AGNSW_AnnRep_00 full.pdf - Parliament of New South Wales ...
AGNSW_AnnRep_00 full.pdf - Parliament of New South Wales ...
AGNSW_AnnRep_00 full.pdf - Parliament of New South Wales ...
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2<strong>00</strong>0
TABLE OF CONTENTS<br />
PRESIDENT’S REPORT 2<br />
DIRECTOR’S STATEMENT 4<br />
YEAR IN REVIEW 8<br />
AIMS / OBJECTIVES / PERFORMANCE INDICATORS 21<br />
CORPORATE GOVERNANCE 24<br />
SENIOR MANAGEMENT PROFILE 26<br />
LIFE GOVERNORS 27<br />
ORGANISATION CHART 28<br />
FINANCIAL STATEMENTS 29<br />
APPENDICES 50<br />
INDEX 76<br />
GENERAL INFORMATION 77<br />
Bob Carr MP<br />
Premier, Minister for the Arts, and Minister for Citizenship<br />
Level 40<br />
Governor Macquarie Tower<br />
1 Farrer Place<br />
SYDNEY NSW 2<strong>00</strong>0<br />
Dear Premier,<br />
In accordance with the requirements <strong>of</strong> the Annual Report (Statutory Bodies)<br />
Act 1984, we have pleasure in submitting to you the Annual Report for the Art<br />
Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> for the year ended 30th June, 2<strong>00</strong>0, for<br />
presentation to <strong>Parliament</strong>.<br />
The annual report <strong>of</strong> the Gallery, in our opinion, has been prepared in <strong>full</strong><br />
compliance with the requirements <strong>of</strong> the Annual Reports (Statutory Bodies) Act<br />
and the Annual Reports ( Statutory Bodies) Regulations.<br />
Yours sincerely,<br />
David Gonski Edmund Capon<br />
President Director
ART GALLERY OF NEW SOUTH WALES HIGHLIGHTS<br />
Cover: Juan Muñoz<br />
Conversation Piece (Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong>)<br />
22 figures in resin, sand and cloth, installation.<br />
12th Biennale <strong>of</strong> Sydney 2<strong>00</strong>0, 26 May – 30 July, 2<strong>00</strong>0<br />
1<br />
2<br />
3<br />
4<br />
5<br />
6<br />
7<br />
8<br />
9<br />
10<br />
MORE THAN ONE MILLION VISITORS ATTRACTED<br />
TO 40 EXHIBITIONS AND THE PERMANENT<br />
COLLECTION<br />
RECORD TURNOVER FOR GALLERY SHOP OF $4.1<br />
MILLION, OF WHICH $1.2 MILLION WAS REVENUE<br />
FROM ART GALLERY OF NSW PUBLICATIONS<br />
ART ACQUISITIONS BOOSTED BY MORE THAN $5<br />
MILLION, COMPARED WITH $4.1 MILLION THE<br />
PREVIOUS YEAR<br />
NET INCOME FROM BEQUEST AND SPECIAL<br />
FUNDS WAS $5.2 MILLION, MAKING A TOTAL OF<br />
$75.6 MILLION OVER THE LAST NINE YEARS<br />
CONSOLIDATION OF IN-HOUSE PRESENTATION OF<br />
MAJOR EXHIBITIONS THROUGH JEFFREY SMART<br />
RETROSPECTIVE AND MICHELANGELO TO<br />
MATISSE: DRAWING THE FIGURE<br />
ART GALLERY’S COSTS PER VISITOR MAINTAINED<br />
AT $15.20 AND STAFF NUMBERS REMAINED<br />
STEADY AT UNDER 2<strong>00</strong><br />
OPENING OF THE DOROTHY STREET GALLERIES OF<br />
TWENTIETH CENTURY AUSTRALIAN ART<br />
THE VERY POPULAR ARCHIBALD EXHIBITION<br />
TOURED TO EVEN MORE REGIONAL GALLERIES<br />
THAN IN PREVIOUS YEARS<br />
THE CENTENARY FUND ESTABLISHED TO SUPPORT<br />
BUILDING PROJECTS<br />
THE FIRST OF THEM A 1<strong>00</strong>-SEAT AUDITORIUM<br />
NSW GOVERNMENT FUNDING SUPPORT FOR THE<br />
5 YEAR TOTAL ASSET MANAGEMENT PLAN
PRESIDENT’S FOREWORD<br />
As with previous years, this has been a demanding but successful one for the<br />
Art Gallery. During the year, we were active in fundraising and one <strong>of</strong> the major<br />
initiatives in this regard celebrates the past by taking a step into the future.<br />
David Gonski, Dorothy & Fred Street, Bob Carr<br />
2<br />
This is the formation <strong>of</strong> the Centenary Fund to<br />
commemorate 1<strong>00</strong> years <strong>of</strong> Australian Federation in 2<strong>00</strong>1<br />
and a century since the completion <strong>of</strong> the original galleries<br />
<strong>of</strong> the Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong>. The Centenary<br />
Fund will raise money for building projects and aims to<br />
recruit 1<strong>00</strong> patrons, each <strong>of</strong> whom pledges $1<strong>00</strong>,<strong>00</strong>0 over<br />
a designated period <strong>of</strong> time. It was launched in February<br />
2<strong>00</strong>0 and had 21 patrons signed up by the end <strong>of</strong> the<br />
financial year.<br />
The first project to be underwritten by the Fund is a<br />
new 1<strong>00</strong> seat auditorium, which will be completed in<br />
2<strong>00</strong>1. It replaces the small auditorium which had to be<br />
demolished to make way for the expanded Gallery Shop<br />
this year. The relocation <strong>of</strong> the Shop enabled the creation<br />
<strong>of</strong> the Dorothy Street Galleries <strong>of</strong> Twentieth Century<br />
Australian Art, which give a fresh and exciting focus to<br />
that area <strong>of</strong> the collection.<br />
The President’s Council has continued to provide<br />
invaluable help in many aspects <strong>of</strong> the Art Gallery’s life.<br />
Primarily, the President’s Council has assisted in funding<br />
part <strong>of</strong> our exhibition programme and also in helping us<br />
to find new ways in which to fundraise. Membership <strong>of</strong><br />
the President’s Council was increased during the year.<br />
I welcome the five new Council members: Ken Borda,<br />
Chief Executive Officer, Deutsche Bank AG; Peter Ivany,<br />
Ivany Investment Group; Daniel Gauchat, Vice-President<br />
Korn/Ferry; Fred Hilmer, Chief Executive Officer, John<br />
Fairfax Holdings Limited, and Angela Clark, Managing<br />
Director, JCDecaux Australia.
Diagram <strong>of</strong> proposed new Centenary Fund auditorium by Peddle Thorp Walker<br />
During the year, Government funding <strong>of</strong> $13.5<br />
million for the next major addition to the building - a<br />
new Asian gallery - was approved. We are very thankful<br />
to the <strong>New</strong> <strong>South</strong> <strong>Wales</strong> Government for this. The<br />
construction to be paid for from these funds is expected<br />
to commence during next calendar year and will greatly<br />
improve not only the Asian gallery space but also a<br />
number <strong>of</strong> other key areas <strong>of</strong> the building.<br />
I take this opportunity <strong>of</strong> thanking all Trust<br />
members personally for their assistance during the year.<br />
In particular, Kim Santow, who is leaving the Board <strong>of</strong><br />
Trustees after nine years <strong>of</strong> very active participation and<br />
many good ideas. We are sorry to lose Kim but delighted<br />
that the Gallery’s relationship with him will continue<br />
through his membership <strong>of</strong> the VisAsia Board. Pierce<br />
Cody has replaced Kim Santow on the Board <strong>of</strong> Trustees.<br />
We welcome Pierce and look forward to working with him.<br />
My thanks also go to everyone who has served on<br />
the committees <strong>of</strong> the Trust during the year, especially to<br />
Greg Daniel and Bruce Cutler, both members <strong>of</strong> the<br />
President’s Council. Thanks also to all the people who<br />
work in the Society and the Foundation and to our<br />
volunteer guides. These people are <strong>of</strong>ten the unsung, front<br />
row heroes who most certainly deserve our thanks and<br />
praise.<br />
Above all, I thank our truly dedicated staff. We have<br />
been successful this year in exhibitions, in establishing the<br />
new Shop, in fundraising - to name but a few<br />
achievements – and this undoubtedly is due to a staff that<br />
is motivated and successful at what they do.<br />
David Gonski<br />
President<br />
Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
3
DIRECTOR’S STATEMENT<br />
In a year <strong>of</strong> relentless activity and unsurpassed delights perhaps none has left a<br />
more certain and erudite mark on the progress <strong>of</strong> civilization and the cause <strong>of</strong> art<br />
in this country than the engagement <strong>of</strong> Roy and HG as judges <strong>of</strong> the one-<strong>of</strong>f<br />
Sporting Archie.<br />
Roy Slaven, Lewis Miller, HG Nelson<br />
4<br />
It was, <strong>of</strong> course, a process <strong>of</strong> pr<strong>of</strong>ound enlightenment<br />
in which those two great connoisseurs learned much about<br />
sport and I, their colleague judge, learned much about art.<br />
I recall just some <strong>of</strong> those richly rewarding moments <strong>of</strong><br />
revelation which occurred during that tense and dramafilled<br />
week when the three <strong>of</strong> us judged this unique –<br />
thank<strong>full</strong>y – award: that paintings should, if they are to<br />
be properly judged, be dry; that the portraits should bear<br />
some resemblance to the subject – an innovative notion I<br />
thought; that Adam Cullen – who incidentally won the<br />
Archibald prize with his portrait <strong>of</strong> an endearingly spikey<br />
David Wenham – probably painted his sporting entry <strong>of</strong><br />
Mark Occolupo with his own vomit and that it was,<br />
therefore, in the eyes <strong>of</strong> my sensitive colleagues, ineligible<br />
on technical grounds; that a somewhat tactile picture <strong>of</strong> a<br />
cricketer called Mr.Taylor was evidently painted shortly<br />
after the subject had been struck firmly in the face by a<br />
rather forceful delivery and that the painting was,<br />
therefore, best viewed at a distance <strong>of</strong> 22 yards; that a<br />
slightly tendentious painting <strong>of</strong> the famous surfer, Mr.<br />
Carroll, set against a background <strong>of</strong> a breaking wave, was<br />
highly symbolic in suggesting that the subject was,<br />
apparently, about to experience a moment <strong>of</strong> ‘vision’; and<br />
that the eventual winner <strong>of</strong> this deeply moving contest<br />
was in fact a very good painting <strong>of</strong> a pair <strong>of</strong> trousers and<br />
that HG, who likes to be challenged – physically - in<br />
matters <strong>of</strong> art was very much <strong>of</strong> the view that the subject,<br />
the precipitate Mr. Ron Barassi, was about to leap <strong>of</strong>f the
Ian Fairweather, The pool 1959<br />
synthetic polymer paint on cardboard on hardboard, 96.5 x 117.8 cm<br />
Purchased with funds provided by the Cezanne Dinner Fund 1999<br />
canvas and punch him on the nose. A good omen for a<br />
winning portrait painting we all felt.<br />
In the meantime the new format for the presentation<br />
<strong>of</strong> our Annual Report permits this review to consider less<br />
the detail and more the principles and momentums that<br />
determine the Gallery’s progress. However, the details and<br />
activities <strong>of</strong> the Gallery in the 1999-2<strong>00</strong>0 year may be<br />
summarised in the achievement <strong>of</strong> staging some forty<br />
exhibitions all but three <strong>of</strong> which were curated and<br />
organised within the Gallery; in purchasing $3.6 million<br />
worth <strong>of</strong> works <strong>of</strong> art without a cent <strong>of</strong> Government<br />
funding for acquisitions and receiving through gifts<br />
further works <strong>of</strong> art to the value <strong>of</strong> $2 million; publishing<br />
ten major catalogues among which were the very<br />
successful and substantial Michelangelo to Matisse:<br />
Drawing the figure and Jeffrey Smart books; delivering<br />
over 150 public lectures in addition to a non-stop range<br />
<strong>of</strong> public and family programmes; hosting over 260<br />
evening events; achieving a record $4 million turnover in<br />
the Gallery shop <strong>of</strong> which $1.2 million was in sale <strong>of</strong> Art<br />
Gallery publications; lending 290 works <strong>of</strong> art to<br />
exhibitions throughout Australia and around the world;<br />
substantially enhancing the building with the opening <strong>of</strong><br />
the Dorothy Street Galleries <strong>of</strong> Twentieth Century<br />
Australian Art and the new Gallery shop; expanding our<br />
conservation activities through private support and,<br />
finally, once again sustaining a membership <strong>of</strong> the Art<br />
Gallery Society in excess <strong>of</strong> 30,<strong>00</strong>0 members.<br />
The challenges, though, remain much the same and<br />
fundamentally revolve around maintaining such levels <strong>of</strong><br />
activity without prejudice to the content and quality <strong>of</strong><br />
the Art Gallery’s activities. The political and economic<br />
climate in which we now operate is very different from as<br />
recently as 15 or 20 years ago when art museums such as<br />
this were naturally assumed to be wholly government<br />
responsibilities and we relied upon government for the<br />
vast majority <strong>of</strong> our capital and recurrent funding. Our<br />
situation, <strong>of</strong> ever-increasing financial self-reliance, is<br />
paralleled in the experiences <strong>of</strong> other State art galleries.<br />
However, there are substantial levels <strong>of</strong> government<br />
investment in permanent resources and we are only too<br />
aware <strong>of</strong> the commitments <strong>of</strong> around $1<strong>00</strong> million plus to<br />
the National Gallery <strong>of</strong> Victoria for the refurbishment <strong>of</strong><br />
the St. Kilda Road premises, <strong>of</strong> the $1<strong>00</strong> million for the<br />
Queensland Gallery to extend its building facilities and<br />
the $60 million for the National Gallery. So far as this<br />
Gallery is concerned I am delighted to report that the<br />
government will be providing the funds for the next stage<br />
<strong>of</strong> the development <strong>of</strong> this building which will include the<br />
construction <strong>of</strong> a new conservation centre, an expansive<br />
new upper level gallery, a second gallery for Asian art and<br />
a relocated restaurant, all for a more modest $15 million.<br />
Expenditure on such infrastructure and permanent<br />
facilities such as buildings is, as these figures demonstrate,<br />
as substantial as it is welcome, but as we all know the<br />
recurrent funding to ensure the viability and growth <strong>of</strong><br />
5
Pierre Bonnard, Promenade des nourrices – avec frise de fiacres 1899<br />
four lithographes 144.7 x 225.6 x 4 cm overall<br />
Gift <strong>of</strong> Margaret Olley 1999<br />
the intelligence <strong>of</strong> the institution and, ultimately, its value<br />
to the community, is regrettably slow to follow. The<br />
strains that are imposed on an institution such as this, in<br />
fulfilling an ever-expanding public role with a very public<br />
responsibility and expectation to maintain the highest<br />
standards <strong>of</strong> stewardship <strong>of</strong> high value and sometimes<br />
vulnerable assets, are becoming ever more apparent as the<br />
effective value <strong>of</strong> our recurrent funding budget allocation<br />
seems to, gradually but irrevocably, reduce.<br />
Art museums are most certainly not only about<br />
packaging, about buildings and the most visible <strong>of</strong> public<br />
services, they are to an equal if not greater degree about<br />
scholarship, care and conservation, learning, education<br />
and all the less obvious and superficially visible activities<br />
without which the viability and value to the community<br />
<strong>of</strong> that expensive building and its expensive contents<br />
would be prejudiced. It is, to my mind, mildly<br />
preposterous that it is easier to attract government<br />
funding for a new building than it is for a new picture, or<br />
a new publication, or even for such a fundamental<br />
responsibility as a new conservation programme. It is <strong>full</strong>y<br />
understandable that government priorities should change<br />
to better reflect perceived public sentiment, but<br />
institutions such as ours would find their long-term<br />
responsibilities and roles at risk if we were to be overly<br />
subject to the, <strong>of</strong>ten <strong>of</strong> necessity, short-term obligations <strong>of</strong><br />
government and transitory public mood. Clearly our art<br />
museums are no longer the passive and somnolent<br />
institutions they once were for we energetically pursue our<br />
present and potential audiences but, perhaps strangely, it<br />
6<br />
is a fact that our responsibilities have not changed a jot<br />
and we must not be seduced away from those essential<br />
tasks by transient expediencies and modish fads. All the<br />
things that we do in the realms <strong>of</strong> enhanced services to<br />
the community, such as the variety and quality <strong>of</strong> the<br />
exhibitions, information access, advisory services and<br />
education programmes, stem from the quality and<br />
credibility <strong>of</strong> our most fundamental responsibilities to<br />
collect, care for, research, interpret and display our own<br />
and loaned collections <strong>of</strong> works <strong>of</strong> art.<br />
In viewing our priorities for the forthcoming year<br />
and beyond those fundamental responsibilities remain the<br />
determining factor. Above all we harbour our annual<br />
ambition to enhance the collections and presentations,<br />
whether <strong>of</strong> the permanent displays or exhibitions, to<br />
continue to broaden our audiences through information<br />
access, and to generally enhance the experience <strong>of</strong> visiting<br />
the Art Gallery. Our own priorities <strong>of</strong> course also evolve<br />
and change with the passage <strong>of</strong> time and the fulfilment <strong>of</strong><br />
projects. The 2<strong>00</strong>0-2<strong>00</strong>1 year will see a concentration on<br />
a number <strong>of</strong> particular projects, paramount <strong>of</strong> which is<br />
the construction <strong>of</strong> a new 1<strong>00</strong>-seat theatre to replace the<br />
‘theatrette’ that was displaced by the development <strong>of</strong> the<br />
new Gallery shop. The Art Gallery’s Asian ambitions will<br />
also be the focus <strong>of</strong> much attention as we finalise the<br />
development <strong>of</strong> the detailed plans for the construction <strong>of</strong><br />
a second Asian gallery, work on which we plan to<br />
commence in the second half <strong>of</strong> the year 2<strong>00</strong>1. Another<br />
aspect <strong>of</strong> our Asian plans is the launch, early in 2<strong>00</strong>1, <strong>of</strong><br />
an entity called VisAsia, an initiative which will bring
Artist unknown (Japan) The Plain <strong>of</strong> Musashi circa late 17th century – early 18th century<br />
pair <strong>of</strong> six fold screens; ink, colour and gold on paper, 156 x 360cm each screen.<br />
Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> Foundation purchase 2<strong>00</strong>0<br />
together a number <strong>of</strong> partner institutions in Australia and<br />
in Asia to co-operate on a whole range <strong>of</strong> undertakings<br />
such as exhibitions, research, staff development and<br />
exchanges, education services and enhancing public<br />
interest in and appreciation <strong>of</strong> Asian art. Our Art Gallery,<br />
with its Asian art collections, curatorial strengths and<br />
scholarship, public programming expertise and<br />
organisational and museum management experience,<br />
possesses a unique combination <strong>of</strong> resources which can be<br />
harnessed to develop our engagement with the Asian<br />
region. Another priority for us in the forthcoming year is<br />
to progress the digitisation <strong>of</strong> the collection project which<br />
will, in due course, enable easier and more widespread<br />
public access to the collections. All these projects are<br />
essentially evolutionary, stemming from and out <strong>of</strong> the<br />
building, the collections and the resourceful imaginations<br />
<strong>of</strong> the staff.<br />
There is a reasonably understandable assumption<br />
that the public image <strong>of</strong> an institution such as the Art<br />
Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> is determined, principally, by<br />
its art collections. There are, however, other factors and it<br />
is my belief that the public’s perception <strong>of</strong> this place is<br />
conditioned to some extent by the building, to some<br />
extent by the art we display and by the programmes we<br />
run, but above all, I am sure, it is determined by the<br />
attitude and demeanour <strong>of</strong> the staff within. The progress<br />
and the success <strong>of</strong> the Art Gallery is the achievement <strong>of</strong> all<br />
the staff from the Senior Managers and Head Curators to<br />
those in all corners <strong>of</strong> the Art Gallery and I, as ever,<br />
record my gratitude to all for their unstinting and, I hope,<br />
generally enjoyable work for the Art Gallery. To the<br />
Trustees, led by David Gonski, the Art Gallery<br />
Foundation and its board <strong>of</strong> Trustees, the President’s<br />
Council, the Centenary Fund members who have raised so<br />
much money for the building <strong>of</strong> the new theatre, our<br />
various benefactor schemes which are the result <strong>of</strong><br />
extraordinary work and commitment by individuals, the<br />
Art Gallery Society and its Council, the Volunteer Guides<br />
and the Task Force, I express my thanks for ensuring the<br />
life and breath <strong>of</strong> the Art Gallery. In addition there are<br />
also <strong>of</strong> course our benefactors who continue to support<br />
the present and the future <strong>of</strong> the Art Gallery with gifts<br />
and donations; the list <strong>of</strong> acquisitions is evidence aplenty<br />
<strong>of</strong> the extent to which the growth <strong>of</strong> the collections is<br />
dependent upon private benefaction, just as our list <strong>of</strong><br />
sponsors ensure the successful fulfilment <strong>of</strong> our<br />
exhibitions and events programmes. To all those we<br />
express again our thanks. Finally to the Secretary, Evan<br />
Williams and the Ministry for the Arts and to our<br />
Minister and Premier, the Hon Bob Carr, we express our<br />
appreciation <strong>of</strong> the government’s continuing commitment<br />
to the growth <strong>of</strong> the Art Gallery.<br />
Edmund Capon<br />
Director<br />
Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
7
YEAR IN REVIEW<br />
Art works worth more than $5.2 million were purchased and given to the Art<br />
Gallery this year. Two <strong>of</strong> the major acquisitions are My Garden by Fred Williams<br />
and The Plain <strong>of</strong> Musashi, Japanese screens by an unknown artist. Generous<br />
contributions by individuals, the Art Gallery Foundation and the Art Gallery Society<br />
helped boost the acquisitions fund which has reached a total <strong>of</strong> $75.6 million<br />
over the past nine years.<br />
COLLECTIONS<br />
The Australian Collection Focus series has given a<br />
high pr<strong>of</strong>ile to important works in the collection,<br />
provided a popular attraction and demonstrated the skills<br />
<strong>of</strong> conservation staff through their involvement with the<br />
scientific examination and analysis <strong>of</strong> material. For the<br />
second year running an Art Gallery <strong>of</strong>ficer was named<br />
national conservator <strong>of</strong> the year.<br />
Australian Art<br />
Acquisitions this year have addressed historical<br />
aspects <strong>of</strong> the collection, especially early to mid 20th<br />
century painting. Fred Williams’ My Garden 1965-67 is a<br />
work painted in direct response to Tom Roberts’ Bailed Up,<br />
underlining Williams’ strong allegiance to the traditions <strong>of</strong><br />
Australian art. It brings to the Art Gallery one <strong>of</strong> the artist’s<br />
greatest works from a period previously unrepresented.<br />
John Olsen’s Five Bells 1963 is another highlight,<br />
allowing the Art Gallery to represent Olsen’s passion for<br />
Sydney Harbour in a magnificent outpouring <strong>of</strong> exuberance.<br />
Based on the subject <strong>of</strong> Kenneth Slessor’s poem Five Bells,<br />
this painting is a precursor to Olsen’s huge mural, Salute<br />
to Five Bells, painted for the Sydney Opera House a<br />
decade later.<br />
The third major purchase, Ian Fairweather’s The Pool<br />
8<br />
1959, is <strong>of</strong> singular importance for its indebtedness to<br />
Cézanne: there is nothing in the collection which<br />
compares with its cool, dark, tropical mood. A rare<br />
painting from Brett Whiteley’s 1963-64 bathroom series<br />
was bought from the Mertz collection.<br />
Significant purchases <strong>of</strong> works on paper included a<br />
suite <strong>of</strong> 40 etchings entitled Forty Pages from Antartica<br />
1988 by Bea Maddocks, a pioneer in photo-etching in<br />
Australia, and John Olsen’s drawing Flathead and Fish<br />
1999.<br />
Amongst numerous gifts were Fred Williams’ The<br />
River, Werribee Gorge 1977, given by Lyn Williams, and<br />
Metropolis 1999, a masterwork <strong>of</strong> Rosalie Gascoigne’s<br />
retro-reflective assemblages, given by the artist just before<br />
her sudden death. The Australian sculpture collection<br />
benefited substantially from gifts, in particular Rayner<br />
H<strong>of</strong>f’s Aboriginal Head 1925, given by Sam and Heather<br />
Ure-Smith and Rosemary Madigan’s Group <strong>of</strong> Three<br />
Figures, given by Peta Phillips.<br />
Salvatore Z<strong>of</strong>rea gave 1<strong>00</strong> woodcuts comprising his<br />
Appassionata suite, along with the drawings used to<br />
prepare them. Gwen Frolich gave an important early<br />
‘schoolgirl’ drawing by Charles Blackman; Alan and<br />
Jancis Rees gave a number <strong>of</strong> early etchings by Lloyd Rees<br />
from the Memories <strong>of</strong> Europe series, 1975.
