964), 10 drawings: Ship,
pencil on cream wove paper; Horse,
pencil on cream wove paper;
Abstract forms, pencil on cream
wove paper; Reclining figure, pencil
on cream wove paper; Figure study back view, pencil on white wove
paper; Figure study - back view,
pencil on white wove paper;
Reclining figure (recto) Seated figure
(verso), pencil on cream wove paper;
Reclining female figure (recto)
Seated female figure (verso), pencil
on cream wove paper; Figure
drawing (recto) Top half of drawing
of female nude signed ‘A. Black’
(verso), pencil on cream wove paper;
Reclining figure (recto) Drawing of
shoes (probably not by Miller)
(verso), pencil on cream wove paper
Jacques Murray (France), 21
drawings: Souvenir, pen and brown
ink on cream wove paper; Une
femme se des habitant, pen and
brown ink on cream wove paper;
Canard, pen and brown ink on cream
wove paper; Vase (recto) Abstract
drawings (verso), pen and brown ink
on cream wove paper; Profile, pen
66
and brown ink on cream wove paper;
Homme entrant dans l’eau, pen and
brown ink on cream wove paper;
L’homme et sons ombre, pen and
brown ink on cream wove paper;
Tête d’animale, pen and brown ink
on cream wove paper; Plant forms
(recto and verso), pen and black ink
on cream wove paper; Portrait (recto
and verso), blue pen on brown laid
paper; Plant forms (recto and verso),
gouache on black wove paper; Man’s
reclining head with blindfold, etching
on cream wove paper; Sleeping dog,
screenprint on cream wove paper;
Abstract, colour monotype on cream
wove paper; Fish, 1936 colour
etching using two plates on cream
wove paper; Still life (recto and
verso), ink and gouache on cream
wove paper; Still life (recto and
verso), ink and gouache on cream
wove paper; Still life, ink and
gouache on cream wove paper; Still
life, ink and gouache on cream wove
paper; Still life, ink and gouache on
cream wove paper; Still life, ink and
gouache on cream wove paper
Sir Eduardo Paolozzi (Scotland,
b.1924), Untitled (abstract), lithograph
on cream wove paper
B Rakoczi (active 1952), Untitled
(Man riding rooster), 1952 lithograph
on white laid paper
Alan Reynolds (United Kingdom,
b.1909,d.1979), 2 prints: Untitled
(landscape), lithograph on white wove
paper; Untitled (landscape) (recto)
Untitled (figures in landscape) (verso),
lithograph on white wove paper
Len Reynolds (Australia), Portrait of
man, pencil on cream wove paper
Ceri Richards (Wales, b.1903,d.1971),
3 prints: Untitled (woman at piano),
lithograph on cream wove paper;
Untitled (park and town square),
lithograph on white Rives paper;
Untitled (interior), 1950 lithograph on
cream wove paper
Michel Seuphor (France; Belgium,
b.1901) after Piet Mondrian
(Netherlands, b.1872,d.1944), Textuel
Manifesto, circa 1951 lithograph on
cream wove paper
Jeffrey Smart (Australia, b.1921), 3
drawings: Staircase with street lights
and dome in the background, black
fibre-tipped pen on Japanese cream
wove paper; Staircase with figures,
streetlights and dome in the
background, black fibre-tipped pen
on Japanese cream wove paper;
Explanation note of drawings, pencil
on Japanese cream wove paper
David Strachan (Australia; England,
b.1919,d.1970), 120 drawings: Figure
drawing, pencil on cream wove
paper; Figure Drawing (recto) Figure
working on printing plate (verso),
blue fibre-tipped pen and pencil on
cream wove paper; Male nude with
boy, pencil on cream wove paper;
Man holding shield and figure
drawing of woman, pencil on cream
wove paper; Woman with bowl of
fruit and drawing of blacksmith,
collage, pencil on cream wove
paper; Standing figure of a woman
(recto) [chalk tracing] (verso), pencil
and yellow chalk; Figure at window,
back view, pencil on cream wove
paper; Figure drawings (recto and
verso), pen and ink on cream wove
paper (folded in half); Head of a man,
pencil on cream wove paper; Head
of a man, pen and black ink on cream
wove paper; Head of a man, brown
and black ink on cream wove paper;
Head (recto) Woman’s torso, sitting
(verso), pencil on cream wove paper;
Study of a young man, brown and
black ink on cream wove paper;
Figure and head studies, brown ink
on white wove paper; Drawings of
man’s head and a fish, pencil on
cream wove paper; Three male
nudes (recto) Writing (verso), blue
ball-point pen on white wove paper;
Figure crouching, brown ink on white
wove paper; Two figures in front of
arched windows, black ink on cream
wove paper; Four Figures (recto)
Head of a man (verso), charcoal and
pencil on cream wove paper; Couple
at window (recto) Study of man’s
torso and hands holding pipe (verso),
charcoal and pastel on cream wove
paper; Female nude back view, pen,
ink and wash on cream ruled wove
paper; Two male and a female nude,
pencil on brown wove paper; Figure
studies, pencil on Johannot paper;
Portrait of a woman (recto) Still life
study (verso), pencil on brown wove
paper; Male nude lying down, pencil
on white wove paper; Two drawings
of a woman - one crouching, one
resting head on arms holding flower,
pencil on white wove paper; Female
nude (possibly student life drawings),
pencil on cream wove paper; Seated
female nude (recto) Nude studies
(verso), pencil on cream wove paper;
Nude study back view (recto) Male
nude seated on chair (verso), pencil
on cream wove paper; Male torso
and legs, pencil on brown wove
paper; Woman lying on her side,
pencil on white wove paper; Man
and woman lying (recto) Figure lying
(verso), pencil on cream wove paper;
Two figures one embracing the other,
blue ball-point pen on white wove
paper; Male figure crouching (recto)
Figure bending (verso), pencil on
white wove paper; Seated male
nude, pencil on white wove paper;
Male nude lying on his side, pencil
on white wove paper; Male figure
(recto) Tonal washes (verso), brown
ink, wash and pastel on cream wove
paper; Male figure back view, brown
and blue ink and wash; Boy standing,
brown and blue ink and wash; Head
of a man, pencil on white wove
paper; Tracing of a man’s head
(recto) Monotype of man’s head
(verso), pencil and colour monotype
on cream wove paper; Study of
woman’s head, pencil on cream
wove paper; Portrait study of man,
pen and black ink on cream wove
paper; Figure with arm shielding
head, pencil on white wove paper;
Figure drawing, pencil on white wove
paper; Head (recto) Abstract head
(verso), pencil and conte crayon on
cream wove paper; Man behind bars
(recto) Drawing of figure and of
hands (verso), (1950) blue ink on
Velin de Johannot paper (page from
Accent and Hazard); Sheet of various
drawings, black ink on white wove
paper; Row boats on beach (recto
and verso), ink, watercolour and
charcoal on thin cardboard; Drawing
of villa, pencil on cream wove paper;
Village (Kerdruc?) at the foot of a hill
(recto) Drawing of a woman (verso),
circa 1953-circa 1955 pencil,
charcoal on cream paper; Church
interior, Kerdruc Brittany, circa 1953circa 1955 pencil and watercolour
wash on cream wove paper; Village
street with cathedral spire, Kerdruc,
Brittany, circa 1953-circa 1955 pencil
on cream wove paper; Tracing of
church interior, Kerdruc Brittany (?),
circa 1953-circa 1955 pencil on white
wove paper; Abstract study of tree
lined street, charcoal on white wove
paper; St. Malos Church, pencil on
cream wove paper; St Eulalia Church
(?), Brittany, circa 1953-circa 1955
black fibre-tipped pen and pencil;
Interior of a church, Kerdruc, circa
1953-circa 1955 pencil on cream
wove paper; Study for ‘Concarneau’
(recto and verso), 1955 ink, wash,
charcoal on brown wove paper;
Building (Kerdruc?), circa 1953 pencil
on cream wove paper; Outlines of
figures and drawings of rowboats,
pencil on cream wove paper; Study
for painting ‘Kerdruc’, 1953 pencil
and ink on cream wove paper; Street
Scene, Kerdruc (?), circa 1953-circa
1955 pencil on cream wove paper;
Three female figures, charcoal,
pencil and black fibre-tipped pen on
cream wove paper; Study for the
‘Metamorphosis (the Dead Man)’ in
‘Accent and Hazard’, (1950) pencil on
cream wove paper; Study for ‘Man
holding a dead bird’ illustration for
the poem ‘The criminal’ in ‘Accent
and Hazard’, (1950) brown ink on
cream wove paper; Study for ‘The
criminal’ in ‘Accent and Hazard’
(recto) Figure with outstretched arms
(verso), (1950) blue ink and pencil on
cream wove paper; Drawing for ‘The
criminal’ in ‘Accent and Hazard’,
(1950) blue ink on white wove paper;
Flower bouquet, Studies for ‘Accent
and Hazard’, (1950) pencil on cream
wove paper; Tracing for ‘The Blind
man’ in ‘Accent and Hazard’, 1951
pencil, pen and ink and scraping out
on cream wove paper; Drawing of
dividers with surrealist motif, 19521953 pencil on cream wove paper;
Face behind divider with buildings in
the background, 1952-1953 pencil on
cream wove paper; Two faces
behind divider, 1952-1953 pencil on
cream wove paper; Cathedral,
Façade of Notre Dame, circa 1952
pencil on cream wove paper;
Cathedral, Façade of Notre Dame,
1952-1953 pencil on white wove
paper; Cathedral (Notre Dame) with
scaffolding, 1952-1953 pencil on
cream wove paper; Woman with
Cathedral in background, 1952-1953
pencil on cream wove paper;
Woman and chair with cathedral in
the background, 1952-1953 pencil on
cream wove paper; Woman and
chair, circa 1952 charcoal, ink on
cream wove paper; Woman and
chair, circa 1952 pencil on cream
wove paper; Woman and chair, circa
1952 blue ink pen, pencil and wash
on cream wove paper; Woman and
chair, circa 1952 black fibre-tipped
pen and pencil on cream wove
paper; drawing for An Angel bearing
a palm branch, circa 1952 pencil on
cream wove paper; study for Angel
bearing a palm branch (recto) study
for etching ‘A hand holding dividers’
(verso), circa 1952 pencil on cream
wove paper; Study for ‘Crossed
arms’, circa 1952 pencil on cream
wove paper; Drawing for ‘A
Kerosene lamp and two stars’, circa
1952 pencil and black pen on cream
wove paper; Torch and palm branch,
pencil on cream wove paper; Study
for etching ‘The fisher family’, circa
1952 pencil on cream wove paper;
Study for the etching ‘The fisher
family’, circa 1952 pencil on brown
wove paper; Drawing for ‘Two
figures holding a block of stone’,
circa 1952 pencil on cream wove
paper; Man reaching for Axe (recto)
Hammer (verso), circa 1952 pencil on
cream wove paper; Figure and mule
ploughing land, circa 1952 pencil on
cream wove paper; Hands holding
engraving tool, circa 1952 pencil on
cream wove paper; Figure drawing
(recto) Man carrying boxes on
shoulder (verso), circa 1952 pencil on
cream wove paper; Man carrying
boxes on shoulder (recto and verso),
circa 1952 pencil on cream wove
paper; Drawing for the painting ‘The
fisher family ‘, 1945 pencil and black
ink on cream wove paper; Drawing
for the painting ‘The fisher family ‘,
1945 pencil and black ink on cream
wove paper; Sheet of various
drawings in three sections; Mother
and child, leaf and plant studies,
pencil, pen and ink on cream wove
paper; Donkey, pencil on cream
wove paper; Dog, conte crayon on
cream wove paper; Donkey, pencil
on cream wove paper; Donkey,
pencil on cream wove paper; The
nativity, black ball-point pen on
cream wove paper; Female nude,
black ball-point pen on cream wove
paper; Man leaning on lamp post
with woman in doorway, black ballpoint pen on cream wove paper;
Man cooking, black ball-point pen on
cream wove paper; Reclining male
nude with fig leaf, black ball-point
pen on cream wove paper; Two male
nudes and woman in coat, black ballpoint pen on cream wove paper;
Large man in saloon, black ball-point
pen on cream wove paper; Three
women with babies at their feet
(recto) ‘The Hermitage’ (verso), black
ball-point pen on cream wove paper;
Woman next to bath, black ball-point
pen on cream wove paper; Three
figures, black ball-point pen on
cream wove paper; Figure outside
buildings (figure on a stage set?),
pencil on cream wove paper;
Abstract form, charcoal on white
wove paper; Flowers and abstract
form in a vase (recto and verso),
pencil on white wove paper; Vase
with abstract form (recto) Abstract
form (verso), charcoal on white wove
paper; Tree, pencil on cream wove
paper; Flower study, charcoal
David Strachan (Australia; England,
b.1919,d.1970), 2 sketchbooks:
Sketchbook (Thirty-four sketches of
circus figures, female figures,
abstract landscapes), bound
sketchbook: 31 leaves, 34 drawings,
mixed media on cream wove paper;
Album of sketches, circa 1937-circa
1938 bound album of twenty-eight
sheets with two loose sheets
David Strachan (Australia; England,
b.1919,d.1970), 14 prints: Head of a
man, colour monotype on cream
wove paper; Untitled (bird flying over
pond with fish), etching and aquatint
on cream wove paper; Christmas
card with figure and bird, etching
and aquatint; Christmas card with
vase of flowers in front of landscape,
etching and aquatint; Print based on
the painting ‘Flowers with a face and
pheasant’, etching and aquatint;
Christmas card with faces of three
sailors, etching on cream wove
paper; Christmas card with woman’s
face, flowers and bird, etching on
cream wove paper; Cathedral,
Façade of Notre Dame, (1953)
etching and aquatint on cream wove
paper; Cathedral, Façade of Notre
Dame, (1953) etching and aquatint on
cream wove paper; Cathedral,
Façade of Notre Dame, (1953)
etching and aquatint on Velin de
Johannot paper; Cathedral, Façade
of Notre Dame, (1953) etching and
aquatint on Velin de Johannot paper;
Cathedral, Façade of Notre Dame,
(1953) etching and aquatint on Velin
de Johannot paper; Cathedral,
Façade of Notre Dame, (1953)
etching and aquatint on cream wove
paper; Cathedral, Façade of Notre
Dame, (1953) etching and aquatint on
Velin de Johannot paper
David Strachan (Australia; England,
b.1919,d.1970) and Jacques Murray
(France), 4 prints: Proof for book
cover of ‘Accent and Hazard’, colour
etching on cream wove paper; Proof
for book cover of ‘Accent and
Hazard’, (1950) colour etching on
cream wove paper; Proof for the
figure in ‘The Muse’ from ‘Accent
and Hazard’, (1950) etching on Velin
de Johannot paper; The Fisher
Family (recto) Early proof for the
figure in ‘The muse’ in ‘Accent and
Hazard’ (verso), (1950) colour etching
(recto) on cream wove paper;
etching (verso) on cream wove paper
David Strachan (Australia; England,
b.1919,d.1970), Printing plate for ‘The
Blind Man’, poem and vignette,1951
zinc plate
David Strachan (Australia; England,
b.1919,d.1970), 2 paintings: Man in
singlet and hat (Study for figure in
Hill End Landscape), 1966 synthetic
polymer paint and pastel on cream
wove paper; Study for ‘Head of a
girl’, 1947, circa 1947 oil on paper
Jacques Villon (France,
b.1875,d.1963), Untitled (abstract),
colour lithograph
PENELOPE SEIDLER
Dick Watkins (Australia, b.1937),
Untitled, 1970 synthetic polymer paint
on canvas
SYDNEY ORGANISING COMMITTEE
FOR THE OLYMPIC GAMES (SOCOG)
8 prints from the portfolio The
Sydney 2000 Olympic Fine Art
Collection, 1998: Gordon Bennett
(Australia, b.1955), Home decor
(Counter composition) Black Swan,
1998 five colour lithograph from 5
aluminium plates on white wove
paper; Brian Blanchflower (England;
Australia, b.1939), Nocturne, 1999
aquatint on steel, stencil on off-white
Magnani 300 gsm paper; Louise
Forthun (Australia, b.1959), The red
bridge, 1999 aquatint on copper in
red ink on off-white Somerset 300
gsm paper; Fiona Hall (Australia,
b.1953), Bloodline, 1999 four colour
photolithograph from 4 aluminium
plates on white Arches Satin 300 gsm
paper; Bea Maddock (Australia,
b.1934), Gathering, 1999 coloured inkwash stencil with letterpress, photoetching, engraving, roulette on zinc,
on white Magnani cotton paper;
Queenie McKenzie (Australia,
b.1925,d.1998), Gija people, 1998
colour etching on off-white Arches
270 gsm paper; Imants Tillers
(Australia, b.1950), The year two
thousand, 1998 colour woodcut and
linocut, from four blocks, on Fabriano
290m gsm paper; GUAN Wei (China;
Australia, b.1957); Under the
Southern Cross, 1999 colour
lithograph, four colours on off-white
Somerset 300 gsm paper
AIDA TOMESCU
Aida Tomescu (Romania; Australia,
b.1955), 10 prints from the series
Ithaca, 1997: Ithaca I, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca II, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca III, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca IV, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca V, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca VI, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca VII, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca VIII, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca IX, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper; Ithaca X, 1997 softground etching, hard ground etching,
drypoint, black ink on white Fabriano
290 gsm paper
ELLEN WAUGH
Douglas Watson (Australia,
b.1920,d.1972), 1 lithograph, 2
etchings and 14 drawings: Old age
pensioner, London, lithograph, black
ink on ivory wove paper; Self portrait,
etching, brown ink on buff wove
paper; Self portrait, etching, black ink
on ivory laid paper; (Young man’s
head in profile), pencil on ivory
machine wove paper; recto: (Seated
man) verso: (Portrait of a young
man), pencil on ivory wove paper;
(Portrait of a young man gazing
upwards), pencil on buff wove paper;
Frilled lizard, pen and brown ink, grey
wash on pink wove paper; (Reclining
female nude), black conté on ivory
laid paper; recto: (Standing female
nude with robe) verso: (Group of
figures), pencil on ivory wove paper;
(Standing female nude with chair),
pen and black ink, brown conté on
buff wove paper; recto: (Male nude
from rear, bending forwards) verso:
(View of the top of a tower), recto:
pencil on buff laid paper verso:
pencil, watercolour on buff laid
paper; recto: (Young man in cap,
seated) verso: (Man in coat and top
hat from rear), pencil on ivory laid
paper; (Head of a woman), pencil on
ivory laid paper, with traces of
sanguine; (Figure in a coat and two
figures in background), reed pen and
brown ink, wash on ivory wove
paper; (Study of a courtyard with
Gothic monument), pencil, carbon
pencil on thick ivory wove
(watercolour) paper; (Study of a
doorway), pencil on ivory machine
wove paper; (Japanese soldiers),
pen and black and purple inks,
watercolour on ivory wove paper
FRED WILLIAMS
Fred Williams (Australia,
b.1927,d.1982), 2 prints: Hillock, 1978
lithograph, black ink on BFK Rives
paper; Murray River landscape, 1975
lithograph, black and ox blood ink
from two plates on Aquarelle Arches
Satiné paper
BEQUEST OF THERESE WINTER
Francis Lymburner (Australia,
b.1916,d.1972), The fortune teller,
pen and black ink, wash on ivory
wove paper
SALVATORE ZOFREA
Salvatore Zofrea (Australia, b.1946), 1
drawing, 2 prints and 2 prints block &
plates: Self portrait, 1965 pencil on
pink laid paper on cardboard; The
67
kiss, 2000 woodcut, black ink on
white hitachi paper; Stephanie, 2000
woodcut, black ink on white hitachi
paper; Woodblock for ‘Stephanie’,
2000 kauri pine woodblock bonded to
particle board; Woodblock for ‘The
kiss’, 2000 kauri pine woodblock
bonded to particle board
Salvatore Zofrea (Australia, b.1946),
31 woodcuts from the suite
Appassionata, 1994-1999: The boy
frightened by the sea, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper; The
clock tower at Messina, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper; The
Arabs at Port Said, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper;
Through the Suez Canal, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper; The
Customs Chocolate Heart, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper;
Catching the Manly ferry, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper; My
mother and father together again,
1994-1999 woodblock print; black ink
on heavy white Japanese Hitachi
paper; Selling vegetables door to
door, 1994-1999 woodblock print;
black ink on heavy white Japanese
Hitachi paper; Painting the Mona
Lisa at school, 1994-1999 woodblock
print; black ink on heavy white
Japanese Hitachi paper; With my
mates at Manly Dam, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper; My
dream of painting with Leonardo,
1994-1999 woodblock print; black ink
on heavy white Japanese Hitachi
paper; Working at Paddy’s Markets,
1994-1999 woodblock print; black ink
on heavy white Japanese Hitachi
paper; Attending an opera - Aïda,
1994-1999 woodblock print; black ink
on heavy white Japanese Hitachi
paper; The windows of Amsterdam,
1994-1999 woodblock print; black ink
on heavy white Japanese Hitachi
paper; My mother’s hands, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper; The
dream - discovering the Psalms,
1994-1999 woodblock print; black ink
on heavy white Japanese Hitachi
paper; Death of my mother, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper; Self
portrait with cigarette, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper;
Portrait of my mother, Seaforth, 19941999 woodblock print; black ink on
heavy white Japanese Hitachi paper;
The lagoon, Papeete, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper; My
first life class, 1994-1999 woodblock
print; black ink on heavy white
Japanese Hitachi paper; The Crows
Nest Bargain Centre, 1994-1999
woodblock print; black ink on heavy
68
white Japanese Hitachi paper; My
paintings on the chook yard shed,
1994-1999 woodblock print; black ink
on heavy white Japanese Hitachi
paper; My first one man show, 19941999 woodblock print; black ink on
heavy white Japanese Hitachi paper;
The watertrap, 1994-1999 woodblock
print; black ink on heavy white
Japanese Hitachi paper; Ironing at
the factory, 1994-1999 woodblock
print; black ink on heavy white
Japanese Hitachi paper; Working at
Coles, 1994-1999 woodblock print;
black ink on heavy white Japanese
Hitachi paper; Love at the railway
station, 1994-1999 woodblock print;
black ink on heavy white Japanese
Hitachi paper; Las Ramblas,
Barcelona, 1994-1999 woodblock
print; black ink on heavy white
Japanese Hitachi paper; The
bordello, Barcelona, 1994-1999
woodblock print; black ink on heavy
white Japanese Hitachi paper;
Gaudi’s ‘La Sagrada Familia’, 19941999 woodblock print; black ink on
heavy white Japanese Hitachi paper
Salvatore Zofrea (Australia, b.1946),
31 woodcuts for the Appassionata
suite, 1994-1999: The boy frightened
by the sea, 1994-1999 Kauri pine
woodblock; The clock tower at
Messina, 1994-1999 Kauri pine
woodblock; The Arabs at Port Said,
1994-1999 Jelutong woodblock;
Through the Suez Canal, 1994-1999
Jelutong woodblock; The Customs
Chocolate Heart, 1994-1999 Magnolia
woodblock; Catching the Manly ferry,
1994-1999 Jelutong woodblock; My
mother and father together again,
1994-1999 Magnolia woodblock;
Selling vegetables door to door,
1994-1999 Magnolia woodblock;
Painting the Mona Lisa at school,
1994-1999 Jelutong woodblock; With
my mates at Manly Dam, 1994-1999
Kauri pine woodblock; My dream of
painting with Leonardo, 1994-1999
Magnolia woodblock; Working at
Paddy’s Markets, 1994-1999 Kauri
pine woodblock; Attending an opera
- Aïda, 1994-1999 Jelutong
woodblock; The windows of
Amsterdam, 1994-1999 Magnolia
woodblock; My mother’s hands, 19941999 Jelutong woodblock; The dream
- discovering the Psalms, 1994-1999
Magnolia woodblock; Death of my
mother, 1994-1999 Magnolia
woodblock; Self portrait with
cigarette, 1994-1999 Jelutong
woodblock; Portrait of my mother,
Seaforth, 1994-1999 Magnolia
woodblock; The lagoon, Papeete,
1994-1999 Magnolia woodblock; My
first life class, 1994-1999 Magnolia
woodblock; The Crows Nest Bargain
Centre, 1994-1999 Kauri pine
woodblock; My paintings on the
chook yard shed, 1994-1999 Kauri
pine woodblock; My first one man
show, 1994-1999 Jelutong
woodblock; The watertrap, 1994-1999
Kauri pine woodblock; Ironing at the
factory, 1994-1999 Kauri pine
woodblock; Working at Coles, 19941999 Jelutong woodblock; Love at
the railway station, 1994-1999
Magnolia woodblock; Las Ramblas,
Barcelona, 1994-1999 Magnolia
woodblock; The bordello, Barcelona,
1994-1999 Magnolia woodblock;
Gaudi’s ‘La Sagrada Familia’, 19941999 marine ply woodblock
Salvatore Zofrea (Australia, b.1946), 2
drawing books of preliminary studies
for the Appassionata suite, 19941999: Drawing book for Appassionata:
book no. 4, 1994-1999 42 pages of
drawings 20 leaves/40 pages of white
Arches paper 2 buff fly leaves, one at
front, one at back of book; Drawing
book for Appassionata: book no. 5,
1994-1999 41 pages of drawings 20
leaves/40 pages of white Arches
paper 2 buff fly leaves, one at front,
one at back of book
SUB-TOTAL OF GIFTED AUSTRALIAN ART
WORKS: 523
INTERNATIONAL ART
EUROPEAN ART BEFORE 1900
ACCESSIONED 2000
Rembrandt van Rijn (Netherlands,
b.1606,d.1669), 3 prints: The Virgin
and Child with the cat and snake,
1654 etching; Samuel Manasseh Ben
Israel, Jewish author, 1636 etching;
The Agony in the Garden, circa 1657
etching and drypoint
ANONYMOUS GIFT
Dame Elisabeth Frink (England,
b.1930,d.1993), Horse and rider,
1985 bronze
Auguste Rodin (France, b.1840,d.1917),
5 sculptures: Masque d’Iris Moyen,
1890-1891 (modelled) 1979 (cast)
bronze; Monument à Whistler, 1904
(modelled) 1983 (cast) bronze;
Invocation, 1886 (modelled) 1985
(cast) bronze; Second Maquette for
the Burghers of Calais, 1885
(modelled) 1972 (cast) bronze, six
separate pieces;
HENDRIK KOLENBERG
Alphonse Legros (France; England,
b.1837,d.1911), Lord Frederick
Leighton PRA, 1837-1911 etching
SUB-TOTAL OF GIFTED EUROPEAN ART
BEFORE 1900 WORKS: 10
MODERN AND
CONTEMPORARY ART
GEOFF AND VICKI AINSWORTH
Ernesto Neto (Brazil, b.1964),
Untitled, 1999 Lycra tulle and
polystyrene
DOROTHEE ALTENBURG
Kasimir Malevich (Russia,
b.1878,d.1935), Untitled, circa 1915
pencil
NICOLA COSTANTINO
Nicola Costantino (Argentina,
b.1964), Chicken-balls, 1999 polyester
resin
AMANDA AND ANDREW LOVE
John Young (Australia, b.1956),
Cloud and generic flower study #2,
Summer-Autumn 1998 NECO scan
and oil on canvas.
CAZNEAUX FAMILY
Harold Cazneaux (New Zealand;
Australia, b.1878,d.1953), Getting
ready for bed, 1914 gelatin silver
photograph
MARGARET OLLEY
Lucian Freud (Germany; England,
b.1922), After Chardin, 2000 etching
on Somerset textured white paper
Giorgio Morandi (Italy,
b.1890,d.1964), Still life with five
objects, 1956 etching
BRIAN AND NANCY FINCH
Henri Mallard (Australia,
b.1884,d.1967), 2 gelatin silver
photographs: The black sail, 1952
Still life, 1959
MIKE PARR
Mike Parr (Australia, b.1945), 4 type
C photographs: Blackleg
(Mama/Papa), 1993 (printed 2001) 4
type C photographs
Mike Parr (Australia, b.1945), 3 type
C photographs: Cathartic action:
social gestus No. 5, 1977 (printed
2001) 3 type C photographs
Mike Parr (Australia, b.1945), 4
gelatin silver photographs:
Intergration 3 (leg spiral), 1975
(printed 2001) 4 gelatin silver
photographs
Mike Parr (Australia, b.1945), 3
videos: Mike Parr performances,
1972-1975 colour and black and white
video, sound 39 minutes 30 seconds
duration; Family under water, 1978
black and white video, sound 30
minute repeater; Pushing a camera
over a hill, 1971 black and white
video, sound 30 minute repeater
Mike Parr (Australia, b.1945), Portrait
of M & F, 1996 (printed 2001) gelatin
silver photograph
Mike Parr (Australia, b.1945), 75
programs and investigations, 1971
type set text
Mike Parr (Australia, b.1945), 12
drawings each titled Untitled portrait
of G from the series 12 Untitled
portraits of G, 1998 pencil on paper
Mike Parr (Australia, b.1945), 12
photographs: The unword
performance (11 female sexual
organs), 1996 12 gelatin silver
photographs
Mike Parr (Australia, b.1945), The
wax bride, 1998 mixed media
KEN UNSWORTH
Ken Unsworth (Australia, b.1931),
Propped stone piece, 1976 19 river
stones, wood and mirrors
SUB-TOTAL OF GIFTED MODERN AND
CONTEMPORARY ART WORKS: 48
PHOTOGRAPHY
PATSY W. ASCH
Edward Weston (United States of
America, b.1886,d.1958), Guadalupe
de Rivera, Mexico, 1924 (printed
later) gelatin silver photograph
JOAN BAINES
Olive Cotton (Australia, b.1911), 4
gelatin silver photographs: untitled
nude (back view), 1941 untitled nude
(standing on rocks), 1941 untitled
nude (sitting on rocks), 1941 untitled
nude (reclining), 1941
ALAN MATTHEWS
Simone Mangos (Australia; Germany,
b.1959), Well, 1986 cibachrome
photograph
SUB-TOTAL OF GIFTED PHOTOGRAPHY
WORKS: 9
TOTAL OF GIFTED INTERNATIONAL ART
WORKS: 68
ASIAN ART
BHUTAN
ALEX BIANCARDI
2 shawls (‘jangshem kira’), 20th
century cotton, dyes; supplementary
weft weave
BURMA
ALEX BIANCARDI
Amarapura, ‘Acheik’ design fragment
of a sarong, 20th century silk, dye;
interlocking tapestry weave
CHINA
BEQUEST OF ALEX BIANCARDI
Manchu people, Open crown woman’s
hat, late 19th century satin with cotton
lining decorated with coral beads on
stiffened cotton appliqué and
embroidered ribbon edging
J H MYRTLE COLLECTION
Jingdezhen ware, Jingdezhen,
Jiangxi Province, ‘Chicken coop’
water pot, circa 18th century, Kangxi
1662 – 1722, Qing dynasty 1644 – 1911
porcelain with ‘peach bloom’ glaze
decoration
Jingdezhen ware, Jingdezhen,
Jiangxi Province, Dish with floral
decoration, 1723-1735, Yongzheng
1723 – 1735, Qing dynasty 1644 – 1911
China porcelain with ‘rouge de fer’
(iron red) decoration
Jingdezhen ware, Jingdezhen,
Jiangxi Province, Tea bowl, 17961820, Jiaqing 1796 – 1820, Qing
dynasty 1644 – 1911 porcelain with
‘rouge de fer’ (iron red) enamel
decoration
JUDITH RUTHERFORD
Insignia badge for the wife of a 5th
rank military official, 1723-1735,
Yongzheng 1723 – 1735, Qing dynasty
1644 – 1911 embroidery
Insignia badge for the wife of a 6th
rank official, 1736-1795, Qianlong
1736 – 1795, Qing dynasty 1644 – 1911
embroidery
MR RONALD SHEN
Sichuan Province, A massive
earthenware horse, 1st century-2nd
century, Han dynasty 206 BCE - 220
CE buff-grey earthenware with a
chestnut coloured glaze and some
green glaze splashed on the mane;
modelled with minimal harness detail
DR JOHN YU & DR GEORGE
SOUTTER
Longquan ware, Zhejiang Province,
Vase, 1368-1644, Ming dynasty 1368 –
1644 celadon
INDIA
BARBARA BEIBOER-ALLEN
Puri, Orissa, Circular painting of the
Jagannatha trinity, early 20th
century-mid 20th century gouache on
cotton (‘pata’)
Puri, Orissa, Jagannatha,
Balabhadra and Subhadra, circa
1880 gouache on paper with varnish
over
Puri, Orissa, Jagannatha,
Balabhadra and Subhadra enshrined
in a temple, circa 1930 gouache on
cotton (‘pata’) with varnish over
Puri, Orissa, The Jagannatha trinity,
circa 1900 gouache on paper
Puri, Orissa, The Jagannatha trinity
enshrined in a temple, early 20th
century-mid 20th century gouache on
cotton (‘pata’) with red gouache or
lacquer on verso
BEQUEST OF ALEX BIANCARDI
Gujarat, made for the Indonesian
market, ‘patola’ shouldercloth,
9th century silk, natural dyes;
double ‘ikat’
Mumbai, Maharashtra, ‘tanchoi’ silk
sari, circa 1950 silk, dyes;
discontinuous supplementary
weft weave
Pochampalli, Andhra Pradesh, ‘ikat’
sari, circa 1970 silk, dyes; warp ‘ikat’
with weft ‘ikat’ border
PUTLI GANJU
Putli Ganju (India, b.1977), Bihar,
Khovar/Sohrai, Hunting scene (with
cattle and snake), 2000 ochre and
PVA glue on industrial MDF board
MICHAEL HOBBS
Deccan, Girl holding a parrot, circa
1680, Deccani Mughal circa 1590 circa 1800 album leaf; gouache with
gold on paper
North India, Cyrus administering
justice, circa 1600, Mughal circa 1526
- circa 1857 opaque watercolour with
gold on paper
DR. J MASSELOS
Rajasthan, Cloth painting, 19th
century cloth
INDONESIA
BEQUEST OF ALEX BIANCARDI
Bali, Royal sarong, 20th century silk,
natural dyes, metallic thread;
supplementary weft weave
Bali, Shouldercloth, 20th century silk,
natural dyes; weft ‘ikat’ and
supplementary weft weave
Bali, Skirtcloth, 20th century silk,
natural dyes, metallic thread;
supplementary weft weave (songket)
Bali, Skirtcloth or hanging with
‘wayang’ figures, 20th century
cotton, natural dyes, supplementary
weft weave
Cirebon, Java, Peranakan Chinese
people, 5 Shouldercloths (‘slendang’),
20th century silk, natural dyes; batik
Flores, Lio people, Woman’s skirtcloth
(‘lawo redu’), 20th century handspun
cotton, natural dyes; warp ‘ikat’
Lampung, Sumatra, Paminggir
people, 2 ceremonial cloths
(‘tampan’), 19th century handspun
cotton, natural dyes; supplementary
weft weave; early 20th century
handspun cotton, natural dyes;
supplementary weft weave
Lampung, Sumatra, Ceremonial cloth
(‘tatibin’), 20th century handspun
cotton, natural dyes; supplementary
weft weave
Lampung, Sumatra, Kauer people,
Woman’s ceremonial skirt (‘tapis’),
late 19th century-early 20th century
cotton, natural dyes, lead-backed
mirror pieces (‘cermuk’); satin stitch
and couched embroidery
Lombok, Ceremonial cloth, circa 1985
handspun cotton, natural dyes;
supplementary weft weave
Lombok, Man’s skirtcloth (‘kereng’),
20th century cotton, natural dyes;
supplementary weft weave
Palembang, Sumatra, Malay people,
‘kain songket’ shouldercloth,
skirtcloth, 20th century silk, gold
thread, natural dyes; supplementary
weft weave (‘songket’)
Palembang, Sumatra, Malay people,
Man’s headcloth (‘ikat kepala’;
‘tengkuluk’), 20th century silk, gold
metallic thread, natural dyes; weft
‘ikat’, supplementary weft weave
Palembang, Sumatra, Malay people,
Waistcloth; shouldercloth (‘kain
limar’), 20th century, silk, natural
dyes; weft ‘ikat’
Pasemah-Bengkulu, Sumatra,
Shouldercloth or waistsash, 20th
century silk metallic thread, natural
dyes, lace edging, silver casing;
supplementary weft weave
Roti, Man’s textile, 20th century
handspun cotton, natural dyes; warp
‘ikat’
Savu, 2 Men’s cloth (‘selimut’), 20th
century cotton, natural dyes; warp
‘ikat’
Sumatra, Batak people, Carrying
cloth (‘ulos mangiring’), 20th century
handspun cotton, natural dyes; warp
‘ikat’ with supplementary weft weave
Sumatra, Batak people, Headcloth,
20th century handspun cotton,
natural dyes; twill weave with
supplementary weft design at centre
and at ends
Sumatra, Malay people, Headcloth,
20th century silk and gold thread,
cotton backing; supplementary weft
weave, tapestry weave border
Sumatra, Man’s waistcloth, 20th
century silk, silver and gold thread;
supplementary warp weave
Sumatra, Sarong, 20th century
cotton, metallic thread;
supplementary warp weave
Sumatra, Shouldercloth, waistsash
(‘tengkuluk; pelung’), 20th century
cotton, metallic thread, natural dyes,
silk; supplementary weft weave
Sumatra, Skirtcloth, 20th century silk
and gold thread; continuous
supplementary weft weave
Sumatra, Batak people, Trapping,
circa 1940 beadwork on cotton
stitched to leather with tassled and
beaded edging strung on timber frame
and decorated with shells and coins
Sumba, Man’s shawl or mantle
(‘hinggi’) with design of heraldic
lions, circa 1975 cotton, dyes; warp
‘ikat’ and supplementary warp weave
Sumba, Woman’s skirtcloth, 20th
century cotton, dyes; warp ‘ikat’ and
supplementary warp weave
Sumbawa, Semawa people, brocade
tube skirt (‘tembe’ or ‘kere’), 20th
century cotton, dyes, metallic thread;
supplementary weft weave
Tenganan, Bali, Ceremonial cloth
(‘geringsing’), 20th century silk,
natural dyes; double ‘ikat’
Tenganan, Bali, Ceremonial cloth
(‘geringsing sanen empeg’), 20th
century cotton, natural dyes; double
‘ikat’
Tenganan, Bali, Ceremonial cloth
(‘kamben geringsing’), 20th century
cotton, natural dyes; double ‘ikat’
Tenganan, Bali, Waistsash,
breastcloth, circa 1900 silk, natural
dyes; weft ‘ikat’
Toraja, Sulawesi, Dutch
manufactured for the Toraja market,
sacred heirloom banner (‘sarita’),
20th century cotton, indigo dyes;
paste resist dyeing
Toraja, Sulawesi, Shawl, 20th
century cotton, dyes; block printed
JAPAN
KLAUS NAUMANN
HASEGAWA Yûichi (Japan, b.1945),
Three lights, 1998, Heisei period 1989
- colour woodcut with silver
SATÔ TAKUMI
SATÔ Takumi (Japan, b.1962),
Tsunami Boy 2000, 2000 five pieces;
stoneware with colour slips
MRS PHYLLIS WARNOCK IN
MEMORY OF DR LEONARD I
WARNOCK
Unknown (Japan), (Gold and silver
mines in Sado Island), 18th century,
Edo (Tokugawa) period 1615 – 1868
hand scroll; ink and colour on paper
Unknown (Japan), (Portrait of poet
lio SÔGI), 18th century, Edo
(Tokugawa) period 1615 – 1868
hanging scroll; ink and colour on silk
Utagawa school (Japan), (Courtesan
parading), early 19th century, Edo
(Tokugawa) period 1615 – 1868
hanging scroll; ink and colour on silk
LAOS
BEQUEST OF ALEX BIANCARDI
Champasak Province, Shawl or scarf
(‘pha beang’), 20th century silk, cotton,
dyes; supplementary weft weave
Houa Phan, Ceremonial cloth,
possibly the end panel of a
ceremonial shawl, 20th century silk,
cotton, indigo, dyes; supplementary
weft weave
Hmong people, Square textile, 20th
century cotton, indigo dye; batikresist dyeing
69
Northern Laos, End panel of a
ceremonial shawl (‘pha beang’),
1960s-1970s silk, cotton indigo, dyes;
supplementary weft weave
Sam Nua, Tai Nuea people, 2
Meditation cloths: circa 1900 silk,
cotton, dyes; supplementary weft
weave; 20th century silk, cotton,
dyes; supplementary weft weave
Sam Nua, Tai Nuea people,
Meditation cloth with border design
of animals, 20th century silk, cotton,
natural and synthetic dyes;
supplementary weft weave
Sam Nua, Tai Nuea people,
Meditation cloth with design of
snakes (‘nak’), circa 1900 silk, cotton,
dyes; supplementary weft weave
KARMA PHUNTSOK
Karma Phuntsok (Tibet, b.1952),
Chairman Mao, 2000 synthetic
polymer paint on canvas
MALAYSIA
UZBEKISTAN
on handmade, yellow paper
Imperial edict, [Edict to recognise
Deity of Uai Dung], 1888, Nguyen
dynasty 1802 – 1945 calligraphy over
block-printed design of silver dragon
on handmade, yellow paper
BEQUEST OF ALEX BIANCARDI
Sarawak, Iban people, Blanket
(‘pua’), 20th century handspun
cotton, natural dyes; warp ‘ikat’
BEQUEST OF ALEX BIANCARDI
‘Ikat’ wrap or blanket, 20th century
silk with cotton lining; warp ‘ikat’
TOTAL OF GIFTED ASIAN ART WORKS: 81
GRAND TOTAL OF ALL GIFTED WORKS: 671
VIETNAM
TIBET
BEQUEST OF ALEX BIANCARDI
Scarf (‘kata’), 20th century silk;
continuous supplementary weft weave
ANDREW AND ANN PROCTOR
Imperial edict, [Edict to add
honorary titles], 1846, Nguyen
dynasty 1802 – 1945 calligraphy over
block-printed design of black dragon
LOANS
WORKS OF ART LOANED
TO THE GALLERY
REN Xun
Mynas, pine tree and
chrysanthemum 1884
hanging scroll; ink and colour on paper
On loan from The Isabella Bacon
Collection
Juan Davila
Interior with waterlilies 1992
oil, enamel and collage on canvas
Private collection, Sydney
Mike Parr
Dirty Manna 2000
colour woodcut, 14 sheets
Private collection, Sydney
Colin McCahon
The days and nights in the
wilderness showing the constant
flow of light passing through the wall
of death 1971
synthetic polymer paint on canvas
Private collection, Sydney
Sean Scully
Maesta 1983
oil on canvas
Private collection, Sydney
Leon Kossoff
Kilburn Underground 1987
oil on board
Private collection, Sydney
Anselm Kiefer
Left wing: Right wing 1991
diptych: emulsion, red earth and
foxgloves on canvas in a glazed
steel frame
Private collection, Sydney
Jason Brooks
Natasha 1999
synthetic polymer paint on canvas
Private collection, Sydney
Ross Bleckner
Behaviour 1999
oil on linen
Private collection, Sydney
70
Ross Bleckner
Red Flowers 1998
oil on linen
Private collection, Sydney
Jason Martin
Interval
oil on aluminium?
Private collection, Sydney
Hiroshi Sugito
Elephant & Buckle 1999
diptych: acrylic, pigment and
graphite on paper on canvas
Private collection, Sydney
Yves Klein
ANT 75 1960
dry pigment in synthetic resin
on canvas
Loan of Rotraut Klein-Moquay and
Daniel Moquay
Yves Klein
ANT 54 1960
dry pigment in synthetic resin
on canvas
Loan of Rotraut Klein-Moquay and
Daniel Moquay
Yves Klein
Nouveau realist manifest 1960
dry pigment in synthetic resin
on canvas
Loan of Rotraut Klein-Moquay and
Daniel Moquay
Yves Klein
Relief IKB 16c (Maquette for the
Gelsenkirchen theatre) 1958
dry pigment in synthetic resin on
bronze mounted on primed board
Loan of Rotraut Klein-Moquay and
Daniel Moquay
Yves Klein
Drip painting 1957-1961?