Fred Williams, My Garden 1965-67<br />
oil on canvas<br />
152.6 x 183.3cm<br />
Purchased with funds provided by the<br />
Art Gallery Society <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> 1999.<br />
9
Rover Thomas<br />
Untitled (Two men dreaming) circa 1985<br />
natural pigments on canvas board 91 x 61 cm<br />
Purchased 2<strong>00</strong>0<br />
Friends <strong>of</strong> Conservation sponsored the binding <strong>of</strong><br />
1,<strong>00</strong>0 drawings by William Dobell into four boxed<br />
albums - a model for the presentation and preservation <strong>of</strong><br />
comparable study collections.<br />
Aboriginal and Torres Strait Islander Art<br />
Major acquisitions this year were early paintings by<br />
three <strong>of</strong> the most significant Aboriginal artists. The<br />
paintings were Rover Thomas’ Untitled (Two Men<br />
Dreaming) c. 1986, an early Papunya board by Uta Uta<br />
Tjangala, Untitled 1972 and a bark painting by Narritjin<br />
Maymuru, Djert (The Sea Eagle) c. 1960.<br />
Preparations for the exhibition Papunya Tula: Genesis<br />
and Genius for the Sydney 2<strong>00</strong>0 Olympic Arts Festival<br />
provided the opportunity to view paintings by artists who<br />
have painted for Papunya Tula Artists Ltd over the past<br />
30 years. The Mollie Gowing Acquisition Fund for<br />
Contemporary Aboriginal Art purchased a significant<br />
body <strong>of</strong> work by these artists for the exhibition and, in<br />
turn, the collection. It included works by Timmy Payungka<br />
Tjapangati, Turkey Tolson Tjupurrula, Ray James Tjangala,<br />
Patrick Tjungurrayi, Naata Nungurrayi and Walangkura<br />
Napanagka. The Leo Christie Emerging Artists Fund<br />
bought an exhibition painting by Inyuwa Nampitjinpa.<br />
10<br />
Amitabha buddha, 8th century – 9th century<br />
andesite, 105 x 88 x 65cm<br />
Purchased with funds provided by the Art Gallery Society<br />
<strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> 2<strong>00</strong>0<br />
Asian Art<br />
The Art Gallery’s collection <strong>of</strong> Asian art was enriched<br />
with acquisitions that comply with the aims <strong>of</strong> developing<br />
comprehensive displays <strong>of</strong> the highest quality to show the<br />
artistic heritage <strong>of</strong> the various countries identified as<br />
Asian. The pieces encapsulate enduring characteristics <strong>of</strong><br />
the aesthetics <strong>of</strong> their respective cultures - values which<br />
can now be appreciated by the Australian public.<br />
Major acquisitions included three sculptures<br />
acquired through the support <strong>of</strong> the Art Gallery Society.<br />
These were the dramatic 8th century image <strong>of</strong> the<br />
victorious Hindu goddess Durga killing the Buffalo<br />
Demon, a finely carved 10th century Indian stone relief <strong>of</strong><br />
the boar incarnation <strong>of</strong> the Hindu god Vishnu, and an<br />
impressive 9th century stone image <strong>of</strong> a Javanese seated<br />
Buddha which perfectly conveys the Buddhist ideal <strong>of</strong><br />
spiritual fulfilment and the dignity <strong>of</strong> perfect wisdom.<br />
Important Japanese acquisitions were a pair <strong>of</strong> gold<br />
screens <strong>of</strong> pine trees by Suzuki Shonen and a beautiful<br />
17th century pair <strong>of</strong> screens depicting autumn grasses on<br />
the plain <strong>of</strong> Musashi, one <strong>of</strong> the great classical subjects <strong>of</strong><br />
Japanese art. The latter purchase was made through the<br />
Art Gallery Foundation.<br />
Amongst the very fine selection <strong>of</strong> gifts were a rare<br />
Chinese Ding ware dish <strong>of</strong> the Song dynasty, one <strong>of</strong> the
George Romney, A study <strong>of</strong> two women: a sketch for the Milner Sisters<br />
pencil, pen and bistre wash 28.7 x 23.5cm<br />
Parramore Purchase Fund 2<strong>00</strong>0
Felicia Kan<br />
Reservoir 1998<br />
type C photograph on aluminium, 120.0 x 79.5 cm<br />
Viktoria Marinov Bequest Fund 1999<br />
most admired ‘classic’ wares <strong>of</strong> China; an earthenware<br />
‘hill jar’ <strong>of</strong> the Han dynasty; and a hanging scroll by Qi<br />
Baishi. These three pieces were amongst a group <strong>of</strong> seven<br />
presented by an anonymous donor. Other gifts to the<br />
Chinese collection included fine imperial porcelain from<br />
the J.H. Myrtle collection, an energetic hand handscroll<br />
painting by Lu Yanshao, a gift <strong>of</strong> Lee Teck-Chiow, and two<br />
early rare rank badges, gifts <strong>of</strong> Judith and Ken Rutherford.<br />
The Ifould Family presented several traditional<br />
Japanese ukiyo-e prints by important artists, welcome<br />
additions to our collection <strong>of</strong> this classical genre <strong>of</strong> Japanese<br />
art. And through the Yasuko Myer Bequest Fund, important<br />
acquisitions <strong>of</strong> the work <strong>of</strong> 20th century ‘creative print’<br />
artists such as Onchi Kochiro added to the growing<br />
significance <strong>of</strong> the Art Gallery’s Japanese modern collection.<br />
The finest and most significant acquisitions to our<br />
<strong>South</strong> and southeast Asian collections were made through<br />
the very generous bequest <strong>of</strong> the late Alex Biancardi, a<br />
discerning collector. His legacy <strong>of</strong> rare bronzes, sculptures<br />
and textiles was enhanced by the purchase <strong>of</strong> additional<br />
pieces from his collection through the D.G. Wilson<br />
Bequest Fund, giving depth and meaning to collections<br />
previously notable for their paucity <strong>of</strong> good pieces.<br />
12<br />
Giorgio Morandi<br />
Natura Morta 1933<br />
etching in black and brown ink, 23.8 x 24.3 cm<br />
Gift <strong>of</strong> Margaret Olley 1999<br />
Western Art<br />
An important 18th century drawing by George<br />
Romney, A Study <strong>of</strong> Two Women, was purchased with<br />
funds provided by the Parramore Bequest for the<br />
collection <strong>of</strong> European art before 19<strong>00</strong>. While Romney is<br />
generally ranked third in importance amongst British<br />
portrait painters <strong>of</strong> the period after Reynolds and<br />
Gainsborough, in drawing he was one <strong>of</strong> the most<br />
vigorous and spontaneous artists <strong>of</strong> the British school.<br />
Three gifts from Margaret Olley were important<br />
additions to international modern and contemporary art:<br />
Giorgio Morandi’s Natura Morta, Pierre Bonnard’s<br />
Promenade des Nourrices and Madame Prosper-Emile<br />
Weil a son bureau by Edouard Vuillard. Two major<br />
purchases for the international print collection were the<br />
lithograph La Baignoire by Pierre Bonnard, printed under<br />
his direction by Jacques Villon, and the recently released<br />
etching Garden in Winter by Lucian Freud.<br />
Key acquisitions <strong>of</strong> contemporary Australian art<br />
included a 26 panel painting, Revisionary, by Guan Wei,<br />
supported by the Rudy Komon Memorial Fund. The<br />
Contemporary Collection Benefactors enabled the Art<br />
Gallery to purchase the sculpture Cash Crop by Fiona Hall,<br />
Spanish Journal by Peter Atkins, and major works by Marion<br />
Borgelt, Janet Burchill, Adam Cullen and Judith Wright.
Jeffrey Smart standing in front <strong>of</strong> his work, City Landscapes 1970<br />
oil on hardboard, 280 x 932.3cm overall<br />
Purchased 1975<br />
Photography<br />
The photography collection received many<br />
handsome gifts, including 15 Cazneaux photographs from<br />
his family. A recent photograph by Bill Henson was<br />
acquired, along with five Tracey M<strong>of</strong>fatt works from her<br />
series Scarred for Life II, and three works by Felicia Kan<br />
from her 1999 exhibition.<br />
EXHIBITIONS<br />
Two major exhibitions consolidated the success <strong>of</strong> the<br />
Art Gallery in initiating, curating, organising and marketing<br />
important exhibitions. They were Michelangelo to Matisse:<br />
Drawing the Figure and the Jeffrey Smart retrospective.<br />
In total, the Art Gallery presented 40 exhibitions<br />
during the year, including those at the Brett Whiteley Studio<br />
and on tour to regional galleries. In partnership with the<br />
permanent collections, they attracted 1,065,154 visitors.<br />
Michelangelo to Matisse, a Festival <strong>of</strong> Sydney event,<br />
was the top drawcard with 124,312 visitors. The 2<strong>00</strong>0<br />
Archibald Prize - teamed with the one-<strong>of</strong>f Sporting<br />
Portrait Prize - had 63,849, followed by Jeffrey Smart’s<br />
55,171. Touring exhibition attendances were lower than<br />
the previous year, with the State Gallery <strong>of</strong> Victoria under<br />
renovation and not available as a venue.<br />
The skills and commitment <strong>of</strong> Art Gallery staff are<br />
tested in this demanding schedule <strong>of</strong> exhibitions. In<br />
addition to public programmes - discussed later - many<br />
other operational aspects come into play. Work <strong>of</strong> the<br />
conservation staff ranged from the preparation <strong>of</strong> bark<br />
paintings for exhibition to conservation <strong>of</strong> antique frames<br />
and making <strong>of</strong> reproduction frames for Australian Icons.<br />
The photographic studio’s 749 requests included<br />
photography for three in-house catalogues, documentation<br />
<strong>of</strong> all exhibitions and highly detailed slides <strong>of</strong> Michelangelo<br />
to Matisse for lecturing. Acquisition <strong>of</strong> 488 works and<br />
including loans, involved the registration department in<br />
documentation, coordination, crate design and construction,<br />
packing, transport, loan agreements, courier arrangements<br />
and installation supervision.<br />
Australian Art<br />
More than 80 paintings by Jeffrey Smart, selected by<br />
the Art Gallery director Edmund Capon, made this<br />
celebrated Australian expatriate’s retrospective a highlight<br />
<strong>of</strong> the year. Smart has found inspiration in the urban<br />
landscape, expanding to the hard, repetitious architecture<br />
and technology <strong>of</strong> the late 20th century, transforming his<br />
subjects into classically precise, rigorously executed<br />
compositions. After its Sydney showing, the retrospective<br />
toured to Brisbane and Melbourne, sponsored by<br />
ABN•AMRO Rothschild.<br />
13
Adam Cullen<br />
Portrait <strong>of</strong> David Wenham<br />
acrylic on canvas, 153 x 182 cm<br />
Archibald, Wynne and Sulman Prize<br />
18 March – 7 May, 2<strong>00</strong>0 Yoko Ono and her work Ex it 1997, 1<strong>00</strong> c<strong>of</strong>fins, 1<strong>00</strong> trees<br />
as installed at the Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> 2<strong>00</strong>0<br />
12th Biennale <strong>of</strong> Sydney 2<strong>00</strong>0 26 May – 30 July, 2<strong>00</strong>0<br />
Other important exhibitions produced by the<br />
department and accompanied by <strong>full</strong>y illustrated<br />
catalogues were Salvatore Z<strong>of</strong>rea Appassionata Woodcuts,<br />
sponsored by Deutsche Bank with a national tour<br />
organised by <strong>New</strong> England Regional Art Museum, and<br />
This vital flesh: the sculpture <strong>of</strong> Rayner H<strong>of</strong>f and his<br />
school. H<strong>of</strong>f was a leading sculptor during the Art Deco<br />
period in Sydney, where his most famous public commission<br />
is the sculpture for the Anzac Memorial in Hyde Park.<br />
The extremely well received Australian Collection Focus<br />
Series continued with sponsorship from ABN-AMRO<br />
Rothschild. They comprised Grace Cossington-Smith: The<br />
Lacquer Room 1935-36, George Baldessin: Occasional<br />
Images from a City Chamber 1975 and Les Sauvages de<br />
la Mer Pacifique, a collaborative venture with the National<br />
Gallery <strong>of</strong> Australia.<br />
The Archibald, Wynne and Sulman prize exhibitions<br />
continued to be sponsored by Colonial Bank. Betty<br />
Churcher, former director <strong>of</strong> the NGA, was judge <strong>of</strong> the<br />
Dobell Prize for Drawing, sponsored by the Sir William<br />
Dobell Foundation.<br />
A series <strong>of</strong> exhibitions at the Brett Whiteley Studio,<br />
organised with help from Wendy Whiteley, included Whiteley<br />
in Paris, Brett Whiteley Nudes and Whiteley in Words.<br />
14<br />
Aboriginal and Torres Strait Islander Art<br />
Yiribana Gallery continued its exhibition from the<br />
Aboriginal and Torres Strait Islander collection, a material<br />
thing. Michael Riley’s photographic portraits Yarns from<br />
the Talbragar Reserve were exhibited for NAIDOC Week.<br />
Raiki Wara: Long cloth from Aboriginal Australia and the<br />
Torres Strait gave a significant insight into a relatively<br />
new medium in indigenous art practice. Two more<br />
exhibitions from the Yiribana collection were curated<br />
primarily by media - Another Country: works on paper<br />
and photography from the collection, and Ochre: bark<br />
paintings from the collection.<br />
Asian Art<br />
Two major exhibitions <strong>of</strong> Asian art commenced in<br />
the previous financial year, both running until August<br />
1999. They were Treasures <strong>of</strong> Asian Art: Selections from<br />
the Mr & Mrs John D Rockefeller 3rd Collection <strong>of</strong> the<br />
Asia Society and Indonesian Gold: Treasures from the<br />
National Museum, Jakarta.<br />
Fragrant Space: Chinese bird and flower painting <strong>of</strong><br />
the Ming and Qing dynasties drew upon an important<br />
collection <strong>of</strong> paintings from the Guangdong Provincial<br />
Museum, China. Please the Eye, Cultivate the Mind:<br />
Chinese Painting in Australian Private Collections
Celestial Entertainer<br />
11th century sandstone, ht 54.0cm<br />
Mr & Mrs J D Rockerfeller 3rd<br />
Collection <strong>of</strong> the Asian Society, NY.<br />
Treasures <strong>of</strong> Asian Art,<br />
28 May – 15 August, 1999
Percy Wyndham Lewis<br />
Figure composition: Man and woman with two bulldogs, 1912<br />
pen and ink, watercolour, gouache, 305 x 216 mm<br />
Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong>, Sydney. Purchased 1983<br />
© Estate <strong>of</strong> Mrs G A Wyndham Lewis<br />
Michelangelo to Matisse: Drawing the Figure<br />
20 November 1999 – 27 February, 2<strong>00</strong>0<br />
explored the idea that the Chinese pursuit <strong>of</strong> collecting<br />
and displaying paintings was more than an aesthetic<br />
pleasure - that it was regarded as spiritual cultivation.<br />
International Art<br />
The major exhibition for the year was Michelangelo<br />
to Matisse: Drawing the Figure, curated by Terence<br />
Maloon and Peter Raissis. This huge and very successful<br />
exhibition <strong>of</strong> master drawings from the 16th to the 20th<br />
century included work by Leonardo da Vinci, Rembrandt,<br />
Picasso and Raphael. Amoung the international lenders<br />
were the Uffizi Gallery, Tate Gallery, Courtauld Gallery,<br />
<strong>New</strong> York’s Metropolitan Museum <strong>of</strong> Art, J Paul Getty<br />
Museum and Her Majesty Queen Elizabeth II.<br />
In the area <strong>of</strong> international modern and contemporary<br />
art, Victoria Lynn curated Voiceovers: The 5th Guinness<br />
Contemporary Art Project, focusing on Asian women<br />
working in new media art, and Passing Time, Moet and<br />
Chandon 2<strong>00</strong>0. Australian Perspecta was curated by<br />
Wayne Tunnicliffe and the Art Gallery hosted exhibits for<br />
the 2<strong>00</strong>0 Biennale <strong>of</strong> Sydney, including Yoko Ono’s Ex It<br />
1997, made up <strong>of</strong> 1<strong>00</strong> wooden c<strong>of</strong>fins and 1<strong>00</strong> Australian<br />
native trees.<br />
Little seen parts <strong>of</strong> the collection were given fresh<br />
focus in Hard Edge, curated by Victoria Lynn, Marking<br />
16<br />
Luca Cambiaso<br />
Study <strong>of</strong> figures<br />
pen and brown ink, brown wash, 349 x 244 mm<br />
Gabinetto Disegni e Stampe degli Uffizi, Florence<br />
Michelangelo to Matisse: Drawing the Figure<br />
20 November 1999 – 27 February, 2<strong>00</strong>0<br />
the Place, curated by Tony Bond, and Ideas and actions:<br />
Conceptual Art, Performance, Process and Documentation<br />
curated by Tony Bond, Michael Wardell and Judy Peacock.<br />
The contemporary projects programme contributed<br />
significantly to the Art Gallery’s commitment to<br />
contemporary practice with challenging and innovative<br />
new art. <strong>New</strong> installations and exhibitions included The<br />
Well Built Australian by Michael Goldberg, Exit by Horst<br />
Kiechle and Margaret Roberts, The Breath <strong>of</strong> Psyche by<br />
Joan Brassil and (surrender, penance, IWYS) by Neil<br />
Emmerson.<br />
Photography<br />
Light Pictures: the photographs <strong>of</strong> Nakayama Iwata<br />
& Yasuzo Nojima, curated by Judy Annear, was the first<br />
in-depth look at these important Japanese modernist<br />
photographers. The first art museum exhibition <strong>of</strong> work<br />
by the important Australian photographer Olive Cotton<br />
was guest curated by Helen Ennis. Modotti & Weston:<br />
Mexicanad, on loan from George Eastman House, was<br />
the first exhibition <strong>of</strong> Tina Modotti’s work to be shown in<br />
Australia.