dry pigment in synthetic resin on canvas
Loan of Rotraut Klein-Moquay and
Daniel Moquay
Roman Opalka
Detail 3531681-3546420 1965
synthetic polymer paint on canvas
Loan of Rotraut Klein-Moquay and
Daniel Moquay
Christian Boltanski
Monument to the Lycee Chases
1987-1989
11 gelatin silver photographs in tin
frames, electric fittings, cable
and bulbs
Private collection, Sydney
Stephan Balkenhol
Chickens on a screw
wood, synthetic poloymer paint
Private collection, Sydney
Jason Brooks
Cross 1999
watercolour
Private collection, Sydney
Patricia Piccinini
100:613.3 1998
type C photograph
On loan from the collection of
Michèle Asprey and Lindsay Powers
Leon Kossoff
Kings Cross, Spring 11
oil on board
Private Collection
WORKS OF ART LOANED
BY THE GALLERY
NATIONAL PORTRAIT GALLERY
Heads of the People
1st July 2000 - 9th October 2000
Tom Roberts
Aboriginal head - Charlie Turner 1892
oil on canvas on paperboard
BUNDABERG ARTS CENTRE
Fiona Foley
Bundaberg Arts Centre 4/7/00 - 8/8/00
Hervey Bay Regional Gallery
23/11/02 - /12/02
Fiona Foley
Men’s Business 1987
crayon, charcoal
Fiona Foley
Men’s Business 1987
crayon, charcoal
HISTORIC HOUSES TRUST OF NEW
SOUTH WALES MUSEUM OF
SYDNEY
Harbour
5th August 2000 - 3rd December 2000
Melvin Vaniman
Circular Quay 1903
platinum photograph
David Moore
Children fishing on Vaucluse
waterfront circa 1949 (printed 1984)
gelatin silver photograph
David Moore
‘Himalaya’ enters Sydney Harbour at
dawn 2 1950 (printed 1984)
gelatin silver photograph
David Moore
Painting the ‘Himalaya’ 1950
gelatin silver photograph
Francois Ruh (after Henri Matisse)
Polynesia 1956
tapestry
Judy Watson
Red Tides 1997
pigment and pastel on canvas
Michael Johnson
After Sirius 1987 - 1988
oil on canvas
John D. Moore
Sydney Harbour 1936
oil on canvas
Roland Wakelin
Berry’s Bay 1919
oil on paperboard
Jessie Traill
Stars of heaven and earth, Sydney
Harbour 1921
etching and aquatint
Brett Whiteley
Sydney Harbour by night 1981
linocut (edition 3/20)
QUEENSLAND ART GALLERY
Urban Dingo:The art of Lin Onus
1948-1996
Museum of Contemporary Art,
Sydney 11/8/00 - 30/10/00
Queensland Art Gallery
24/11/00 - 4/3/01
Museum of Victoria 6/4/01-29/7/01
Lin Onus
Fruit Bats 1991
95 fibreglass polychromed bats, hills
hoist, wooden discs
MUSEUM AND ART GALLERY OF THE
NORTHERN TERRITORY
Garma
1st September 2000 - 15th November
2000
Trevor Nickolls
Garden of Eden 1982
synthetic polymer paint on canvas
S.H. ERVIN GALLERY
‘State of Waratah’
1st September 2000 – 8th October
2000
Muriel Cornish
D’oyley with waratah design 1919
embroided linen
Eirene Mort
Tablecloth with waratah design
circa 1910
hand stencilled and embroidered
organdy
Madelaine King
Curtain frieze with waratah, thistle,
clover and rose motif 1910
hand stencilled linen
Unknown
Jardiniere, N.S.W. native flora
decoration circa 1892-1902
porcelain
Ellis Rowan
Waratahs, New South Wales (1882)
watercolour, opaque white highlights
76.1992
Margaret Preston
Waratahs circa 1949
colour stencil, gouache on thin black
card
Margaret Preston
Woodblock for ‘Banksia in a round
vase’, Waratahs in the same round
vase
woodblock
MUSEUM OF CONTEMPORARY ART
12/9/00 – 9/10/00
John Coburn
Nourlangie NT 1989
diptych: oil on canvas
NEWCASTLE REGIONAL ART
GALLERY
Robert Barnes Survey Exhibition
7th October 2000 – 12th November
2000
Robert Barnes
Studio interior 1993
oil on canvas
HAYWARD GALLERY, LONDON
Know Thyself: The Art and Science
of the Human Body from Leonardo
to Now
12th October 2000 - 7th January 2001
François Sallé
The anatomy class at the Ecole des
Beaux-Arts 1888
oil on canvas
NATIONAL LIBRARY OF AUSTRALIA
Nora Heysen Retrospective
25th October 2000 - 28th January 2001
Nora Heysen
Self portrait 1932
oil on canvas
Nora Heysen
Corncobs 1938
oil on canvas
Nora Heysen
Dr Lister Reid 1975
red conte with some black chalk
NATIONAL GALLERY OF AUSTRALIA
The Art of Tony Tuckson
National Gallery of Australia
4/11/00 - 11/2/01
Art Gallery of South Australia
23/3/01 - 20/5/01
Tasmanian Museum and Art Gallery
8/6/01 - 5/8/01
Ballarat Fine Art Gallery
7/9/01 - 21/10/01
Hazelhurst Regional Gallery
15/12/01 - 10/2/02
Museum of Modern Art at Heide
23/2/02 - 21/4/02
Tony Tuckson
Untitled (pale yellow with charcoal
lines) 1973
synthetic polymer paint on
composition board
Tony Tuckson
Number 44 drawing 1962
oil on composition board
UNIVERSITY ART MUSEUM/
BRISBANE CITY GALLERY
Lawrence Daws
16/11/00 – 14/1/01
Lawrence Daws
Night sea journey IV 1994
oil on canvas
Lawrence Daws
The recluse 1996
oil on canvas
ART GALLERY OF SOUTH AUSTRALIA
Modern Australian Women: paintings
and prints 1925-1945
Art Gallery of South Australia
24/11/00 – 25/2/01
Art Gallery of Western Australia
12/4/01 – 3/6/01
National Gallery of Australia
14/7/01 – 26/8/01
SH Ervin Gallery 6/9/01 – 21/10/01
Ballarat Fine Art Gallery
2/11/01 – 30/12/01
Margaret Preston
Implement blue 1927
oil on canvas on paperboard
Grace Cossington Smith
The lacquer room circa 1935
oil on paperboard on plywood
Thea Proctor *first 3 venues only
The picnic circa 1925
pencil, watercolour, gouache on
buff paper
UNIVERSITY ART MUSEUM
Monochrome Painting in Australia
4th December 2000 - 18th February
2001
Ian Burn
Blue reflex 1966-67
auto lacquer, epoxy base, plywood
panel
1315.1990
BRISBANE CITY GALLERY
RESONATING: Denise Green
Brisbane City Gallery 18/1/01 – 4/3/01
AGNSW 31/3/01 – 29/4/01
Denise Green
Vowel 1978
oil and wax stick on canvas
ART GALLERY OF WESTERN
AUSTRALIA
Robert MacPherson
AGWA 25th
January 2001 – 18th March 2001
MCA 1st April
2001 – 21st November 2001
Robert Macpherson
Group 9 (Scale from the tool)
1976-1977
oil on canvas [seven panels]
Robert Macpherson
Mayfair: Summer farm, firty five
signs for Micky Monsour 1993
synthetic polymer paint on masonite
Robert MacPherson
20 Frog Poems 1987-1989
metl-stik on wood, beehives
installation
HAZELHURST REGIONAL GALLERY
AND ARTS CENTRE
Bodyline
3rd February 2001 – 8th April 2001
George Baldessin
MM of Rue St. Denis 1976
charcoal, conté, sanguine
Annette Bezor
Rosie as Eve 1983
pastel
Rupert Bunny
Female nude, seated on floor, back
view 1930s
pencil, pen and ink
Rupert Bunny
Self portrait 1890’s
sanguine
Jean Bellette
Resting girl circa 1946
pencil
Charles Blackman
Bather 1 1967
conté, charcoal
John Brack
Study for ‘Nude with two chairs’ no 2
1957
charcoal
Grace Cossington Smith
Margaret Smith, the artist’s sister
circa 1917
pencil
Noel Counihan
Seated figure III 1978
charcoal
Fred Coventry
Self portrait 1927
pencil
Grace Crowley
Composition study: seated female
nude (1932)
pencil
William Dobell
Nude male, sitting back circa 1930
pencil
William Dobell
Self portrait 1937
pencil,brush and ink
William Dobell
Joshua Smith 1943
silverpoint
Russell Drysdale
Female nude 1937
pencil, watercolour
Russell Drysdale
Model, George Bell School (Wolf
Cardamatis) (1939)
pencil
Douglas Dundas
The cosmopolitan (Kleber Claux) 1931
pencil
Brian Dunlop
Nude 1962
pencil
Ian Fairweather
Seated figure (1949)
pencil, gouache on cardboard
Rah Fizelle
Life study:seated female nude
circa 1940
sanguine
Cedric Flower
Portrait of Francis Lymburner 1947
pencil
Donald Friend
Head of a woman 1945
pen and ink, wash
Pam Hallandal
Self portrait (1996)
charcoal, pastel
Weaver Hawkins
Seated female nude 1921
pencil, watercolour
Nora Heysen
Standing female nude, Central
School, London circa 1935
sanguine
George Noel Johnston
Self portrait 1931
sanguine
George Lambert
A Study of a trooper on horseback in
full riding orders, for ‘The charge of
the 4th Light Horse Brigade at
Beersheba’ (1918)-(1920)
pencil
George Lambert
Study of soldier for ‘The charge of
the 4th Light Horse Brigade at
Beersheba’ (1918)-(1920)
pencil
Lionel Lindsay
Female nude 1917
pencil
Lionel Lindsay
Life drawing – standing male nude in
helmet, seen from behind 1917
pencil
Norman Lindsay
Bacchanal or The vintage festival
(1905)
pencil, pen and ink
Francis Lymburner
Nude (the vulture) circa 1942
pen and ink
Francis Lymburner
Cedric Flower circa 1944
pen and ink, wash
Frank Medworth
Portrait of Weaver Hawkins 1940
pen and ink, coloured
Godfrey Miller
Study for ‘Nude and the moon’
circa 1954-59
pencil
71
Arthur Murch
The mailman (Harry Tilmouth) 1933
pencil
John Olsen
(Copulating couple) 1993
charcoal, pastel
John Olsen
Seated female nude, back view 1993
charcoal, pastel
John Olsen
Seated female nude from side, with a
dog 1994
charcoal, pastel
Desiderius Orban
Male nude, seated on a chair 1907
pencil on brown paper
Mike Parr
16 untitled self portraits 1981-85
pencil on sixteen sheets of
typing paper
Adelaide Perry
Portrait of John Passmore circa 1933
pencil
Adelaide Perry
Nude study – woman, back view
1930’s
pencil
Thea Proctor
Reclining nude, Dora circa 1961
pen and ink, wash
Hugh Ramsay
(Standing male nude, back view)
circa 1897
charcoal, white chalk
Oliffe Richmond
Seated nude III 1950’s
pencil
Oliffe Richmond
Man with pole 1950’s
pencil
Tom Roberts
Louis Buvelot 1886
pen and ink
Dorothy Thornhill
Figure on a chaise longue 1941
pencil
Wendy Sharpe
Helen 1994
pastel, charcoal
Wendy Sharpe
Tania 1993
charcoal, pastel
Joshua Smith
Standing male nude with robe and
towel late 1920s
pencil
Eric Wilson
Seated female nude, front view
circa 1938
conté
Eric Wilson
Seated female nude, back view,
London circa 1939
conté
Brett Whiteley
Her 1978
ink, oil, felt tipped pen, collage
Brett Whiteley
Bathroom drawing 1964
charcoal
72
NATIONAL GALLERY OF AUSTRALIA
EXHIBITION
Monet and Japan
National Gallery of Australia
10th March 2001 - 11th June 2001
Art Gallery of Western Australia
29th June 2001 - 16th September 2001
Claude Monet
Port-Goulphar, Belle-Isle 1887
oil on canvas
(AGWA ONLY) Katsushika HOKUSAI
Shichirigahama in Sagami Province
from the series Thirty-six views of
Mt. Fuji circa 1829-33
colour woodcut
Utagawa HIROSHIGE
Full blossom at Arashiyama from the
series Famous places of Kyoto
circa 1834
colour woodcut
TATE GALLERY
Stanley Spencer Exhibition
22nd March 2001 – 24th June 2001
Stanley Spencer
The Scrap Heap 1944
oil on canvas
DRILL HALL GALLERY
Peter Purves Smith
ANU Drill Hall Gallery 8/3/01- 15/4/01
Lawrence Wilson Gallery
1/5/01-15/6/01
Benalla Art Gallery 2/7/01 – 15/8/01
Museum of Modern Art at Heide
3/9/01 – 15/10/01
Peter Purves Smith
New York (1936)
oil on canvas
Peter Purves Smith
Head 1937
pastel, charcoal, pencil on cardboard
Peter Purves Smith
From a window in Pimlico (Battersea
Power Station) 1940
pencil, watercolour, gouache
ART EXHIBITIONS AUSTRALIA
The Gold Exhibition
National Museum of Australia,
Canberra 13/3/01 – 24/6/01
Museum of Victoria, Melbourne
18/7/01 – 21/10/01
Julian Ashton
The prospector 1889
oil on canvas on hardboard
Origin: China
Seated Maitreya 14th Century
gilt bronze
NATIONAL GALLERY OF AUSTRALIA
Drawn to Painting. Leon Kossoff:
drawings and prints after Nicolas
Poussin
17th March 2001 – 27th May 2001
Leon Kossoff
From Cephalus and Aurora by
Poussin no 3 1983
oil on board
MUSEO NACIONAL CENTRO DE
ARTE REINA SOFIA, MADRID
Picasso: las grandas series y los
maetros del pasado (1953-1973)
26th March 2001 – 18th June 2001
Pablo Picasso
Femme nue dans un rocking-chair
1956
oil on canvas
THE UNIVERSITY OF SYDNEY
18th and 19th Century Prints and
Drawings from the University
Collection
28th March 2001 – 11th May 2001
William Hogarth
Time Smoking a Picture circa 1761
black chalk on white laid paper
William Hogarth
Time Smoking a Picture 1761
engraving, mezzotint
POWERHOUSE MUSEUM
Visions of a Republic: The work of
Lucien Henry
3rd April 2001 – 14th October 2001
Lucien Henry
Self Portrait
oil on canvas
Lucien Henry
Devil’s Coach House, Fish River
Caves 1883
oil on canvas
Lucien Henry
Waratah 1887
oil on wood
VICTORIA & ALBERT MUSEUM,
LONDON
Inventing New Britain: The Victorian
Vision
5th April 2001 – 29th July 2001
Arthur Streeton
Fire’s on 1891
oil on canvas
PERC TUCKER REGIONAL
ART GALLERY
Landscape as Metaphor
Perc Tucker 27/4/01-10/6/01
Rockhampton Art Gallery
18/6/01-22/7/01
Toowoomba Art Gallery
28/7/01 – 16/9/01
Queensland University of Technology
Art Museum 8/11/01- 20/1/02
ANU Drill Hall Gallery
February 2002 – March 2002
Broken Hill City Gallery
9/5/02 – 10/6/02
Flinders Art Museum 17/6/02 – 30/7/02
Trevor Nickolls
The Garden of Eden 1982
synthetic polymer paint on canvas
INVERELL ART SOCIETY
Tom Roberts Festival
26th April 2001 – 6th May 2001
Tom Roberts
Aboriginal head – Charlie Turner 1892
oil on canvas on paperboard
Tom Roberts
Adagio circa 1893
oil on paperboard
Tom Roberts
Percy F. S. Spence 1896
oil on canvas on paperboard on
hardboard
Tom Roberts
Portrait of Florence circa 1898
oil on canvas on paperboard
Tom Roberts
Portrait of Mr T.P. Purves 1900
oil on canvas
Tom Roberts
Grey lady (Mrs Ince) circa 1910-1912
oil on canvas
Tom Roberts
Self portrait 1924
oil on canvas
DUBBO REGIONAL GALLERY
People and Destiny: George Lambert
and Federation
Dubbo Regional Gallery
4/5/01 – 11/8/01
Albury Regional Arts Centre
4/1/02 – 27/1/02
Bendigo Art Gallery 9/2/02 – 24/3/02
Hazelhurst Regional Art Gallery
6/4/02 – 2/6/02
Bathurst Regional Art Gallery
5/7/02 – 18/8/02
George W. Lambert
Equestrian group 1905
oil on canvas
George W. Lambert
Hugh Ramsay (circa 1902)
oil on canvas
George W. Lambert
Sketch for ‘La croix de guerre’
circa 1922
oil on canvas (2 panels)
George W. Lambert
Across the black soil plains 1899
oil on canvas
George W. Lambert
A bush idyll (1896)
oil on canvas
George W. Lambert
Sketch for ‘The mask’ circa 1911
oil on canvas
George W. Lambert
Self portrait
oil on wood
George W. Lambert
Miss Helen Beauclerk 1914
oil on canvas
George W. Lambert
Still life (Pan) 1911
oil on canvas
George Lambert
The shop 1909
oil on canvas
George Lambert
The white Glove 1921
oil on canvas
George Lambert
The red Shawl 1913
oil on canvas
The following works on paper were
lent to the first and last venues only
George W. Lambert
Head of a man (William B. Beattie)
(1898)
pencil
George W. Lambert
Sweet July 1900
wash, opaque white highlights
George W. Lambert
The letters 1901
pencil, pen and black ink
George W. Lambert
Mrs James Crockett 1927
pencil
George W. Lambert
She would remind him 1902
watercolour, opaque white highlights
George W. Lambert
Recumbent figure 1927
pencil
BRISBANE CITY GALLERY
Thancoupie
Brisbane City Gallery
3rd May 2001 – 24th June 2001
Cairns Regional Gallery
14th July 2001 – 25th August 2001
Thancoupie
Mosquito Corroboree
stoneware
Thancoupie
Cammbel and Paour Exchange Teeth
stoneware
LAKE MACQUARIE CITY ART GALLERY
Well Connected
5/5/01 – 10/6/01
William Dobell
Margaret Olley 1948
oil on hardboard
William Dobell
The sleeping Greek (1936)
oil on canvas on hardboard
William Dobell
Self portrait 1932
oil on panel
William Rose
February no.3 1957
pen and black and coloured inks on
ivory machine wove paper
GEELONG ART GALLERY
William Buckley: Rediscovered
Geelong Art Gallery 11/5/01 –10/7/01
Mornington Peninsula Regional
Gallery 20/7/01 – 26/8/00
Jan Senbergs
Otway night 1994
synthetic polymer paint on canvas
MUSEUM OF MODERN ART AT HEIDE
Heidelberg to Heide
26th May 2001 – 5th August 2001
Arthur Streeton
Still glides the stream and shall
forever glide 1890
oil on canvas
Walter Withers
The Storm
oil on hardboard
E Phillips Fox
Heidelberg
oil on canvas on hardboard
MOSMAN ART GALLERY
A Century of New Zealand Artists in
Australia
9th June 2001 – 17th August 2001
Frances Hodgkins
Woman seated in a rocking chair
watercolour, wash, charcoal
James R. Jackson
Morning, Middle Harbour
oil on canvas
Godfrey Miller
Unity in blue circa 1948-52
oil, pen and ink on canvas
Godfrey Miller
Nude and the moon 1954-59
oil, pen and ink on canvas
Kathleen O’Connor
Nursemaids in the Luxembourg
Gardens circa 1923
oil on paperboard
Chris O’Doherty
Untitled group (Coogee; Hobart,
Tasmania; Princes highway between
Ballina and Grafton; Dunedin, New
Zealand; Hume Highway between
Gundagai and Yass; Coogee Beach;
Invention, Princes Highway near
Mullumbimby)
synthetic polymer paint on cardboard
Maud Sherwood
Reflections circa 1919
watercolour
Maud Sherwood
White and yellow flowers circa 1933
oil on paperboard
Helen Stewart
Chrysanthemums
oil on paperboard
Roland Wakelin
Pastoral 1947
oil on paperboard
Adele Younghusband
Gum trees 1937
colour linocut
Elioth Gruner
On the Murrumbidgee 1929
oil on canvas
HISTORIC HOUSES TRUST /
MUSEUM OF SYDNEY
Peter Kingston
22nd June 2001 – 25th November 2001
Peter Kingston
Shag shed resumption, Walsh Bay
1998-1999
charcoal on two sheets of white
wove paper
SUMMARY OF WORKS BORROWED BY
OTHER INSTITUTIONS
• MUSEUM AND GALLERIES ASSOCIATION
OF NSW INSTITUTIONS = 105
• OTHER AUSTRALIAN INSTITUTIONS = 55
• INTERNATIONAL INSTITUTIONS = 4.
73
VISITORS
EXHIBITIONS
2000/2001 EXHIBITIONS
Date
Department
Exhibition Title
British Collection – Works on paper
Dead Sea Scrolls
•
Plastic Life: Patricca Piccinini and Christopher Langton
Australian Icons
Papunya Tula: Genesis and Genuis
•
Aleks Danko – Songs of Australia Vol.9: Uh-oh the Chinese
are coming (takeaway mix)
My City of Sydney
Selected works from the Collection
Brett Whiteley Graphics
Masterpieces of Victorian Art from the John and Julie Schaeffer Collection
Contemporary Collection
Operation Art
Hanga: Japanese Prints
Ochre: Bark Collection
Nigel Helyer, Metamorphoses
Guinness 2000: Fun Story Fun Five
World Without End: Photography and the 20th Century
•
Stephen Birch – Woodsprites
Sanxingdui: Masks of Mystery
•
Australian Collection Focus Series no 8: Colin Lanceley:
The Dry Salvages 1963-64 and Gemini 1964
Contemporary Collection Benefactors Acquisitions
Art Express
Contemporary Collection
Sydney Camera Circle
Affinities: Brett Whiteley & Lloyd Rees
Decades: The Australian Collection
David Sequeira – Projects
Archibald, Wynne & Sulman Prizes
•
Dobell Drawing Prize
Australian Collection Focus Series no. 9: John Glover
Natives on the Ouse River, Van Diemen’s Land 1838
Denise Green
Indian Painting
John Meade – Propulsion
Artist’s Books
Collection Exhibition
Heroes and Villains from the Floating World
Renoir to Picasso: Masterpieces from the Musée de l’Orangerie
•
Contemporary abstraction from the Collection
New Painting in Australia
Australian Collection Focus Series no 10: Russell Drysdale
Sunday evening 1941
8.7.00
14.7.00
16.7.00
4.8.00
18.8.00
26.8.00
–
–
–
–
–
–
20.8.00
15.10.00
20.8.00
31.01.01
12.11.00
8.10.00
International
International
Western – Contemporary
Australian
Aboriginal
Western – Contemporary
2.9.00
2.9.00
9.9.00
12.10.00
14.10.00
24.10.00
28.10.00
2.11.00
15.11.00
15.11.00
1.12.00
9.12.00
21.12.00
1.1.01
–
–
–
–
–
–
–
–
–
–
–
–
–
–
22.10.00
5.11.01
4.2.01
24.6.01
3.12.00
5.11.00
7.2.01
1.4.01
4.2.01
7.1.01
25.2.01
14.1.01
18.3.01
25.3.01
Western – Photography
Aboriginal
Australian
Western
Western – Contemporary
Exhibition
Asian
Aboriginal
Western – Contemporary
Western – Contemporary
Western – Photography
Western – Contemporary
Asian
Australian
17.1.01
26.1.01
26.1.01
29.1.01
10.2.01
19.2.01
25.2.01
17.3.01
17.3.01
31.3.01
–
–
–
–
–
–
–
–
–
–
4.3.01
25.3.01
18.2.01
27.4.01
8.7.01
9.9.01
22.4.01
15.5.01
15.5.01
24.6.01
Western – Contemporary
Public Programmes
Western – Contemporary
Library
Australian
Australian
Western – Contemporary
Australian
Australian
Australian
31.3.01
6.4.01
29.4.01
7.5.01
11.5.01
19.5.01
1.6.01
6.6.01
23.6.01
30.6.01
–
–
–
–
–
–
–
–
–
–
29.4.01
11.6.01
3.6.01
20.7.01
2.9.01
29.7.01
29.7.01
24.6.01
12.8.01
23.9.01
Western
Asian
Western – Contemporary
Library
Aboriginal
Asian
Western
Western – Contemporary
Western /Australian
Australian
Ticketed
AGNSW
Tours
AGNSW
Catalogue
•
•
•
•
•
•
•
•
•
•
MONTH
July
August
September
October
November
December
January
February
March
April
May
June
TOTAL
TOTAL VISITORS
1996/97
126,453
150,593
75,816
90,945
81,647
59,312
124,466
125,980
81,649
92,476
136,228
85,875
TOTAL VISITORS
1997/98
86,712
79,541
67,863
76,853
74,083
62,639
109,782
116.724
102,436
100,478
98,402
100,037
TOTAL VISITORS
1998/99
76,333
65,489
43,356
48,226
58,774
152,012
220,369
182,183
92,777
100,271
71,583
56,943
TOTAL VISITORS
1999/2000
60,969
57,015
77,132
86,532
56,432
98,737
151,067
127,839
97,926
90,537
72,115
88,853
1,231,440
1,075,550
1,168,316
1,029,730
TOTAL VISITORS
2000/2001
104,106
92,450
100,541
74,843
67,265
101,554
129,619
130,340
120,651
118,141
83,538
137,875
DOMAIN
2000/2001
79,486
79,407
86,773
66,100
59,176
50,770
82,405
86,708
109,284
103,356
69,425
122,698
WHITELEY
STUDIO
2000/2001
708
532
464
559
516
384
757
1,031
915
554
844
702
TOURING
2000/2001
23,912
12,511
13,304
8,184
7,573
50,400
46,457
42,601
10,452
14,231
13,269
14,475
995,588
7,966
257,369
1,260,923
•
•
•
•
•
•
•
PAID EXHIBITIONS
PROGRAMME FOR 2000/01
MONTH(S)
Dead Sea Scrolls
July – Oct
Papunya Tula
Aug – Dec
World Without End
Dec – Feb
Masks Of Mystery
Dec – Feb
2001 Archibald, Wynne & Sulman
Mar – May
Renoir To Picasso
June (only)
TOTAL
52,469
23,083
38,142
10,693
98,349
57,146
TOTAL
279,882
•
PREVIOUS YEAR TOTALS
COMPARISONS
1991/92
1,047,967
1992/93
748,455
1993/94
914,785
1994/95
988,527
1995/96
1,155,216
1996/97
1,232,440
•
•
Visitors 1996/97 to 2000/01
•
•
•
•
•
•
•
•
•
•
2000/2001 EXHIBITIONS TOURS
Date
Exhibition Venue
12.7.00 – 19.9.00
8.7.00 – 27.8.00
6.9.00 – 8.10.00
14.10.00 – 28.11.00
8.12.00 – 4.2.01
National Library of Australia
Dubbo Regional Art Gallery
Twee River Regional Art Gallery
Lismore Regional Art Gallery
George Adams Gallery,
Centre for the Performing Arts
National Gallery of Victoria
Migration Museum
Dubbo Regional Art Gallery
6.3.01 – 17.6.01
11.9.00 – 6.1.01
4.5.01 – 12.8.01
City/State
Exhibition Title
Attendance
Figures
Canberra, ACT
Dubbo, NSW
Murwillumbah, NSW
Lismore, NSW
Melbourne, Vic
Olive Cotton
Archibald
Archibald
Archibald
Archibald
21,519
2,909 *
3,061 *
4,280 *
33,651 *
Melbourne, Vic
Adelaide, SA
Dubbo, NSW
Dead Sea Scrolls
Salvatore Zofrea: Appassionate
People & Destiny:
George Lambert and Federation
50,791
18,850 +
2,540 #
Visitor numbers include visitors to private functions
*Tour organised in association with the Museums and Galleries Association of New South Wales
+ Tour organised in association with New England Regional Art Gallery
# Works drawn from AGNSW Australian Icons Exhibition for Regional Tour, Managed by Dubbo Regional Art Gallery
74
75
Bronwyn Oliver, Aida Tomescu,
Judith Wright, amongst others.
SPONSORSHIP AND PHILANTHROPY
Support for the Art Gallery can be
provided as a cash contribution or in
kind, or as a combination of both and
is directed largely towards the Art
Gallery’s programme of temporary
exhibitions. These exhibitions provide
high public and media exposure,
branding and awareness
opportunities and client
entertainment in a unique setting.
The Art Gallery of New South Wales
gratefully acknowledges the
continuing support of its Corporate
Partners, who provide valuable links
between the Art Gallery and the
business sector. We also welcome
several new corporate partners,
including Tower, the Sydney Morning
Herald, Westfield, The Australian, the
Bass Hotel Group, Merrill Lynch
HSBC and The Sunday Telegraph.
We look forward to a continuing
relationship with these major
companies.
PRINCIPAL SPONSORS FOR
2000/2001
• Westfield was Principal Sponsor of
the Dead Sea Scrolls exhibition,
which was part of the 2000 Olympic
Arts Festival and later toured to the
National Gallery of Victoria
• ABN AMRO Rothschild’s substantial
support for Australian art at the Art
Gallery culminated in the landmark
exhibition, Australian Icons, which
was part of the Art Gallery’s
exhibition programme for the 2000
Olympic Arts Festival. The Australian
also provided invaluable support as
Media Sponsor for the exhibition.
• Qantas continued their support of
Aboriginal and Torres Strait Islander
art at the Gallery as Principal
Sponsor of Papunya Tula: Genesis
and Genius, also presented as part of
the 2000 Olympic Arts Festival
• The final annual Guinness
Contemporary Art project, Fun Five
Fun Story, presented the work of 5
international artists from Africa
• Sanxingdui: Masks of Mystery was
proudly sponsored by Tower
• The Sydney Morning Herald was
Principal Sponsor of World Without
End: Photography and the 20th
Century, presented as part of the
2001 Sydney Festival
• The Colonial Foundation Charitable
Trust was Principal Financial
Supporter for the 2001 Archibald,
Wynne and Sulman Prizes
• The Sunday Telegraph became
Principal Sponsor of Fundays at the
Gallery -a 5-year programme of
special events and activities
designed for younger children and
their families.
• The first of 3 annual exhibitions,
New Painting in Australia was
proudly sponsored by Andersen. The
exhibition will also tour to the Ian
Potter Gallery in Melbourne.
76
• Merrill Lynch HSBC was the NSW
Sponsor for Renoir to Picasso:
Masterpieces from the Musée de
L’Orangerie exhibition.
SUPPORTING SPONSORS FOR
2000/2001
The following companies also
provided invaluable support in cash
and kind throughout the year:
JCDecaux, Hotel Inter-Continental
Sydney, Bass Hotel Group, CODY
Outdoor, The Mode Group, The
Seven Network, Bloomberg,
Squiz.Net, McWilliam’s Wines, Lion
Nathan, Avant Card.
CENTENARY FUND
The Centenary Fund was launched
on 24 February 2000. Its first project
is to build a new auditorium due to
be completed in 2001. The
auditorium is a critical facility for the
Art Gallery to fulfil its role as a forum
for discussion and education.
Centenary Fund patrons are an
exclusive group. Membership is
limited to 100 who have been invited
to contribute $100,000 each over a
specified period of time.
Membership as at 30th June, 2001:
Alex and Vera Boyarsky, Jillian
Broadbent and Olev Rahn, David &
Michelle Coe, Kenneth Coles &
Rowena Danziger, Jenny Ferguson,
David Gonski, In memory of Aida
Gordon, Yvonne & Christopher
Gorman, Alex Holland, Peter &
Sharon Ivany, Nettie & Peter Joseph
OAM, Anne Landa, John & Michelle
Landerer, Geoffrey & Deborah Levy,
Elizabeth Longes, David Lowy, John
& Jane Morschel, Mrs Kerry Packer,
Bridget Pirrie & Stephen Grant, John
L Sharpe, Brian Sherman, Gene
Sherman, Geoffrey Susskind,
Malcolm & Lucy Turnbull, Michael &
Eleanora Triguboff, Orli Wargon,
Phillip Wolanski.