Guercino (Giovanni Francesco Barbieri)<br />
Cleopatra late 1630s, red chalk,<br />
British Museum, London<br />
Michelangelo to Matisse: Drawing the figure<br />
20 November 1999 – 27 February 2<strong>00</strong>0<br />
PUBLICATIONS<br />
The record-breaking success <strong>of</strong> the Gallery Shop this<br />
year has a great deal to do with in-house publications.<br />
Enlarged and in its new location - with satellite exhibition<br />
shops as appropriate - the Gallery Shop turnover was<br />
$4.1 million – the highest <strong>of</strong> any museum shop in<br />
Australia. And $1.2 million <strong>of</strong> this amount was revenue<br />
from Art Gallery publications which are distributed<br />
nationally and internationally. Funds raised from the<br />
Gallery Shop, for which exhibition merchandising is<br />
becoming an important source <strong>of</strong> revenue, go directly to<br />
Art Gallery acquisitions to expand the collection.<br />
Publications over the past 12 months include the<br />
vivid catalogue for the Jeffrey Smart retrospective by<br />
Edmund Capon with Barry Pearce and Peter Quartermaine<br />
- 19,5<strong>00</strong> copies printed in three editions - the elegant<br />
catalogue accompanying Fragrant Space by the exhibition’s<br />
curator Liu Yang and the Asian art department, and the<br />
254-page catalogue for Michelangelo to Matisse by<br />
Terence Maloon and Peter Raissis.<br />
An earlier catalogue - for the Art Gallery exhibition<br />
Body – won the inaugural Power Institute Award for the<br />
best work <strong>of</strong> art history <strong>of</strong> the previous two years, judged<br />
by an independent jury administered by the Art Association<br />
<strong>of</strong> Australia and <strong>New</strong> Zealand. Two other Art Gallery<br />
Life drawing class in the Art Gallery held in conjunction with<br />
the Michelangelo to Matisse: Drawing the figure exhibition<br />
titles, Dancing to the Flute by Jackie Menzies and<br />
Orientalism, were runners up.<br />
Body and Fragrant Space are among the Art Gallery<br />
titles to be found in US bookshops. The major publications<br />
are distributed nationally and internationally by Thames<br />
and Hudson Ltd, which gives them a good pr<strong>of</strong>ile in major<br />
museum shops and bookshops in Britain and Europe.<br />
A <strong>full</strong> list <strong>of</strong> Art Gallery publications printed this<br />
year, and those available from previous years, is published<br />
in the appendices.<br />
NEW AUDIENCES<br />
Energetic and imaginative ventures to win new<br />
audiences included the 2<strong>00</strong>0 Sporting Portrait Prize,<br />
sponsored by the Daily Telegraph and judged by media<br />
identities Roy Slaven and H.G. Nelson with the director,<br />
Edmund Capon. In a different mood, tours <strong>of</strong> the Royal<br />
Botanical Gardens were organised to view the birds and<br />
flowers represented in Fragrant Space.<br />
Highlights <strong>of</strong> the diverse range <strong>of</strong> public programmes<br />
were the international symposia accompanying major<br />
temporary exhibitions, including Drawing the Figure in<br />
conjunction with Michelangelo to Matisse and Intellect is<br />
International and Connecting Flights for the Biennale <strong>of</strong><br />
Sydney. Masterclasses for Higher School Certificate<br />
17
students were booked out during the Michelangelo to<br />
Matisse exhibition.<br />
Regular programmes including courses on art<br />
appreciation and art history – supported by the Art<br />
Gallery’s research library and archive – attracted committed<br />
audiences. Amongst the popular workshops, forums, tours,<br />
free public talks and weekly film screenings, artist talks<br />
and dialogues were held in conjunction with the Biennale<br />
<strong>of</strong> Sydney and the Sydney Festival, adding a lively and<br />
informative dimension to the display <strong>of</strong> works <strong>of</strong> art.<br />
The popularity <strong>of</strong> the free 15-minute introductory<br />
slide talks for special exhibitions grew. The audio-visual<br />
section <strong>of</strong> the department has begun making in-house<br />
videos. Informative video displays in exhibitions areas<br />
have been another feature <strong>of</strong> the expanded media-related<br />
education activities.<br />
Free performances related to temporary exhibitions<br />
and the permanent collection consistently attracted large<br />
audiences. Many programmes with a family focus took<br />
place over weekends and during holidays.<br />
Young audiences are a particular focus. This year the<br />
department trained another 40 volunteer children’s guides<br />
and eight teacher-lecturers. This resulted in 75 children’s<br />
guides taking 21,363 children on art adventure tours,<br />
while 16 teacher-lecturers took 6,441 students on<br />
discussion tours. In-depth education services for<br />
temporary exhibitions, conducted by <strong>full</strong> time museum<br />
educators, attracted 5,807 students. Over the year, 56,118<br />
students made self-guided visits.<br />
Artexpress, the annual exhibition featuring a<br />
selection <strong>of</strong> outstanding works created for the HSC<br />
examination in visual arts, was again extremely popular<br />
with schools and the general public. It was attended by<br />
17,762 students in booked groups alone.<br />
Revelant educational resources, including education<br />
kits, education posters and the quarterly Exhibition and<br />
Events brochure, were produced for the permanent<br />
collection and temporary exhibitions.<br />
Important community initiatives continued with the<br />
steady growth in attendances at free Auslan-interpreted<br />
tours for both deaf and hearing people. In September<br />
1999, in association with the Australian Museum, the Art<br />
Gallery organised a pr<strong>of</strong>essional development lecture by<br />
William Kirby, a world renowned expert on services in<br />
museums for blind and visually impaired people.<br />
In May 2<strong>00</strong>0 the Art Gallery was notified <strong>of</strong> a<br />
$3<strong>00</strong>,<strong>00</strong>0 grant from the Ian Potter Foundation for an<br />
audience development programme, targeting young people<br />
and Asian audiences.<br />
18<br />
REGIONAL CONTACT<br />
Chief touring exhibition for the year was drawn<br />
from the Archibald Prize, going to Moree, <strong>New</strong>castle,<br />
Griffith, Melbourne and Albury. The Jeffrey Smart<br />
retrospective went to Adelaide, Brisbane and Melbourne.<br />
Seeing Cézanne was seen in Ballarat and Modern Lovers -<br />
Bettina Rheims in Melbourne. These exhibitions attracted<br />
a total <strong>of</strong> 155,767 visitors.<br />
Regional touring is only one <strong>of</strong> many ways in which<br />
the Art Gallery makes its presence felt outside Sydney.<br />
This year works were lent to other institutions for<br />
exhibitions around Australia, with particular assistance<br />
given to Moree Plains Regional Art Gallery for their<br />
exhibition <strong>of</strong> the work <strong>of</strong> Brett Whiteley.<br />
At a one-day conference for NSW Regional<br />
Galleries, librarians Kay Truelove and Robyn Louey from<br />
the Art Gallery’s research library and archive presented a<br />
much appreciated workshop on the use <strong>of</strong> the Internet as<br />
a research tool for the visual arts.<br />
Further a field, Sydney Long’s Pan 1898 was loaned<br />
to the Royal Academy, London, for the exhibition 19<strong>00</strong>:<br />
Art at the Crossroads. This exhibition later moved to the<br />
Guggenheim Museum, <strong>New</strong> York.<br />
Curator and Assistant Curator <strong>of</strong> Aboriginal and<br />
Torres Strait Islander Art represented the Art Gallery at<br />
the Telstra National Aboriginal and Torres Strait Islander<br />
Art Award in Darwin in September 1999. The Assistant<br />
Curator <strong>of</strong> Aboriginal Art also attended the National<br />
Indigenous Artists Conference in Cairns and the Nji Jaga<br />
Anya Nji, <strong>New</strong> <strong>South</strong> <strong>Wales</strong> Aboriginal Artists<br />
Conference in Armidale.<br />
The Art Gallery’s website - upgraded and relaunched<br />
in June 2<strong>00</strong>0 - has become an increasingly important<br />
communications and marketing tool, providing regular<br />
updates on activities and attracting high levels <strong>of</strong> repeat<br />
visits to the site from web users in Australia and around<br />
the world. In the new financial year, the website is<br />
expected to include information from the computerised<br />
collection management system which was developed by<br />
the registration department and handed over this year to<br />
curatorial departments to prepare for its website appearance.<br />
The Art Gallery website will also benefit from NSW<br />
Government funding to digitise the collection over the next<br />
three years commencing in July, 2<strong>00</strong>0. This will allow<br />
images <strong>of</strong> most <strong>of</strong> the collection to be added to the Art<br />
Gallery database for research and internal use, eventually<br />
making these available to the public via the website.
SUPPORT<br />
The Art Gallery enjoys tremendous support from<br />
individuals and organisations. Without their contributions,<br />
the collection and Art Gallery ventures would be very<br />
much the poorer. Sponsors’ backing for specific events<br />
and individual donors are listed in the appendices.<br />
The Art Gallery Society <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> is the<br />
largest organisation <strong>of</strong> arts supporters in Australia with<br />
over 30,<strong>00</strong>0 members. This year, a record 85 percent<br />
renewed their membership.<br />
In 1999, the Society achieved its highest financial<br />
surplus to date, enabling it to fund the purchase <strong>of</strong> major<br />
works, including Five Bells by John Olsen, My Garden by<br />
Fred Williams and two early Indian sculptures.<br />
LOOK, the society’s monthly magazine continued to<br />
develop and published a special issue in April 2<strong>00</strong>0, with<br />
an extended print run, to assist in domestic and<br />
international promotion <strong>of</strong> the Art Gallery for the Sydney<br />
2<strong>00</strong>0 Olympic Arts Festival<br />
Voluntary work organised through the Society<br />
contributed substantially to the Art Gallery’s operations.<br />
The 136 volunteer guides led 30,<strong>00</strong>0 adults and 14,<strong>00</strong>0<br />
children through Art Gallery exhibitions, and 184<br />
members <strong>of</strong> the volunteer task force supplied more than<br />
19,<strong>00</strong>0 hours <strong>of</strong> labour.<br />
John Olsen, Five bells 1963<br />
oil on hardboard, 264.5 x 274.0cm.<br />
Purchased with funds provided by the<br />
Art Gallery Society <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> 1999<br />
The Society’s Task Force also provides essential<br />
staffing on entry desks for all ticketed exhibitions.<br />
The principal objective <strong>of</strong> the Art Gallery<br />
Foundation is to raise funds for investment and apply the<br />
derived income to purchasing works <strong>of</strong> art for the Art<br />
Gallery. This year the Foundation had a net surplus <strong>of</strong><br />
$1.695 million (compared with $1.188 million the<br />
previous year), enabling it to commit funds for the Plain<br />
<strong>of</strong> Musashi Japanese screens and Rachael Whiteread’s<br />
Elongated Plinths.<br />
John and Julie Schaeffer were appointed Life<br />
Governors <strong>of</strong> the Foundation in October 1999 in<br />
recognition <strong>of</strong> their very generous support <strong>of</strong> the Art<br />
Gallery through the donation <strong>of</strong> a major work The<br />
Juggler by Alma Tadema and substantial finanical<br />
committment. Max Sandow and Michael Gleeson-White<br />
retired as deputy chairmen <strong>of</strong> the Foundation after many<br />
years’ valuable service.<br />
COMMERCIAL<br />
The Art Gallery venue hiring department achieved<br />
an increase <strong>of</strong> 22 percent gross revenue over the previous<br />
year, with an increase in net revenue to the Art Gallery <strong>of</strong><br />
44 percent, largely due to a significant growth in the<br />
number <strong>of</strong> corporate functions.<br />
19
View <strong>of</strong> the new Gallery Shop opened on 26 November, 2<strong>00</strong>0<br />
A new brochure, Entertaining at the Gallery, was<br />
developed and distributed to key corporate and government<br />
clients to promote the Art Gallery as a unique venue for<br />
special functions such as cocktail parties, product launches<br />
and dinners. It has proved to be an effective marketing<br />
tool and is also available on the Art Gallery’s website.<br />
Preparing for a boost to tourism during the Sydney<br />
2<strong>00</strong>0 Olympic Games, a task force was established to<br />
ensure the Art Gallery was best positioned to maximise its<br />
exposure and revenue. Breakfast was hosted for 120<br />
participants in the Australian Tourism Commission’s<br />
annual in-bound conference and the special edition <strong>of</strong> the<br />
LOOK magazine was distributed through Australian<br />
embassies, High Commissions, trade <strong>of</strong>fices, Qantas,<br />
hotels and international media and tourism bodies.<br />
Information gathered by the marketing department<br />
in promotions associated with major exhibitions was used<br />
for several direct mail campaigns throughout the year,<br />
targeting repeat visits to the Art Gallery.<br />
BUILDING<br />
Anyone stepping into the Art Gallery in the past<br />
year would be aware <strong>of</strong> the transformation in the<br />
presentation <strong>of</strong> the entrance following the relocation <strong>of</strong><br />
the Gallery Shop and the new focus on Australian art<br />
20<br />
resulting from the opening <strong>of</strong> the Dorothy Street Galleries<br />
<strong>of</strong> Twentieth Century Australian Art. The new presentation<br />
was possible following significant private sector finanical<br />
contribution and was completed with minimum disruption<br />
to the Art Gallery’s operations.<br />
The Public Buildings Stone Conservation project this<br />
year completed the southern façade <strong>of</strong> the building which<br />
is part <strong>of</strong> a 4.34 million four year project. The work included<br />
desalination, preservation maintenance including lead<br />
weathering, stone cleaning and resurfacing <strong>of</strong> the iron grills.<br />
A feasibility design request for a ramp at the<br />
entrance <strong>of</strong> the Art Gallery has been referred to heritage<br />
architects and funding to build access ramp will be<br />
pursued with NSW Government. The Art Gallery was<br />
unsuccessful in negotiating with the various stakeholders<br />
for a new pedestrian entrance to the Domain car park<br />
from the Art Gallery.<br />
Funding was approved for capital works that include<br />
a new Asian gallery, which will give renewed focus to the<br />
centre for Asian studies, where the final year <strong>of</strong> the three<br />
year Arts <strong>of</strong> Asia lecture series commenced in March<br />
2<strong>00</strong>0. The high calibre <strong>of</strong> the speakers - Australian and<br />
international experts on Asian art - has ensured increasing<br />
involvement from the community.
KEY PERFORMANCE INDICATORS - 1999/2<strong>00</strong>0<br />
AIM, OBJECTIVES AND PERFORMANCE INDICATORS<br />
CHARTER<br />
The primary purpose <strong>of</strong> the Art Gallery, as defined by the<br />
Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> Act 1980, is to develop<br />
and maintain a collection <strong>of</strong> works <strong>of</strong> art, and to<br />
propagate and increase knowledge and appreciation <strong>of</strong><br />
art.<br />
VISION<br />
To be the great Australian arts museum reflecting our<br />
heritage and vitality, and to be recognised nationally and<br />
internationally for our collection, services and commitment.<br />
MISSION<br />
To achieve the purpose stated in the charter, the Art<br />
Gallery has set itself the following goals:<br />
• To acquire, collect and present to the public the finest<br />
works <strong>of</strong> art available, with a special emphasis on the<br />
artistic traditions <strong>of</strong> Australia.<br />
• To explore and inspire through our collection and<br />
exhibitions, the emotional and intellectual resources <strong>of</strong><br />
our audiences.<br />
• To create a sense <strong>of</strong> belonging and provide our visitors<br />
with an enjoyable and enduring experience.<br />
OBJECTIVE 1 Enhance and preserve the State’s art collection and heritage building<br />
STRATEGIES KEY PERFORMANCE INDICATORS<br />
1.1 Increase acquisitions <strong>of</strong> art works • Over $5 million <strong>of</strong> artworks were acquired/gifted this<br />
year; (<strong>of</strong> which two were major works).<br />
1.2 Maintain high standards <strong>of</strong> curatorial • Valuation <strong>of</strong> Collection increased by over 10%<br />
work and conservation • Over $2 million generated from commercial activities<br />
for use on art acquisitions<br />
• Over $74 million over last 9 years<br />
• Major exhibition (Drawings show)<br />
mounted in-house to international standards<br />
• Pr<strong>of</strong>essional services provided through<br />
workshops and staff internships.<br />
• For the second year running, a Gallery staff member has<br />
won the national ‘Conservator <strong>of</strong> the Year’ award<br />
Malgororzata Sawicki<br />
Conservator, Frames<br />
Conservator <strong>of</strong> the Year<br />
OBJECTIVES<br />
Strategies have been developed in the corporate plan<br />
1999-2<strong>00</strong>5 to meet the following objectives:<br />
• Enhance and conserve the State’s art collection and<br />
heritage building.<br />
• Operate a varied, exciting and active exhibition<br />
programme to encourage visitors and expand<br />
appreciation <strong>of</strong> art.<br />
• Provide educational and research programmes and<br />
services to an ever-broadening public.<br />
• Inspire and explore artistic attitude and aspiration.<br />
• Operate the Art Gallery in an efficient and effective<br />
manner that encourages an increasing level <strong>of</strong> public<br />
visitation.<br />
• Ensure effective funding sources for the Art Gallery to<br />
support its acquisition program and expansion <strong>of</strong><br />
services.<br />
Measures <strong>of</strong> achievement towards these objectives are set<br />
out in a chart <strong>of</strong> key performance indicators following the<br />
review <strong>of</strong> activities in the year to 30 June 2<strong>00</strong>0.<br />
21
1.3 Maintain and refurbish the Building in • Key priority project completed - establishment<br />
keeping with its heritage value and <strong>of</strong> Dorothy Street Galleries <strong>of</strong> Twentieth Century Australian Art<br />
as a public venue • Over 50% ($9<strong>00</strong>,<strong>00</strong>0) <strong>of</strong> funding required for<br />
Theatrette secured from private sources<br />
• Other maintenance areas eg ro<strong>of</strong> leaks were attended to<br />
• Total Asset Management Plan completed<br />
• Funding secured for major extension to the Gallery<br />
OBJECTIVE 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand appreciation <strong>of</strong> art<br />
STRATEGIES KEY PERFORMANCE INDICATORS<br />
2.1 Exhibit and feature permanent collection • Major ‘Drawings’ and Jeffrey Smart exhibitions staged<br />
in an attractive manner. providing high levels <strong>of</strong> visitors and were both commercial<br />
Provide Temporary Exhibitions successes and internationally acclaimed for their scholarship<br />
and the quality <strong>of</strong> the works<br />
• Permanent collection featured in exhibitions and<br />
public programmes<br />
• Exhibition programme provided a balance <strong>of</strong> paid<br />
and non-paid exhibitions<br />
• Over $1 million <strong>of</strong> net surplus from Exhibitions which<br />
will go towards acquisitions; Entry to exhibition prices<br />
maintained without fee increases<br />
• Preparation for three major exhibitions to be held<br />
during Olympic 2<strong>00</strong>0 period<br />
2.2 Encourage loyalty • Over 1 million visitors during 1999/2<strong>00</strong>0<br />
and longer term commitment • Annual visitor survey revealed extremely high levels <strong>of</strong> visitor<br />
satisfaction and repeat visitations.<br />
• 2.6% increase in Society membership, some <strong>of</strong> whom<br />
were upgraded to Foundation status<br />
• ‘Sports Archibald’ award to attract new audiences and as part<br />
<strong>of</strong> the Olympic Spirit<br />
2.3 Raise awareness <strong>of</strong> the Art Gallery and its • High level <strong>of</strong> media coverage achieved on major exhibitions<br />
exhibitions so that the public are keen to • <strong>New</strong> Jeffrey Smart photographic competition introduced<br />
attend and be associated with the Art Gallery to attract wide interest as a promotional strategy<br />
2.4 Expand the Art Gallery pr<strong>of</strong>ile by establishing<br />
• Coverage in all major newspapers for ‘Brett Whiteley<br />
Scholarship’ winner<br />
• On going presentations, lectures and press interviews given.<br />
• Asian exhibitions held include ‘Japanese prints,<br />
a ‘centre <strong>of</strong> excellence’ in Asian arts and Chinese Bird, Flower Painting’<br />
maintaining our other cultural focus. • Major Acquisition - ‘Plain <strong>of</strong> Musashi’ Japanese screens<br />
by unknown artist<br />
• ‘Yiribana’ programme continues as feature on Aboriginal<br />
art in the Gallery<br />
• VisAsia Prospectus finalised and distributed to<br />
potential members<br />
2.5 Lend/Borrow works <strong>of</strong> art to/from other • Major works borrowed for the exhibitions from major<br />
galleries to make a wide range <strong>of</strong> art more international museums including Windsor Castle<br />