THE PRESIDENT’S COUNCIL
The President’s Council, established
in 1995, provides an excellent
opportunity to build business
networks and financial support for
the Gallery’s exhibitions and
publications programme.
Membership is for 3 years and is by
invitation only. It is extended to the
Chairman, CEO or Senior Executives
of major companies, some of which
are also sponsors of the Gallery’s
exhibitions.
The President’s Council provides
high-level business advice to the
Gallery on a wide range of issues
and its programme of activities and
events has proved to be a very useful
environment in which to forge new
business relationships.
This year, Mr Justin Miller, General
Manager, Sotheby’s Australia, Mr
Robin Dixon, Managing Director,
Getronics (Australia) Pty Limited and
Mr Scott Walters, Chief Executive
Officer, Merrill Lynch HSBC joined as
new members of the President’s
Council.
The Art Gallery of New South Wales
salutes the President’s Council
members, not only for their financial
support but also for their guidance
and advice.
PRESIDENT’S COUNCIL
MEMBERSHIP AT 30TH JUNE, 2001
Mr Peter Young, ABN AMRO
Mr David Baffsky, Accor Asia Pacific
Mr Roger Allen, Allen & Buckeridge
Mr Chris Knoblanche, Andersen
Mr Chris Anderson, Cable & Wireless
Optus
Mr Pierce Cody, CODY Outdoor
Ms Deeta Colvin, Colvin
Communications International
Mr Chris Gorman, Dentat Pty Limited
Mr Ken Borda, Deutsche Bank AG
Mr Bruce Cutler, Freehills
Mr Robin Dixon, Getronics (Australia)
Pty Limited
Mr Ian Tsicalas, Howard Smith Limited
Mr Greg Daniel, Issues & Images
Group
Mr Peter Ivany, Ivany Investment
Group
Ms Angela Clark, JCDecaux
Australia
Mr Fred Hilmer, John Fairfax
Holdings Limited
Mr Scott Reid, JP Morgan
Mr Daniel Gauchat, Korn/Ferry
International
Mr Peter Smedley, Mayne Nickless
Limited
Mr Scott Walters, Merrill Lynch
HSBC Australia
Mr Neville Miles, MTM Funds
Management Ltd
Mr Geoff Dixon, Qantas Airways
Limited
Mr Richard J Lee, Rothschild
Australia
Mr Justin Miller, Sotheby’s
Mr Guido Belgiorno-Nettis, Transfield
Pty Ltd
Mr Philip Coleman, UBS Warburg
Australia Ltd
Professor Steve Burdon
VISASIA SPONSORS
Ipoh Limited continued their 3-year
commitment as Founding Sponsor of
VisAsia and the VisAsia Business
Council was established.
VISASIA BUSINESS COUNCIL
A VisAsia Business Council was
established in May 2001 to support
the aims and objectives of VisAsia
and to provide companies with
access to business and cultural links
in the region. Inaugural members of
the Business Council are:
IBM Asia Pacific, Qantas Airways
Limited, Sing Tao Newspaper Group,
Stamford Hotels and Resorts, State
of the Arts, University of Technology
Sydney, Valiant Hire
VISASIA BENEFACTORS
Gordon Darling Foundation; Goldie
Sternberg.
COLLECTION BENEFACTORS
ASIAN COLLECTION BENEFACTORS
Peter M Elliot
AUSTRALIAN COLLECTION
BENEFACTORS
Lou Klepac
CONSERVATION COLLECTION
BENEFACTORS
Geoff Ainsworth, Charles & Deidre
Aronson, Sir William Dobell Art
Foundation, Sam & Susan Ballas,
Pamela Bell, Nicole Berger, Bill &
Annette Blinco, Candice Bruce and
Mr Michael Whitworth, Elizabeth
Callanan, Adrian & Evan Cardiacos,
Michael Carr, John & Rosemary
Clarke, Gianni & Mrs Elena Cocco,
Patrick Corbally Stourton, Noel Dan
and Mrs Adrienne Dan, Peter
Debnam, Stella Downer, Peter
English, Gwen Frolich, Ross Gibson,
Eric Hawley Glen Weston, Robert
Gould, Bill Gregory, Mr Neville and
Mrs Margo Gruzman, Ken & Di
Handley AO, Sally Hardy, Sue Hewitt,
W Hinds, Alex Holland, Fraser
Hopkins, Andrew Horsley, Pamela
Jennings, Poppy & Iphy Kallinikos,
Colin & Elizabeth Laverty, Diana
Macarther-Stanham, Greg MaInnes,
Jenny Manton, Robyn & Mitchell
Martin-Weber, Justin Miller, Paul
Milliss, Michael Musgrave, Bruce
Newey, Tim Olsen, Michael Pascalis,
Theo & Mrs Marianne Penklis, Alex
Popov and Mrs Chris Adams,
Demetrios & Effie Prevedoros, Brian
Regan, Andrew & Andrea Roberts,
Greg & Elizabeth Sanderson, Peter &
Christa Satouris, Leo Scholfield,
Andrew Shapiro, Peter & Cathy
Snowball, David & Nikki Stein, Kevin
Troy, Carolyn Ward, Suzanne
Waterhouse, Richard & Shirley
Watkins, Eva & Mr Heinz Wicki, Ray
Wilson & James Agapitos.
CONTEMPORARY COLLECTION
BENEFACTORS
The Contemporary Collection
Benefactors (CCB) program,
launched in 1993, was established to
support the development of the
Gallery’s permanent collection by
raising funds for the acquisition of
contemporary Australian art. In
return for contributing to the
Gallery’s collection, Contemporary
Collection Benefactors are more
closely involved in the contemporary
art scene, allowing special access to
the most recent directions in the
world of contemporary art and
culture. To date, CCB funds have
acquired important works by the
following artists for the Gallery’s
collection: Howard Arkley, Marion
Borgelt, Janet Burchill, Adam Cullen,
Jeff Gibson, Bill Henson, Tim Maguire,
CONTEMPORARY COLLECTION
BENEFACTORS AS AT 30TH JUNE,
2001 WERE:
James Agapitos, Mathew Alderson,
John Armati, Kate Armati, Angela
Arnold, Michele Asprey, Dr David
Austin, Christine Banks, Richard
Banks, Fiona Beith, Michelle
Belgiorno-Nettis, Dr Mark Bloch,
Peter Briggs, Candice Bruce,
Thomas Bucich, Stephen Buzacott,
Andrew Cameron, Joseph
Catanzariti, Mark Clark, David
Dossetor, Dr Elizabeth Dossetor,
Cameron Dunlop, Carmel Dwyer,
Helen Eager, Peter English, Warwick
Evans, Paul Ferman, Sandra Ferman,
Barbara Flynn, Allan Fraser-Rush,
Robert Gould, Dr Andrew Gowers,
Stephen Grant, Ginnie Green, Linda
Gregoriou, Giovanna Gromo, Evelyn
Hawkins, Ian Hill, Doris Hobbs,
Michael J Hobbs, Christopher
Hodges, Darryl Hodgkinson,
Katherine Hodgkinson, Peter Keel,
Annette Larkin, Dr Colin Laverty,
Elizabeth Laverty, Bruce Liu, Irene
Liu, Amanda Love, Andrew Love,
Viviane Martin, Brenda May, Robert
May, Roger McIlroy, Fiona McIntosh,
Ross McLean, A J Meagher, F M
Meagher, Tim Olsen, Lisa Paulsen,
John Pearson, Bridget Pirrie, Lindsay
Powers, Dr Dick Quan, Amber
Richmond, Gary W Sands, Alyson
Schoer, Harry Seidler, Penelope
Seidler, Morna Seres, Serioso Pty
Limited GGHA Investment Trust,
Vivienne Sharpe, Brian Sherman, Dr
Gene Sherman, Fiona Sinclair-King,
Gabrielle G Upton, Ivan Wheen, Karel
Wheen, Michael Whitworth, Julie
Williams, Renee Williamson-Noble,
Ray Wilson, Virginia Zanarini.
CONTEMPORARY COLLECTION
BENEFACTORS DINNER SPONSORS
The 8th Annual CCB Dinner and Art
Auction was generously sponsored
by Macquarie Bank, and supported
by Bvlgari, ABSOLUT Vodka,
Splitrock, Yerring Station,
Greengrocer.com.au, Annandale
Galleries, Yuill Crowley Gallery,
Gabrielle Pizzi, Roslyn Oxley9 Gallery,
Tim Olsen Gallery, Gitte Weise
Gallery, Martin Browne Fine Arts and
Sherman Galleries.
EUROPEAN COLLECTION
BENEFACTOR
Mr & Mrs Binnie
LIBRARY COLLECTION
BENEFACTORS
Mr and Mrs Binnie, Jean Campbell,
Licia Cattani, Pat Corrigan,
Michael and Mary Whealan Trust.
PHOTOGRAPHY COLLECTION
BENEFACTORS
INDIVIDUAL FELLOW
Kate Armati
CORPORATE MEMBERS
Getty Images Australia, Young &
Rubicam
CORPORATE BENEFACTORS
Photo Technica, Tiffany & Co.
FOUNDING BENEFACTORS
Sandra & Paul Ferman, David &
Deirdre Greatorex, Richard King
SUPPORTING BENEFACTORS
Anonymous, Australian Financial
Review, Graham and Mary Beirman,
Martin Browne, Ken Coles, Cheryl
Collins Design, Patrick Corrigan,
Sally Dan-Cuthbert, Erin Flaherty, The
Freedman Foundation, Ginny and
Leslie Green, Amanda Harkness,
Evelyn Hawkins, Michael and Jill
Hawker, Lachie Hill, Naomi Kaldor,
Charles Latimer, Josef and Jeanne
Lebovic, Amanda and Andrew Love,
Russell Mills, David Moore, Roslyn
and Tony Oxley, Lisa and Egil
Paulsen, Photo King, Philip and
Elizabeth Ramsden, Reg and Sally
Richardson, Penelope and Harry
Seidler, Dr Philip and Kate Sharp,
Lisa Simons, John D. Swainston,
Worling Saunders.
SUSTAINING BENEFACTORS
Richard Bailey, Robert Dein, Barbara
Flynn, John and Simonetta Frey,
GrantPirrie, Michele Mossop, Janet
Oakley, Ivan and Karel Wheen.
DONORS
John Dymond, Gary Heery.
PHOTOGRAPHY COLLECTION
BENEFACTORS SPONSOR
LKS Landor.
PHOTOGRAPHY COLLECTION
BENEFACTOR DINNER SPONSORS
Tiffany & Co., McWilliams Wines,
LKS Landor, Pommery, Nikon, Kodak,
Photo Technica, Tony Warrilow,
Roslyn Oxley9 Gallery, The Australian
Financial Review, Josef Lebovic
Gallery, Stills Gallery, Chapter &
Verse, Danny Dekker Photography,
Allen & Unwin, Getty Images,
GrantPirrie, Anonymous, Peter
Cousens, The ARC Factory, Levi’s,
Aria Restaurant, MG Garage
Restaurant, Marque Restaurant,
Poppy Industries, John Freida, Simon
Johnson, Bistro Moncur, Aqua Luna
Restaurant & Bar, Ristorante Riva,
Bistro Lulu, Sean’s Panorama,
Lynwood Stores, David Moore, Billy
Kwong, Just Jeans, Bills Darlinghurst
GRANTS / PARTNERSHIPS
Australia Council; Australia India
Council; Australian Research Council
SPIRT (Strategic Partnerships with
Industry – Research and Training)
with the University of Western
Sydney; Cinemedia; Gordon Darling
Foundation; The Ian Potter
Foundation through their Art
Museum Collections Accessibility
Initiative (AMCAI); Japanese
Commemorative Association; New
South Wales Centenary of Federation
Grants Programme.
VOLUNTARY WORK
Regular long-standing volunteers
most notably Mollie Gowing,
Elizabeth Callanan and Patricia
James, provided greatly appreciated
and vital support to day-to-day
operations of the Australian Art
Department as well as special
projects.
PUBLICATION LISTINGS
1999-2000
ASIAN ART
• Fragrant Space: Chinese Flower
and Bird Painting of the Ming and
Qing Dynasties from the Guangdong
Provincial Museum exhibition
catalogue, 144 pages. Published by
AGNSW 2000. Authors: Edmund
Capon and Liu Yang. Essays,
bibliography and notated checklist
with full colour illustrations.
AUSTRALIAN ART
• Australian Collection Focus Series
no. 5: Grace Cossington Smith: The
Lacquer Room 1935-1936,
10 pages, full colour, published by the
AGNSW, 1999. Authors: Deborah
Edwards & Vivienne Webb.
• Jeffrey Smart exhibition catalogue,
212 pages published by the AGNSW,
1999. Authors: Edmund Capon with
contributions by Barry Pearce and
Peter Quartermaine. Essays,
biographical notes, bibliography and
checklist with full colour illustrations.
• Australian Collection Focus Series
no. 6: George Baldessin: Occasional
images from a city chamber 1975. 8
pages, duotone, published by the
AGNSW, 1999. Author: Anne Ryan.
• ’This Vital Flesh’: The sculpture of
Rayner Hoff and his school exhibition
catalogue. 111 pages, published by
AGNSW, 1999. Author: Deborah
Edwards, with essay by Professor
Virginia Spate. Essays, biographical
notes, bibliography and checklist
with full colour illustrations.
• Australian Collection Focus Series
no. 7: Les Sauvages des la mer
Pacifique, 48 pages, published by
AGNSW and National Gallery of
Australia 2000. Authors: Vivienne
Webb, Roger Butler, Susie Bioletti,
Ranson Davey, Rose Peel, & Martin
Terry. Essays, biographical notes,
bibliography and checklist with full
colour illustrations.
• Salvatore Zofrea: Appassionata
woodcuts exhibition catalogue, 96
pages published by the AGNSW,
2000. Authors: Hendrik Kolenberg
and Anne Ryan. Essay, artist’s
commentaries, biographical notes,
bibliography and checklist with black
& white illustrations.
INTERNATIONAL ART
EUROPEAN ART BEFORE 1900
• Michelangelo to Matisse: Drawing
the Figure exhibition catalogue. 254
pages, published by AGNSW 1999.
Editors: Terence Maloon & Peter
Raissis. Essays by Terence Maloon,
Louise Marshall, Jennifer Milam,
Peter Kohane, Barry Pearce & Peter
Raissis. Artist’s biographies &
checklist with full colour illustrations.
INTERNATIONAL MODERN AND
CONTEMPORARY ART
• Living Here Now: Art + Politics,
Australian Perspecta 1999, 92 pages,
colour and black and white,
published by the AGNSW, 1999.
Commissioned by Wayne Tunnicliffe,
edited by Nicola Teffer and Wayne
Tunnicliffe. Contributors: Wayne
Tunnicliffe, Nikos Papastergiadis,
Hetti Perkins, Robert Schubert,
Nicholas Tsoutas, Robyn Ravlich,
Blair French, Amanda McDonald
Crowley, Kathleen Caper, Melissa
Chiu, Felicity Fenner, Linda Michael,
Caroline Butler-Bowdon, Benjamin
Gennochio, Maurice O’Riordan,
Jacqueline Phillips, Julianne Pierce.
• Voiceovers, 5th Guinness
Contemporary Art Project, 48 pages,
colour, published by the AGNSW,
1999. Author Victoria Lynn.
• Uncertain Ground: essays between
art and nature, 192 pages, colour and
black and white, published by the
AGNSW, 1999. Edited by Martin
Thomas. Contributors: Victoria Lynn,
Martin Thomas, Allen S.Weiss,
Virginia Madsen, Stephen Muecke,
Susan Best, Frances Dyson, Michael
Taussig, Jane Goodall, Julie Roberts,
Paul Carter, Jacqueline Millner.
• Flow/Arus, Contemporary
Electronic Media Art from Australia
and Malaysia, 55 pages, colour,
published by the AGNSW and the
National Art Gallery, Malaysia, 2000.
Authors Zanita Annuar and Wayne
Tunnicliffe.
• Passing Time, Moët & Chandon
Exhibition 2000, 33 pages, colour,
77
published by the AGNSW, 2000.
Author; Victoria Lynn
AGNSW Contemporary Projects
Managing Curator and catalogue
commissioner: Wayne Tunnicliffe
• Michael Goldberg, The Well-Built
Australian, 6 pages, colour and black
and white, published by the AGNSW,
1999. Author Nicholas Tsoutas
• Horst Kiechle and Margaret
Roberts, Exit, 6 pages, colour and
black and white, published by the
AGNSW, 1999. Author: Anita Fricek
• Joan Brassil, The Breath of Psyche,
6 pages, colour and black and white,
published by the AGNSW, 1999.
Author Dr Susan Best.
• Neil Emmerson, (surrender, penance,
IWYS), 6 pages, colour and black and
white, published by the AGNSW, 2000.
Author: Robert Schubert
AGNSW Contemporary Projects
Managing Curator and catalogue
commissioner: Michael Wardell
• Patricia Piccinini and Christopher
Langton, Plastic Life, 6 pages, colour
and black and white, published by
the AGNSW, 2000. Author Jacqueline
Milner
PHOTOGRAPHY
• Light Pictures: the photographs of
Nakayama Iwata & Yasuzo Nojima 12
foldout pages duotone, published by
AGNSW 1999. Author: Judy Annear
• Olive Cotton, exhibition catalogue.
64 pages, published by AGNSW,
2000. Editor: Judy Annear. Author:
Helen Ennis, Essay, biographical
notes, bibliography, checklist of
works and duotone illustrations.
EDUCATION
• Four quarterly editions of the Gallery’s
Exhibitions and Events bulletin.
• Two six monthly Education Posters
for schools.
• A new permanent collection
education kit Adventures in Asia.
• A second edition of Diversity: A
Celebration of Art and Culture, the
collection education Kit for the
Gallery’s Indigenous collection, was
printed to meet constant demand.
Adventures in Asia and Diversity
were possible due to generous
donations from Kate Anderson, the
Public Programmes’ Benefactor.
• Three education kits were
produced for major temporary
exhibitions including, Jeffrey Smart,
Michelangelo to Matisse and an
updated Archibald Prize kit.
• A free children’s drawing activity
booklet was produced for the
Michelangelo to Matisse exhibition.
BRETT WHITELEY STUDIO
• Brett Whiteley’s Paris, 4 pages, full
colour, published by AGNSW 1999.
Author: Barry Pearce.
• Brett Whiteley nudes, 4 pages, full
colour, published by AGNSW 1999.
Author: Barry Pearce.
• Whiteley with Words, 8 pages, full
colour, published by AGNSW, 2000.
Author: Bruce James.
78
LIBRARY and ARCHIVES
• Guide to the Papers of Tony
Tuckson (1921-1973) AGNSW
Manuscript Guides No. 2., 42 pages.
Published by AGNSW 1999. Compiled
by Steven Miller.
2000-2001
Editors: Hetti Perkins & Hannah Fink,
with essays by Paul Sweeny, Hetti
Perkins, Hannah Fink, Vivien
Johnson, Geoffrey Bardon,
R.G.Kimber, John Kean, Daphne
Williams, Fred R. Myers, Paul Carter
& Marcia Langton. Artists
biographies by Ken Watson.
Chronology, bibliography & checklist
with full colour illustrations.
ASIAN ART
• Hanga: Japanese Creative Prints
exhibition catalogue, 111 pages.
Published by AGNSW 2000. Authors:
Ajioka Chiaki, Kuwahara Noriko,
Nishiyama Junko. Essays, Artists
notes, and checklist full colour
illustrations.
• Masks of Mystery exhibition
catalogue, 110 Pages. Published by
AGNSW 2000. Authors: Edmund
Capon and Liu Yang. Essays and
notated checklist with full colour
illustrations.
• Indian Painting exhibition poster
catalogue, full colour. Author: Haema
Sivanesan. Essay and checklist.
• Heroes and Villains from Japan’s
Floating World. Exhibition brochure, 8
pages. Published by AGNSW 2001.
Author: Ajioka Chiaki. Essay, glossary
and checklist with full colour
illustrations.
AUSTRALIAN ART
• Australian Art in the Art Gallery of
New South Wales, 304 pages,
published by the AGNSW, 2000.
Introduction by Barry Pearce, with
essays introducing 12 chapters by
staff members Helen Campbell,
Deborah Edwards, Ursula Prunster,
Anne Ryan, Vivienne Webb and
Natalie Wilson. Biographical notes,
artists’ quotes, extensive bibliography.
• Australian Collection Focus Series
no. 8: Colin Lanceley: The Dry
Salvages 1963-64 and Gemini 1964, 12
pages, full colour, published by the
AGNSW, 2001. Authors: Barry
Pearce, Colin Lanceley, Deborah
Edwards.
• Australian Collection Focus Series
no. 9: John Glover: Natives on the
Ouse River, Van Diemen’s Land 1838,
8 pages, full colour, published by the
AGNSW, 2001. Authors: Vivienne
Webb, Paula Dredge.
• Australian Collection Focus Series
no.10: Russell Drysdale: Sunday
evening 1941, 8 pages, full colour,
published by the AGNSW, 2001.
Author: Helen Campbell.
• Colin Lanceley speaks at the Art
Gallery of New South Wales (video),
4 hour/1 hour versions, published by
the Art Gallery of New South Wales,
2001. Produced by Deborah Edwards
and Art Gallery of New South Wales
Audio Visual Services.
ABORIGINAL AND TORRES
STRAIT ISLANDER ART
• Papunya Tula: Genesis and Genius
exhibition catalogue. 320 pages,
published by AGNSW in association
with Papunya Tula Artists, 2000.
INTERNATIONAL ART
EUROPEAN ART BEFORE 1900
• Victorian Watercolours exhibition
brochure, 11 pages, published by
AGNSW 2000. Author: Peter Raissis.
Essay, checklist and full colour
illustrations.
• Dead Sea Scrolls exhibition
catalogue. 119 pages published by
AGNSW in association with The
Israel Antiquities Authority. Essays
by Michael E. Stone, Ayala
Sussmann and Ruth Peled, Ada
Yardeni, Pnina Shor & Emanuel Tov.
Glossary, bibliography & catalogue
listing with full colour illustrations.
• Masterpieces of Victorian Art from
The John and Julie Schaeffer
Collection exhibition brochure, 6
pages, published by AGNSW 2000:
Author Edmund Capon. Essay,
checklist and full colour illustrations.
• Pre-Raphaelites and Olympians.
Selected Works of Victorian Art from
the John and Julie Schaeffer
Collection and the Art Gallery of New
South Wales, 64 pages, published by
AGNSW 2001. Author: Richard
Beresford. Essays, full colour
illustrations with notated captions.
INTERNATIONAL MODERN AND
CONTEMPORARY ART
• Fun Five Fun Story: The 2000
Guinness Contemporary Art Project
Video catalogue. Published by
AGNSW 2000. Compiled by Pascale
Marthine Tayou
• Phenomena, New Painting in
Australia I exhibition catalogue. 47
pages published by AGNSW 2001.
Author: Michael Wardell. Essay,
biographical & bibliographical notes
and checklist with full colour
illustrations
AGNSW Contemporary Projects
Managing Curator and catalogue
commissioner: Michael Wardell
• Dale Frank, 6 pages, colour and
black and white, published by the
AGNSW, 2000. Author Blair French
• Aleks Danko, Songs of Australia
volume 9: Uh-oh the Chinese are
coming (takeaway mix), 6 pages,
colour and black and white,
published by the AGNSW, 2000.
Author Melissa Chiu.
• Nigel Helyer, Metamorphoses, 6
pages, colour and black and white,
published by the AGNSW, 2000.
Author Michael Goldberg
AGNSW Contemporary Projects
Managing Curator and catalogue
commissioner: Wayne Tunnicliffe
• Stephen Birch, Woodsprites, 6
pages, colour and black and white,
published by the AGNSW, 2000.
Author: Russell Storer
• David Sequiera, Projects, 6 pages,
colour and black and white,
published by the AGNSW, 2000.
Author: Dr Peter McNeil
• New Releases - Recent
International Video, curated by Emil
Goh, 2 pages, black and white,
published by the AGNSW, 2000.
Authors: Emil Goh, Leah Grycewicz,
Panos Couros.
• John Meade, Propulsion, 6 pages,
colour and black and white,
published by the AGNSW, 2000.
Author: Stephen Zagala
• Carsten Nicolai, snow.noise, 6
pages, colour and black and white,
published by the AGNSW, 2000.
Author Sophie Forbat.
AGNSW PUBLICATIONS FOR SALE
The following 32 AGNSW publications
are available in the Art Gallery Shop.