accessible to the public. • ‘Archibald’ toured interstate and regional areas<br />
• Over 211works <strong>of</strong> the Gallery were loaned to<br />
other galleries<br />
OBJECTIVE 3 Provide educational and research programmes and services to an ever-broadening public<br />
STRATEGIES KEY PERFORMANCE INDICATORS<br />
3.1 Provide programs and lecture series • Lecture series <strong>of</strong>fered in various specialist areas continues to<br />
attract strong support<br />
• A total <strong>of</strong> 150 public lectures presented<br />
• ‘Sunday Afternoon for families’ programme enhanced with<br />
performances from students from Australian Institute <strong>of</strong> Music<br />
3.2 Encourage participation and art<br />
• Monthly tours in Auslan (sign language) and special<br />
workshops provided for disabled people.<br />
• Art Express received over 150,<strong>00</strong>0 visitors<br />
appreciation by young people • 5% increase in student participation<br />
(92,<strong>00</strong>0 attended during 1999/2<strong>00</strong>0)<br />
3.3 Disseminate information on art and • 10 art books published during 1999/2<strong>00</strong>0<br />
contribute to scholarship • Over $1 million in sales <strong>of</strong> Art Gallery catalogues/publications.<br />
• Six symposiums held and all <strong>full</strong>y subscribed<br />
22
• Internet web-site re-launched with up to date information<br />
on the Art Gallery’s services<br />
3.4 Ensure Regional Galleries and other • In-house training provided to regional galleries<br />
community groups have access to the Art Gallery’s education <strong>of</strong>ficers<br />
Collection and activities. • Attendances slightly lower but largely due to Victorian<br />
Gallery being closed for refurbishment<br />
• Exhibitions touring included ‘Jeffrey Smart’, ‘Archibald’<br />
and ‘Brett Whiteley’; touring period and number <strong>of</strong> venues<br />
extended<br />
OBJECTIVE 4 Inspire and explore artistic attitude and aspiration<br />
STRATEGIES KEY PERFORMANCE INDICATORS<br />
4.1 Encourage and foster artists in their • <strong>New</strong> prize ‘Sports Archibald’ provided to capture new artistic<br />
endeavours to capture their creativity styles/audiences<br />
• ‘Perspecta’ exhibition held – to foster art in politics<br />
• ‘Papunya Tula’ exhibition held using indigenous artists from<br />
remote communities<br />
• Numerous prizes, competitions, scholarships provided to<br />
encourage new artists<br />
OBJECTIVE 5 Operate the Art Gallery in an efficient and effective manner, which encourages an increasing level <strong>of</strong> public visitation<br />
STRATEGIES KEY PERFORMANCE INDICATORS<br />
5.1 Manage the Art Gallery operations effectively • Maintain staffing and intellectual property in spite <strong>of</strong> reduced<br />
levels <strong>of</strong> government funding for our activities<br />
5.2 Meet customer needs by improvement<br />
• Free entry maintained/363 days <strong>of</strong> operation<br />
• Little or no time lost due to unexpected disruptions<br />
despite major construction work nearby<br />
• Late openings provided in summer with increase in ‘net costs’<br />
in service levels • Café/restaurant refurbished; Expanded services to include<br />
more seating in Café, new ‘Café Express’ and Society kiosk<br />
• No price increases during 1999/2<strong>00</strong>0<br />
5.3 Implement state <strong>of</strong> the art technology, • Upgrades to accounting and related systems in preparation<br />
systems and procedures for GST implementation; compliance requirements met<br />
• IT outsourcing contract implemented; Transitional<br />
problems encountered but network now operating soundly<br />
Firewall established minimising risk <strong>of</strong> viral infections<br />
• No issues relating to Year 2<strong>00</strong>0 Compliance<br />
5.4 Manage staff resources effectively to improve • Improved workplace safety (no increase in injury levels)<br />
employee skill levels and satisfaction • No major disputes and less than 10 minor incidences<br />
<strong>of</strong> staff grievances<br />
• High level <strong>of</strong> accuracy maintained on payroll services (over 90%)<br />
OBJECTIVE 6 Ensure effective funding sources for the Art Gallery<br />
STRATEGIES KEY PERFORMANCE INDICATORS<br />
6.1 Ensure effective use <strong>of</strong> Government Funding • Net Cost per visitor $15.20 (no increase over prior year)<br />
• Operations achieved within budget constraints despite<br />
unfunded salary increases<br />
• Key government priorities (eg regionalism, educational,<br />
corporate services reform) met<br />
6.2 Encourage sponsorships, donations and bequests; • Bequests net income amounted to $5.2 million, totalling<br />
Improve returns from capital funds and related sources over $65 million over the last nine years<br />
• Returns on investment <strong>of</strong> Trust funds exceeded benchmark<br />
• Art Gallery Foundation and Art Gallery Society made major<br />
financial contributions to Art Gallery<br />
• 4 new Principal Sponsors were secured for future exhibitions<br />
and projects.<br />
• Centenary fund success<strong>full</strong>y established with 21 inaugural<br />
members<br />
6.3 Increase funding from Commercial sources • $9.8 million revenue from admissions and commercial<br />
activities.<br />
• Net Surplus for year was $8.6 million.<br />
• Record turnover achieved for Gallery shop<br />
(over $4 million) – highest <strong>of</strong> museum shops in Australia.<br />
23
CORPORATE GOVERNANCE<br />
BOARD OF TRUSTEES<br />
The Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> Trust is<br />
constituted by Section 5 <strong>of</strong> the Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong> Act, 1980. Section 6 stipulates that: ‘the Trust shall<br />
consist <strong>of</strong> 9 Trustees who shall be appointed by the<br />
Governor on the recommendation <strong>of</strong> the Minister for the<br />
Arts and at least two <strong>of</strong> whom shall be knowledgeable<br />
and experienced in the visual arts’. Trustees are appointed<br />
for a term not exceeding three years and may serve four<br />
consecutive terms.<br />
PRESIDENT<br />
Mr David Gonski, Principal <strong>of</strong> Wentworth Associates Pty<br />
Limited; Chairman <strong>of</strong> Morgan Stanley and the Bundanon<br />
Trust; Deputy Chairman Coca-Cola Amatil Ltd.; Director<br />
<strong>of</strong> John Fairfax Holdings Ltd and Westfield Holdings<br />
Limited; St.Vincent’s Hospital (Public, Private and<br />
Hospice), Sydney and Trustee <strong>of</strong> Sydney Grammar School.<br />
Initial date <strong>of</strong> appointment was 1st January, 1997 and<br />
expiry date <strong>of</strong> current term is 31st December, 2<strong>00</strong>0.<br />
VICE-PRESIDENT<br />
Ms Jillian Broadbent, Director <strong>of</strong> the Reserve Bank <strong>of</strong><br />
Australia; Director <strong>of</strong> Woodside Petroleum Ltd.; Director<br />
<strong>of</strong> Coca-Cola Amatil Ltd.; Director <strong>of</strong> the Australian<br />
24<br />
Trustees amongst Anish Kapoor’s<br />
Void Field 1989<br />
(from left to right) John Morschel,<br />
Janet Laurence, Mary Turner,<br />
Lachlan Murdoch, Pierce Cody,<br />
Jillian Broadbent, Anne Landa,<br />
David Gonski, John Yu<br />
Brandenburg Orchestra and the Sydney Theatre<br />
Company; Member <strong>of</strong> the Advisory Board <strong>of</strong> the<br />
Salvation Army. Initial date <strong>of</strong> appointment was 1st<br />
January, 1993 and expiry date <strong>of</strong> current term is 31st<br />
December, 2<strong>00</strong>1.<br />
MEMBERS<br />
Mr John Morschel, Chairman <strong>of</strong> Comalco Limited;<br />
Director <strong>of</strong> Westpac Banking Corporation; Director <strong>of</strong><br />
CSR Limited; Director <strong>of</strong> Tenix Pty Limited; Director <strong>of</strong><br />
Rio Tinto PLC; Director <strong>of</strong> Rio Tinto Ltd.; Director <strong>of</strong><br />
Cable & Wireless Optus; former Managing Director <strong>of</strong><br />
Lend Lease Corp. Initial date <strong>of</strong> appointment was 1st<br />
January, 1995 and expiry date <strong>of</strong> current term is 31st<br />
December, 2<strong>00</strong>0.<br />
Ms Anne Landa, Founder <strong>of</strong> the David Paul Landa<br />
Memorial Scholarship for Pianists; Producer <strong>of</strong> Handle<br />
with Care 1986 Logie Award winner for best<br />
documentary / docudrama; Member Quality Review<br />
Committee <strong>of</strong> the Darling Harbour Authority. Former<br />
President <strong>of</strong> the Friends <strong>of</strong> Sydney Film Festival and<br />
Sydney Jewish Film Festival. Initial date <strong>of</strong> appointment<br />
was 1st January, 1996 and expiry <strong>of</strong> current term is 31st<br />
December, 2<strong>00</strong>1.
Ms Janet Laurence, Mixed media installation artist whose<br />
work has been included in major survey exhibitions and<br />
collections, nationally and internationally. Her<br />
architectural and public commissions include the Tomb <strong>of</strong><br />
the Unknown Soldier in Canberra and The Edge <strong>of</strong> the<br />
Trees at the Museum <strong>of</strong> Sydney, which was awarded the<br />
Lloyd Rees award for urban design from the Royal<br />
Australian Institute <strong>of</strong> Architects. In 1992 and 1996 Janet<br />
was awarded Australia Council Fellowships and in 1996<br />
received a Rockefeller Fellowship. Recently completed 49<br />
Veils windows for the new Central Synagogue in Bondi;<br />
and Veil <strong>of</strong> Trees in the Domain for the Sydney City<br />
Sculpture Walk. Currently working on an environmental<br />
art work for the Homebush Bay Olympic site. Initial date<br />
<strong>of</strong> appointment was 1st January, 1997 and expiry <strong>of</strong><br />
current term is 31st December, 2<strong>00</strong>2.<br />
Dr John Yu, AM, MB BS(Syd),Hon MD (Syd.), Hon Dlitt<br />
(UWS), DCH (RCP&S), FRACP, FRACMA. Dr Yu is a<br />
Paediatrician and former Chief Executive <strong>of</strong> the Children’s<br />
Hospital at Westmead. He is Chancellor <strong>of</strong> the University<br />
<strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong>. He is Chair <strong>of</strong> the Australia China<br />
Council and the Specialist Advisory Committee to the<br />
NSW Commissioner for Children and Young People. He<br />
sits on the Board <strong>of</strong> St Vincent’s Hospital in Sydney, the<br />
National Australia Day Council and the Myers Grace<br />
Community Fund. Initial date <strong>of</strong> appointment was 1st<br />
January, 1997 and expiry <strong>of</strong> current term is 31st<br />
December, 2<strong>00</strong>2.<br />
Mary Turner, OAM. Chair <strong>of</strong> the Orange Music<br />
Association; Member <strong>of</strong> the Orange Regional Gallery<br />
Advisory Committee since 1983; Member <strong>of</strong> the Music<br />
Committee <strong>of</strong> the Art Advisory Council; Board Member<br />
<strong>of</strong> the Music Council <strong>of</strong> Australia. Co-Director <strong>of</strong> the<br />
Macquarie Galleries, Sydney (1956-1978); Director <strong>of</strong> the<br />
Murray Crescent Galleries, Canberra (1978-1981).<br />
Received an Order <strong>of</strong> Australia in 1993 ‘for services to<br />
the arts, particularly music and painting’. Board member<br />
Arts OutWest Inc since 1997-1999. Founder and<br />
Managing Trustee <strong>of</strong> the Godfrey Turner Music Trust,<br />
formed in 1989 “to raise the standard <strong>of</strong> appreciation and<br />
practice <strong>of</strong> music in the region <strong>of</strong> which the centre is the<br />
City <strong>of</strong> Orange..”; Trustee <strong>of</strong> the Margaret Henderson<br />
Music Trust, established in 1996 “to assist by award <strong>of</strong><br />
scholarship.. outstanding young musicians <strong>of</strong> Orange to<br />
pursue advanced studies in music..’ Initial date <strong>of</strong><br />
appointment was 1st January, 1998 and expiry <strong>of</strong> current<br />
term is 31st December, 2<strong>00</strong>0.<br />
Lachlan Murdoch, Chairman and Chief Executive <strong>of</strong><br />
<strong>New</strong>s Limited; Senior Executive Vice President, and a<br />
Director, <strong>of</strong> The <strong>New</strong>s Corporation Limited; Chairman <strong>of</strong><br />
Queensland Press; a Director <strong>of</strong> The Herald & Weekly<br />
Times Limited, Foxtel and One.Tel.; Deputy Chairman <strong>of</strong><br />
Star Television Limited. Initial date <strong>of</strong> appointment was<br />
1st January, 1999 and expiry <strong>of</strong> current term is 31st<br />
December, 2<strong>00</strong>1.<br />
Pierce Cody, Chief Executive Officer and Managing<br />
Director <strong>of</strong> Cody Outdoor. Director <strong>of</strong> The Outdoor<br />
Advertising Association <strong>of</strong> Australia; Member <strong>of</strong> the<br />
Director’s Council <strong>of</strong> the National Gallery <strong>of</strong> Victoria;<br />
Director <strong>of</strong> Adcorp; Director and Governor <strong>of</strong> The<br />
Australian Ireland Fund. Initial date <strong>of</strong> appointment was<br />
1st January 2<strong>00</strong>0 and expiry <strong>of</strong> current term is 31st<br />
December, 2<strong>00</strong>2.<br />
Honorary Solicitors to the Trust: Freehill Hollingdale<br />
and Page<br />
TRUSTEE MEETINGS AND COMMITTEES<br />
ATTENDANCES AT BOARD OF TRUSTEE MEETINGS<br />
There were six board meetings <strong>of</strong> the Trust during the<br />
period July, 1999 to June, 2<strong>00</strong>0. Trustee attendances were<br />
as follows:<br />
David Gonski 6<br />
Jillian Broadbent 5<br />
Anne Landa 6<br />
Janet Laurence 5<br />
John Morschel 3<br />
Justice Kim Santow 2 (until 31 12.99)<br />
Mary Turner 6<br />
Dr John Yu 6<br />
Lachlan Murdoch 1<br />
Pierce Cody 2 (from 1.1.<strong>00</strong>).<br />
Apologies were submitted for all Trustee absences and<br />
authorised leave was granted.<br />
TRUST COMMITTEES<br />
Acquisitions and Loans<br />
John Yu, David Gonski (ex-<strong>of</strong>ficio), Anne Landa, Janet<br />
Laurence, Edmund Capon, Director, Anthony Bond –<br />
General Manager, Curatorial Services<br />
Exhibitions<br />
David Gonski (ex-<strong>of</strong>ficio), Janet Laurence, Anne Landa,<br />
Barry Murphy, Greg Daniel, Edmund Capon – Director,<br />
Anne Flanagan – General Manager, Exhibitions and<br />
Building Services, Anthony Bond – General Manager,<br />
Curatorial Services<br />
Finance and Audit<br />
Jillian Broadbent (Chairperson), David Gonski, Bruce<br />
Cutler, Edmund Capon – Director, Rosemary Senn –<br />
General Manager, Finance and Management Services<br />
25
Paris Studio<br />
Barry Pearce – Head Curator, Australian Art, Victoria<br />
Lynn – Curator, Contemporary Art<br />
PLANNING, RISK MANAGEMENT AND INTERNAL AUDIT<br />
Corporate Plan and Total Asset Management Plan<br />
The Art Gallery finalised its Corporate Plan and its Total<br />
Asset Management Plan.<br />
The Corporate Plan contains the Gallery’s comprehensive<br />
vision, goals, and strategies for the next five years. Details<br />
are included in the Aim, Objective and Performance<br />
Indicators Section.<br />
The Total Asset Management Plan (TAM) was developed<br />
for submission to the NSW Government. TAM entail<br />
analysis <strong>of</strong> our capital expenditure program and the<br />
relationship with the services being provided.<br />
Risk Management and Insurance<br />
The Art Gallery, as a NSW Government Agency,<br />
continues to be insured by the Treasury Managed Fund, a<br />
government self insurance scheme administered by the<br />
GIO. There were no significant claims on this scheme<br />
during the year. The annual premium amounted to<br />
$1 million reflecting the value <strong>of</strong> the State asset holdings<br />
<strong>of</strong> the Gallery’s permanent art Collection and our heritage<br />
building plus the loaned temporary exhibition art holdings.<br />
Internal Audit<br />
Reviews were conducted during the year on, IT network<br />
management, GST compliance, Contractual arrangements<br />
relation to the Brett Whiteley Studio, Tax compliance.<br />
Recommendations were care<strong>full</strong>y considered, policies and<br />
procedures were revised where appropriate and remedial<br />
action taken to improve internal controls. An action plan<br />
was developed to address IT matters with a timetable for<br />
implementation. The sub-committee <strong>of</strong> the Board <strong>of</strong><br />
Trustees was renamed ‘Finance and Audit’ to re-affirm the<br />
importance <strong>of</strong> the Board’s role in audit matters. The cost<br />
<strong>of</strong> internal audit work is borne by the Ministry for the Arts<br />
from a central allocation <strong>of</strong> funds for the Arts Portfolio.<br />
SENIOR MANAGEMENT PROFILE<br />
Edmund Capon, AM<br />
Director<br />
Edmund Capon has been the Director <strong>of</strong> the Art<br />
Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> since 1978. For five years<br />
before leaving London he held the position <strong>of</strong> Assistant<br />
Keeper, Far Eastern Section at the Victoria and Albert<br />
Museum, having started at that Museum in 1966 in the<br />
Textile Department specialising in Chinese textiles and<br />
costume, and European tapestries. He has also managed a<br />
26<br />
commercial gallery in London primarily concerned with<br />
modern British paintings and sculpture.<br />
He obtained his Master <strong>of</strong> Philosophy degree in<br />
Chinese Art and Archaeology (including language) from<br />
the London University School <strong>of</strong> Oriental and African<br />
Studies. Edmund has also completed studies on 20th<br />
century painting at the Courtauld Institute <strong>of</strong> Art, London<br />
University.<br />
Edmund is recognised as a world expert in his<br />
particular field and has published several books and<br />
catalogues including Princes <strong>of</strong> Jade (1974); Art and<br />
Archaeology in China (1977); Qin Shihuang: Terracotta<br />
Warriors and Horses (1982); and Tang China: Vision and<br />
Splendour <strong>of</strong> a Golden Age (1989), as well also many<br />
selected articles for Australian and international<br />
newspapers and pr<strong>of</strong>essional art journals.<br />
Mr Capon was made a Member <strong>of</strong> the Order <strong>of</strong><br />
Australia in 1994. He is also currently a member <strong>of</strong> the<br />
Cultural Committee <strong>of</strong> the Sydney Organising Committee<br />
for the Year 2<strong>00</strong>0 Olympic Games and is a member <strong>of</strong> the<br />
Advisory Council <strong>of</strong> the Asia Society AustralAsia Centre.<br />
Anthony Bond,<br />
General Manager, Curatorial Services<br />
Anthony Bond joined the Art Gallery in 1984 as<br />
Curator <strong>of</strong> Contemporary Art. In January, 1995 he was<br />
appointed to the position <strong>of</strong> General Manager, Curatorial<br />
Services to oversee the curatorial staff <strong>of</strong> the Art Gallery<br />
together with responsibility for the overall management <strong>of</strong><br />
curatorial services departments: Conservation,<br />
Registration, Public Programmes, Library and the<br />
Photography Studio. This is coupled with his role as<br />
Head Curator, Western Art with special responsibility for<br />
20th century and contemporary International collections.<br />
He was formerly Director <strong>of</strong> Wollongong City Gallery and<br />
Assistant Director <strong>of</strong> Art Gallery <strong>of</strong> Western Australia.<br />
Mr. Bond has published extensively and continues to<br />
maintain a strong commitment to 20th century<br />
International art through collection development and<br />
curating thematic exhibitions. In 1999 his book Body that<br />
accompanied the exhibition <strong>of</strong> that name at the Gallery in<br />
1997 was awarded the inaugural Power institute award<br />
for the best book <strong>of</strong> Art history, an award <strong>of</strong>fered through<br />
the AAANZ. In 1999 he was invited to Direct Trace, the<br />
inaugural Liverpool Biennial <strong>of</strong> Contemporary Art in<br />
England. His academic qualifications include B.Ed (Hons)<br />
from the University <strong>of</strong> London and he is currently<br />
undertaking a Ph.D at The University <strong>of</strong> Sydney. He is a<br />
member <strong>of</strong> various committees including the Executive<br />
Committee <strong>of</strong> the AAANZ, Australia 2<strong>00</strong>2 committee at<br />
ARCO Madrid, City <strong>of</strong> Sydney Sculpture Walk Selection<br />
Committee, Australian center for Photography (Chair),<br />
Bundanon Trust residency committee and serves on
Academic advisory panels and acts as external assessor at<br />
several Universities. He also acts as an assessor for the<br />
Australian research Foundation (visual arts)<br />
Anne Flanagan<br />
General Manager, Exhibitions and Building Services<br />
Anne Flanagan joined the Art Gallery in March<br />
1992. Her academic background includes visual arts,<br />
interior design and education. For the last sixteen years<br />
she has worked within arts organisations initially at the<br />
Crafts Council <strong>of</strong> NSW, Powerhouse Museum, Biennale <strong>of</strong><br />
Sydney, Australian Bicentennial Authority and then at the<br />
Historic Houses Trust <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> before joining<br />
the Art Gallery.<br />
Ms Flanagan is responsible for the exhibition<br />
programme including design, development and financial<br />
management, building services including capital and<br />
maintenance programmes and all security services within<br />
the Art Gallery.<br />
Rosemary Senn<br />
General Manager, Finance and Management Services<br />
Rosemary Senn joined the Art Gallery in late 1998.<br />
She is a Fellow <strong>of</strong> the Australian Society <strong>of</strong> Certified<br />
Practising Accountants and holds a Degree <strong>of</strong> Commerce<br />
with the University <strong>of</strong> Melbourne. She also holds<br />