• AGNSW Collections, Capon et al.
softbound $60.50 hardbound $88.00
• AGNSW Handbook, James
softbound $22.00 slipcased $33.00
• Arthur Boyd Retrospective, Pearce
softbound $44.00
• Australian Art in the AGNSW,
Pearce et al. softbound $68.00
hardbound $90.00
• Australian Drawing, Kolenberg
softbound $33.00
• Australian Prints, Kolenberg
softcover $38.50
• Australian Watercolours, Kolenberg
softbound $33.00
• Brett Whiteley Art and Life, Pearce
softbound $44.00
• Classic Cézanne, Maloon softbound
$15.00
• Dancing to the Flute, Menzies
softbound $44.00
• Dead Sea Scrolls, softbound $25.00
• Dobell, Pearce & Kolenberg
softbound $33.00
• Donald Friend, Pearce hardbound
$60.50
• Fragrant Space, Yang softbound $33.00
• From Music Hall to Landscape Fred
Williams Drawings and Prints, Ryan
& Kolenberg softbound $33.00
• Gamarada, softbound $27.50
• Hanga, Ajioka et al softbound $25.00
• Jeffrey Smart Retrospective, Capon
& Pearce softbound $45.00
hardbound $66.00
• Lion among Painters, Yang
softbound $27.50
• Margaret Olley, Pearce hardbound
$55.00
• Masks of Mystery, Liu softbound
$27.00
• Olive Cotton, Ennis & Donohue
softbound $30.80
• Orientalism, Prunster (ed)
softbound $44.00
• Papunya Tula, Perkins (ed)
softbound $50.00 hardbound $90.00
• Phenomena, Wardell softbound
$20.00
• Pre-Raphaelites and Olympians,
Beresford softbound $20.00
• Raynor Hoff, Edwards softbound
$30.80
• Rosalie Gascoigne, Edwards
softbound $27.50
• Salvatore Zoffrea, Kolenberg &
Ryan softbound $33.00
• World Without End, Annear
softbound $35.00
• Yiribana, Neal softbound $38.50
• 52 Views of Rudy Komon Raymond
(ed) softbound $33.00
PHOTOGRAPHY
• My City of Sydney, exhibition
brochure. 8 foldout pages, published
by AGNSW, 2000. Author: Michael
Wardell. Essay, bibliography and
checklist of works with duotone
illustrations
• World without End: Photography
and the twentieth century, exhibition
catalogue. 182 pages, published by
AGNSW, 2000. Editors: Judy Annear
and Erica Drew Authors: Judy
Annear and Nicola Teffer. Essay,
biographies, bibliography, timeline,
deskcase, checklist of works with full
colour illustrations.
EDUCATION
• Exhibitions and Events bulletin: four
quarterly editions.
• Two six monthly Education Posters
and a new collection focused
Education Programmes 2001 booklet
were produced for teachers.
• Education Kits were produced for
the major exhibitions including: The
Dead Sea Scrolls, Australian Icons,
Papunya Tula, World Without End,
and the AWS, and Public
Programmes contributed to the
development of the 2000 Biennale of
Sydney and Renoir to Picasso
education kits. All education
publications were hosted on the
Gallery’s website.
ART PRIZES AND GRANTS AWARDED
ART PRIZES
The 2001 Archibald, Wynne and
Sulman Prize competitions,
supported by the Colonial Foundation,
was held in March 2001. A total of
1891 entries were received, 82 of
which were selected for display. The
Dobell Prize for Drawing, sponsored
by the Sir William Dobell Art
Foundation, was held in conjunction
with the Archibald, Wynne and
Sulman competitions. Of the 541
entries received, 40 were selected
for display.
THE ARCHIBALD PRIZE
The prize of $35,000 for portraiture
was awarded to Nicholas Harding for
his work entitled John Bell as King
Lear. The Archibald Prize: People’s
Choice competition, asks the viewing
public to vote for their favourite
entry, was won by Paul Newton for
his work Roy & H.G.. Newton
received $2,500 as did the Art Gallery
patron whose vote for the winning
entry was drawn from a barrel
containing all votes cast.
THE WYNNE PRIZE
The prize of $15,000 for an Australian
landscape or figure sculpture was
awarded to Aida Tomescu for her
work entitled Platra.
THE SIR JOHN SULMAN PRIZE
The prize, judged by artist Wendy
Sharpe, of $10,000 was awarded to
Euan Macleod for his work entitled
Exquisite Corpse with Fire.
THE DOBELL PRIZE FOR DRAWING
The $10,000 prize, judged by
Margaret Olley, was awarded to
Nicholas Harding for his work
entitled Eddy Avenue 3.
GRANTS AND
SCHOLARSHIPS
STUDIOS IN PARIS
The Art Gallery allocates tenancy to
two art studios, the Moya Dyring
Studio and the Dr Denise Hickey
Memorial Studio, it leases at the Cite
Internationale des Art in Paris. The
studios were occupied during the
year by Claudia Damichi, Virginia
Coventry, Deborah Porch, Susan
Andrews, Andrew Cooks, Martin
Thomas, Stephen Eastaugh and
Peter Raissis.
THE BASIL AND MURIEL HOOPER
SCHOLARSHIP
These scholarships, valued at $6,000
each, are available each year to fine
art students attending recognised
schools in New South Wales to
assisted with the costs of fees,
materials and general living
expenses. Three half scholarships
were awarded to Samuel Smith,
Hayden Fowler and Izabela Pluta.
THE ELIOTH GRUNER PRIZE
The prize of $1,500 for the best
landscape in oil by an art student
was awarded for 2000 to Gina Bruce.
THE ROBERT LE GAY BRERETON
MEMORIAL PRIZE
This prize aims to promote and
encourage the art of
draughtsmanship, is available each
year to art students. The 2000 prize
of $1,200 was awarded to Samuel
Wade.
DYASON BEQUEST
Administered under the terms of the
will of the late Miss Anthea Dyason,
the bequest provides grants to
Australian art students who have
already won travelling scholarships
so as to enable them to better study
architecture, sculpture or painting in
countries other than Australian and
New Zealand. Awards of $5,000
were made to Marcel Cousins and
Kirsty Martinsen.
BRETT WHITELEY TRAVELLING ART
SCHOLARSHIP
An annual scholarship was
established during 1998/99 to provide
young artists with an opportunity to
travel to Europe and further their
artistic interests. The scholarship
includes a financial award and
access to the Art Gallery’s Paris
Studio for a period of three months.
It is a memorial to the artist, the late
Brett Whiteley who in his youth was
encouraged in his artistic
endeavours by winning a similar
scholarship. Special thanks are
given to Beryl Whiteley, the mother
of the artist for providing the
generous donation to fund the
scholarship. The 2000 scholarship of
$25,000 was awarded to Alice Byrne.
BRETT WHITELEY STUDIO
• Brett Whiteley Graphics 1961-1992, 8
pages, duotone, published by AGNSW,
2001. Author: Hendrik Kolenberg.
• Affinities: Brett Whiteley & Lloyd
Rees, 8 pages, full colour, published
by AGNSW, 2001. Author: Lou Klepac.
LIBRARY AND ARCHIVES
• Guide to the Papers of Arthur
Murch, AGNSW Manuscript Guides
No. 3., 34 pages. Published by
AGNSW 2000. Compiled by Steven
Miller.
STAFF LIST
DIRECTOR
Edmund Capon A.M., M. Phil
EXECUTIVE ASSISTANT TO THE DIRECTOR
Margaret McLenaghan
CURATOR EXHIBITIONS
Terence Maloon B.A. (Hons), Dip. Art & Design
CURATOR DIRECTORATE
Michael Wardell B. A.
HEAD CURATOR OF WESTERN ART
CURATOR OF TWENTIETH CENTURY
INTERNATIONAL ART
GENERAL MANAGER CURATORIAL SERVICES
Anthony Bond B. Ed. (Hons)
CURATOR CONTEMPORARY AUSTRALIAN ART
Wayne Tunnicliffe B.A. (Hons) M.A., M. Art Admin
STUDY ROOM COORDINATOR
Denise Mimmocchi B.A. (Hons)
PROJECT OFFICER
Natalia Bradshaw B.A.
SENIOR CURATOR EUROPEAN ART, PRE-1900
Richard Beresford B.A. (Hons) MBA PhD
SENIOR CURATOR PHOTOGRAPHY
Judy Annear, B.A.
CURATOR INTERNATIONAL PRINTS
AND DRAWINGS
Peter Raissis, B.A. (Hons)
ASSISTANT CURATOR, PHOTOGRAPHY
Natasha Bullock B.A. (Hons), Postgrad. Dip (Art
Curatorship & Museum Management)
ASSISTANT CURATOR, CATALOGUING &
DOCUMENTATION
Judy Peacock B.A., Grad. Dip. App. Sc., M. Art Admin
79
HEAD CURATOR ASIAN ART
Jackie Menzies, B.A., (Hons), M.A.
MANAGER, INFORMATION
Jonathan Cooper Dip. Art Ed.
ASSISTANT REGISTRAR
Susie Quinn B.A. (Fine Arts), Grad. Dip. Art History
CURATOR JAPANESE ART
Chiaki Ajioka B.A., M.A, PhD
MUSEUM EDUCATOR (TERTIARY/CONTEMPORARY
ART)
George Alexander B.A. (Hons)
REGISTRATION ASSISTANT
Peter Duggan B. A. (Fine Arts), M.A.
MUSEUM EDUCATOR (SECONDARY SCHOOLS)
Jo Foster B.A., Dip. Ed.
SENIOR PHOTOGRAPHER
Jenni Carter
ACCOUNTING CLERK (CASUAL)
Merle Passmore
ASSISTANT CURATOR
Haema Sivanesan, B.Arch. (Hons)
MUSEUM EDUCATOR (PRIMARY SCHOOLS)
Jennifer Keeler-Milne B. Ed., Grad Dip Fine Arts,
M.A. (Art Admin)
PHOTOGRAPHER
Ray Woodbury
CLERICAL OFFICER
Graeme Callaghan
PROJECT OFFICER
Akiko Takesui
MUSEUM EDUCATOR (PRIMARY SCHOOLS)
Vickie Kalocsay B. Ed., B. A.(Fine Arts)
PROJECT OFFICER
Kathryn Gfeller Dip. Fine Arts
MUSEUM EDUCATOR
Bronwyn Clark-Coolee Dip. Teaching, Post. Grad.
Dip. Vis. Arts, M.V.A.
CURATOR CHINESE ART
Yang Liu, B.A., M.A., PhD
ASIAN PROGRAMMES COORDINATOR
Ann MacArthur B.A., MIM
HEAD CURATOR AUSTRALIAN ART
Barry Pearce Dip. Art Ed.
CLERICAL OFFICER
Joan Radkevitch
CURATOR AUSTRALIAN ART
Deborah Edwards, B.A. (Hons), M. Phil.
BOOKINGS OFFICER
Karin Kruger
ASSISTANT CURATOR AUSTRALIAN ART
Vivienne Webb B.A. (Hons)
SLIDE LIBRARIAN/BOOKINGS OFFICER
Meredith Williams B.A.
ASSISTANT CURATOR AUSTRALIAN ART
Helen Campbell, B.A. (Hons), Grad. Dip. (Museum
Studies)
COORDINATOR BRETT WHITELEY STUDIO
Barbara Konkolowicz, B.A. Dip. Ed.
SENIOR CURATOR AUSTRALIAN PRINTS
DRAWINGS AND WATERCOLOURS
Hendrik Kolenberg Dip. Ed.
AUDIO-VISUAL COORDINATOR
Laurence Hall B.A. (Com)
ASSISTANT CURATOR AUSTRALIAN PRINTS
DRAWINGS AND WATERCOLOURS
Anne Ryan B.A. (Hons), M. Art Admin.
AUDIO-VISUAL COORDINATOR
Alex Smythe B.A. (Vis Arts)
ASSITANT CURATOR AUSTRALIAN ART
Natalie Wilson B.A. (Visual Arts), MA
HEAD OF CONSERVATION
Alan Lloyd
CURATOR ABORIGINAL AND TORRES STRAIT
ISLANDER ART
Hetti Perkins, B.A.
ASSISTANT CONSERVATOR
Mathew Cox
ASSISTANT CURATOR ABORIGINAL & TORRES
STRAIT ISLANDER ART
Ken Watson, B.A. (Hons)
ASSISTANT CURATOR ABORIGINAL & TORRES
STRAIT ISLANDER ART
Cara Pinchbeck
COORDINATOR OF ABORIGINAL PROGRAMMES
Angela Martin B.A, Dip. Ed.
COORDINATOR OF ABORIGINAL PROGRAMMES
Lenoma Jackson
HEAD LIBRARIAN
Susan Schmocker B.A., Dip. Lib.
SENIOR LIBRARIAN/TECHNICAL SERVICES
Kay Truelove, B.A., Dip Lib.
LIBRARIAN
Robyn Louey, B.L. Arch, Grad. Dip. IM (Lib)
LIBRARY TECHNICIAN
Vivian Huang Assoc. Dip. Arts
ARCHIVIST
Steven Miller, B.A. (Hons), B. Theol., Grad. Dip. IM
(Arch)
ASSISTANT CONSERVATOR, MOUNT CUTTING
Bill Lamont
SENIOR CONSERVATOR, PAINTINGS
Stewart Laidler Dip. Con
CONSERVATOR, PAINTINGS
Paula Dredge B. App. Sc. (Con), B.A. (Fine Arts)
SENIOR CONSERVATOR, WORKS ON PAPER
Rosemary Peel B.A. (Fine Arts)
SENIOR CONSERVATOR, OBJECTS
Donna Hinton M.A. Applied Science (Con) Dip.
Museum Tech.
CONSERVATOR, OBJECTS
Jolanta Grzedzielska, B.A. (Cons), M.A. App. Sc.
SENIOR CONSERVATOR, FRAMES
Malgorzata Sawicki M.A. (Cons)
CONSERVATOR, FRAMES
Basia Dabrowa, M.A. (Con)
CONSERVATOR, FRAMES
David Butler
SENIOR CONSERVATOR ASIAN ART
Sun Yu, B.A. (Art History)
ASSISTANT CONSERVATOR ASIAN ART
Yang Yan Dong
HEAD PUBLIC PROGRAMMES
Brian Ladd Dip. Fine Art, Dip. Ed.
HEAD REGISTRAR
Ljubo Marun B.A. (Hons) PhD
MUSEUM EDUCATOR (CURATOR - SPECIAL
PROJECTS)
Ursula Prunster B.A. (Hons), M.A.
REGISTRAR (STORAGE)
Emma Smith B.A., Grad. Dip Decorative Arts
MUSEUM EDUCATOR (COORDINATOR
PROGRAMMES)
Liz Gibson B.A. Ed, M.A. (Arts Admin)
80
COPYRIGHT OFFICER - DIGITISATION
Donna Brett BVA
PHOTOGRAPHER - DIGITISATION
Diana Panuccio
CLERK - DIGITISATION
Deborah Jones
GENERAL MANAGER EXHIBITIONS AND
BUILDING MANAGEMENT
Anne Flanagan Dip. Int. Design, Dip. Ed., Dip. Ed.
Vis Arts.
EXHIBITIONS PROJECT REGISTRAR
Anna Hayes B.A., M.A.
PROJECT OFFICER
Erica Drew B.A. (Hons)
EXHIBITIONS ASSISTANT
Stefanie Tarvey
TICKETING SUPERVISOR
Diana Curtis
PURCHASING AND EXPENDITURE
SUPERVISOR
Maria Gutzinger
ACCOUNTING CLERK
Viva Chelvadurai
MANAGER INFORMATION AND
TECHNOLOGY
Maurice Cirnigliaro
M. Bus. (Information Technology)
MANAGER HUMAN RESOURCES
Donna Grubb
HUMAN RESOURCES COORDINATOR
Shirley Dunshea B. Bus.
HUMAN RESOURCES OFFICER
Sean Foyel B. Bus.
MANAGER, ADMINISTRATION AND
STRATEGY
Trish Kernahan
ADMINISTRATIVE SERVICES
OFFICERS
Michelle Berriman Dip.H.E., B.A.
(Hons), Deborah Spek, Adrienne
Vaughan-Smith Dip. Fine Arts
GENERAL MANAGER, BUSINESS
DEVELOPMENT
Jane Westbrook B.A. (Hons), M.A.
COPYRIGHT OFFICER
Cherith Devenish B. Juris., L.L.B.,
B.A. (Hons)
MEMBERSHIP SERVICES MANAGER
Jane Wynter, B.A. L.L.B.
IMAGE REPRODUCTION OFFICER
Alice Livingstone B. Ed, M.A.
MERCHANDISING MANAGER
GALLERY SHOP
Brian Turner
VENUE MANAGER
James Vaughan B. Ec.
BUSINESS DEVELOPMENT
COORDINATOR
Leanne Primmer
DEVELOPMENT MANAGER
Melissa Hankinson M.M.(Arts
Management), BCA
ASSISTANT SHOP MANAGER
Gillian Williamson, B. Sc.
MANAGER, MARKETING
Belinda Hanrahan B.Comm.
SUPERVISOR
Sandra Christie B.A. (Hons). Grad.
Dip. Elec. Imag.
PUBLICITY OFFICERS
Jan Batten, Claire Martin B.A.
(Hons), Dip Marketing,
STOCK & SALES OFFICERS
Rita Briguglio, Bill Burke, Denise
Faulkner B.A (Fine Arts), Dot Kolentsis
Dip. Vis.Art, Grad.Dip.Vis. Art.
Cassandra Willis
TOURISM COORDINATOR
Janelle Prescott
SALES REPRESENTATIVE
Joanna Knight
ADMINISTRATION SERVICES
SUPERVISOR
Louise Fischer B.A., M.A.
MARKETING COORDINATOR
Kylie Wingrave B.A. (Vis. Arts), B.
Comm
WEEKEND COORDINATOR
Jonquil Temple
BOOKINGS/INFORMATION OFFICER
Kerri Coombes
TICKETING OFFICER
Prue Watson
MANAGER, SECURITY SERVICES
George Alamanos
DEPUTY MANAGERS, SECURITY
SERVICES
Jacques Michel, Jeff Browne
SENIOR GALLERY SERVICE OFFICERS
Christine Gracie, Peter Howlett,
Frank Flores
GALLERY SERVICE OFFICER
Hilarion Aldaba, J.P., Freddi Alam,
Arthur Boucas, Alan Boyd, Kevin
Callope, Anthony Caracoglia, George
Caruana, J.P., Ashton Johnston,
Steve Davies, Romeo Domingo, Tony
Fletcher, Terry Forde, David Grech,
Cheryl Gross, Phillip Hill-Travis, Peter
Humphreys, Janak Kadian, B.A.,
Nicholas Karydis, John Kavallaris,
Rayson Light, Ramon Lozada, Patrick
McBride, Jamil Mati, Ray Nguyen,
Trish Noonan, Judy O’Neil, Peter
Rawlins, Sharat Sharma, Jason
Simpson, Suzanne Slavec, Joan
Standfield, Mary Thom, Peter
Tsangarides, Russell Ward, Paul
Woolcock, Heifen Zhu, B. Eng.
SECURITY OFFICERS
Tom Casey, Emilio Cruz, Craig Knott,
Brett Morris, David Paine, JP, Bob
Partridge, Brian Reynolds, Peter
Rozario
MANAGER ENGINEERING SERVICES
Don Alderson
MANAGER BUILDING SERVICES
Phil Johnstone
MAINTENANCE OFFICER
Rob Schumacher
STAFF PUBLICATIONS, PRESENTATIONS AND RELATED ACTIVITIES
PLANT ASSISTANT
Jan Krycki
LIGHTING SUPERVISOR
John Powis
INSTALLATION OFFICERS
Brett Cuthbertson, John Freckleton, Alan Jobson,
Nickoulas Rieth, Simm Steel
STORES OFFICER
Steve Peters, J.P.
SENIOR DISPLAY TECHNICIAN (PAINTING)
Michael Brown
SENIOR DISPLAY TECHNICIAN (CARPENTRY)
Bill Viola
DISPLAY TECHNICIANS (CARPENTRY)
Gary Bennett, Alan Hopkinson, Ram Mudaliar
GENERAL MANAGER FINANCE AND
MANAGEMENT SERVICES
Rosemary Senn, B. Comm., FCPA, MAICD Dip.
PROJECT OFFICER
Jackie Bullions
REGISTRAR (EXHIBITIONS)
Ross Clendinning B. Ed.
MANAGER ACCOUNTING AND SYSTEMS
Ray Lovat M.N.I.A.
REGISTRAR – CATALOGUE & DOCUMENTATION
Jesmond Calleja B.A.
ASSISTANT ACCOUNTANT
Bernadine Fong, B. Bus. (Banking & Finance)
Chiaki Ajioka, (Curator, Japanese Art)
‘Hanga’, Imprint vol.35, no.3, Print
Council of Australia, Spring 2000
‘Hanga’, LOOK, Oct. 2000, AGS
‘Hanga’, Across the Sea, no.38,
Japan Cultural Centre, Sydney, Oct.
2000
‘Death and the samurai’ LOOK
magazine, May 2001
Presentation Access Asia Program
organised by UTS, July 2000
Lunchtime talk ‘Seasons in Japanese
landscape prints’ for Monet & Japan
exhibition, NGA, April 2001
George Alexander (Coordinator of
Contemporary Art and Tertiary
Programmes)
Lecture at Hazlehurst Regional
Gallery on Contemporary Art
Helped selection process for Art
Express
Overview of Contemporary Art in
LOOK Magazine, Sydney.
Lecture for Christie’s group organised
by Robin Wallace-Crabbe
Steering Committee for AAANZ
Conference, “Conducting Bodies”
Catalogue Essay for Rosemary Laing’s
groundspeed (Gitte Weise Gallery)
Catalogue Essay for Victor Rubin’s
Reconciling Images of the
Indigenous (Boutwell Draper Gallery)
Two pieces for HEAT magazine (ed
Ivor Indyk) (Issue #7, Issue #11)
A collaboration for writer and
photographer (which was shortlisted
for the prize) in SIGLO magazine (ed.
Martin Ball & Cassandra Pybus) #13.
A series of five readings broadcast
for the ABC ARTS TODAY Radio
National Program (prod. Michael
Cathcart) on territory, travel and
contemporary Australian art, called
Connecting Flights. (Weekly extracts
broadcast 16– 20 May 2001)
An image and text work for ABADDON
magazine #2 (ed. Andres Vaccari)
Judy Annear (Senior Curator
Photography)
Co-editor (with Ewen McDonald) and
co-ordinator (with Pluto Press &
UTS) of publication What is this thing
called photography? Australian
photography 1975-1985 (book launch
Sept. 1, 2000)
Guest curator, Ulay: Performing Light
restrospective, De Appel, Amsterdam
Oct. 2000
Richard Beresford (Senoir Curator,
European Art pre 1900)
“Getting better: A major painting by
John Everett Millais”, LOOK, June
2001.
“Images of Devotion”, LOOK, April,
2001.
Taught a semester course on The
Materials and Techniques of Old
Master Paintings at the University of
Sydney.
Anthony Bond (Head Curator,
International Art)
Guest Curator for a retrospective of
Peter and Lezlie Tilley at Maitland,
Muswellbrook, Taree and
Campbelltown regional galleries in
2000/2001.
AAANZ Conference papers
Published by Victoria University
Wellington NZ Dec. 2000.
Metaphors of the earth, a paper
presented at Echigo Tsumari
Triennial in Japan on 24 July 2000
and at New England Regional Gallery
3rd September 2000.
Newcastle University 14/7/00
Lecture on German Art after 1945.
(also given to gallery society)
MoS Lecture to Education
Department curriculum group 5/8/00
Interpretation/(re)presentastion: to
theme or not to theme.
Participated in Media City curators
workshops Seoul and delivered a
paper Interpretation/ (re)presentation
4/10/00
Chaired Biennale forum at AGNSW
18/9/00
Horizon Transcendant images from
Turner to Turrell at RLA Conference
University of Sydney 2/2/01.
Curatorial strategies in collecting for
Kings school yr 12 students 7/2/01
Memory and things a lecture for
Newcastle University. 7/3/01
Contemporary collection Themes for
teacher trainers AGNSW. 14/3/01
To Theme or not…. A paper
presented at the AAANZ conference
Brisbane Dec 9th 2000
Launch Refracting vision a Power
publication on Michael Fried at Glebe
books 27/10/00
Present a paper on curatorial themes
connecting British show, Boundary
rider, Body and Trace for High School
teachers. Focus Fest. 11/11/00
Open Leslie and Peter Tilley survey
81
show that I curated at Maitland
Region Gallery 29/10/00
Opening address of Fun Five AGNSW
14/11/00
Open Tin Sheds exhibition on
spiritual in art 2/2/01
Open the exhibition of the Tilleys at
Muswellbrook
Open the exhibition of the Tilleys at
Taree
Dobell exhibition at Newcastle
University Gallery 16/3/01
Open Bashir Makhoul exhibition at
UTS Gallery July 2001-08-20
Launch the Millenium gate by PhilYung Ahn at the 15th anniversary
celebrations for Kwachon city
7/10/00.
M.C. opening of Whitely studio
exhibition 8/9/00
Prepared and served dinner for 100
guests at Echigo Tsumari Triennial's
Australian night 24/7/00.
Treasurer AICA, Australia
(Association Internationale des
critiques d'art)
Member of the executive committee
of AAANZ.
Chair of steering committee for
AAANZ conference 2001.
Industry Partner and investigator for
a major ARC project (SPIRT) in
conjunction with University of
Sydney, Macquarie University and
NAVA.
Committee member of ARCO 2002
Committee with Australia Council
Audience Development Programme.
Member of Advisory Committee to
City of Sydney Sculpture Walk.
Assessor for ARC grants, Fine Arts.
Member of Bundanon Trust
Residency committee.
Member of the University of
Newcastle Faculty of Arts Gallery
Committee.
Member of Advisory panel for ISIS
Art and Science conference Sydney
2001 through COFA NSW University.
External assessor for RMIT, Sydney
College of the Arts and COFA.
Advisor to Broken Hill City Council on
feasibility of Sully building as a new
Regional Gallery site.
Natasha Bullock (Assistant Curator
Photography)
Co-curator (with Sarah Bond), Look
See: five contemporary painters at
Monash University Gallery,
Melbourne. 27 March to 12 May, 2001
and author of catalogue essay
‘Moving through space’.
Co-curator (with Sarah Bond), In the
bag: a contemporary investigation at
Platform, Spencer Street Station,
Melbourne, 4 March to 5 April, 2001.
‘Cutting out the bad bits’, Kate
Cotching, review, LIKE Art Magazine,
Summer 2001
‘Rabbit Drawings (Drawings by Kirsty
Whitten)’, review, LIKE, Art
Magazine, Autumn 2001
82
Jesmond Calleja (Registrar,
Cataloguing and Documentation)
Meet Me in St. Louis? – Or was it the
St. Louis blues, American
Association of Museums Annual
Meeting and MuseumExpo, Spirit of
Community, Journal of the Australian
Registrars Committee, Vol. 37, Winter
Issue, June 2001, pg. 22-28.
Delivering Documentation: Changing
the Face of audience participation,
International Council of Museums,
CIDOC – International Committee for
Documentation newsletter, Vol. 10,
July 2000, pg. 8-11.
National Collecting – Managing the
symptoms and side effects,
Museums Australia Conference,
opening address for the Australian
Registrars Committee seminar,
Kamberra Wine Centre, Lyneham,
Canberra, 23 April 2001.
Chaired Risk Management sessiont,
Australian Registrars Committee
seminar The Balancing Act: Access
and preservation in Museums,
National Gallery of Australia, 5 Oct.
2000.
President of the Australian Registrars
Committee at the Annual General
Meeting, Melbourne, Nov. 2000.
Helen Campbell (Assistant Curator,
Australian Art)
'Out of Sydney: City and hinterlands',
in Australian Art in the Art Gallery of
New South Wales, Art Gallery of
New South Wales, Sydney, 2000,
pp185-186
'Drysdale in focus', Look, July, 2001,
pp22-23
Russell Drysdale: Sunday evening
1941,brochure for Australian Collection
Focus Series no. 10, Art Gallery of
New South Wales, Sydney, 2001
Public talk on Russell Drysdale:
Sunday evening 1941, Australian
Collection Focus exhibition, 27 July
Bronwyn Clark-Coolee ((Education
Officer)
Tutor and Lecturer, Theories and
Histories of Art Practice, Sydney
College of the Arts, University of
Sydney
Johathan Cooper (Manager of
Information, Public Programmes)
Interviewed Canadian tapestry artist
Sola for educational video
production 17 Oct. 2000
Spoke on panel at Microgroove
Conference ("Inclusion and Access in
the Arts", part of the Paralympic Arts
Festival), 25 October 2000
Gave presentation on Dead Sea Scrolls
exhibition and public programmes to
staff at Auckland Museum, New
Zealand, 3 November 2000
Consulted on professional
committee: Disability Awareness
Training for Arts & Cultural
Industries, organised by Accessible
Arts, February – April 2001
Judged Royal Easter Show Art
Competition (Miniatures division) 30
March 2001
Article "La Erotiko de Desegnado"
(The Erotics of Drawing), in Monato
May 2001 (FEL, Antwerp)
Paula Dredge (Conservator,
Paintings)
Lecture to COFA Art History and
Conservation students on paintings
conservation.
A workshop with Richard Beresford’s
Art History Sydney University
students on making pigments.
Collaborative research with Richard
Wuhrer & M.R. Phillips
Microstructural Analysis Unit,
University of Technology, Sydney
looking at paint samples from Claude
Monet, Port-Goulphar, Belle-Ile for
research for Belle-Ile exhibition.
Paper presented at national
conference of Scanning Electron
Microscopy and invited for
publication in journal.
Deborah Edwards (Curator,
Australian Art)
‘Australian Sculpture (Aboriginal and
European)’, 500 word essay, Fitzroy
Dearborn Dictionary of World
Sculpture, Chicago, 2001.
‘Transported/Transplanted. Fiona
Hall. A Folly for Mrs Macquarie’, 2000
word article, Art and Australia,
forthcoming.
Obituary, Robert Klippel, 1, 000 word
article, Sydney Morning Herald, 20
June 2001;
Obituary Robert Klippel, 1,000 word
article, Art and Australia, forthcoming;
Robert Klippel interview, Radio
National, June, 2001.
Member: Sydney City Council
Curatorial Committee, 2000-2001
Australian art aural history/video
project: taped interviews with
Jocelyn Plate, Robert Klippel, Ben
Gascoigne, Diana Medworth, Colin
Lanceley, Rosemary Madigan, Mrs
Jean Campbell, Corinne and Arthur
Cantrill 2000-01
Lecture ‘Master Sculptors: Bertram
Mackennal and Robert Klippel’,
Australian Icons, Sept.2000
Lecture ‘Modernism’, art students,
College of Fine Arts, Sydney, May 2001
Lecture ‘Sydney Modernism’, Art
Gallery Society Diploma series
‘Engaging Australia’, May 2001
Lecture ‘Picasso’s Large Bathers’,
Curator’s Choice lecture series;
‘Renoir To Picasso: Masterpieces
from the Musee de l’Orangerie,
Paris’, AGNSW, June 2001
Seminar paper, ‘Australian Women
Sculptors’, Modern Australian
Women exhibition conference, Art
Gallery of South Australia, Adelaide,
February 2001
Supervisor: COFA Master of Arts
students (2)
Supervisor: student intern
programme – COFA/ UWS (4)
Preparatory research, Curator,
exhibition National Portrait Gallery,
Canberra 2002/3
Louise Fischer (Administrative
Services Supervisor)
Represented the Art Gallery at the
conference of PAINT, a national
project to establish a uniform
recordkeeping system for Australian
art galleries and museums, Canberra,
29 Nov. - 1 Dec. 2000.
Co-hosted the steering committee
meeting of PAINT at the Art Gallery
of New South Wales, 23- 24 April 2001.
Jo Foster, (Co-ordinator Secondary
Schools’ Programmes)
Presented lecture on ARTEXPRESS
to members of Museums Australia
Education Group.
Member of Museums Australia
Education Group
Member of Art Education Society
Consulted regularly with Art Gallery
Focus Groups for Visual Arts and
History teachers.
Liz Gibson, (Public Programmes)
Member, Museums and Galleries
Foundation of NSW Advisory
Committee
Trustee, William Fletcher Trust for
Young Artists
Donna Hinton (Conservator, Objects)
Conducted a series of series of
specialist lectures at the University
of NSW course on Conservation and
Collection Management.
Assisted Campbelltown Art Gallery –
advice regarding cons of bark
paintings.
Vickie Kalocsay (Public Programmes,
Acting Children’s Co-ordinator)
Judged the 2001 Royal Easter Show
children’s art competition
Judged the Gardeners Road Public
School Art Competition.
Consulted regularly with years K-6
Teacher’s Focus Group.
Trish Kernahan (Manager
Administration and Strategy)
Project Manager for the Visitor
Services Agencies joint e-commerce
Portal project.
Hendrik Kolenberg (Senior Curator,
Australian Prints, Drawings &
Watercolours)
‘A tribute to Hector Gilliland’ in Robyn
Martin-Weber (editor) Hector
Gilliland Sydney: Beagle Press, 2000
Lecture, ‘Brett Whiteley’s prints’
Brett Whiteley Studio, Sydney 15
October 2000
Judged ‘Jeffrey Smart figure drawing
award’, National Art School, Sydney
28 November 2001
Judged ‘David Wilson award’, Julian
Ashton Art School, Sydney, 30
November 2001
Opened exhibition ‘George Davis’
Salamanca Collection Gallery, Hobart
13 July 2000
Opened exhibition ‘Australian
identities in printmaking’ Wagga
Wagga Regional Art Gallery, 20
October 2000
Opened the new Adelaide Perry
Gallery (and an exhibition of her
work), Presbyterian Ladies College,
Croydon 1 June 2001
Opened exhibition ‘Salvatore Zofrea,
Appassionata Woodcuts’ Drill Hall
Gallery, Australian National
University 7 June 2001
Brian Ladd (Head, Public
Programmes)
Convenor, National Heads of
Education and Public Programmes
Meeting, AGNSW, 1 September 2000
Member, Curriculum Committee for
new Bachelor of Visual Arts and
Design Course, Australian Catholic
University.
Tour Lecturer, Art Treasures of Spain
and Portugal, for Art Gallery Society,
16 September –11 October 2000
Regular Visual Arts Presenter, ABC
Radio 2BL
Member, NSW Carnivale Council
Spoke on copyright issues at
Museums Australia National
Conference, Canberra, 23 April 2001
Judge, Royal Agricultural Art Society
Art Exhibition
Judge, New Children’s Hospital,
Operation Art Awards
Individual radio interviews about
Gallery exhibitions and events,
2SERFM, 2SM, 2CH, 2MMM, 2JJJ,
2MBSFM, 2ESR.
Yang Liu (Curator of Chinese Art)
“The Discovery of Mass: A Footnote
to the Stylistic and Iconographic
Innovation in Chinese Buddhist
Sculpture”, Orientations, vol. 31,
Sept. 2000.
“The Theme of Fo & Dao: New
Evidence in Northern Dynasties
Religious Sculpture in China”, paper
presented in Taoism and the Arts of
China, Art Institute of Chicago, 2-3
Dec. 2000.
“Images of Mystery: Chinese Bronze
Figures of the late Second
Millennium BCE”, Craft Arts, No.50,
2000.
“Strange Faces from the Bronze Age
of China”, Carter’s Antiques &
Collectables, No. 6, Nov. 2000.
“The Symbolism of Flowers and Birds
in Chinese Painting”, Oriental Art, Vol
XLVI, No. 5, 2000.
“The False Face of an Ancient
Society: Bronze Masks from
Sanxingdui”, TAASA REVIEW, No. 9,
Dec. 2000.
“Leaning upon an Armrest: Gu
Kaizhi’s Vimalakirti and a Popular
Daoist Iconographic Formula”, paper
presented in The Admonition Scroll:
Ideals of Etiquette, Art and Empire
from Early China, British Museum, 15
– 24 June, 2001.
Interview with radio ABC in
Melbourne regarding the exhibition
Fragrant Space, 10 July, 2000.
“Chinese Flower and Bird Painting of
the Ming and Qing Dynasties”, a
lecture delivered at the National
Art School, 9 August, 2000.
Two floor talks on Chinese civilization
to the students from Sydney
University, 13 Oct. 2000.
Lecture on Sanxingdui Bronzes
dilivered to the Tasks Force of the Art
Gallery of New South Wales, 20 Nov.
2000.
Interview with SBS regarding the
exhibition Masks of Mystery, 13 Dec.
2000.
Interview with TVB (Australia)
regarding the exhibition Masks of
Mystery, 5 Jan. 2001
Interview with REUTERS regarding
the exhibition Masks of Mystery, 10
Jan. 2001
Talk on Masks of Mystery presented
at the Art Gallery Society’s function,
22 Jan. 2001
Robyn Louey (Librarian/Cataloguer)
Represented the Art Gallery in
Melbourne at Kinetica (National
Bibliographic Database) annual user
group meeting, 28 & 29 August 2000
Ann MacArthur, (Co-ordinator, Asian
Programmes)
Editor, 1. 'Studies of Asia Programs in
the Arts, Literacy and Civics' at
Linking Latitudes 2001 Studies of Asia
in the School Curriculum Conference
and Fieldwork, Shanghai China April
2001
'Kimono Culture' at National Gallery
of Art, Canberra Lunchtime Lecture
Series
Vice-President, The Asian Arts
Society of Australia
Secretary, Australaian Institute of
Eastern Music
Associate Investigator, 'Museums,
Cultural Diversity and Audience
Development: A Case Study BUDDHA' Strategic Partnerships
with Industry - research and Training
Scheme Grant
Consultant to Association of
Independant Schools on MUGHALS
WARRIORS AND MONUMENTS, a
teacher resource to support the
implementation of Asia-related
history and Civics and Citizenship
units of work in junior secondary
classrooms
Judge Dhammakya International
Society of Australia Children's
Painting Prize
Coordinated Teacher Professional
Development Days in Asian Art for
the Association of Independent
Schools, the Catholic Education
Office, Sydney, the University of
Western Sydney, Nepean and
Access Asia Network groups
Coordinated symposia 'Lands of
Gold' for The Asian Arts Society of
Australia and Dr Kapila Vatsyayan for
theTemenos Foundation
Coordinated 62 Asian artist
workshops for 1800 primary,
secondary and tertiary groups
Directed performance programme
with Chinese Dancing School of
Sydney in conjunction with the
exhibition Masks of Mystery from
China's Ancient Shu Kingdom (18
performances of ancient Chinese
bells and dance)
Conducted visits to and consultations
with Buddhist temples and societies
as part of audience research for the
exhibition BUDDHA Radiant
awakening including Nantien Temple,
Wollongong; Dhammakaya
International Society of Australia,
Burwood; Wat Pa Buddharangsee,
Leumeah; Cambodian Buddhist
Society of New South Wales,
Cabramatta; Phuoc Hue Temple,
Wetherill Park; Tien Hau Temple,
Canley Vale; Wat Phrayortkeo
Dhammayanaram, Edensor Park;
Nantien Temple, Parramatta; Hwa
Tsang Monastery, Homebush West;
Buddhanet; the Buddhist Library,
Sydney Zen Centre; Vajrayana Institute
Jackie Menzies (Head Curator,
Asian Art)
Devised and implemented 26 week
lecture course 'The Arts of
Buddhism' for VisAsia; involvement
in the structure and launch of
VisAsia; member of Board of VisAsia,
as well as continuing membership of
Nicolson Museum Committee and
Morrissey Bequest Committee,
University of Sydney. President of The
Asian Arts Society of Australia
(TAASA) until retirement in March 2001.
Opened various events and
exhibitions including the Sydney
International Antiques Fair at the
Showground; 'un-finished business'
(Noelene Lucas and Debra Porch) at
Casula Powerhouse Arts Centre; the
Oriental Painting Society of Australia.
Hosted VisAsia luncheon for visiting
Vietnamese delegation from Danang.
Lectured to many groups at gallery
and elsewhere, including Gallery
guides, COFA Museum Studies
students, and Australia-Japan Group;
liaised with various community
groups in regard to Buddhist
activities; examiner of doctoral
thesis.
Industry partner team member for
Strategic Partnerships with Industry
for Research and Training (SPIRT)
with the University of Western
Sydney, for research into audience
development.
Steven Miller (Archivist)
“An Artist for all Seasons,” Look,
July 2000, p.14.
“The Sydney Camera Circle,” Look
April 2001, p.15.
“Artists’ books,” Look May 2001, p.14.
Public lecture on ‘The Rediscovery of
Manuscripts and the Realignment of
Thought,” as part of Dead Sea
Scrolls Lecture Programme, 6 Sept.
2000.
Public lecture on ‘Holman Hunt’s
Light of the World’ to celebrate
dedication of John and Julie
Schaeffer courts at the Art Gallery of
New South Wales, 20 Nov. 2000.
Lecture on ‘Christmas cards by
Australian artists’ to Art Gallery
Society, 27 Nov. 2000.
Lecture to Photography Collection
Benefactors on ‘The Sydney Camera
Circle,’ 27 March 2001
Lecture to students of Museum
Management Diploma, University of
NSW, on role of the Art Gallery’s
Archive, 11 May 2001.
Represented the Art Gallery as one
of four members on the Advisory
Panel for the New South Wales
Centenary of Federation of Grants
Programme, administering the
Archiving, Cataloguing and
Preservation of Historical Materials
Grants.
Made official visit to the James
Hardie Fine Arts Library, State Library
of Queensland, as part of a survey of
Australian art libraries, Brisbane,
July 2000.
Represented the Art Gallery at the
conference of PAINT, a national
project to establish a uniform
recordkeeping system for Australian
art galleries and museums, Canberra,
29 Nov. - 1 Dec. 2000.
Co-hosted the steering committee
meeting of PAINT at the Art Gallery
of New South Wales, 23- 24 April
2001.
Represented AGNSW in Perth on the
occasion of the visit of
Sydney’s Blake Prize to that city and
gave two public lectures in
connection with the exhibition, 16 &
17 June 2001.
Barry Pearce (Head Curator,
Australian Art)
Visited Tweed Heads Regional
Gallery re exhibition loans from
Australian collection, 22 July 2000
Couriered paintings back from
Guggenheim Gallery, New York,
having given informal talk on 19th
century Australian art to staff, 11 - 17
September
Opened Robert Barnes retrospective,
Newcastle Region Art Gallery, 6
October, 2000
Keynote lecture on Donald Friend for
two-day Donald Friend conference to
mark the publication of his diaries,
National Library of Australia,
Canberra, 23 Feb. 2001
Attended opening of new Museum of
Australia, Canberra, 11 March 2001
Attended and gave speech at official
opening of Tom Roberts Festival,
Inverell, Inverell Art Gallery, 27 April
2001 and gave major public lecture
on the artist at the Gallery, 28 April
2001
Visited Lake Macquarie Regional Art
Gallery with Premier's Department
delegation to attend inaugural
exhibition of the Gallery, 14 June 2001
Hetti Perkins, (Curator of Aboriginal
and Torres Strait Islander Art)
‘Covering Ground: The Corporeality
of Landscape’, (with Hannah Fink,)
Art in Australia, Olympic Issue, Vol
38 No 1, Sept. 2000. pp.75-83
‘Papunya Tula: Genesis and Genius’
(with Ken Watson) Australian Art
Collector, Issue 13, July-Sept. 2000
83
Peter Raissis (Curator, European
Prints, Drawings & Watercolours)
Conducted tutorials for first-year art
history students, University of
Sydney, on European Old Master
paintings at AGNSW. Oct. 2000
Lecture to Sydney Medieval and
Renaissance Society on European
paintings at AGNSW. Nov. 2000
Anne Ryan (Assistant Curator,
Australian Prints, Drawings &
Watercolours)
Australian prints for group of
American printmaking students 30
Jan. 2001
Australian prints for AGNSW Teacher
Lecturers 6 March 2001
Colonial Australian prints, drawings
& watercolours for University of
Sydney Fine Arts Honours class 12
April 2001
Printmaking techniques for University
of Sydney Fine Arts Honours class 27
April 2001
Australian prints and drawings in the
AGNSW collection 1st Year UNSW
College of Fine Arts Art History &
Theory 11 May 2001
Co-judge Waverley Art Prize 4 July
2000
Judge, inaugural COFA Alumni Works
on Paper Prize, UNSW College of
Fine Arts 12 June 2001
Co-judge for ‘Emerging artists’ at the
Sydney International Works on
Paper Fair 12 June 2001
Judge, Fairfield Art Prize – 21 June
2001
Spoke at the Official Opening of the
Hastings District Regional Art
Gallery, Port Macquarie, NSW 12
Oct. 2000
Opened Canson Student Printmaking
Award, UNSW College of Fine Arts 20
Nov. 2000
Opened exhibition Blueprint, Blue
Mountains printmakers at Gallery
Lane, Leura NSW 3 Feb. 2001
Malgorzata Sawicki (Senior
Conservator, Frames)
The Visit of the Queen of Sheba to
King Solomon’ by Edward Poynter,
1884-1890. The frame revisited. –
AICCM Bulletin.
Research into Non-traditional Gilding
Techniques as a Substitute for
Traditional Matt Water Gilding
Method. - Preprints of the 13th
Triennial Meeting of the ICOM
Committee for Conservation, Rio de
Janeiro, Brazil, Sept. 22-28, 2002.
Compensation of Losses on Gilded
Surfaces – Review of Current
Methods and Practices – presented
at the AICCM Gilded Objects
Conservation Special Interest Group
84
seminar on the Compensation of
Losses in Gilded Surfaces: In-gilding
and In-painting Using Traditional and
Modern Materials and Methods,
Town Hall, Melbourne, 9 Oct. 2000.
Research into Non-traditional Gilding
Techniques as a Substitute for
Traditional Matt Water Gilding
Method. – presented at the AICCM
Gilded Objects Conservation Special
Interest Group seminar on the
Compensation of Losses in Gilded
Surfaces: In-gilding and In-painting
Using Traditional and Modern
Materials and Methods, Town Hall,
Melbourne, 9 Oct. 2000.
Research into Non-traditional Gilding
Techniques as a Substitute for
Traditional Matt Water Gilding
Method. – presented at the
Conservation of Gilded Wooden
Objects course, the Te Papa
Museum, Wellington, New Zealand,
29-2 Feb. 2001.
Research into Non-traditional Gilding
Techniques as a Substitute for
Traditional Matt Water Gilding
Method – PhD research project,
University of Western Sydney
Nepean – continuing.
Interview for the Polish TV regarding
1999 Conservator of the Year award.
– Nov. 2000.
Interviews for the SBS Polish Radio
on the Gallery’s exhibitions:
Providing training to Ms Anke
Schmitt, a third year polychrome
sculpture conservation student at the
University of Applied Science in
Hildesheim, Germany.
Theory research group, Faculty of
the Built Environment, University of
New South Wales.
Images of Empire: the vision of the
British Raj. Lecture in the Arts of
Asia lecture series, Aug.2000.
Collection focus exhibition and
member of the organising committee
for the symposium Lands of Gold,
October 2000, held in conjunction
with The Asian Arts Society of
Australia.
Co-ordinated Treasures from the Hoi
An hoard. Workshops on Vietnamese
ceramics, held in conjunction with Ebay and The Asian Arts Society of
Australia. Oct. 2000.
The intervention of ornament.
Preliminary research paper for postgraduate research group,
Department of History, University of
Sydney. Nov. 2000
The life of the Buddha Shakyamuni.
Lecture in the Arts of Buddhism
lecture series, March 2001.
“Indian Painting” in LOOK, March
2001, p20-1.
Susan Schmocker (Head Librarian)
Paper presented at ARLIS/ANZ
conference in Canberra, 19-22 Oct.
2000.’Security in Art Libraries: a
balancing act of access and
preservation’.
Lecture to students of Library and
Information Management, Charles
Sturt University, on role of Research
Library and Archive, Oct., 2000.
Chair of ARLIS/ANZ, NSW Chapter.
Wayne Tunnicliffe (Curator of
Contemporary Australian Art )
Curatorial Residency at the Tate
Gallery, London and travelling until
Nov. 2000.
Contemporary Australian Art, lecture,
Tate Britain, London, July 2000
Nude Salon Art Prize Judging,
Sydney Gay and Lesbian Mardi Gras,
Feb. 2001
Contemporary Collection lecture,
Asprey/Powers, Feb. 2001
Cite des Arts Paris Studio Judging,
June 2001
Sentimental flowers and amorous
bouquets, Renoir to Picasso Public
Lecture, June 2001
Haema Sivanesan (Co-ordinator,
Centre for Asian Art Studies)
Member of Management and Events
committees, The Asian Arts Society
of Australia.
Member, History and Theory
Research Group, Faculty of the Built
Environment, University of New
South Wales.
Co-ordinator, Arts of Asia 15th –20th
century, Feb.-Nov. 2000.
Co-ordinator, Arts of Buddhism
lecture series, March – Oct. 2001.
(Hi)stories in Indian architecture.
Paper presented for the History and
Kay Truelove (Senior Librarian,
Technical Services)
Represented the Art Gallery in
Melbourne at Kinetica ( National
Bibliographic Database) annual user
group meeting, 28 & 29 August 2001.
Represented the Art Gallery at
Kinetica focus group meeting at
State Library of NSW, May 2001.
Represented Art Gallery at the Data
Library (Library’s software) annual
user group meeting, 20.April 2001.
Michael Wardell (Co-ordinator of
Curatorial Services)
‘Ailment, argot, and artifice in the
work of Farrell & Parkin’ Seminar
paper for Liminal Body Symposium
organised by Australian Centre of
Photography and the University of
NSW to be held at the College of Fine
Arts. 9 Sept. 2000.
Introduced René Block’s lecture
Fluxus Music – The everyday Event.
AGNSW,
Television interview, ABC Coast to
Coast for their profile on Howard
Taylor
Organised The Barbara Blackman
Temenos Foundation Lecture
Clement Salaman Marsilio Ficino:
Man of the Millennium AGNSW
Selected successful applicants for
The 2000 Dyason Bequest. August
2000
Member of judging panel for the
Moya Dyring Studio & Dr Denise
Hickey Memorial Studio,
Cité Internationale des Arts, Paris.
Member of the Judging panel for The
Basel and Muriel Hooper
Scholarship.
Member of the Judging panel for The
Eliot Gruner Prize.
AGNSW representative in the
Regional Consultation Group set up
by the Museums and Galleries
Foundation.
AGNSW representative in the Arts
Portfolio Centenary of Federation
taskforce set up by the NSW Ministry
for the Arts.
AGNSW representative in the
Heritage Collections Committee set
up by the NSW Ministry for the Arts.
Steering Committee for AAANZ,
NSW Chapter, Conference,
Conducting Bodies: Affect, & Memory.
Ken Watson (Assistant Curator of
Aboriginal and Torres Strait Islander
Art)
‘Papunya Tula: Genesis and Genius’
(with Hetti Perkins) Australian Art
Collector, Issue 13, July- Sept. 2000
Vivienne Webb (Assistant Curator,
Australian Art)
Lecturer for the course ‘Approaches
to Australian Art’ at College of Fine
Arts, University of New South Wales,
March – June 2001
‘Les Sauvages de la Mer Pacifique:
an Australian view’ in The wallpaper
history review, 2001
Member of judging panel for the
Warringah Art Prize, 2 July 2000
Supervision of student interns from
COFA, University of NSW and the
University of Western Sydney
Natalie Wilson (Assistant Curator,
Australian Art)
Floor talk, ‘Melbourne art in the 1930s
and 1940s’, in conjunction with the
exhibition Albert Tucker: Australian
Gothic at S.H. Ervin Gallery, 4 March
2001
ADMINISTRATIVE AND STATUTORY ITEMS
CODE OF CONDUCT
The Code of Conduct was reviewed
in 2001 and an updated version is
now in place at the Art Gallery. A full
copy of the revised code appears as
a separate appendix.