qualifications in company directorship and taxation<br />
matters. Prior to joining the Art Gallery, Ms Senn held<br />
various senior financial and business development roles<br />
with a major Australian corporation over several years.<br />
She also held the position <strong>of</strong> director <strong>of</strong> a credit union.<br />
As well as being the Art Gallery’s chief financial<br />
<strong>of</strong>ficer, Ms Senn is also responsible for other management<br />
services which include corporate secretariat services for<br />
the Trust and other Art Gallery entities, human resources<br />
management, management services, administration and<br />
information technology. Also included in her<br />
responsibilities is the Gallery shop and the copyright and<br />
image reproduction services.<br />
Jane Westbrook,<br />
General Manager, Business Development and Marketing<br />
Jane Westbrook joined the Art Gallery in April<br />
1999. She has over 20 years’ experience in senior arts<br />
management in a wide range <strong>of</strong> cultural institutions,<br />
including the Sydney Opera House, the British Council,<br />
the Australia Council and the Powerhouse Museum. She<br />
holds Masters and First Class Honours degrees from the<br />
University <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> and was awarded a<br />
1982Churchill Fellowship.<br />
Ms Westbrook is responsible for the Art Gallery’s<br />
Business Development activities, which includes<br />
sponsorship and fundraising, as well as all aspects <strong>of</strong><br />
Marketing, including public relations, advertising and<br />
promotions, venue management and tourism.<br />
LIFE GOVERNORS<br />
Franco Belgiorno-Nettis AC CBE<br />
Joseph Brender AO<br />
Ken Cowley AO<br />
James Fairfax AO<br />
Michael Gleeson-White AO<br />
Mollie Gowing<br />
Shosuke Idemitsu<br />
James Leslie AC, MC<br />
Frank Lowy AO<br />
Rupert Murdoch AC<br />
Kenneth Myer (the late) AC, DSC<br />
J. Hepburn Myrtle (the late) CBE<br />
Margaret Olley AO<br />
Max Sandow AM<br />
John and Julie Schaeffer<br />
Goldie and Edward Sternberg (the late) AM<br />
Fred Street<br />
Diana Walder OAM<br />
Neville Wran AC, QC<br />
VISASIA BOARD MEMBERS<br />
Dr John Yu (Chairman)<br />
Goldie Sternberg<br />
Pr<strong>of</strong>essor Steve Burdon<br />
Stephen Menzies<br />
The Hon, Justice Kim Santow OAM<br />
Robert Seidler<br />
Edmund Capon – Director,<br />
Jackie Menzies – Head Curator Asian Art<br />
BRETT WHITELEY FOUNDATION<br />
Mr David Kent<br />
Ms Wendy Whiteley<br />
Ms Arkie Whiteley (alternative Ms Anna Schwartz)<br />
Mr Edmund Capon – Director<br />
Mr Barry Pearce – Head Curator, Australian Art<br />
FOUNDATION<br />
Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> Foundation produces a<br />
seperate Annual Report available from the Art Gallery.<br />
27
ORGANISATIONAL STRUCTURE<br />
The Gallery’s organisational structure has been designed<br />
to recognise the four major functions <strong>of</strong> the Gallery<br />
operations:<br />
• Curatorial Services<br />
• Business Development and Marketing<br />
• Exhibitions and Building Services<br />
• Finance and Management Services<br />
A General Manager heads each <strong>of</strong> these function areas<br />
and reports to the Director. Gallery staffing has been<br />
organised into activity Departments under these four<br />
major functions and each Department Manager reports<br />
to their responsible General Manager.<br />
28<br />
DIRECTOR<br />
AUSTRALIAN<br />
Paintings & Sculpture<br />
Prints, Drawings & Watercolours<br />
Aboriginal & Torres Strait Islander<br />
Conservation<br />
Library<br />
Curatorial Services<br />
STAFF PROFILE<br />
Average over 12 months<br />
Building and Security Services<br />
30/6/<strong>00</strong><br />
63<br />
Curatorial Services Staff 42<br />
Curatorial Staff 26<br />
Exhibitions/Display 19<br />
Corporate Services 19<br />
Commercial Services 15<br />
Marketing 9<br />
Total 193<br />
GENERAL MANAGER FINANCE & MANAGEMENT SERVICE<br />
Human Resources<br />
Management Services<br />
Copyright<br />
Information Technology<br />
Finance<br />
Corporate Secretariat<br />
Gallery Shop<br />
GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES<br />
Gallery Services<br />
Exhibitions<br />
Building Management<br />
Workshop<br />
Installation Security<br />
GENERAL MANAGER BUSINESS DEVELOPMENT & MARKETING<br />
Venue Management<br />
Sponsorship<br />
GENERAL MANAGER CURATORIAL SERVICES<br />
WESTERN<br />
EUROPEAN ART<br />
pre – 19<strong>00</strong><br />
Contemporary<br />
Photography<br />
Registration<br />
Public Programmes<br />
Photography Studio<br />
Information Desk<br />
Membership Services<br />
Marketing Graphics<br />
ASIAN<br />
Japan<br />
China<br />
<strong>South</strong>-East Asia<br />
India
ART GALLERY OF NEW SOUTH WALES FINANCIAL REPORTS
FINANCIAL REVIEW OF THE YEAR<br />
FINANCIAL SUMMARY<br />
30<br />
Average<br />
per<br />
1991–92 1992–93 1993–94 1994–95 1995–96 1996–97 1997–98 1998–99 1999-<strong>00</strong> Total annum<br />
Total Attendances –<br />
incl Touring/Studio million • • • • 1.16 1.23 1.08 1.17 1.03 5.66 1.13<br />
Attendances –<br />
Paid exhibitions million 0.54 0.18 0.43 0.35 0.40 0.45 0.27 0.30 0.26 3.20 0.36<br />
Attendances –<br />
Free access – Main million 0.51 0.57 0.48 0.63 0.59 0.56 0.65 0.65 0.64 5.27 0.59<br />
Total Attendances –<br />
Main Building million 1.05 0.75 0.91 0.99 0.99 1.01 0.92 0.95 0.90 8.47 0.94<br />
Artworks Purchased $’m $1.0 $5.3 $1.6 $1.9 $2.9 $1.2 $4.1 $0.3 $0.9 $19.4 $2.2<br />
Donations <strong>of</strong> Artworks/<br />
funds to acquire artworks $’m $7.9 $2.8 $8.2 $10.4 $7.4 $4.3 $7.2 $3.7 $4.3 $56.2 $6.2<br />
Total Works <strong>of</strong> Art<br />
Acquired $’m $8.9 $8.2 $9.8 $12.4 $10.3 $5.5 $11.3 $4.1 $5.2 $75.6 $8.4<br />
Exhibition Admission $’m $3.7 $0.8 $2.3 $2.8 $2.9 $2.5 $2.4 $2.7 $2.1 $22.3 $2.5<br />
revenue<br />
Sponsorships & contributions $’m $1.5 $1.0 $0.9 $1.5 $3.1 $2.6 $2.1 $3.8 $3.0 $19.6 $2.2<br />
Other Commercial<br />
Activities/other misc $’m $4.3 $2.3 $3.7 $4.3 $6.3 $5.4 $5.4 $5.1 $5.7 $42.6 $4.7<br />
Revenue from<br />
Commercial Activities $’m $9.5 $4.2 $7.0 $8.6 $12.4 $10.5 $9.9 $11.6 $10.8 $84.5 $9.4<br />
Bequest/Special funds<br />
income $’m $8.4 $3.2 $9.3 $11.3 $8.0 $5.0 $9.3 $5.9 $5.2 $65.7 $7.3<br />
Total Revenue from<br />
Commercial and<br />
private sources $’m $18.0 $7.4 $16.3 $19.9 $20.4 $15.5 $19.2 $17.5 $16.0 $150.2 $16.7<br />
Operating Expenses $’m $20.5 $14.2 $16.9 $20.1 $23.2 $23.7 $26.1 $26.1 $24.6 $195.5 $21.7<br />
Net Cost <strong>of</strong> Services<br />
(exc. Bequests) $’m $11.0 $10.0 $9.9 $11.5 $10.9 $13.2 $16.2 $14.5 $13.7 $111.0 $12.3<br />
Recurrent appropriation $’m $9.9 $8.5 $8.7 $10.7 $11.0 $12.9 $13.6 $13.6 $13.6 $102.4 $11.4<br />
Capital appropriation/other $’m $1.3 $1.4 $2.1 $1.5 $1.4 $2.9 $4.2 $2.2 $3.5 $20.5 $2.3<br />
Total Govt Grants $’m $11.2 $9.8 $10.7 $12.2 $12.4 $15.8 $17.8 $15.8 $17.1 $122.9 $13.66<br />
Government funding as a<br />
% <strong>of</strong> total revenues % 38% 57% 40% 38% 38% 50% 48% 47% 52% 45% 45%<br />
Total Revenue $’m $29.1 $17.2 $27.0 $32.2 $32.8 $31.3 $37.0 $33.3 $33.1 $273.1 $30.3<br />
Net Surplus $’m $8.6 $3.0 $10.1 $12.1 $9.5 $7.6 $10.8 $7.2 $8.6 $77.6 $8.6<br />
Employees Number 153 167 157 170 187 233 227 228 220<br />
Net cash flows $’m $0.8 $0.4 $1.0 -$2.0 -$0.5 $0.8 $0.4 -$0.3 -$1.0<br />
Net Assets $’m $477.8 $474.0 $485.0 $518.0 $524.0 $606.0 $616.0 $641.8 $712.8<br />
Net Cost <strong>of</strong> Services<br />
per visitor $ $10.50 $13.40 $10.90 $11.70 $11.<strong>00</strong> $13.10 $17.60 $15.20 $15.20
REVENUE RECEIVED OVER NINE YEARS TO 1999/2<strong>00</strong>0<br />
$273 Million<br />
REVENUE AND GOVERNMENT FUNDING<br />
ATTENDANCES<br />
Domain Site<br />
WORKS OF ART ACQUIRED<br />
REVENUES AND OPERATING EXPENSES<br />
NET COST OF SERVICES PER VISITOR<br />
WORKS OF ART ACQUIRED (COMMULATIVE)<br />
31
ART GALLERY OF NEW SOUTH WALES TRUST<br />
STATUTORY FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2<strong>00</strong>0<br />
ART GALLERY OF NEW SOUTH WALES TRUST<br />
STATEMENT IN ACCORDANCE WITH SECTION41C(1C) OF THE PUBLIC FINANCE AND AUDIT ACT, 1983<br />
In accordance with a resolution <strong>of</strong> the Board <strong>of</strong> Trustees <strong>of</strong> the Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> we state that:<br />
(a) the accompanying financial statements have been prepared in accordance with the provisions <strong>of</strong> the<br />
Public Finance and Audit Act 1983, the Financial Reporting Code for Budget Dependent General<br />
Government Sector Agencies, the applicable clauses <strong>of</strong> the Public Finance and Audit (General)<br />
Regulation 1995, applicable Accounting Standards, other mandatory reporting requirements and the<br />
Treasurer’s Directions<br />
(b) the financial statements and notes thereto exhibit a true and fair view <strong>of</strong> the financial position as at<br />
30 June 2<strong>00</strong>0 and the operations for the year then ended; and<br />
(c) at the date <strong>of</strong> signing we are not aware <strong>of</strong> circumstances that would render the financial statements<br />
misleading or inaccurate.<br />
D.M. GONSKI<br />
PRESIDENT<br />
J.R. BROADBENT<br />
HON. TREASURER<br />
1 September 2<strong>00</strong>0<br />
E.G CAPON<br />
DIRECTOR<br />
R. SENN<br />
GENERAL MANAGER<br />
FINANCIAL & MANAGEMENT SERVICES<br />
33
ART GALLERY OF NEW SOUTH WALES TRUST<br />
OPERATING STATEMENT<br />
For the year ended 30 June 2<strong>00</strong>0<br />
NOTES ACTUAL BUDGET ACTUAL<br />
2<strong>00</strong>0 2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0 $’<strong>00</strong>0<br />
Expenses<br />
Operating Expenses<br />
Employee related 3 12,142 12,127 11,871<br />
Other operating expenses 4 9,299 11,392 10,395<br />
Maintenance 5 1,393 5<strong>00</strong> 1,839<br />
Depreciation 6 1,719 1,8<strong>00</strong> 1,984<br />
Total Expenses<br />
Less:<br />
Retained Revenue<br />
24,553 25,819 26,089<br />
Sale <strong>of</strong> goods and services 7 7,655 8,195 7,660<br />
Investment income 8 165 567 145<br />
Grants and contributions 9 3,012 4,199 3,791<br />
Other revenue 10 7 - 14<br />
Total retained revenue 10,839 12,961 11,610<br />
Net Gain (Loss) on Sale <strong>of</strong> Non-Current Assets 11 9 18 25<br />
NET COST OF SERVICES BEFORE BEQUEST AND SPECIAL FUNDS 13,705 12,840 14,454<br />
Bequest and Special Funds 22 (5,178) - (5,895)<br />
NET COST OF SERVICES AFTER BEQUEST AND SPECIAL FUNDS 8,527 12,840 8,559<br />
Government Contributions<br />
Recurrent appropriation 13,630 13,630 13,577<br />
Capital appropriation<br />
Acceptance by the Crown Entity<br />
2,320 3,348 1,058<br />
<strong>of</strong> employee entitlements and other liabilities 12 1,153 350 1,185<br />
Total Government Contributions 17,103 17,328 15,820<br />
Surplus for the year 8,576 4,488 7,261<br />
These accounts must be read in conjunction with the notes attached to the accounts.<br />
34
ART GALLERY OF NEW SOUTH WALES TRUST<br />
STATEMENT OF FINANCIAL POSITION<br />
As at 30 June 2<strong>00</strong>0<br />
NOTES ACTUAL BUDGET ACTUAL<br />
2<strong>00</strong>0 2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0 $’<strong>00</strong>0<br />
ASSETS<br />
Current Assets<br />
Cash 14 126 1,773 1,141<br />
Investments 17 7,548 6,159 6,959<br />
Receivables 15 1,556 1,309 1,382<br />
Inventories 16 1,385 1,138 1,139<br />
Total Current Assets 10,615 10,379 10,621<br />
Non-Current Assets<br />
Land and Buildings 18 171,216 168,920 164,995<br />
Plant and equipment 18 4,686 - 5,950<br />
Collections Assets 18 524,181 467,346 460,532<br />
Investments 17 5,490 2,5<strong>00</strong> 2,5<strong>00</strong><br />
Total Non-Current Assets 705,573 638,766 633,977<br />
TOTAL ASSETS 716,188 649,145 644,598<br />
LIABILITIES<br />
Current Liabilities<br />
Accounts payable 19 2,460 1,420 1,880<br />
Employee entitlements 20 953 674 871<br />
Total Current Liabilities 3,413 2,094 2,751<br />
NET ASSETS 712,775 647,051 641,847<br />
Equity<br />
Accumulated funds 21 541,385 533,297 533,297<br />
General reserves 21 161,311 108,550 98,959<br />
Special reserves 22 10,079 5,204 9,591<br />
TOTAL EQUITY 712,775 647,051 641,847<br />
These accounts must be read in conjunction with the notes attached to the accounts.<br />
35
ART GALLERY OF NEW SOUTH WALES TRUST<br />
STATEMENT OF CASH FLOWS<br />
For the year ended 30 June 2<strong>00</strong>0<br />
NOTES ACTUAL BUDGET ACTUAL<br />
2<strong>00</strong>0 2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0 $’<strong>00</strong>0<br />
Cash Flows from Operating Activities<br />
Payments<br />
Employee related (10,031) (10,265) (9,802)<br />
Other (9,518) (11,087) (11,301)<br />
TOTAL PAYMENTS<br />
Receipts<br />
(19,549) (21,352) (21,103)<br />
Sale <strong>of</strong> goods and services 7,373 8,195 7,181<br />
Interest 165 150 145<br />
Other 3,299 1,844 4,845<br />
TOTAL RECEIPTS<br />
Cash flows from Government<br />
10,837 10,189 12,171<br />
Recurrent appropriation 13,630 13,630 13,577<br />
Capital appropriation 2,320 3,348 1,058<br />
Cash Reimbursements from the Crown Entity 376 350 355<br />
NET CASH FLOWS FROM GOVERNMENT 16,326 17,328 14,990<br />
Net cash outflows from operating activities 25 7,614 6,165 6,058<br />
Cash flows from Investing Activities<br />
Proceeds from sale <strong>of</strong> Land, Building and Plant & Equipment 22 18 63<br />
Purchases <strong>of</strong> Land, Building and Property, Plant & Equipment (5,072) (6,351) (7,399)<br />
Sale/(Purchases) <strong>of</strong> investments (3,579) 8<strong>00</strong> 944<br />
Net cash flows from investing activities (8,629) (5,533) (6,392)<br />
Net Increase/(Decrease) in Cash (1,015) 632 (334)<br />
Opening cash and cash equivalents 1,141 1,141 1,475<br />
CLOSING CASH AND CASH EQUIVALENTS 14 126 1,773 1,141<br />
These accounts must be read in conjunction with the notes attached to the accounts.<br />
36
ART GALLERY OF NEW SOUTH WALES TRUST<br />
SUMMARY OF COMPLIANCE WITH FINANCIAL DIRECTIVES<br />
For the year ended 30 June 2<strong>00</strong>0<br />
ORIGINAL BUDGET<br />
APPROPRIATION/<br />
EXPENDITURE<br />
2<strong>00</strong>0 1999<br />
Recurrent Expend- Capital Expend- Recurrent Expend- Capital Expend-<br />
Appro- iture Appro- iture Appro- iture Appro- iture<br />
priation $’<strong>00</strong>0 priation $’<strong>00</strong>0 priation $’<strong>00</strong>0 priation $’<strong>00</strong>0<br />
$’<strong>00</strong>0 $’<strong>00</strong>0 $’<strong>00</strong>0 $’<strong>00</strong>0<br />
• Appropriation Act 13,451 13,451 1,520 2,320 13,577 13,577 1,058 1,058<br />
• Budget Variation Acts<br />
(ie Additional Appropriations) 179 179 1,828 - - - - -<br />
• s21A PF&AA – special<br />
appropriations - - - - - - - -<br />
• s24 PF&AA – transfers <strong>of</strong><br />
functions between<br />
departments - - - - - - - -<br />
• s26 PF&AA –<br />
Commonwealth specific<br />
purpose payments - - - - - - - -<br />
OTHER APPROPRIATIONS/<br />
EXPENDITURE<br />
13,630 13,630 3,348 2,320 13,577 13,577 1,058 1,058<br />
• Treasurer’s Advance - - - - 0 0 - -<br />
• Section 22 – expenditure for<br />
certain works and services - - - - - - - -<br />
• Transfers from other<br />
agency (section 28 <strong>of</strong><br />
the Appropriation Act) - - - - - - - -<br />
0 0 0 0 0 0 0 0<br />
Total Appropriations –<br />
Expenditure/Net Claim on 13,630 13,630 3,348 2,320 13,577 13,577 1,058 1,058<br />
Consolidated Fund<br />
Amount drawn down<br />
against Appropriation 13,630 2,320 13,577 1,058<br />
Liability to Consolidated Fund • 0 0 0 0<br />
The Summary <strong>of</strong> Compliance is based on the assumption that Consolidated Fund moneys are spent first (except where otherwise identified or prescribed).<br />
37
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL<br />
STATEMENTS FOR THE YEAR ENDED 30 June 2<strong>00</strong>0<br />
1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES<br />
(a) Reporting entity<br />
The Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> comprises all the<br />
operating activities and entities under the control <strong>of</strong> the<br />
Board <strong>of</strong> Trustees <strong>of</strong> the Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
(the Gallery) including the Gallery’s commercial activities <strong>of</strong><br />
merchandising, venue hire and catering. All transactions<br />
and balances between the funds and entities comprising the<br />
Gallery have been eliminated in the process <strong>of</strong> preparing<br />
the financial statements. The Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong> Foundation is not included, as the Gallery has no<br />
direct control over the activities <strong>of</strong> the Foundation. The<br />
principal object <strong>of</strong> the Foundation is to raise funds to be<br />
invested and to apply the income derived from such<br />
investments to the acquisition <strong>of</strong> works <strong>of</strong> art for the<br />
Gallery.<br />
(b) Basis <strong>of</strong> accounting<br />
These financial statements which are a general purpose<br />
financial report have been prepared on an accruals basis<br />
and in accordance with applicable Australian Accounting<br />
Standards and other authoritative pronouncements <strong>of</strong> the<br />
Australian Accounting Standards Board (AASB), Urgent<br />
Issues Group (UIG) the requirements <strong>of</strong> the Public Finance<br />
and Audit Act and Regulations, and the Financial Reporting<br />
Directions published in the Financial Reporting Code for<br />
Budget Dependent General Government Sector Agencies or<br />
issued by the Treasurer under section 9(2)(n) <strong>of</strong> the Act.<br />
Where there are inconsistencies between the above<br />
requirements, the legislative provisions have prevailed. In<br />
the absence <strong>of</strong> a specific Accounting Standard, other<br />
authoritative pronouncement <strong>of</strong> the AASB or UIG<br />
Consensus View, the hierarchy <strong>of</strong> other pronouncements as<br />
outlined in AAS 6 “Accounting Policies” is considered.<br />
Except for certain investments and land, building, property<br />
plant and equipment and infrastructure systems, which are<br />
recorded at valuation, the financial statements are prepared<br />
in accordance with the historical cost convention. All<br />
amounts are rounded to the nearest one thousand dollars<br />
and are expressed in Australian currency. The accounting<br />
policies adopted are consistent with those <strong>of</strong> the previous<br />
year.<br />
(c) Change <strong>of</strong> Accounting Policy<br />
There were no changes to Accounting Policy in the financial<br />
year to 30 June 2<strong>00</strong>0.<br />
(d) Revenue Recognition<br />
Revenue is recognised when the Trust has control <strong>of</strong> the<br />
good or right to receive, it is probable that the economic<br />
benefits will flow to the Trust and the amount <strong>of</strong> revenue<br />
can be measured reliably. Additional comments regarding<br />
the accounting policies for the recognition <strong>of</strong> revenue are<br />
discussed below.<br />
38<br />
(i) <strong>Parliament</strong>ary Appropriations and Contributions from<br />
Other Bodies<br />
From this financial year there is a change in accounting<br />
policy for the recognition <strong>of</strong> parliamentary appropriations.<br />
<strong>Parliament</strong>ary appropriations are generally recognised as<br />
revenues when the agency obtains control over the assets<br />
comprising the appropriations/contributions. Control over<br />
appropriations and contributions is normally obtained<br />
upon receipt <strong>of</strong> the cash.<br />
An exception to the above is when appropriations are<br />
unspent at year-end. In this case, the authority to spend<br />
the money lapses and generally the unspent amount<br />
must be repaid to the Consolidated Fund in the following<br />
financial year. As a result, unspent appropriations are now<br />
accounted for as liabilities rather than revenue.<br />
(ii) Sale <strong>of</strong> Goods and Services<br />
Revenue from the sale <strong>of</strong> goods and services comprises<br />
revenue for the provision <strong>of</strong> products or services ie. user<br />
charges. User charges are recognised as revenue when<br />
the agency obtains control <strong>of</strong> the assets that result from<br />
them.<br />
(e) Employee entitlements<br />
(i) Wages and salaries, annual leave, sick leave and oncosts<br />
Liabilities for wages and salaries, annual leave and<br />
vesting sick leave are recognised and measured as the<br />
amount unpaid at the reporting date at current pay rates<br />
in respect <strong>of</strong> employees’ services up to that date. Under<br />
the awards operating in the Gallery, sick leave is nonvesting.<br />
The Trustees are <strong>of</strong> the opinion that total sick<br />
leave paid in any one year will not exceed leave<br />
entitlements for the year and therefore no liability exists<br />
in respect <strong>of</strong> leave accumulated. The outstanding<br />
amounts <strong>of</strong> payroll tax, workers’ compensation insurance<br />
premiums and fringe benefits tax which are consequential<br />
to employment are recognised as liabilities and expenses<br />
where the employee entitlements to which they relate<br />
have been recognised.<br />
(ii) Long service leave and superannuation<br />
The Gallery’s liability for long service leave and<br />
superannuation are assumed by the Crown Entity. Long<br />
service leave is measured on a nominal basis. The Gallery<br />
accounts for the liability as having been extinguished<br />
resulting in the amount assumed being shown as part <strong>of</strong><br />
the non-monetary revenue items described as<br />
“Acceptance by the Crown Entity <strong>of</strong> Employee<br />
Entitlements and Other Liabilities” Refer Note 12. The<br />
nominal method is based on the remuneration rates at<br />
year-end for all employees with five or more years <strong>of</strong><br />
service. It is considered that this measurement technique<br />
produces results not materially different from the<br />
estimate determined by using the present value basis <strong>of</strong><br />
measurement.