COPYRIGHT
The Art Gallery clears copyright for
hundreds of images every year,
which are reproduced in exhibition
catalogues, education kits,
promotional material and shop
merchandise. Developing more of
our exhibitions in-house has also
increased the volume of copyright
clearances required. The increasing
use of the Internet and electronic
delivery of services will pose further
challenges on copyright issues,
which will need to be addressed. A
policy document covering copyright
and image reproduction activities
was developed within the Art Gallery.
A licence initiative is being
negotiated with Viscopy covering
permissions use of images on our
website.
In the coming year, the Art Gallery
together with other State galleries,
will work towards national
standardisation of copyright policy.
ELECTRONIC SERVICE DELIVERY
The Art Gallery’s website
(www.artgallery.nsw.gov.au)
provides up to date information on
exhibitions and events, publications,
organisation structure, annual report,
membership category details and
provides access to the Collection
and Research Library databases.
Search capabilities enables user
ease of access to database
information not previously available
to the public. Users can sign up to
received regular e-newsletters. The
Art Gallery progressed a joint ecommerce portal initiative in
conjunction with the Royal Botanic
Gardens, Centennial Parklands and
Tourism New South Wales. This
system will be launched in
September, 2001 enabling our
Internet customers to purchase
merchandise, book tickets for events,
apply for venue hire or join one of
our membership programs. These
initiatives also ensures compliance
with the NSW Government’s
Electronic Service Delivery
requirements.
ENERGY MANAGEMENT
Energy management of both
electrical and gas supply is being
monitored constantly to identify
usage anomalies. Ongoing
programmes for the building
management control system are in
place to achieve savings in
consumption. However, power costs
have risen due to increased rates for
electrical supply negating
consumption savings.
The monitoring and regular
maintenance to the gas fired boilers
and steam generators has kept gas
consumption to contracted levels
with no additional charges.
GST IMPLEMENTATION
Training of staff and upgrade to
systems were undertaken in timely
fashion to enable a smooth cut-over
on 1 July. All registrations for GST
and related tax reforms were
undertaken on behalf of all the Art
Gallery entities as a group, although
each one is registered individually.
The Art Gallery submitted its
Business Activity Statement
electronically. An audit of the GST
compliance indicated a fully
satisfactorily implementation.
INDUSTRIAL RELATIONS
There were no major industrial
disputes with minor issues being
resolved satisfactory, one with the
assistance of legal counsel. No time
was lost due to industrial disputation.
INFORMATION TECHNOLOGY
During the year, the Art Gallery’s ‘help
desk’ and network management was
undertaken through an outsourcing
agreement in conjunction with three
other government entities. Whilst the
performance of the network has been
satisfactory recently, its potential to
significantly impact the productivity
of the Art Gallery, has prompted the
decision to bring the function in-house
when the contract expires in August
2001.
With fast technological change,
there is a need to increase the level
of investment in the IT infrastructure.
The Art Gallery submitted its IT
Strategy Plan to the Office of
Information Technology and is
working closely with them to secure
funds to enable the implementation
of the plan.
OCCUPATIONAL HEALTH & SAFETY
No. of work related injuries:
9
No. of work related illnesses:
1
Prosecutions under the
OH&S Act, 1983:
Nil
PAYMENT PERFORMANCE
AGED CREDITOR ANALYSIS AT THE END OF EACH QUARTER - 2000/2001
Quarter
September Quarter
December Quarter
March Quarter
June Quarter
Current (ie
within due
date)
Less than
30 days
overdue
Between 30
and 60 days
overdue
Between 60
and 90 days
overdue
More than
90 days
overdue
$
$
$
$
$
619,649
623,501
642,248
982,612
5,742
3,077
-
17
16,402
3,135
574
2,063
-
-
ACCOUNTS PAID ON TIME WITHIN EACH QUARTER
TOTAL ACCOUNTS PAID ON TIME
Quarter
September Quarter
December Quarter
March Quarter
June Quarter
Target%
100
100
100
100
Actual %
100
100
99.68
100
TOTAL AMOUNT PAID
$
$
3,510,205
3,166,450
3,864,301
2,064,328
3,510,205
3,166,450
3,876,707
2,064,328
There was no instance where penalty interest was paid
PRIVACY MANAGEMENT PLAN AND
PERSONAL INFORMATION
The Art Gallery has developed a
Privacy Management Plan in
response to Section 33 of the
Privacy and Personal Information
Protection Act 1998. This Act aims to
protect individuals against the
inappropriate collection, storage, use
and disclosure of personal
information by NSW Public Sector
Agencies. The Plan outlines how the
Art Gallery complies with the Act. For
information on the Plan, contact the
Privacy Contact Officer, Human
Resource Services, Art Gallery of
New South Wales, Art Gallery Road,
The Domain, Sydney, NSW 2000,
phone (02) 9225 1795 or fax
(02) 9221 6226.
RECORDS MANAGEMENT
The Art Gallery took an active role in
a national galleries and museums
records management project
(“PAINT”), which during the year
developed a standard thesaurus and
will continue next year with the
development of a standard disposal
schedule. This initiative ensures the
Art Gallery’s compliance with State
Records Act, 1999 requirements.
magazines amongst those items
being recycled. Approximately 58%
of primary paper products are
recycled equating to 2.5 tonnes of
paper per year. Approximately 50% of
packaging is recycled. The Art
Gallery purchases recycled general
paper items and Envirocopy
photocopying paper. The Art Gallery
has an arrangement with the
Children’s Cancer Council to collect
toner cartridges for recycling. The
Conservation Department sends off
cuts of wood and materials to Long
Bay Gaol for use by prisoners in
recreational activity. The Gallery
Shop and the Research Library reuse
cardboard boxes for packaging for
orders and interlibrary loans. Saff are
encouraged to use the White and
Yellow pages on the Internet which
has reduced our requirements for
telephone books by 50%. The Art
Gallery also functions as a venue
with catering on-site. Soft drinks and
juices are purchased in recyclable
glass containers and a number of
suppliers already deliver products in
refillable containers. The catering
company, recycles all glass bottles.
USE OF CONSULTANTS
In the past financial year, the Art
Gallery spent $140,816 engaging
sixteen consultancies. No consultancy
firm was paid more than $30,000.
WASTE REDUCTION AND
PURCHASING STRATEGIES
The Art Gallery’s commitment to the
reduction of waste products has
seen paper recycling baskets
situated in every department with
general office paper, newsprint and
85
EEO STATISTICS
from the Gallery Shop. The Art
Gallery also publishes a bi-monthly
bulletin and monthly calendar of
events free of charge.
REPRESENTATION OF EEO GROUPS WITHIN SALARY LEVELS
(as at 30 June 2001) Numbers used reflect equivalent full time (EFT) staffing numbers.
Total Staff
(number)
Below $26,802
$26,802 – $39,354
$38,356 – $49,799
$49,800 – $64,400
Greater than $64,400
(non-SES)
SES
Total
Respondents
Men
Women
Aboriginal & Torres
Strait Islander People
People from
racial, ethinic,
Ethno-religious
minority groups
People whose
language first
spoken as a child
was not English
People with a
disability
0%
93%
95%
100%
100%
0%
59%
40%
34%
57%
0%
41%
60%
66%
43%
0%
3%
2.5%
2.3%
4.8%
0%
35%
30%
23%
19%
0%
26%
28%
23%
14%
0%
1%
3%
0%
0%
0%
0%
0%
0%
0%
1
100%
100%
0%
0%
0%
0%
0%
0%
193
96%
49%
51%
3%
29%
24%
1%
0%
REPRESENTATION OF EEO GROUPS BY EMPLOYMENT BASIS
(as at 30 June 2001). Numbers used reflect head count of staff.
Staff
Responding
to EEO data
form
Men
Women
Aboriginal & Torres
Strait Islander People
People from
racial, ethinic,
Ethno-religious
minority groups
People whose
language first
spoken as a child
was not English
People with a
disability
People with a
disability requiring
adjustment at work
Permanent Full-time
Permanent Part-time
Temporary Full-time
Temporary Part-time
SES
Casual
155
14
7
17
1
26
98%
100%
86%
76%
100%
88%
59%
14%
14%
0%
100%
33%
41%
86%
86%
100%
0%
66%
2%
7%
0%
8%
0%
0%
30%
14%
33%
31%
0%
18%
25%
14%
17%
31%
0%
12%
1%
0%
0%
0%
0%
1%
0%
0%
0%
0%
0%
0%
Total
Estimated
Sub Group Total
219
95%
47%
53%
2%
27%
22%
1%
0%
208
103
116
4
59
48
2
0
STAFF PROFILE
Average over 12 months
Numbers used reflect equivilent full time (EFT) staff numbers.
Building and Security Services
Curatorial Services Staff
Curatorial Staff
Exhibitions / Display
Corporate Services
Commercial Services
Marketing
Total
EFT
30/6/99
58
42
26
19
19
14
8
EFT
30/6/00
63
42
26
19
19
15
9
EFT
30/6/01
61
43
25
20
18
13
13
186
193
193
FREEDOM OF INFORMATION – STATEMENT OF AFFAIRS
The following Statement of Affairs is
presented in accordance with the
Freedom of Information Act, 1989,
section 14 (1) (b) and (3). The Art
Gallery's (FOI Agency No. 376)
statement is correct as at 30 June
2001
The Art Gallery received two formal
requests for information under the
Freedom of Information Act, 1989
during 2000-2001. No requests were
86
carried over from the previous
financial year. One request was
withdrawn and the second request
was completed. Both requests were
classified as “other” requests.
The Art Gallery regularly receives
representations from the public
concerning its operations. The
Gallery endeavours to make the
collection and associated
information as accessible to the
public as is possible. The Art Gallery
welcomes public interest and
participation in its activities.
DOCUMENTS HELD BY THE ART
GALLERY
Art Gallery of NSW Act, 1980;
Accounts Manual; Agendas and
Minutes of Meetings; Collections
Management Policy; Administrative
Procedures Manuals; Education
Policy; Annual Report; Exhibitions
Resource Manager, Art Gallery of
New South Wales, Art Gallery Road,
The Domain, Sydney NSW 2000.
Arrangements can be made to obtain
copies of documents, or to inspect
People with a
disability requiring
adjustment at work
0
85
42
44
21
Total Staff
FOI PROCEDURES
Applications for access to Art Gallery
documents under the Freedom of
Information Act should be made in
writing and directed to: Human
Policy; EEO Annual Report; Copyright
Policy; Filming & Photography Policy;
Corporate Plan; Financial reports;
Human Resources Policies;
Ministerial Correspondence
DOCUMENTS AVAILABLE FOR
PURCHASE
The Art Gallery publishes a range of
catalogues and books. The
publication prices are continually
reviewed and prices are available
them by contacting the Human
Resource Manager on telephone (02)
9225 1795.
CODE OF CONDUCT
Staff of the Art Gallery of New South
Wales will perform their duties with
the highest standards of personal
integrity and honesty.
Staff at all times will be aware of
their responsibilities to:
• Care for and ensure the safety of
the collections.
• Provide a timely and competent
service to all members of the public.
• Support their colleagues and coworkers in a responsible and ethical
manner.
• Support implementation of
government policy, effectively and
impartially.
Staff have the normal rights of
employees, under common law and
within the provisions of legislation.
CONFLICT OF INTEREST
Staff should avoid private, financial
or other interest or undertaking that
could directly or indirectly
compromise or conflict with the
performance of their duties.
In many cases, only the individual
person will be aware of the potential
for conflict. The onus is therefore on
individuals to notify senior officers if
a potential or actual conflict of
interest arises.
Example: A staff member is selected
to participate on a selection
committee, knowing that a family
member has applied for the position.
Solution: The staff member should
declare their relationship regarding
the applicant to the Convenor of the
panel, and if appropriate, withdraw
from the Selection Committee.
ACCEPTANCE OF GIFTS OR BENEFITS
Staff should not accept a gift or
benefit if it could be seen by the
public, knowing the full facts, as
intended or likely to cause
individuals to do their job in a
particular way, or deviate from the
proper course of duty. Common
sense and a professional approach
must be applied in all circumstances
where gifts, hospitality,
entertainment or other benefits are
offered
All offers of gifts or benefits made
either directly or indirectly to a staff
member are to be reported to the
relevant General Manager. The
General Manager is responsible for
keeping a list of gifts accepted by
staff at the Art Gallery.
Example: There are frequent
attempts by suppliers of goods and
services to government to “sweeten
a deal” by offering gifts or benefits,
which may include expensive
function tickets or other expensive
gifts.
Solution: If such an offer is made, the
staff member must report the entire
incident to the relevant General
Manager and action taken to exclude
the supplier from further dealings
with the Art Gallery.
Example: Staff undertaking
negotiations involving overseas
governments or organisation may
experience the custom of gift
exchange as part of a cultural
approach to business dealings. Under
most circumstances, it would cause
offence to refuse to exchange gifts.
Solution: The local customs are
observed and all such gifts are
reported to the relevant General
Manager. Generally, gifts of
significance become Art Gallery
property.
PERSONAL AND PROFESSIONAL
BEHAVIOR
Staff should perform all duties
associated with their positions
diligently, impartially,
conscientiously, in a civil manner and
to the best of their ability.
In the performance of their duties
staff should:
• Act in such a way that the Art
Gallery will be held in high regard by
the community.
• Concern themselves with the safety
of the collections at all times.
• Provide all necessary and
appropriate assistance to members
of the public, in particular,
information about the Art Gallery and
its collections.
• Treat members of the public and
other staff members with courtesy
and with sensitivity to their rights.
• Keep up to date with advances and
changes in their area of expertise.
• Comply with relevant legislative,
industrial and administrative
requirements.
• Maintain adequate documentation
to support decisions.
• Strive to obtain value for Art Gallery
money spent and avoid waste and
extravagance in the use of Art
Gallery resources.
• Not take or seek to take improper
advantage of official information
gained in the course of employment.
Staff should not harass or
discriminate in work practices on the
grounds of sex, marital status,
pregnancy, age, race, colour,
nationality, ethnic or national origin,
physical or intellectual impairment,
sexual preference, or religious or
political conviction when dealing
with their colleagues and members
of the public. All staff should
understand and apply Equal
Employment Opportunity principles.
should only disclose other official
information or documents acquired
in the course of employment when
required to do so by law in the
course of duty, when called to give
evidence in court, or when prior
approval has been given by the
Director.
FAIRNESS AND EQUITY
Staff should deal with all matters in
accordance with approved
procedures, promptly and without
discrimination. There is an obligation
to treat every issue reasonably and
fairly and with a view to meeting the
principles of natural justice.
USE OF OFFICIAL FACILITIES AND
EQUIPMENT
It is expected that staff will be: • Efficient and economical in the use
and management of Art Gallery
resources.
• Scrupulous in the use of Art Gallery
property and services and not permit
abuse by others.
Art Gallery facilities and equipment
should only be used for private
purposes when official permission
has been given.
GUIDE TO ETHICAL DECISION
MAKING
The following five points should be
used by staff as a measure of the
ethical content of decisions.
Is the decision or conduct lawful?
Is the decision or conduct consistent
with government policy and in line
with Art Gallery objectives and
values?
What will the outcome be for the
decision maker, their colleagues, the
Art Gallery and other agencies?
Do these outcomes raise a real or
apparent conflict of interest or lead
to private gain at public expense?
Can the decision or conduct be
justified in terms of the public
interest and would it withstand
public scrutiny?
PUBLIC COMMENT AND THE USE OF
OFFICIAL INFORMATION
Public comment includes public
speaking engagements, comments
on radio and television and
expressing views in letters to
newspapers or in books, journals or
notices or where it might be
expected that the publication or
circulation of the comment will
spread to the community at large.
Whilst staff, as members of the
community, have the right to make
public comment and to enter into
public debate on political and social
issues, there are some
circumstances in which public
comment is inappropriate. These
circumstances would be where there
is an implication that the public
comment, although made in a private
capacity, is in some way an official
comment of the Art Gallery or the
Government.
Staff can disclose official
information, which is normally given
to members of the public. Staff
OUTSIDE EMPLOYMENT
The prior approval of the Director is
required before staff of the Art
Gallery may engage in any form of
paid employment outside their
official duties.
In all cases when outside employment
is considered, staff should give their
Art Gallery employment first
consideration, and no work for
personal financial gain should be
undertaken it if conflicts with the
purposes of the Art Gallery or could
raise doubts over their professional
integrity or could given rise to a
situation of conflict of interest.
POST SEPARATION EMPLOYMENT
Staff members are advised that they
need to avoid offers of employment
that require the use of confidential
Art Gallery information or intellectual
property. Former employees are not
entitled to use confidential
information gained while employed
by the Art Gallery. Staff members
must be careful in their dealings with
former employees and ensure that no
confidential information is passed on,
particularly information that may
benefit former employees.
POLITICAL PARTICIPATION
Staff have the right to engage in
political activity so long as this
activity does not take place during
normal working hours and Art Gallery
policy is not violated or
compromised.
Participation in political matters
should not bring staff into conflict
with their duties with the Art Gallery
and if such a conflict does arise, the
staff member may have to either
87
cease political activity or withdraw
from areas of duty where the conflict
of interest arises.
THE GALLERY COLLECTIONS
Staff with responsibility for the
collections should ensure that all
artworks accepted either temporarily
or permanently, are acquired in
accordance with the established
procedures of the Art Gallery and are
properly and fully documented.
Staff should allow scholars access to
the collections of the Art Gallery,
subject to there being no possibility
of damage being caused to artworks.
Staff employed to conduct scholarly
research related to collections
should recognise that there is an
obligation to make available to the
Art Gallery the results of that research
within a reasonable time after
completion of the work, or during the
process of that research if appropriate.
REPORTING OF CORRUPT CONDUCT,
MALADMINISTRATION AND
SERIOUS AND SUBSTANTIAL
WASTE OF PUBLIC RESOURCES
These issues are dealt with in a
separate policy – “Corruption
Prevention Policy” – available on the
common Policy directory network
site. If a staff member believes that
they have information relating to
these areas, they may make a
protected disclosure under the
Corruption Prevention Policy. The
nominated Disclosure Officers
include: The Disclosure Co-ordinator –
Rosemary Senn - 9225 1716
General Manager, Curatorial
Services – Tony Bond - 9225 1786
General Manager, Building and
Exhibitions – Anne Flanagan – 9225
1799
Human Resources Manager – Donna
Grubb – 9225 1795 or
The Director Edmund Capon.
If a staff member would feel more
comfortable providing information to
an external authority they may do so
to the following organisations: For corrupt conduct, the Independent
Commission Against Corruption can
be contacted on 02 9318 5999 or
freecall 1800 463 909.
For maladministration, the NSW
Ombudsman can be contacted on
9286 1000 or Freecall 1800 451 524.
For serious and substantial waste of
public resources, the Auditor
General’s Office can be contacted on
9285 0155.
RELEVANT LEGISLATION
All staff should be familiar or at least
aware of the following legislation:
Anti-Discrimination Act 1977;
Crimes Act 1900;
Freedom of Information Act 1989;
Independent Commission Against
Corruption Act 1988;
Industrial Relations Act 1996;
Occupational Health and Safety Act
1983;
Ombudsman Act 1974;
Privacy and Personal Information Act
1998;
Protected Disclosures Act 1994
Public Finance and Audit Act 1983;
Public Sector Management Act 1988;
State Records Act 1998; and
Art Gallery of New South Wales Act
1980.
FURTHER INFORMATION
For further information about the
Code of Conduct please speak to
your Manager, General Manager or
contact Human Resources staff.
Mr Peter Raissis
3 March to 15 June 2001
France and Austria
Undertake 3 month internship at the
Musee du Louvre.
Mr Brian Turner
20 March to 10 April 2001
UK and France
Attend Book Fair and buy in titles for
major exhibitions.
Ms Ann MacArthur
14 to 25 April 2001
China
Present paper at Linking Latitudes
2001: Shanghai and China.
Ms Judy Annear
27 May to 17 June 2001
Japan and Europe
Resolve content and logistics of Man
Ray exhibition.
Ms Erica Drew
4 to 17 March 2001
UK, France, Singapore
Courier return of vintage photos from
World Without End exhibition and
discuss future exhibitions.
Ms Paula Dredge
20 to 30 March 2001
UK and France
Act as Courier for Fire’s on by Arthur
Streeton to V & A Museum, UK and
inspect works for Belle Ile exhibition
in France.
Mr Jesmond Calleja
5 to 10 May 2001
USA
Attend American Association of
Museums Annual Meeting and
MuseumExpo.
Mr Tony Bond
5 June to 6 July 2001
Europe and Thailand
Accompanying Contemporary
Collection Benefactors to Venice
Biennale and Basle Art Fair.
Ms Ursula Prunster
11 to 24 May 2001
France
To promote the Gallery’s forthcoming
Belle Ile exhibition.
Mr Alan Lloyd
12 to 22 June 2001
Europe and Singapore
Courier Femme nue dans un rocking
chair by Picasso.
Ms Gillian Williamson
17 to 23 May 2001
USA
Attend Museum Store Association
Conference.
Dr Liu Yang
15 to 24 June 2001
UK
Present paper at symposium Taoism
and the Arts of ChiGu Kaizhi’s
Vimalakirti.
Ms Anna Hayes
6 to 14 March 2001
USA
Courier return works of art on loan
for World Without End exhibition.
Mr Stewart Laidler
16 to 29 March 2001
Spain and UK
Courier delivery of Femme nue dans
un rocking chair by Picasso to
Madrid.
Mr Alan Lloyd
22 March to 3 April 2001
China
Condition check return of works on
loan for Masks of Mystery exhibition.
Mr Edmund Capon
26 to 28 March 2001
Hong Kong
Negotiate major exhibition on Gusta.
OVERSEAS TRAVEL SUMMARY
IMPLEMENTATION OF ROYAL COMMISSION INTO ABORIGINAL DEATHS IN CUSTODY
Mr Richard Beresford
22 June to 14 August 2000
UK, France, Holland, Belgium,
Germany, Switzerland, USA
Finalise negotiations for Claude to be
held in early 2003
Dr Chiaki Ajioka
26 September to 5 October 2000
Japan
Condition check works of art for
exhibition Hanga: Japanese Creative
Prints.
Ms Paula Dredge
30 June to 12 July 2000
USA
To act as courier for return of The
Widower by Tissot from Yale Centre
for British Art
Mr Edmund Capon
29 September to 4 October 2000
Hong Kong and Vietnam
To negotiate first exhibition of
medieval Vietnamese art to be sent
out of that country.
Ms Jackie Menzies
7 November to 2 December 2000
UK, Germany, Switzerland, USA
Urgent research for Buddha
exhibition.
Mr Barry Pearce
1 to 12 July 2000
UK and Egypt
Accompany Margaret Olley for
opening of her exhibition and
research future exhibitions.
Mr Tony Bond
3 to 8 October 2000
Korea
To take part in an international
curators workshop Curatorshop:
Past, Present, and Future.
Ms Erica Drew
12 to 16 November 2000
Germany
Courier five vintage photographic
works for World Without End
exhibition.
Ms Emma Smith
7 to 14 July 2000
Switzerland
Courier return of Drei Badande by
Kirchner from Museo d’arte
Moderna.
Mr Peter Raissis
3 to 12 October 2000
UK
Courier The Anatomy Class at the
Ecole de Beaux-Arts by Salle to the
Hayward Gallery in London.
Mr Alan Lloyd
28 November to 10 December 2000
China
Condition check works on loan and
oversee packing works for Masks of
Mystery exhibition.
Mr Tony Bond
15 to 29 July 2000
Japan
Present a paper at Echigo-Tsumari
Triennial Conference
Ms Judy Annear
11 to 21 October 2000
Holland and UK
To participate in major retrospective
of Ulay’s photographic work, and to
negotiate works for major exhibition
in 2002.
Dr Liu Yang
29 November to 11 December 2000
USA
Present paper at symposium Taoism
and the Arts of China.
Ms Jackie Menzies
27 August to 19 September 2000
Japan, Korea and Thailand. Attend
workshop on Korean Painting and
negotiate loans for Buddha exhibition
Mr Barry Pearce
10 to 18 September 2000
USA
Courier return of loans to Guggenheim
Museum and to negotiate works for
major exhibition Romanticism.
88
Mr Edmund Capon
28 October to 22 November 2000
USA, UK, France, Germany and Italy
To negotiate loans for Buddha, Nolan
Retrospective and Late Picasso
exhibitions and hold discussions on
Papunya Tula show for Rome.
Mr Jonathan Cooper
29 October to 5 November 2000
New Zealand
Attend ICOM/CECA Conference in
Christchurch then to Auckland to
give presentation on Dead Sea
Scrolls exhibition.
Mr Hendrik Kolenberg
1 to 17 December 2000
France
Visit owner (with Paris Dealer) of
collection of drawings and
watercolours by J P Russell and
further research Lloyd Rees’ French
sketchbook drawings for exhibition.
Ms Anne Flanagan
8 to 22 December 2000
Europe
Research current design methods
and new ways with light in museums
overseas.
Mr Ross Clendinning
14 to 20 December 2001
Japan
Condition check works on loan for
Masks of Mystery exhibition.
Ms Emma Smith
9 to 20 January 2001
UK
Courier return of The Anatomy Class
at the Ecole de Beaux Arts.
Recommendation number 56 & 300
The Art Gallery of New South Wales
projects that introduce Aboriginal
and Torres Strait Islanders and
others to the history and culture of
Indigenous peoples of Australia
included:
• The continued acquisition,
exhibition, conservation of Aboriginal
art and commitment to making the
collection accessible to the widest
possible audience.
• The growth of exhibitions
programmes and public programmes
associated with the Yiribana Gallery,
one of the largest spaces for the
display of Aboriginal art in the
southern hemisphere.
• During the year there were
exhibitions in Yiribana curated from
the Art Gallery’s Collection reflecting
the diversity of Aboriginal and Torres
Strait Islander art. Major thematic
exhibitions Ochre: bark paintings
from the collection and Title Deeds:
Works from the Aboriginal and
Torres Strait Islander collection were
collection based. The Olympic Arts
Festival exhibition Papunya Tula:
Genesis and Genius was the major
AGNSW exhibition for the Olympic
period and was a critical success.
The exhibition Paintings from the
Collection, concentrating mainly on
recent acquisitions, began in May
2001 and is currently on display.
Works from the Aboriginal and Torres
Strait Islander collection were also
included in the exhibitions Australian
Icons and Decades.
• For the fifth consecutive year the
Art Gallery in conjunction with the
Department of School Education, the
Aboriginal Education Consultative
Group and the Board of Studies
staged the successful Reconciliation
exhibition. This exhibition featured
artworks by Aboriginal and nonAboriginal students from primary and
Ms Paula Dredge
11 to 20 January 2001
USA
Courier return of Head of Peasant by
van Gogh.
Ms Malgorzata Sawicki
29 January to 2 February 2001
New Zealand
Present a session at Conservation of
Gilded Objects course at the Te Papa
Museum in Wellington.
Mr Tony Bond
9 to 26 February 2001
Spain, France, UK and Austria
Negotiate for ARCO 2002 Australia
Focus. Follow up on Keifer and Self
Portraits exhibition.
Mr Wayne Tunnicliffe
2 to 6 March 2001
New Zealand
Research NZ Contemporary Projects
exhibition and attend 1st Auckland
Triennial of Contemporary Art.
secondary schools throughout New
South Wales on the theme of
Reconciliation.
• NAIDOC Week in July 2000 was
celebrated by a programme of school
holiday activities held in Yiribana. A
film program was organised as part
of the NAIDOC Week activities.
• There was a continuing
consolidation of links with
Indigenous education institutions,
courses in Aboriginal Studies and
Aboriginal units and art courses at
tertiary level.
AGED AND DISABILITY PLAN
AGED AND DISABILITY PLAN
The Art Gallery is developing an
updated Disability Plan that will
incorporate strategies across six
major areas including physical
access, promotion of positive
community attitudes; staff training;
information about services;
employment; and complaints. The Art
Gallery’s commitment to equal
access for all people is reflected in
our policy as detailed below.
GUARANTEE OF SERVICE
The Art Gallery recognise that the
public has the right to expect that
services will be provided without
discrimination. In particular we will
provide access service for visitors
with special needs, including the
disabled. We will seek to
continuously improve our service to
visitors and welcome feedback
directly to staff and through regular
surveys.
PHYSICAL DISABLED VISITORS
Two dedicated Disabled Parking
spaces are available at the rear of
the Gallery for visitors with
disabilities. Special arrangements
are also made for bus parking.
Access to these spaces is via the
service road on the southern side of
the Art Gallery. From the rear of the
Art Gallery access to all exhibitions,
displays, public and administrative
areas is by way of ramps and lifts,
suitably signposted.
There are two public Disabled
Parking spaces available at the front
of the Art Gallery.
The Art Gallery’s Domain Theatre has
access space designed for wheel-
chair users.
DEAF AND HEARING IMPAIRED
VISITORS
Severely and Profoundly Deaf
Visitors
In 1997 the Gallery implemented free
monthly Auslan guided tours. We
regularly book sign-language
interpreters for advertised guided
tours, and particularly in association
with Deaf Awareness Week. Groups
of deaf people making bookings are
provided with sign-language
interpreters free of charge. In 1996
the Art Gallery implemented at TTY
telephone number (9225-1711). This
number is listed in the Telstra TTY
directory.
Hearing Impaired
Our Domain Theatre provided AudioInduction Loop facilities for all
lectures and films. An FMMicrophone System for hearing-aid
users is available on request for
guided tours.
VISUALLY IMPAIRED VISITORS
A major refurbishment of the elevator
servicing Level 1, Ground Floor and
Upper Level has seen the installation
of voice notification of floor and
access details.
GENERAL
Communications
The Art Gallery’s Internet website
(www.artgallery.nsw.gov.au)
launched last year has capacity for
large print screen versions of all
information.
Staff Training
Information and awareness sessions
are held for staff and Volunteer
Guides, with particular reference to
89
servicing visitors with special needs.
Some Volunteer Guides and staff
have undertaken introductory
courses in sign-language. We have
designated an Education Officer to
manage the Art Gallery’s
programmes and facilities for people
with disabilities.
Helpers
General entry to the Art Gallery is
free to all visitors. However, where
charges are made for special
exhibitions, helpers accompanying
visitors with disabilities are admitted
free of charge.
Information and Publicity
Our information publication
exhibitions / events is freely available
from our Information Desk. This
booklet contains information for
visitors with special needs. Currently
the Bulletin is posted to over 4,000
interest individuals or organisation.
Employment Practices
The Art Gallery ensures equal
opportunity principles are used for
recruitment and general employment
practice.
NEW STRATEGIES TO IMPROVE
SERVICES
Ramp Access
The Art Gallery engaged heritage
architects to design wheel chair
ramp access to the front of the
Gallery. These plans were rejected
by the Heritage Council and a further
scheme was developed which was
then rejected by Art Gallery Trustees.
The design process proved that it
was problematic to layer a
contemporary ramp to the heritage
building and the Art Gallery Trust
recommendation was to develop a
second entrance that provided for
disabled access, schools and/or a
second entry and improved visitor
facilities.
WOMEN’S ACTION PLAN
The Annual Reports (Statutory
Bodies) Amendment (Women’s
Action Plan) Regulation 1997 requires
that agencies provide information
about their implementation of the
Government’s Action Plan for
Women.
A) WHOLE OF GOVERNMENT
APPROACH
The Art Gallery is firmly supportive of
a whole of government approach in
meeting the broad policy outcomes
of the NSW Government’s Action
Plan for Women. It is recognised that
all areas of NSW Public Sector have
a role in improving the economic and
social participation of women by
integrating the needs and concerns
of women as part of normal business.
The Art Gallery is committed to the
advancement of women in all forms
of cultural and artistic life and is
aware of the need to identify and
redress discrimination against
women in delivering services and
programmes to the public. From an
organisational perspective, the Art
Gallery acknowledges the needs and
interests of women as a direct
occupational group and is supportive
of strategies and initiatives that
assist the advancement of women in
the workplace.
B) WOMEN’S INTERESTS AND
THE ARTS
While the majority of exhibitions
staged by the Art Gallery include
works of art created by women
artists the following exhibitions
related to women’s lives and history
and/or featured work by specific
women artists:
• Olive Cotton (13 May 2000 – 2 July
2000) Olive Cotton is recognised as
one of Australia’s leading twentieth
century photographers, well know for
such images as the compelling
modernist Tea cup ballet and Glasses.
• Biennale of Sydney 2000 (26 May
2000 – 30 July 2000) The work of
woman artists featured prominently
in this preeminent contemporary art
event. Yoko Ono’s work Ex It was a
focal piece in the Art Gallery’s main
court and the Biennale also featured
work by Louise Bourgeois, Sophie
Calle, Rosemary Gascoigne, Tracey
Moffatt and Mariko Mori
• Piccinini and Langton: Plastic Life
(15 July 2000 – 20 August 2000)
Patricia Piccinini is a young
Melbourne artist whose
photographic work focuses on her
concern with the natural and the
artificial in contemporary society.
• Australian Icons – (4 August 2000 –
29 October 2000) Margaret Preston,
Grace Cossington Smith
• My City of Sydney (2 September
2000 – 22 October 2000) Christine
Cornish, Viva Jillian Gibb Christine
Godden, Fiona Hall, Tracey Moffatt
• Papunya Tula: Genesis and Genius
(18 August 2000 – 12 November 2000)
In this first major exhibition of the
Papunya Tula movement, a section
was devoted to representing woman
artists and their important
contribution to this movement.
• World without End Photography
and the Twentieth century (2
December 2000 – 25 February 2001)
Diane Arbus, Zoe Beloff, Pat
Brassington, Nancy Burson, Rineke
Dijkstra, Wendy Ewald, Sue Ford,
Florence Henri, Carol Jerrems, Grit
Kallin-Fischer, Dora Maar, Tracey
Moffatt, Yva (Else Simon)
• Denise Green (31 March 2001 – 28
April 2001) This was the second
survey exhibition of the Australian
born artist who lives in New York.
The Art Gallery also administers two
bequests which conditions stipulate
are only open to women. These
bequests are the John and Elizabeth
Newnham Pring Memorial Prize for
‘the best landscape executed in
watercolours by a women artists’
and a capital fund in the name of
Viktoria Marinov with income used to
purchase works of art for the
permanent collection ‘by female
artists under the age of 35 years.’
C) ACHIEVEMENTS UNDER KEY
OBJECTIVES IN THE ACTION PLAN
FOR WOMEN
The following achievements have
been made under the two key
objectives that are relevant to the
Gallery in the Government’s Action
Plan for Women:
• Promoting workplaces that are
equitable, safe and responsive to all
aspects of women’s lives
The Art Gallery’s performance under
this key objective is documented in
the equal employment opportunity
(EEO) statistics listed in a separate
appendix of this report which
provides information of EEO groups
within salary levels and employment
basis. The Art Gallery is committed to
employment of staff based on
selection on merit principles and the
Art Gallery workforce is currently
made up of 53% women. Under
employment on merit the employees
benefit by having their capabilities
fully utilised and their skills
expanded. Of the four General
Manager positions, three are
currently filled by women and 66% of
middle management positions are
occupied by women which is
indicative of the Art Gallery's
commitment to the advancement of
women based on merit. Further,
approximately 13 % of women took
advantage of the Art Gallery's
flexible work practices such of part
time work, job sharing, working from
home, part time leave without pay
and the career break scheme in
order to effectively balance
workplace priorities with family and
personal commitments. The Art
Gallery as a whole benefits in the
long term by being adaptable and
responsive to changing community
need and expectations.
* Promoting the position of women in
all aspects of society
The Art Gallery of New South Wales:
• has maintained a general free
admission policy to ensure the
broadest range of the community,
including the financial disadvantaged
often being women, have access to
the State’s fine art collection and
associated education programmes.
• delivers an exhibition programme
that is representative of women
artists’ contribution to the history of
art and reflects the lives and
achievements of women in society.
• administers awards and
scholarships which are open to
women that are designed to assist in
the professional development of
Australian artists.
• recognises the traditional gender
imbalances on decision-making
bodies and the implications of
representation on strategic
outcomes. There are three women
on the nine member Board of
Trustees.
D) SPECIFIC COMMITMENTS UNDER
THE ACTION PLAN FOR WOMEN
There are no specific commitments
in the plan which refers to the Art
Gallery of New South Wales.
E) FURTHER INFORMATION ON
WOMEN’S STRATEGIES
For further information on women
specific and other programmes
managed by the Art Gallery of New
South Wales, please telephone 92251700.
ETHINIC AFFAIRS PRIORITIES STATEMENT
The Art Gallery is committed to the
principles of cultural diversity as
outlined in Section 3 of the Ethnic
Affairs Commission Act, 1979. The
Government’s three Key Result areas
are: Social Justice; Community
Harmony; and Economic and Cultural
Opportunities and to this meet these
objectives the Art Gallery has
developed an Ethnic Affairs Priority
Statement (EAPS) which includes
two main objectives:
• Integrate EAPS principles into the
Art Gallery’s policies, plans and
procedures
• Build the Art Gallery’s Collection
and Services to reflect and promote
cultural diversity and harmony
The Art Gallery’s statement is
incorporated by the Ministry for the
Arts, as a key agency, into a Ethnic
Affairs Agreement on behalf of the
entire arts portfolio.
ETHNIC AFFAIRS PRIORITY
OUTCOMES
• In May 2001, VisAsia was launched
to promote and cultivate a better
understanding and enjoyment of
Asian Visual Arts and Culture. The
Art Gallery recognises the crucial
role which our understanding of
Asian culture will play in the
development of Asian Australian
relations in the 21st century.
• 22% of Art Gallery staff are from non
English speaking backgrounds. This
compares favourably with the national
population figure of 15.5% (Australian
Bureau of Statistics 1996 Census).
• Increased the number of
community languages available to
assist Gallery staff and visitors via
the Community Language Allowance
Scheme. As at 30th June, 2001 the
Art Gallery had staff officially
recognised as able to offer assist
Polish, German, Hindi, Cantonese
and Italian.
• Due to the on-going staff freeze,
the Art Gallery did not increase
membership of recruitment selection
panels with a person from a cultural
diverse background to the
targeted 60%.
• Circulated the annual calendar of
significant religious and holy days to
all supervisors to enable scheduling
of staff commitments to meet
religious obligations.
• The Art Gallery’s Guide Map is
available in Japanese, Mandarin and
Korean, languages.
• The exhibitions and associated
educational public programmes
reflected and promoted cultural
diversity and harmony. This year the
programme included:• Papunya Tula: Genesis & Genius (18
August 2000 – 12 November 2000) A
highlight of the Sydney Olympics arts
festival, this Aboriginal art exhibition
traced the phenomenon of the
Papunya Tula movement from the
early 1970s to the present.
• Biennale of Sydney 2000 (26 May
2000 – 30 July 2000) Forty-nine
artists from twenty-nine countries
participated in this pre-eminent
contemporary art event of the
southern hemisphere. All five
continents were represented and to
make the exhibition more accessible,
entry was free of charge at all
venues.
• Dead Sea Scrolls (14 July 2000 – 15
October 2000). The most controversial
archeological discovery of the 20th
century, the Scrolls provide us with a
much deeper understanding of the
various approaches to Judaism
current at that time and of their
relevance to the history of religious
traditions in the Western World.
• Hanga: Creative Japanese Prints
(28 October 2000 – 14 January 2001)
This exhibition focused on the
Creative Print, a new concept of
‘prints as art’ that emerged at the
beginning of the 20th century which
is not familiar outside Japan
• Fun Story Fun Five: Five
International Artists from Africa (15
November 2000 – 7 January 2001)
Celebrating the young and vibrant
street culture across Africa, the
exhibition included wild fashion
design and performance, film,
photography and installation art.
• Sanxingdui: Masks of Mystery:
(22 December 2000 – 18 March 2001)
This exhibition featured Bronze
Masks from the Sacrificial pits of the
kings of Ancient China discovered
when local farmers digging a well hit
upon these relics.
• Visasia conducted regular
lunchtime lectures as a part of the
Gallery's ongoing commitment to
cross cultural arts education.
ETHNIC AFFAIRS PRIORITY GOALS
FOR 2001/02
• Continued encouragement of staff
participation in the Community
Language Allowance Scheme and
extend range of languages currently
represented.
• Develop new General Information
Brochure in several community
languages including Italian, Spanish,
French and German.
• Continue the reflection and
promotion of cultural diversity and
harmony in the Art Gallery’s
exhibitions and associated
educational programme. The 2001/02
programme will included the
following exhibitions:• Buddha: Radiant Awakening As
Buddhism has evolved over time
among different cultures, there
emerged a multitude of Buddhas.
This exhibition of sculptures,
paintings and textiles with images
from the three main schools of
Theravada, Mahayana and Vajrayana
(or Tantric) will stress the pervading
universality of Buddha across all
times and across geographical,
cosmic and virtual space.
• Belle Isle. Works by Claude Monet,
Henri Matisse and the Australian
Impressionist John Peter Russell, all
of whom met, became friends and
painted on the storm-tossed island of
Belle-Île, off the coast of Brittany,
France.
PLEDGE OF SERVICE
OUR CUSTOMERS
The Art Gallery of New South Wales
endeavours to provide each of our
visitors with an experience that
exceeds expectations and inspires
repeat visits.
GUARANTEE OF SERVICE
We aim to ensure that all visitors
enjoy themselves, will want to return
and will recommend the Art Gallery
to friends and relatives as a world
standard venue for the enjoyment
and study of art.
The Art Gallery recognise that the
public has the right to expect that
services will be provided without
discrimination. In particular we will
provide access service for visitors
with special needs, including the
disabled. We will seek to
continuously improve our service to
visitors and welcome feedback
directly to staff and through regular
surveys.
CUSTOMER SERVICE
The Art Gallery aims to provide the
highest levels of service to all
visitors. Visitor feedback provides
management with valuable
information to improve Gallery
procedures and services.
Written complaints are handled
promptly and professionally and are
responded to within two weeks.
Visitor suggestions have also led to
the introduction of new services,
such as improved signage and
simpler printed guides.
Telephone enquiries are addressed
promptly within two working days,
wherever possible.
Visitors can offer suggestions and
provide feedback at the Information
Desk at the main entrance to the Art
Gallery.
CUSTOMER COMPLAINTS
The Art Gallery had over 995,000 visitors (up from 900,000 last year) to the Domain site during 2000/2001. During the year we received 508 comments from Art
Gallery visitors (223 complaints 1999/2000). The Art Gallery has revised our calculations of complaints incorporating a broader view of visitor comments as well
as formal complaints. The bulk of the complaints concerned visitor facilities, such as the lack of EFTPOS / ATM facilities within the building and difficulties
associated with access at the front entrance to the Art Gallery for visitors with special needs. These issues are being addressed as part of the Art Gallery’s
Strategic Plan. Complaints can be recorded in the visitor’s complaint journal available to the public at the ground level information desk. These records are
regularly reviewed by the Director and referred to relevant Department Managers for action, if required.
90
91
INDEX
access 93
acquisitions of works of art
australian 8,62,64
aboriginal & torres strait islander 10,62
asian 10,64,69
international 11,63,68
photography 12,63,68
administrative and statutory items 85
aged and disability plan 89
aims and objectives 26
appendices 62
art gallery foundation 35
art gallery society 24
art prizes, grants and scholarships 79
audiences 20
audit opinion 40
building 25
brett whitely studio
centenary fund 2,24,76
code of conduct 85,86
collection benefactors 76
commercial facilities 93
consultants 85
customer conplaints 91
contact details 93
copyright 85
corporate governance 32
cultural bequests / taxation incentives 34
digital imaging project 22
director’s report 4
electronic service delivery 85
equal employment opportunity 86
energy management 85
ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION
ethnic affairs priorities statement 91
exhibitions
australian 14,74
aboriginal & torres strait islander 15,74
asian 15,74
international 17,74
photography 18,74
financial summary 38
financial statements 40
freedom of information 86
gallery shop 25
grants received 77
gst implementation 85
guided tours 93
highlights 5
industrial relations 85
information technology 85
internal audit 34
insurance 34
investment 34
letter of transmission 4
life governors 34
loans to the gallery 70
loans by the gallery 70
membership 24,93
occupational health & safety 85
olympics 60
organisation structure 36
other gallery entities 34
overseas travel 88
parking 93
performance measures 26
photography 93
Pledge of service 91
president’s council 24,76
president’s foreword 2
privacy management plan 85
publications available for sale 79
publications by staff 19,77
public transport 93
records management 85
risk management 34
research library 93
regional contact 22
royal commission into
Aboriginal deaths in custody 89
senior management profile 34
staff list 79
staff activities 81
sponsors 23,76
support 22
trustees 32
venue hire 25
visasia 6,24,33,76
visitors 75
visitors with special needs 93
waste reduction 85
women’s statement 90
year in review 8
ACCESS
The Art Gallery of New South opens
every day except Easter Friday and
Christmas Day between the hours of
10am and 5pm. General admission is
free. Entry fees may apply to a
limited number of individual major
temporary exhibitions.
GUIDED TOURS
The Volunteer Guides of the Art
Gallery Society of New South Wales
offer a range of free guided tours of
the Art Gallery’s collection and major
exhibitions.
General Tours: Daily, one hour tours
revealing highlights of the collection
and the Art Gallery. Monday 1pm and
2pm; Tuesday to Friday 11am, 12
noon, 1pm and 2pm; Saturday 1pm
and 2pm; Sunday 11am, 1pm, and 2pm.
Yiribana Tours (Aboriginal and Torres
Strait Islander Gallery) Tuesday to
Friday 11am; Saturday 1pm; Sunday
11am and 1pm.
Asian Gallery: Wednesday and
Saturday 2pm.
Private Groups: Tours tailored to the
needs of groups during the Art
Gallery hours or with private evening
functions are also available.
Enquiries telephone (02) 9225-1800.
PHOTOGRAPHY
Photography of the Art Gallery’s
permanent collection, with the
exception of works in the Yiribana
gallery, is allowed by members of the
public providing no flash or tripods
are used.
Quality photographs of Gallery’s
collection including works from the
Yiribana gallery or a photograph of
works not in the Art Gallery’s
permanent collection can be
obtained from the Gallery’s Image
Reproduction Officer. Photography
for publication or other commercial
purposes is allowed only after
written application to the Art Gallery.
Enquires telephone (02) 9225-1798.
MEMBERSHIP
COMMERCIAL FACILITIES
You are invited to join the Art Gallery
Society of New South Wales and
share in the many pleasures of
membership. Stay informed about
what’s on in the Art Gallery, choose
from over two hundred special
events and enjoy membership
privileges and priorities all year long.
Enquiries telephone (02) 9221-1878.
The Gallery Shop is opened daily
from 10am to 5pm. The finest range
of art books in Australia is available
at the Gallery Shop, which also
specialises in school and library
supply. The Gallery Shop stocks an
extensive range of art posters, cards,
replicas and giftware. Enquires
telephone (02) 9255-1718.
The Art Gallery’s Harbour Café is
situated on Lower Level 1 and is
open daily from 10am to 4pm. The
Brasserie, located on the Upper
Level, is open each day between
12pm and 4pm. For Brasserie
bookings phone (02) 9225-1819.
Art Gallery facilities are also
available for private exhibition
viewings and functions in the
evening. Enquiries telephone the Art
Gallery’s Venue Manager on (02)
9225-1836.
ART RESEARCH LIBRARY
The Art Gallery’s Research Library is
open Monday to Friday between
10am and 4pm, excluding public
holidays. The Library is located on
Ground Floor Level and has the most
comprehensive collection of Fine Art
books in New South Wales.
Enquiries telephone (02) 9225 1785.
An Opinion, Conservation and
Identification Service, operating from
the Library, is provided free every
92
Thursday 10am to 12 noon (excluding
valuations).
The Study Room for Prints, Drawings
and Photography is on Level 2,
adjacent to the Prints, Drawings and
Watercolours gallery. Open to the
public weekdays from 10am to 4pm,
excluding public holidays. The Study
Room Assistant will attend to and
supervise visitors. Appointments are
advisable but not essential. School
groups are welcome. Enquires
telephone (02) 9225-1758.
EXHIBITIONS / EVENT
INFORMATION
The free tri-monthly publication,
exhibitions/events, is available in the
Art Gallery. This booklet details
current exhibitions, public
programmes events including a film
programme and school education
activities being staged by the Art
Gallery. Also, now online – artmail an
email newsletter covering exhibitions,
courses, lectures, special events,
films and workshops. Registration is
via the Join Us section of the
website www.artgallery.nsw.gov.au
or email ArtMail@ag.nsw.gov.au and
let us know you want to subscribe.
VISITORS WITH SPECIAL
NEEDS
A limited number of wheelchairs are
available at the Gallery’s rear
entrance, where there is a ramp and
an elevator giving access to most
parts of the Gallery. Two parking
spaces for the disabled have been
designated in the Gallery’s car park
close to the rear entrance but it is
advisable to confirm availability by
telephoning (02) 9225-1775.
The Domain Theatre is fitted with an
audio induction loop system and an
FM-transmitter system used for
guided tours if requested. Sign
Language Tours are now conducted
for deaf people, using Australian sign
language, on the last Sunday of
every month at 1.30pm (excluding
December/January). The service is
free apart from entry fees to
exhibitions, if applicable.
PARKING
There is limited metered parking
outside the Art Gallery and additional
metered parking down Mrs
Macquarie’s Road. The Domain
Parking Station is open daily with a
Special Discount Rate of $11 per day
(on weekdays) for visitors to major
exhibitions with admission charges,
just have your parking ticket stamped
at the entrance to the exhibition.
CONTACT INFORMATION
Physical and postal address:
Art Gallery of New South Wales
Art Gallery Road
The Domain NSW 2000
Electronic communications:
Administration switchboard
(02) 9225-1700
Information Desk (02) 9225-1744
Recorded What’s On Information
(02) 9225-1790
TTY number (02) 9225-1808
General facsimile (02) 9221-6226
Website: www.ag.nsw.gov.au
e-mail: artmail@ag.nsw.gov.au
BRETT WHITELEY STUDIO
The Brett Whiteley Studio, located at
2 Raper Street Surry Hills, and is
open Saturday and Sunday 10am to
5pm except Christmas Day. On
Thursday the studio is open by
appointment for education tours
groups. Admission is $7 and $4
concession. Enquires telephone (02)
9225-1740.
NUMBER OF COPIES / COST
500 copies printed at an average
cost of $48 per copy.
PUBLIC TRANSPORT
Bus Service: The 441 Bus route
includes the Art Gallery as a stop en
route through to the Queen Victoria
Building in the city. The service is
every 20 minutes on weekdays and
every 30 minutes on weekends.
Please call the STA on 131 500 for
details.
Trains: Closest train stations to the
Art Gallery are the St James or
Martin Place stops.
2001 ANNUAL REPORT
Coordinator - Trish Kernahan
Design - Ward Walker Design
Editor - Jill Sykes
Art Photography - Jenni Carter