The superannuation expense for the financial year is<br />
determined by using the formulae specified in the<br />
Treasurer’s Directions. The expense for certain<br />
superannuation schemes (ie. Basic Benefits and First<br />
State Super) is calculated as a percentage <strong>of</strong> the<br />
employees’ salary. For other superannuation schemes (ie.<br />
State Superannuation Scheme and State Authorities<br />
Superannuation Scheme), the expense is calculated as a<br />
multiple <strong>of</strong> the employees’ superannuation contributions.<br />
(f) Insurance<br />
The Gallery’s insurance activities are conducted through the<br />
NSW Treasury Managed Fund Scheme <strong>of</strong> self-insurance for<br />
Government agencies. The expense (premium) is<br />
determined by the Fund Manager based on past experience.<br />
(g) Acquisitions <strong>of</strong> assets<br />
The cost method <strong>of</strong> accounting is used for the initial<br />
recording <strong>of</strong> all acquisitions <strong>of</strong> assets by the Gallery. Cost is<br />
determined as the fair value <strong>of</strong> the assets given as<br />
consideration plus the costs incidental to the acquisition.<br />
Assets bequeathed or donated are brought to account and<br />
are initially recognised as assets and revenues, at<br />
valuations determined at the time <strong>of</strong> acquisition by either an<br />
independent valuer or Gallery <strong>of</strong>ficer.<br />
(i) Collections<br />
All additions to the collection are capitalised. Costs<br />
incurred in the restoration and conservation <strong>of</strong> collection<br />
items have been included in Net Cost <strong>of</strong> Services.<br />
(ii) Land, buildings, and plant and equipment<br />
Additions to land, building and plant and equipment<br />
items costing $5,<strong>00</strong>0 and above are capitalised.<br />
(h) Revaluation <strong>of</strong> physical non-current assets<br />
Each class <strong>of</strong> physical non-current assets is included in a<br />
five year revaluation plan. The recoverable amount test has<br />
not been applied, as the Gallery is a non-pr<strong>of</strong>it entity whose<br />
service potential is not related to the ability to generate net<br />
cash inflows.<br />
(i) Property, Plant and Equipment<br />
Land was valued by the Dapartment <strong>of</strong> Public Works and<br />
Services at 30 June 2<strong>00</strong>0. The amount <strong>of</strong> the revaluation<br />
has been brought to account in the books <strong>of</strong> the Gallery.<br />
Land is valued on an existing use basis. Buildings,<br />
including those classified by Treasury as Heritage Assets,<br />
were originally valued by the Department <strong>of</strong> Public Works<br />
& Services in 1992. In accordance with the Gallery’s policy<br />
<strong>of</strong> revaluing major assets each five years, at 30 June<br />
1997, the building was revalued at replacement cost by<br />
B.H. Hazlewood, Executive Quantity Surveyor, State<br />
Projects, Department <strong>of</strong> Public Works and Services. Plant<br />
and equipment items are not revalued and are carried in<br />
the books <strong>of</strong> account at depreciated original cost.<br />
(ii) Collection<br />
A collection revaluation policy has been developed with<br />
“signpost” works identified for revaluation in the<br />
1999/2<strong>00</strong>0 financial year as per the programme <strong>of</strong><br />
revaluing all works over a five year period. The increase<br />
in value <strong>of</strong> the collection was brought to account in the<br />
books <strong>of</strong> the Gallery. All works will be revalued by class in<br />
accordance with a predetermined programme over a<br />
period <strong>of</strong> five years.<br />
(iii) Library Collection<br />
A stocktake <strong>of</strong> the library collection was undertaken in the<br />
1999/2<strong>00</strong>0 financial year. As a result the librarian was <strong>of</strong><br />
the opinion that many works had increased in value since<br />
the initial recognition <strong>of</strong> the library collection. A<br />
revaluation <strong>of</strong> the library was then undertaken and the<br />
amount <strong>of</strong> the revaluation was brought to account in the<br />
books <strong>of</strong> the Gallery.<br />
(i) Depreciation <strong>of</strong> non-current physical assets<br />
Depreciable assets include plant and equipment, permanent<br />
exhibition fit out and motor vehicles. Depreciation is<br />
calculated on a straight line basis so as to write <strong>of</strong>f the<br />
carrying cost <strong>of</strong> these assets over their expected useful life.<br />
The useful life <strong>of</strong> all depreciable assets is re-assessed<br />
annually. Individual assets with a cost <strong>of</strong> less than $5,<strong>00</strong>0<br />
are written <strong>of</strong>f in the year <strong>of</strong> acquisition in accordance with<br />
recommended Government policy. The Trustees believe that<br />
the life <strong>of</strong> the Gallery building is indeterminate but<br />
conservatively estimate that the useful life <strong>of</strong> the building as<br />
a Gallery would be in excess <strong>of</strong> 2<strong>00</strong> years provided that the<br />
building is subject to normal maintenance. Therefore the<br />
annual depreciation expense to be applied to the building is<br />
determined to be immaterial.<br />
Depreciation rates are listed below. For Plant & Equipment<br />
each asset’s effective life is assessed and a depreciation rate<br />
<strong>of</strong> 7%, 14% or 20% is applied. Refer to note 6 for a<br />
dissection <strong>of</strong> depreciation expenses.<br />
Rate<br />
Plant & Equipment 7-20%<br />
Motor Vehicles 20%<br />
Furniture & Fittings 20%<br />
Office Equipment 33%<br />
Computer Equipment 33%<br />
Catering Equipment 20%<br />
Other Equipment 20%<br />
(j) Investments<br />
Investment securities are intended to be held to maturity,<br />
and are recorded at the lower <strong>of</strong> cost and recoverable<br />
amount.<br />
(k) Inventories<br />
Inventories are valued at the lower <strong>of</strong> cost or net realisable<br />
value. Cost is determined using the “average” method <strong>of</strong><br />
stock valuation.<br />
(l) Doubtful debts<br />
Allowance has been made in the accounts for doubtful<br />
debts after investigation and determination <strong>of</strong> recoverability<br />
<strong>of</strong> debts outstanding.<br />
(m) Trust funds<br />
This note is considered to cover conditions on contributions<br />
and also covers restricted assets.<br />
The Gallery receives monies and gifts in specie in a trustee<br />
capacity for various trusts as set out in Note 22. As the<br />
39
Gallery performs only a custodial role in respect <strong>of</strong> these<br />
monies and because the monies cannot be used for general<br />
purposes in the achievement <strong>of</strong> the Gallery’s own<br />
objectives, they are brought to account as a separate item<br />
in the financial statements after calculation <strong>of</strong> the Net Cost<br />
<strong>of</strong> Services before Bequest and Special Funds. The<br />
aggregate <strong>of</strong> contributions received for the year has been<br />
recognised as revenue in the Bequest and Special Funds<br />
Revenue and Expenditure Statement in Note 22(a). These<br />
revenues provide for expenditure in the current year and in<br />
future years. Any revenues unspent in the current year have<br />
been carried forward for appropriate expenditure in future<br />
years.<br />
(n) Trustee benefits<br />
No Trustee <strong>of</strong> the Gallery has received or become entitled to<br />
receive a benefit because <strong>of</strong> a contract made by the Gallery<br />
or a related body with the Trustee or with a firm <strong>of</strong> which<br />
the Trustee is a member, or with a company in which the<br />
Trustee has a substantial interest.<br />
(o) Taxation status<br />
The activities <strong>of</strong> the Gallery are exempt <strong>of</strong> tax.<br />
(p) Services provided at no cost<br />
Where material contributions are made to the Gallery at no<br />
charge an expense is recorded in the accounts to reflect<br />
activities at the Gallery and is <strong>of</strong>fset by an equivalent<br />
revenue entry. Also Refer to Note 26.<br />
40<br />
(i) Volunteer Services<br />
Volunteers make a substantial and integral contribution to<br />
the operation <strong>of</strong> the Gallery. Volunteer guides provide<br />
guided tours <strong>of</strong> the Gallery’s permanent and temporary<br />
exhibitions to the public and primary aged children.<br />
Additional assistance is provided to the Gallery’s library<br />
and study room.<br />
(ii) Building Maintenance<br />
The Department <strong>of</strong> Public Works is undertaking a<br />
programme <strong>of</strong> restoring heritage buildings, including the<br />
Gallery. The cost <strong>of</strong> these works is being borne by the<br />
Department <strong>of</strong> Public Works and the Gallery will not incur<br />
any costs.<br />
2 PROGRAMME STATEMENT<br />
The Gallery operates one programme – Art Gallery <strong>of</strong> <strong>New</strong><br />
<strong>South</strong> <strong>Wales</strong>. The objective <strong>of</strong> this programme is to develop<br />
and maintain collections <strong>of</strong> art works for the benefit <strong>of</strong> the<br />
community and to increase knowledge and appreciation <strong>of</strong> art.<br />
In <strong>New</strong> <strong>South</strong> <strong>Wales</strong>, agencies are not required to<br />
separately record expenditures that are financed by the<br />
Consolidated Fund as distinct from expenditure financed by<br />
their own user charges. As a result, they are not able to<br />
determine accurately the exact amount <strong>of</strong> the expenditures<br />
that are related to the Consolidated Fund. However, the<br />
amount <strong>of</strong> revised appropriation should approximate the<br />
actual expenditure <strong>of</strong> Consolidated Fund monies by agencies.
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
ACTUAL ACTUAL<br />
2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0<br />
EXPENSES<br />
3 EMPLOYEE RELATED<br />
Salaries and wages (including recreation leave) 8,803 8,603<br />
Superannuation entitlements 855 780<br />
Long service leave 250 370<br />
Workers compensation insurance 265 250<br />
Payroll and fringe benefit taxes 644 677<br />
Value <strong>of</strong> volunteer services (Refer also Note 9) 1,248 1,079<br />
Other 77 112<br />
12,142 11,871<br />
4 OTHER OPERATING EXPENSES<br />
Auditors remuneration 29 33<br />
Bad and doubtful debts 2 -<br />
Catering and entertainment 187 2<strong>00</strong><br />
Communications 285 347<br />
Consultants – Artists 98 82<br />
Consumables 657 850<br />
Exhibition fees and related costs 549 923<br />
Fees – General pr<strong>of</strong>essional 490 718<br />
Interest 73 123<br />
Freight, packing and storage 418 513<br />
Insurance 698 980<br />
Marketing and promotion 1,1<strong>00</strong> 968<br />
Printing 867 987<br />
Property expenses 1,212 1,102<br />
Staff training and development 27 43<br />
Subscriptions, books and journals 226 244<br />
Travel and accommodation 442 609<br />
Sundry expenses 111 46<br />
Cost <strong>of</strong> sales 1,828 1,627<br />
9,299 10,395<br />
5 MAINTENANCE<br />
Repairs and routine maintenance 897 694<br />
Major maintenance - -<br />
Maintenance undertaken free <strong>of</strong> charge (Refer also Note 9) 496 1,145<br />
1,393 1,839<br />
41
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
ACTUAL ACTUAL<br />
2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0<br />
6 DEPRECIATION<br />
Other Equipment 63 47<br />
Catering Equipment 28 25<br />
Motor Vehicles 29 30<br />
Office Equipment 83 1<strong>00</strong><br />
Plant & Machinery 943 1,052<br />
Furniture, Fixtures and Fittings 367 424<br />
Computer Equipment 206 306<br />
1,719 1,984<br />
REVENUE<br />
7 SALE OF GOODS AND SERVICES<br />
Merchandise and book sales 4,<strong>00</strong>8 3,718<br />
Publications sales 275 356<br />
Admission fees 2,098 2,712<br />
Venue hiring and catering 672 561<br />
Fees for other services 498 304<br />
Exhibition touring fees 104 9<br />
7,655 7,660<br />
8 INVESTMENT INCOME<br />
Interest 165 145<br />
42<br />
165 145<br />
9 GRANTS AND CONTRIBUTIONS<br />
Sponsorship – cash 604 588<br />
Sponsorship – in kind 495 534<br />
Donations – cash 65 169<br />
Grants – State Government 104 33<br />
Grants – Commonwealth Government - 243<br />
1,268 1,567<br />
Value <strong>of</strong> voluntary services (Refer also Note 3) 1,248 1,079<br />
Services provided at no charge (Refer also Note 5) 496 1,145<br />
3,012 3,791<br />
10 OTHER REVENUE<br />
Workers compensations recovery 7 14<br />
7 14
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
ACTUAL ACTUAL<br />
2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0<br />
11 GAIN ON SALE OF NON-CURRENT ASSETS<br />
Property, Plant & Equipment – proceeds <strong>of</strong> sale 22 63<br />
– written down value <strong>of</strong> assets sold 13 38<br />
Net gain on disposal <strong>of</strong> property, plant & equipment 9 25<br />
Works <strong>of</strong> art – proceeds <strong>of</strong> sale - -<br />
– written down value <strong>of</strong> assets sold - -<br />
Net gain on disposal <strong>of</strong> works <strong>of</strong> art - -<br />
Total gain on sale <strong>of</strong> non-current assets 9 25<br />
12 ACCEPTANCE BY CROWN ENTITY OF EMPLOYEE<br />
ENTITLEMENTS AND OTHER LIABILITIES<br />
Superannuation 847 763<br />
Long Service Leave 250 370<br />
Payroll Tax 56 52<br />
13 CONTINGENT LIABILITIES<br />
At the date <strong>of</strong> this report, the Trustees are not aware <strong>of</strong> any material contingent liabilities.<br />
14 CASH<br />
Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances and paid monthly at the<br />
normal commercial rate <strong>of</strong> such deposits. The Gallery does not have any bank overdraft facility.<br />
1,153 1,185<br />
Cash at bank 119 1,123<br />
Cash on hand 7 18<br />
126 1,141<br />
43
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
ACTUAL ACTUAL<br />
2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0<br />
15 CURRENT ASSETS – RECEIVABLES<br />
All trade debtors are recognised at balance date. Collectability <strong>of</strong> trade debtors is reviewed on an ongoing basis.<br />
Debts which are known to be uncollectable are written <strong>of</strong>f. A provision for doubtful debts is raised when some<br />
doubt as to collection exists. The credit risk is the carrying amount (net <strong>of</strong> any provision for doubtful debts).<br />
No interest is earned on trade debtors. The carrying amount approximates net fair value. Sales are made on 30 day terms.<br />
44<br />
Sale <strong>of</strong> goods and services 236 218<br />
Less provision for doubtful debts 15 15<br />
221 203<br />
Accrued income 365 165<br />
Other debtors 373 923<br />
Prepayments 597 91<br />
Total receivables 1,556 1,382<br />
16 CURRENT ASSETS – INVENTORIES<br />
Inventories consist <strong>of</strong> goods to adequately stock and ensure the commercial viability <strong>of</strong> the Gallery’s Bookshop and<br />
the sale <strong>of</strong> publications produced by the Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong>.<br />
Finished goods 1,385 1,139<br />
Total inventories 1,385 1,139<br />
17 INVESTMENTS<br />
The Gallery has placed funds in Trustee approved bank deposits and can be placed “at call” or for a fixed term.<br />
The interest rate payable on such deposits is negotiated initally and is fixed for the term <strong>of</strong> the deposit.<br />
Government securities - 1,959<br />
Term Deposits 13,038 7,5<strong>00</strong><br />
Total Investments 13,038 9,459<br />
Classified as<br />
Current Assets 7,548 6,959<br />
Non-Current Assets 5,490 2,5<strong>00</strong><br />
TOTAL INVESTMENTS 13,038 9,459<br />
Included in cash and investments are restricted use assets: (refer also to note 22)<br />
Current Assets 1,841 7,091<br />
Non-Current Assets 8,238 2,5<strong>00</strong><br />
10,079 9,591<br />
These funds represent donations and bequests held by the Gallery to be used in accordance with the deed <strong>of</strong> trust or other documents<br />
governing these funds.
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
2<strong>00</strong>0 1999<br />
Carrying Carrying<br />
Amount Amount<br />
$ $<br />
At Call - -<br />
Less than one year 4,8<strong>00</strong>,<strong>00</strong>0 6,959,128<br />
One to five years 8,238,290 2,5<strong>00</strong>,<strong>00</strong>0<br />
Greater than five years - -<br />
The deposits at balance date were earning an average interest rate <strong>of</strong> 6.26% (1999 – 5.9%),<br />
whilst over the year the weighted average interest rate was 6.2% (1999 – 5.3%) on an average<br />
balance during the year <strong>of</strong> $11,193,942 (1999 – $8,834,026).<br />
18 NON-CURRENT ASSETS – LAND, BUILDING, PLANT & EQUIPMENT<br />
TOTAL<br />
13,038,290 9,459,128<br />
BALANCE PLUS LESS BALANCE<br />
30.6.99 ADDITIONS DISPOSALS 30.6.<strong>00</strong><br />
$’<strong>00</strong>0 $’<strong>00</strong>0 $’<strong>00</strong>0 $’<strong>00</strong>0<br />
LAND at Valuation<br />
Buildings and Improvements<br />
7,<strong>00</strong>0 3,925 - 10,925<br />
Cost 590 2,296 - 2,886<br />
Valuation 157,405 - - 157,405<br />
TOTAL BUILDINGS 157,995 2,296 - 160,291<br />
TOTAL LAND AND BUILDINGS<br />
Plant & Equipment<br />
164,995 6,221 - 171,216<br />
Cost 14,673 468 (110) 15,031<br />
Depreciation 8,723 1,719 (97) 10,345<br />
TOTAL PLANT & EQUIPMENT<br />
Art & Library Collections<br />
5,950 (1,251) (13) 4,686<br />
Cost 1,976 5,222 - 7,198<br />
Valuation 458,556 58,427 - 516,983<br />
TOTAL ART & LIBRARY COLLECTIONS 460,532 63,649 - 524,181<br />
TOTAL LAND, BUILDING, PLANT & EQUIPMENT 631,477 68,619 (13) 7<strong>00</strong>,083<br />
Cost 17,239 7,986 (110) 25,115<br />
Valuation 622,961 62,352 - 685,313<br />
Depreciation 8,723 1,719 (97) 10,345<br />
Written down value 631,477 68,619 (13) 7<strong>00</strong>,083<br />
45
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
ACTUAL ACTUAL<br />
2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0<br />
19 CURRENT LIABILITIES – ACCOUNTS PAYABLE<br />
The liabilities are recognised for amounts due to be paid in the future for goods or services received, whether or<br />
not invoiced. Amounts owing to suppliers (which are unsecured) are settled in accordance with the policy set out<br />
in Treasurer’s Direction 219.01. If trade terms are not specified, payment is made not later than the end <strong>of</strong> the<br />
month following the month in which an invoice or a statement is received. Treasurer’s Direction 219.01 allows<br />
the Minister to award interest for late payment. No Ministerial direction was given, nor did the Gallery incur any<br />
interest expense in relation to the late payment <strong>of</strong> invoices for the financial years ended 1999 and 2<strong>00</strong>0.<br />
46<br />
Trade Creditors 1,513 1,177<br />
Capital Creditors 947 703<br />
2,460 1,880<br />
20 CURRENT LIABILITIES – EMPLOYEE ENTITLEMENTS<br />
Recreation Leave 657 674<br />
Accrued Salaries and Wages 296 197<br />
953 871<br />
21 CHANGES IN EQUITY<br />
(a) Accumulated funds<br />
Surplus for year as per operating statement 8,576 7,261<br />
Valuation <strong>of</strong> Library Collection<br />
Transfers (to) from Reserves<br />
- 9,074<br />
Special reserves – capital (203) (1,168)<br />
Special reserves – Expendable (285) (763)<br />
Total transfers (488) (1,931)<br />
8,088 14,404<br />
Balance at beginning <strong>of</strong> year 533,297 518,893<br />
Accumulated funds at end <strong>of</strong> year 541,385 533,297<br />
(b) Asset revaluation reserve<br />
Revaluation <strong>of</strong> Collection (Refer Note 1(h) (ii)) 57,602 9349<br />
Land 3,925 -<br />
Library 825 -<br />
62,352 9,349<br />
Balance at beginning <strong>of</strong> year 98,959 89,610<br />
Asset revaluation reserve at end <strong>of</strong> year 161,311 98,959
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
ACTUAL ACTUAL<br />
2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0<br />
22 BEQUESTS AND SPECIAL PURPOSE FUNDS<br />
(a) Revenue and Expenditure Statement<br />
Revenue<br />
Donations for purchase <strong>of</strong> works <strong>of</strong> art 1,368 1,648<br />
Donations <strong>of</strong> works <strong>of</strong> art 2,914 2,097<br />
Capital bequests 203 1,168<br />
Expendable bequests 531 484<br />
5,016 5,397<br />
Interest received 545 441<br />
Other income 49 162<br />
Total Income 5,610 6,<strong>00</strong>0<br />
Expenditure<br />
Prizes and Scholarships 44 25<br />
Other 388 131<br />
Funds reimbursement - (51)<br />
432 105<br />
Surplus for year 5,178 5,895<br />
(b) Changes in equity<br />
(i) Special Reserves – Capital<br />
Transfer from Operating Statement – additions for year 203 1,168<br />
Balance at beginning <strong>of</strong> year 5,867 4,699<br />
Special reserves – capital at end <strong>of</strong> year 6,070 5,867<br />
This reserve represents the preserved portion <strong>of</strong> bequests and special purpose funds received by the Gallery.<br />
(ii) Special Reserves – Expendable<br />
Transfers from Operating Statement –<br />
Surplus for year 5,178 5,895<br />
Transfer from Accumulated Funds 4<strong>00</strong> -<br />
Transfer to special reserve capital (203) (1,168)<br />
Less acquisitions and other capital expenditure (5,090) (3,964)<br />
285 763<br />
Balance at beginning <strong>of</strong> year 3,724 2,961<br />
Special reserves – expendable at end <strong>of</strong> year 4,<strong>00</strong>9 3,724<br />
This reserve represents the expendable portion <strong>of</strong> bequests and special purpose funds received by the Gallery.<br />
(iii) Total – Special Reserves<br />
Transfers from operating statement 488 1,931<br />
Balance at beginning <strong>of</strong> year 9,591 7,660<br />
Total special reserves at end <strong>of</strong> year 10,079 9,591<br />
These reserves are represented by investments as shown in note 17 to the accounts.<br />
47
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
ACTUAL ACTUAL<br />
2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0<br />
23 UNCLAIMED MONIES<br />
All amounts unclaimed are forwarded to the Treasury for credit <strong>of</strong> Special Deposits Unclaimed Monies Account and are available for refund<br />
from that account. No unclaimed amounts have been held in the accounts <strong>of</strong> the Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> in excess <strong>of</strong> two years.<br />
24 BUDGET REVIEW<br />
Net cost <strong>of</strong> services<br />
The Net Cost <strong>of</strong> Services Before Bequest and Special Funds was higher than budget by $0.9 million. This was due to lower revenues<br />
generated by the Gallery’s commercial activities; including bookshop, functions and exhibitions.<br />
Asset and Liabilities<br />
Net assets increased by $66 million against budget. Art works increased significantly through<br />
– the acquisitions from gifts, tied donations and purchases from commercial activities<br />
– the revaluation <strong>of</strong> the Gallery’s art collection<br />
– the revaluation <strong>of</strong> the library reference collection<br />
– and a small variance from prior year acquisitions received after the forward estimates had been submitted.<br />
Cash Flows<br />
(i) Operating<br />
Operating cash outflows was higher than planned by $1.4 million, due to receipts from donations and bequests being higher than<br />
planned. Lower trading revenue and expenses also contributed to the net result.<br />
48<br />
(ii) Investing<br />
Investing cash flows were $3.1 million higher due to a better than expected level <strong>of</strong> bequests and special funds receipts directed<br />
towards the acquisition <strong>of</strong> art works, and timing <strong>of</strong> capital creditor payments.<br />
25 RECONCILIATION OF NET COST OF SERVICES TO<br />
NET CASH FLOWS FROM OPERATING ACTIVITIES<br />
Cash provided by operating activities (7,614) (6,058)<br />
Sale <strong>of</strong> Non-Current Assets (9) (25)<br />
Depreciation 1,719 1,984<br />
Gifts <strong>of</strong> works <strong>of</strong> art (2,914) (2,097)<br />
Recurrent appropriation 13,630 13,577<br />
Capital appropriation 2,320 1,058<br />
Acceptance by Crown Entity <strong>of</strong> Trust Liabilities 1,153 1,185<br />
Increase (decrease) in accounts payable 580 (824)<br />
(Increase) decrease in receivables (174) (479)<br />
(Increase) decrease in inventories (246) 78<br />
Increase (decrease) in employee entitlements 82 160<br />
Net cost <strong>of</strong> services after bequest and special funds 8,527 8,559
ART GALLERY OF NEW SOUTH WALES TRUST<br />
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS<br />
26 NON-CASH FINANCING AND INVESTING ACTIVITIES<br />
The following non-cash transactions are included in the financial accounts for the year.<br />
ACTUAL ACTUAL<br />
2<strong>00</strong>0 1999<br />
$’<strong>00</strong>0 $’<strong>00</strong>0<br />
Donations <strong>of</strong> works <strong>of</strong> art – brought to account by creating<br />
an asset and crediting non cash donations 2,914 2,097<br />
The following items are brought to account as expenses in the operating statement<br />
and are credited as income in the form <strong>of</strong> non-cash sponsorships, non-cash donations<br />
or services provided free <strong>of</strong> charge.<br />
Voluntary services provided 1,248 1,079<br />
Advertising, freight, accommodation, travel and similar expenses 495 534<br />
Maintenance (Department <strong>of</strong> Public Works) 496 1,145<br />
27 COMMITMENTS FOR EXPENDITURE<br />
Capital Commitment<br />
Purchase <strong>of</strong> painting-not later than one year<br />
Other Expenditure Commitments<br />
Outsourcing <strong>of</strong> Network Administration and help desk services<br />
332 -<br />
Not later than one year 194 -<br />
Later than one year and not later than 5 years 210 -<br />
GST- Commitments disclosed above include $37,<strong>00</strong>0 for GST. A contingent asset exists for the<br />
same amount which is recoverable from The Australian Taxation Office.<br />
END OF AUDITED FINANCIAL STATEMENTS<br />
49
APPENDICES<br />
PURCHASES<br />
AUSTRALIAN ART<br />
Nicholas Chevalier (United Kingdom;<br />
Australia; <strong>New</strong> Zealand, b.1828,<br />
d.1902), The Ovens Valley, Victoria,<br />
1893 oil on canvas. Jean Cameron<br />
Gordon Bequest Fund in memory <strong>of</strong><br />
her mother Mary Gordon 1999<br />
Charles Conder (Australia;England,<br />
b.1868,d.1909), Invitation-card for Mr<br />
and Mrs Edmund Davies, (1904)<br />
lithograph, black ink on thick cream<br />
laid paper<br />
Charles Conder (Australia;England,<br />
b.1868,d.1909), A Spanish courtyard,<br />
1904 lithograph, sanguine ink with<br />
red chalk additions on cream wove<br />
paper<br />
Charles Conder (Australia;England,<br />
b.1868,d.1909), The leaning tree, 1899<br />
lithograph, sanguine ink on thin<br />
cream wove paper.<br />
Purchased with funds provided by<br />
the Australian Collection<br />
Benefactors’ Scheme 1999<br />
Janet Dawson (Australia, b.1935),<br />
Scribble rock pomegranates<br />
(diptych), 1999 diptych: pastel on<br />
paper. Purchased with funds<br />
provided by the Arthur Boyd<br />
Acquisition Fund 1999<br />
Ian Fairweather (United<br />
Kingdom;Australia, b.1891,d.1974),<br />
The pool, 1959 synthetic polymer<br />
paint on cardboard on hardboard.<br />
Purchased with funds provided by<br />
the Cézanne Dinner Fund 1999<br />
Arthur Fleischmann (Australia,<br />
b.1896,d.1990), Shivaran Indian<br />
dancer, 1952 (cast early 1990s)<br />
bronze. Purchased with funds<br />
provided by the 1<strong>00</strong>0 Club 2<strong>00</strong>0<br />
Anne Judell (Australia, b.1942),<br />
Mute, 1999 black and white pastel on<br />
black paper. Purchased with funds<br />
provided by the 1<strong>00</strong>0 Club 2<strong>00</strong>0<br />
George W. Lambert (Australia,<br />
b.1873,d.1930), She would remind<br />
him, 1902 watercolour, opaque with<br />
white highlights. Purchased with<br />
funds provided by the Australian<br />
Collection Benefactors’ Scheme 1999<br />
Bruno Leti (Australia, b.1941),<br />
Nowhere is everywhere by now,<br />
1996-1997 monotype: hand coloured.<br />
Purchased with funds provided by the<br />
Arthur Boyd Acquisition Fund 2<strong>00</strong>0<br />
Bea Maddock (Australia, b.1934),<br />
Forty pages from Antarctica, 1988<br />
boxed set <strong>of</strong> 40 etchings on 21 sheets<br />
and title page (letterpress).<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
John D. Moore (Australia,<br />
b.1888,d.1958), Study <strong>of</strong> clouds, 1933<br />
pencil, watercolour. Purchased with<br />
50<br />
funds provided by the Australian<br />
Collection Benefactors’ Scheme 1999<br />
Sidney Nolan (Australia;United<br />
Kingdom, b.1917,d.1992), Carcass,<br />
early 1950s (printed 1975-1985)<br />
gelatin silver photograph. Purchased<br />
1999<br />
John Olsen (Australia, b.1928), Five<br />
bells, 1963 oil on hardboard.<br />
Purchased with funds provided by<br />
the Art Gallery Society <strong>of</strong> <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong> 1999<br />
John Olsen (Australia, b.1928),<br />
Flathead and fish, 1999 charcoal,<br />
pastel on white wove paper.<br />
Purchased 2<strong>00</strong>0<br />
Gladys Owen (Australia,<br />
b.1889,d.1960), Kurrajong country,<br />
wood engraving, black ink on thin<br />
cream laid paper. Purchased with<br />
funds provided by the Australian<br />
Collection Benefactors’ Scheme 1999<br />
Jan Senbergs (Australia, b.1939), In<br />
the studio, 1998 artist’s book<br />
containing two lithographs and three<br />
screenprints. Purchased with funds<br />
provided by the Arthur Boyd<br />
Acquisition Fund 1999<br />
Aida Tomescu (Romania;Australia,<br />
b.1955), Patru II, 1999 oil on canvas.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
Jessie Traill (Australia,<br />
b.1881,d.1967), Charing Cross Bridge,<br />
1907-1908 etching with foul bite and<br />
plate tone, brown ink on cream wove<br />
paper. Purchased with funds<br />
provided by the Australian Collection<br />
Benefactors’ Scheme 1999<br />
Fred Williams (Australia,<br />
b.1927,d.1982), My garden, 1965-1967<br />
oil on canvas. Purchased with funds<br />
provided by the Art Gallery Society <strong>of</strong><br />
<strong>New</strong> <strong>South</strong> <strong>Wales</strong> 1999<br />
Salvatore Z<strong>of</strong>rea (Australia, b.1946),<br />
12 prints from the portfolio Days <strong>of</strong><br />
heaven, 1984:<br />
January, 1984 etching; February, 1984<br />
etching; March, 1984 etching; April,<br />
1984 etching; May, 1984 etching;<br />
June, 1984 etching; July, 1984<br />
etching; August, 1984 etching;<br />
September, 1984 etching; October,<br />
1984 etching; November, 1984<br />
etching; December, 1984 etching.<br />
Marshall Bequest Fund 2<strong>00</strong>0<br />
ABORIGINAL AND TORRES<br />
STRAIT ISLANDER<br />
Pinau Ghee (Australia), Dari, 1999<br />
feathers, cane, cotton, shell and<br />
paint. Mollie Gowing Acquisition<br />
Fund for Contemporary Aboriginal Art<br />
1999<br />
Narritjin Maymuru (Australia,<br />
b.1922,d.1982), Djert (The sea eagle),<br />
circa 1958 natural pigments on bark.<br />
Purchased 1999<br />
Inyuwa Nampitjinpa (Australia,<br />
b.circa 1935,d.1999), Untitled<br />
(Pukunya), 1999 synthetic polymer<br />
paint on linen. Purchased with funds<br />
provided by the Leo Christie<br />
Emerging Artists fund 1999<br />
Kutuwalumi Purawarrumpatu<br />
(Australia, b.circa 1928), Untitled,<br />
1999 etching on cream laid paper.<br />
Kutuwalumi Purawarrumpatu<br />
(Australia, b.circa 1928), Untitled,<br />
1999 aquatint on cream laid paper.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
Rover Thomas (Australia,<br />
b.1926,d.1998), Two men dreaming,<br />
circa 1985 natural pigments on<br />
canvas board. Purchased 2<strong>00</strong>0<br />
Ray James Tjangala (Australia,<br />
b.circa 1958), Untitled (Site <strong>of</strong><br />
Yunala), 1999 synthetic polymer paint<br />
on linen canvas. Mollie Gowing<br />
Acquisition Fund for Contemporary<br />
Aboriginal Art 2<strong>00</strong>0<br />
Uta Uta Tjangala (Australia, b.circa<br />
1926,d.1990), Untitled, 1972 synthetic<br />
polymer powder paint and natural<br />
earth pigments on hardboard.<br />
Purchased 1999<br />
Joseph Tjapaltjarri (Australia,<br />
b.circa 1952), Untitled, 1999 synthetic<br />
polymer paint on canvas. Don<br />
Mitchell Bequest 2<strong>00</strong>0<br />
Tim Tjapangarti Payungka (Australia,<br />
b.circa 1942,d.2<strong>00</strong>0), Untitled (red),<br />
1998 synthetic polymer paint on linen<br />
canvas. Mollie Gowing Acquisition<br />
Fund for Contemporary Aboriginal Art<br />
2<strong>00</strong>0<br />
Patrick Tjungarrayi (Australia,<br />
b.circa 1935), Untitled (Two goanna<br />
ancestors), 1999 synthetic polymer<br />
paint on linen canvas. Mollie Gowing<br />
Acquisition Fund for Contemporary<br />
Aboriginal Art 2<strong>00</strong>0<br />
Freda Warlapinni (Australia, b.circa<br />
1928), Untitled, 1999 etching.<br />
Freda Warlapinni (Australia, b.circa<br />
1928), Untitled, 1999 etching on<br />
cream laid paper.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
Freda Warlapinni (Australia, b.circa<br />
1928), Untitled, 1999 natural pigments<br />
on linen canvas. Purchased with<br />
funds provided by the Art Gallery<br />
Society’s Friends <strong>of</strong> Yiribana 2<strong>00</strong>0<br />
Pedro Wonaeamirri (Australia,<br />
b.1974), Tutini with figure <strong>of</strong><br />
Purukupali (Pukamani grave post),<br />
1999 ironwood, natural pigments,<br />
feathers, beeswax<br />
Pedro Wonaeamirri (Australia,<br />
b.1974), Tutini (Pukamani grave post),<br />
1999 ironwood, natural pigments<br />
Pedro Wonaeamirri (Australia,<br />
b.1974), Tutini (Pukamani grave post),<br />
1999 ironwood, natural pigments<br />
Pedro Wonaeamirri (Australia,<br />
b.1974), Tutini (Pukamani grave post),<br />
1999 ironwood, natural pigments<br />
Pedro Wonaeamirri (Australia,<br />
b.1974), Tutini (Pukamani grave post),<br />
1999 ironwood, natural pigments<br />
Pedro Wonaeamirri (Australia,<br />
b.1974), Tutini (Pukamani grave post),<br />
1999 ironwood, natural pigments<br />
Mollie Gowing Acquisition Fund for<br />
Contemporary Aboriginal Art 1999<br />
Owen Yalandja (Australia, b.1960),<br />
Yawk Yawk, 1999 natural pigments on<br />
Kurrajong.<br />
Owen Yalandja (Australia, b.1960),<br />
Yawk Yawk, 1999 natural pigments on<br />
Kurrajong. Mollie Gowing Acquisition<br />
Fund for Contemporary Aboriginal Art<br />
2<strong>00</strong>0<br />
INTERNATIONAL ART<br />
EUROPEAN ART BEFORE 19<strong>00</strong><br />
Pierre Bonnard (France,<br />
b.1867,d.1947), La baignoire,<br />
1942-1946 colour lithograph.<br />
Purchased 1999<br />
George Romney (England,<br />
b.1734,d.1802), A study <strong>of</strong> two<br />
women: a sketch for the Milner<br />
Sisters, 1734-1802 pencil, pen and<br />
bistre wash. Parramore Purchase<br />
Fund 2<strong>00</strong>0<br />
MODERN AND<br />
CONTEMPORARY ART<br />
Peter Atkins (Australia, b.1963),<br />
Spanish Journal, 1998 20 panels;<br />
mixed media Purchased with funds<br />
provided by the Contemporary<br />
Collection Benefactors’ Program 2<strong>00</strong>0<br />
Marion Borgelt (Australia, b.1954),<br />
Void series Nos XI, XII, XIII, 1992<br />
triptych: pigment, oil, sand on linen.<br />
Purchased with funds provided by<br />
the Contemporary Collection<br />
Benefactors’ Program 1999<br />
Janet Burchill (Australia, b.1955),<br />
Chain <strong>of</strong> ponds ‘following the blind<br />
leading the blind’, 1997 synthetic<br />
polymer paint on canvas and<br />
synthetic polymer paint on wood.<br />
Purchased with funds provided by<br />
the Contemporary Collection<br />
Benefactors’ Program 1999<br />
Adam Cullen (Australia, b.1965), Lets<br />
Get Lost, 1999 synthetic polymer<br />
paint, ink and enamel on board<br />
Adam Cullen (Australia, b.1965),<br />
Australian Saints, 1999 synthetic
polymer paint, ink and enamel on board<br />
Purchased with funds provided by<br />
the Contemporary Collection<br />
Benefactors’ Program 1999<br />
Lucian Freud (Germany;England,<br />
b.1922), Garden in Winter, 1998-1999<br />
etching on Somerset Satin paper.<br />
Purchased 1999<br />
GUAN Wei (China;Australia, b.1957),<br />
Revisionary, 1998 26 panels;<br />
synthetic polymer paint on canvas.<br />
Purchased with funds provided by<br />
the Rudy Komon Memorial Fund 1999<br />
Fiona Hall (Australia, b.1953), Cash<br />
crop, 1998 carved soap, painted bank<br />
notes in a vitrine. Purchased with<br />
funds provided by the Contemporary<br />
Collection Benefactors’ Program<br />
2<strong>00</strong>0<br />
Bethan Huws (United Kingdom,<br />
b.1961), Boat, 1983-1999 Rush (three<br />
boats), perspex and wood.<br />
Purchased 1999<br />
Judith Wright (Australia, b.1945),<br />
Fluid I, 1999 synthetic polymer paint<br />
on Japanese paper<br />
Judith Wright (Australia, b.1945),<br />
Projections for Eliza III, 1999 VHS<br />
PAL tape, 90 minutes duration<br />
Judith Wright (Australia, b.1945),<br />
Projections for Eliza III, 1999 U-matic<br />
low band tape, 30 minutes duration<br />
Purchased with funds provided by<br />
the Contemporary Collection<br />
Benefactors’ Program 1999<br />
PHOTOGRAPHY<br />
Charles Bayliss (Australia,<br />
b.1850,d.1897), Surf, Coogee, Sydney,<br />
circa 1880<br />
albumen photograph. Purchased with<br />
funds provided by the Photography<br />
Collection Benefactors’ Program 1999<br />
Mervyn Bishop (Australia, b.1945),<br />
Prime Minister Gough Whitlam pours<br />
soil into the hands <strong>of</strong> traditional land<br />
owner Vincent Lingiari, Northern<br />
Territory, 1975 (printed 1999) type R3<br />
photograph. Hallmark Cards<br />
Australian Photography Collection<br />
Fund 1991<br />
Pat Brassington (Australia, b.1942),<br />
Feeding time, 1998 inkjet print.<br />
Purchased with funds provided by<br />
Rowan Ross and Annie Bleakley-<br />
Ross, Sydney 2<strong>00</strong>0<br />
Pat Brassington (Australia, b.1942),<br />
Sago child, 1999 inkjet print.<br />
Purchased with funds provided by<br />
the Photography Collection<br />
Benefactors’ Program 2<strong>00</strong>0<br />
Ian Dodd (Australia, b.1937), Wet<br />
hair, 1974 (printed 1999) gelatin silver<br />
photograph<br />
Purchased with funds provided by<br />
Anthony Bertini, Sydney 2<strong>00</strong>0<br />
Ian Dodd (Australia, b.1937), Untitled,<br />
1976 (printed 2<strong>00</strong>0) gelatin silver<br />
photograph. Purchased with funds<br />
provided by Charles Latimer, Sydney<br />
2<strong>00</strong>0<br />
Ian Dodd (Australia, b.1937), White<br />
peacock, 1994 (printed 2<strong>00</strong>0) gelatin<br />
silver photograph. Purchased with<br />
funds provided by Worling Saunders,<br />
Sydney 2<strong>00</strong>0<br />
Ian Dodd (Australia, b.1937), Silver<br />
gulls, Port Kembla, 1982 (printed<br />
2<strong>00</strong>0) gelatin silver photograph.<br />
Purchased with funds provided by<br />
Perpetual Trustees, Sydney 2<strong>00</strong>0<br />
Simone Douglas (Australia, b.1966),<br />
Blind VII & VIII, From the series<br />
Stasis (blind), 1999 diptych; 2 type C<br />
photographs, synthetic polymer paint<br />
and wood. Purchased with funds<br />
provided by the Photography<br />
Collection Benefactors’ Program 1999<br />
Victoria Fernandez (United States <strong>of</strong><br />
America;Australia, b.1958), Into the<br />
wood, 1997<br />
gelatin silver photograph<br />
Victoria Fernandez (United States <strong>of</strong><br />
America;Australia, b.1958), Ophelia,<br />
1998 gelatin silver photograph<br />
Purchased with funds provided by<br />
the Photography Collection<br />
Benefactors’ Program 2<strong>00</strong>0<br />
Bill Henson (Australia, b.1955),<br />
Untitled 1998/1999/2<strong>00</strong>0, 1998-2<strong>00</strong>0<br />
type C photograph. Purchased 2<strong>00</strong>0<br />
Felicia Kan (Hong Kong;Australia,<br />
b.1966), Reservoir, 1998 type C<br />
photograph on aluminium<br />
Felicia Kan (Hong Kong;Australia,<br />
b.1966), Wave, 1998 type C<br />
photograph on aluminium<br />
Felicia Kan (Hong Kong;Australia,<br />
b.1966), Cloud, 1998 type C<br />
photograph on aluminium<br />
Viktoria Marinov Bequest Fund 1999<br />
Tracey M<strong>of</strong>fatt (Australia, b.1960), 5<br />
photolithographs from the series<br />
Scarred for life II, 1999:<br />
Scissor cut 1980, 1999<br />
photolithograph. Purchased with<br />
funds provided by the Photography<br />
Collection Benefactors’ Program 2<strong>00</strong>0<br />
Mothers reply 1976, 1999<br />
photolithograph. Purchased with<br />
funds provided by the Photography<br />
Collection Benefactors’ Program 2<strong>00</strong>0<br />
Piss bags 1978, 1999 photolithograph.<br />
Purchased with funds provided by<br />
Joanne Braithwaite, Martin Browne,<br />
Ben Drayton, Neil Frazer, Roberta<br />
Glass, Max Kreijn, Leon Rogan, Sean<br />
Mah, John McRae, Jonathan Turner<br />
and Erick Valls 2<strong>00</strong>0<br />
Homemade hand knit 1958, 1999<br />
photolithograph. Purchased with<br />
funds provided by Andrew Frazer and<br />
Drew Metcalfe 2<strong>00</strong>0<br />
Suicide threat 1982, 1999<br />
photolithograph. Purchased with<br />
funds provided by the Photography<br />
Collection Benefactors’ Program 2<strong>00</strong>0<br />
Patricia Piccinini (Sierra Leone;<br />
Australia, b.1965), 2 type C<br />
photographs <strong>of</strong> a digital print from the<br />
series SO2, 2<strong>00</strong>0: 36º on the 14th, 2<strong>00</strong>0<br />
type C photograph <strong>of</strong> a digital print<br />
Purchased with funds provided by<br />
Fabric Scouts Pty. Ltd., Sydney 2<strong>00</strong>0<br />
Restless, 2<strong>00</strong>0 type C photograph <strong>of</strong> a<br />
digital print. Purchased with funds<br />
provided by Amanda Harkness,<br />
Sydney 2<strong>00</strong>0<br />
John A Williams (Australia, b.1958),<br />
Billabong and White Cedar, 1999<br />
gelatin silver photograph, selenium<br />
toned<br />
John A Williams (Australia, b.1958),<br />
Billabong and Fence, 1999 gelatin<br />
silver photograph, selenium toned<br />
Purchased with funds provided by<br />
the Photography Collection<br />
Benefactors’ Program 1999<br />
Justene Williams (Australia, b.1970),<br />
3 type C photographs mounted on<br />
aluminium from the series Bunny<br />
Boy, 1997:<br />
Bunny Boy 1, 1997 type C photograph<br />
mounted on aluminium. Purchased<br />
with funds provided by Anthony<br />
Bond, Sydney 2<strong>00</strong>0<br />
Bunny Boy 6, 1997 type C photograph<br />
mounted on aluminium. Purchased<br />
with funds provided by Sandra<br />
Ferman, Sydney 2<strong>00</strong>0<br />
Bunny Boy 12, 1997 type C<br />
photograph mounted on aluminium.<br />
Purchased with funds provided by<br />
John Swainston, Sydney 2<strong>00</strong>0<br />
Werner Rohde (Germany,<br />
b.1906,d.1990), Wachspuppenkopf<br />
(wax dollhead), 1928<br />
gelatin silver photograph. Purchased<br />
with funds provided by the<br />
Photography Collection Benefactors’<br />
Program 2<strong>00</strong>0<br />
ASIAN ART<br />
BURMA<br />
Pagan, Crowned head <strong>of</strong> a Buddha,<br />
Pala Period 750 – 1159, 11th century<br />
– 12th century pyrophyllite<br />
possibly Shan style, Hintha bird or<br />
Hamsa, 14th century copper alloy<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
CAMBODIA<br />
Bayon style, Palanquin hook, 12th<br />
century copper alloy with green patina<br />
Kulen ware, Covered jar with incised<br />
lotus petal design on cover, circa 12th<br />
century stoneware with green glaze<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
CHINA<br />
Dragon robe (Tibetan ‘chuba’),<br />
18th century yellow silk brocade.<br />
Edward and Goldie Sternberg<br />
Chinese Art Purchase Fund 2<strong>00</strong>0<br />
CAI Heng, Aspects I, 1996 hanging<br />
scroll; ink on paper. Purchased 2<strong>00</strong>0<br />
CAI Heng, Aspects II, 1996 hanging<br />
scroll; ink on paper. Purchased 2<strong>00</strong>0<br />
LIU Xiaoxian (People’s Republic <strong>of</strong><br />
China; Australia, b.1963),<br />
Our Gods, 2<strong>00</strong>0 18 type C photographs.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
INDIA<br />
Bengal, Varaha rescuing the earth<br />
goddess, Bhudevi, Pala Period 750<br />
– 1159, 10th century phyllite.<br />
Purchased with funds provided by<br />
the Art Gallery Society <strong>of</strong> <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong> 1999<br />
Bihar, Bodhgaya Model <strong>of</strong> the<br />
temple <strong>of</strong> Bodhgaya, Pala Period 750<br />
– 1159, 10th century – 11th century<br />
black soapstone.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
Central India, Durga slaying the<br />
buffalo demon, 8th century red<br />
sandstone.<br />
Purchased with funds provided by<br />
the Art Gallery Society <strong>of</strong> <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong> 1999<br />
Uttar Pradesh, Mathura, Bust <strong>of</strong> a<br />
women at a balcony, Kushan period<br />
circa 1st century – 4th century, 1st<br />
century – 2nd century mottled red<br />
sandstone<br />
Uttar Pradesh, Mathura, Torso <strong>of</strong> a<br />
woman, possibly the goddess<br />
Lakshmi, Kushan period circa 1st<br />
century – 4th century,<br />
2nd century – 3rd century mottled<br />
red sandstone.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
Orissa, Puri, Dancing Ganesh and<br />
the Mahavidyas, 19th century paint<br />
on ‘pati’ canvas.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
Shanti Dave (India, b.1931), Colour<br />
wood cut no.4, 1977 colour woodcut<br />
Shanti Dave (India, b.1931), Colour<br />
wood cut no.10, 1977 colour woodcut<br />
Purchased with funds provided by<br />
the Asian Collection Benefactors’<br />
Program 2<strong>00</strong>0<br />
INDONESIA<br />
Central Java, Amitabha Buddha,<br />
8th century-9th century andesite.<br />
Purchased with funds provided by<br />
the Art Gallery Society 2<strong>00</strong>0<br />
Kendi, Majapahit period 1292 – 1520,<br />
14th century – 15th century reddish<br />
black earthenware, unglazed<br />
Central Java, Seated Buddha, 9th<br />
century copper alloy<br />
Central Java, Standing<br />
Avalokiteshvara, 9th century copper<br />
alloy with traces <strong>of</strong> gilding<br />
Central Java, possibly Nganjuk style,<br />
Bodhisattva, probably Manjushri, in<br />
Lalitasana, 9th century copper alloy<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
JAPAN<br />
FUKAZAWA Sakuichi (Japan,<br />
b.1896,d.1946), Poet strolling, Sho - wa<br />
period 1926 – 1988, 1927 – 1928 woodcut<br />
FUKAZAWA Sakuichi (Japan,<br />
b.1896,d.1946), Road towards the hill,<br />
Taisho - period 1912 – 1926, 1925<br />
colour woodcut<br />
Yasuko Myer Bequest Fund 1999<br />
KAWANABE Kyo - sai (Japan,<br />
b.1831,d.1889), Ogre chanting<br />
Buddhist prayer, Edo (Tokugawa)<br />
period 1615 – 1868, 1864 colour<br />
woodcut; o - ban tate-e.<br />
Purchased with funds provided by<br />
the Asian Collection Benefactors’<br />
Program 2<strong>00</strong>0<br />
NAKAMURA Ken’ichi (b.1895,d.1967),<br />
Woman with mirror, Sho - wa period<br />
1926 – 1988, circa 1932 lithograph<br />
ONCHI Ko - shiro - (Japan, b.1891, d.1955),<br />
A face, Taisho - period 1912 – 1926,<br />
1914 colour woodcut<br />
ONCHI Ko - shiro - (Japan, b.1891,d.1955),<br />
Lyric I, Taisho - period 1912 – 1926,<br />
1914 woodcut<br />
ONCHI Ko - shiro - (Japan, b.1891,d.1955),<br />
Morning, Sho - wa period 1926 – 1988,<br />
1930 colour woodcut<br />
Yasuko Myer Bequest Fund 1999<br />
51
SUZUKI Sho - nen (Japan,<br />
b.1849,d.1918), Pine trees, Meiji<br />
period 1868 – 1912 pair <strong>of</strong> six-fold<br />
screens; ink on gilded paper.<br />
Purchased 2<strong>00</strong>0<br />
Unknown (Japan), The Plain <strong>of</strong><br />
Musashi, Edo (Tokugawa) period<br />
1615 – 1868, late 17th century – 18th<br />
century pair <strong>of</strong> six fold screens; ink,<br />
colour and gold on paper.<br />
Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
Foundation Purchase 2<strong>00</strong>0<br />
Various (Japan), Shi-to Hanga,<br />
Taisho - period 1912 – 1926, 1 May 1925<br />
bound book; 20 leaves, 1 woodcut,<br />
1 etching and 6 prints.<br />
Yasuko Myer Bequest Fund 2<strong>00</strong>0<br />
GIFTS<br />
AUSTRALIAN ART<br />
ANONYMOUS GIFT<br />
Andrew Rogers (Australia), Flora<br />
Exemplar, 1999 bronze<br />
JEAN CAMERON GORDON BEQUEST<br />
IN MEMORY OF HER MOTHER MARY<br />
GORDON<br />
Clarice Beckett (Australia,<br />
b.1887,d.1935), Beaumaris foreshore,<br />
circa 1926 oil on canvas on<br />
paperboard<br />
FRED CRESS<br />
Fred Cress (Australia, b.1938), 16<br />
drawings from the Bag series, 1987:<br />
Bag 1, 1987 charcoal; Bag 2, 1987<br />
charcoal; Bag 3, 1987 charcoal;<br />
Bag 4, 1987 charcoal; Bag 5, 1987<br />
charcoal; Bag 6, 1987 charcoal;<br />
Bag 7, 1987 charcoal; Bag 8, 1987<br />
charcoal; Bag 9, 1987 charcoal,<br />
Bag 10, 1987 charcoal; Bag 11, 1987<br />
charcoal, collage; Bag 12, 1987<br />
charcoal; Bag 13, 1987 charcoal;<br />
Bag 14, 1987 charcoal; Bag 15, 1987<br />
charcoal; Bag 16, 1987 charcoal<br />
VESTA DAVIES<br />
Livingston Hopkins (Australia,<br />
b.1846,d.1927), A catgut trio, circa<br />
1904 pen and black ink<br />
SIR WILLIAM DOBELL ART<br />
FOUNDATION<br />
Nick Mourtzakis (Australia, b.1950),<br />
Untitled study, 1999 conté, white<br />
chalk on two sheets <strong>of</strong> brown<br />
dressmakers paper<br />
52<br />
NEPAL<br />
Birth <strong>of</strong> the Buddha, 14th century –<br />
16th century carved wooden temple<br />
strut with traces <strong>of</strong> pigment.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
GWEN FROLICH<br />
Charles Blackman (Australia, b.1928),<br />
(Girl descending stairs from railway<br />
bridge), circa 1953-circa 1954<br />
charcoal on thin cream wove paper<br />
ROSALIE GASCOIGNE<br />
Rosalie Gascoigne (<strong>New</strong> Zealand;<br />
Australia, b.1917,d.1999), Metropolis,<br />
1999 retro-reflective road signs<br />
NORA HEYSEN<br />
Nora Heysen (Australia, b.1911), Self<br />
portrait 1926 pencil on white paper<br />
Nora Heysen (Australia, b.1911),<br />
Sketchbook, <strong>New</strong> Guinea, 1950s<br />
sketchbook: 32 bound leaves, 2 loose<br />
leaves, 21 drawings on 22 pages,<br />
mixed media on cream wove paper<br />
Nora Heysen (Australia, b.1911), 32<br />
drawings from the sketchbook<br />
Remains <strong>of</strong> sketchbook, <strong>New</strong> Guinea,<br />
1950s: Onge, 1950s pen and brown<br />
ink on cream wove paper;<br />
Isaac Tosika, 1950s sanguine and<br />
brown conté on cream wove paper;<br />
recto: Timothy; verso: Batsun<br />
(Pattson), 1950s recto: sanguine and<br />
black conté on cream wove paper;<br />
verso: pen and red/brown ink on<br />
cream wove paper; recto: Dick Hou<br />
(Dala); verso: Sepo (Simon), 1950s<br />
recto: sanguine on cream wove<br />
paper; verso: pen and red/brown ink<br />
on cream wove paper; (Partial study<br />
<strong>of</strong> female native carrying a basket on<br />
her head), 1950s sanguine on cream<br />
wove paper; Namoi, 1950s sanguine,<br />
pen and brown ink, black conté on<br />
THAILAND<br />
Peninsular Thai, Standing<br />
Avalokiteshvara, Srivijaya period<br />
7<strong>00</strong> – 12<strong>00</strong>, 9th century copper alloy.<br />
D G Wilson Bequest Fund 2<strong>00</strong>0<br />
cream wove paper; Namoi, 1950s pen<br />
and brown ink on cream wove paper;<br />
recto: Delousing - Nester and Namoi;<br />
verso: Gwakena, 1950s recto: pen<br />
and red/brown ink on cream wove<br />
paper; verso: pen and red/brown ink<br />
on cream wove paper; Larman, 1950s<br />
sanguine on cream wove paper;<br />
Waitai, 1950s sanguine on cream<br />
wove paper; recto: Waita; verso:<br />
Billy, 1950s recto: sanguine on cream<br />
wove paper; verso: sanguine on<br />
cream wove paper; Nickolas, 1950s<br />
sanguine and black conté on cream<br />
wove paper; Fakari, 1950s sanguine<br />
on cream wove paper; Joel Gesiia,<br />
1950s sanguine and black conté on<br />
cream wove paper; recto: George<br />
Malefoasi; verso: Allen, 1950s recto:<br />
pen and red/brown ink on cream<br />
wove paper; verso: pen and<br />
red/brown ink on cream wove paper;<br />
recto: Jack; verso: Gegame, 1950s<br />
recto: pen and red/brown ink on<br />
cream wove paper; verso: pen and<br />
red/brown ink on cream wove paper;<br />
recto: Gegame; verso: Rosemary,<br />
1950s recto: pen and red/brown ink<br />
on cream wove paper; verso: pen<br />
and red/brown ink on cream wove<br />
paper; recto: (Seated male native);<br />
verso: (Study <strong>of</strong> eyes), 1950s recto:<br />
pen and red/brown ink on cream<br />
wove paper; verso: pen and<br />
red/brown ink on cream wove paper;<br />
recto: Malee; verso: (Study <strong>of</strong><br />
bending male and female natives),<br />
1950s recto: pen and red/brown ink<br />
TIBET<br />
<strong>South</strong>ern Tibet, Set <strong>of</strong> eighteen<br />
<strong>of</strong>fering goddesses, 19th century<br />
gouache on cotton.<br />
Purchased 2<strong>00</strong>0<br />
on cream wove paper; verso: pen<br />
and red/brown ink on cream wove<br />
paper; recto: (Study <strong>of</strong> female<br />
native); verso: (Study <strong>of</strong> mother<br />
nursing a child), 1950s recto: pen and<br />
red/brown ink on cream wove paper;<br />
verso: pen and red/brown ink on<br />
cream wove paper; recto: (Crying<br />
child); verso: (Study <strong>of</strong> natives<br />
fishing with a net, from a boat); 1950s<br />
recto: pen and brown ink on cream<br />
wove paper; verso: pen and<br />
red/brown ink on cream wove paper;<br />
Lily, 1950s pen and brown ink on<br />
cream wove paper; recto: (Sleeping<br />
native child); verso: (Head study);<br />
1950s recto: pen and red/brown, grey<br />
ink on cream wove paper; verso: pen<br />
and red/brown ink on cream wove<br />
paper; recto: (Standing native child,<br />
rear view); verso: (Bending native<br />
figures), 1950s recto: pen and<br />
red/brown ink on cream wove paper;<br />
verso: pen and red/brown ink on<br />
cream wove paper; recto: (Bending<br />
native figures); verso: (Child study),<br />
1950s recto: pen and brown ink on<br />
cream wove paper; verso: pen and<br />
red/brown ink on cream wove paper;<br />
recto: Little Namoi; verso: (Study <strong>of</strong><br />
three bending natives, one a female<br />
smoking a pipe), 1950s recto: pen and<br />
red/brown ink on cream wove paper;<br />
verso: pen and red/brown ink on<br />
cream wove paper; recto: Teop;<br />
verso: Tolocus, 1950s recto: pen and<br />
brown ink on cream wove paper;<br />
verso: pen and red/brown ink on
cream wove paper; recto: (Study <strong>of</strong><br />
native nursing a child); verso: (Native<br />
mother and two children), 1950s<br />
recto: pen and red/brown ink on<br />
cream wove paper; verso: pen and<br />
red/brown ink on cream wove paper;<br />
Ariel Boeta, 1950s sanguine on bond<br />
paper; Anthony, 1950s brown fibretipped<br />
pen on cream wove paper;<br />
Kay, 1950s brown fibre-tipped pen on<br />
cream wove paper; Pricilla, 1950s<br />
brown fibre-tipped pen on cream<br />
wove paper<br />
FRANK HODGKINSON<br />
Frank Hodgkinson (Australia, b.1919),<br />
Piazza S.S. Annunciata, 1947 pen and<br />
brown ink on cream wove paper,<br />
mounted on thick cream wove paper<br />
Frank Hodgkinson (Australia, b.1919),<br />
Santa Maria del Carmine, 1947 pen<br />
and brown ink on cream wove paper<br />
from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Piazza dell S.S. Annunciata, 1947 pen<br />
and brown ink, wash on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Piazza della S S Annunciata, 1947<br />
pen and brown ink on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Duomo, Florence, 1948 pen and<br />
brown ink on gridded cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Galleria dell’Academia, 1948 pen and<br />
brown ink, wash on gridded cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Piazza Santo Spirito, 1947 pen and<br />
brown ink on cream wove paper from<br />
a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Sistine Chapel, 1947 pencil, grey<br />
wash on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(Duomo, Florence), 1948 pen and<br />
brown ink on cream wove paper from<br />
a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Florence, 1947 pen and brown ink on<br />
cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(Street scene), 1948 brush and brown<br />
ink, wash on gridded cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiesole, 1947 pen and brown ink on<br />
cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Ponte Vecchio, 1947 pen and brown<br />
ink, pink/brown wash on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Florence from Ponte Vecchio - rainy<br />
evening, 1947 Brush and brown ink,<br />
wash on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(Landscape), 1948 pen and brown<br />
ink, brown and grey wash on cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno, 1947 pen and brown ink,<br />
wash on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Ponte Vecchio, 1947 pencil, pen and<br />
orange ink, wash on white wove<br />
paper<br />
Frank Hodgkinson (Australia, b.1919),<br />
Dredging on the Fiume Arno, 1947<br />
pen and brown ink on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Florence from Campanile di Giotto,<br />
1947 pen and brown ink, brown<br />
wash, opaque yellow wash on cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno, 1947 brush and brown<br />
ink, wash on cream wove paper from<br />
a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno, 1947 pen and brown ink,<br />
wash on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno, 1947 pen and brown ink,<br />
brown and black wash on cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(Landscape), 1947 pen and brown<br />
ink, brown and dark blue wash on<br />
cream wove paper<br />
Frank Hodgkinson (Australia, b.1919),<br />
Florence, from Ponte Vecchio,<br />
raining like hell, 1947 pen, brush and<br />
brown ink, wash on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Ponte Vecchio, 1947 pen and brown<br />
ink, light yellow wash on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
From Campanile di Giotto, 1947 pen<br />
and brown ink on cream wove paper<br />
from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(Tuscan buildings), 1947 pen and<br />
brown ink, brown and yellow wash,<br />
white gouache on cream wove paper<br />
from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Near Ponte Romana, 1947 pen, brush<br />
and brown ink on cream wove paper<br />
from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Bank <strong>of</strong> Fiume Arno, 1947 pen and<br />
brown ink on cream wove paper from<br />
a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno, 1947 pen and brown ink,<br />
wash on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Near Ponte Romana, 1947 pen and<br />
brown ink on cream wove paper from<br />
a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Florence, 1947 pen, brush and brown<br />
ink on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno, Firenze, 1948 brush and<br />
brown ink, brown wash, opaque grey<br />
wash on cream gridded wove paper<br />
from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
From Piazza Michelangelo, 1947 pen,<br />
brush and brown ink on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Arezzo, 1947 pen and brown ink on<br />
cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(River landscape), 1947 pen and<br />
brown ink on cream wove paper from<br />
a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Firenze, 1947 pen and brown and<br />
black ink on cream wove paper from<br />
a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(Bridge), 1947 brush and brown ink<br />
on cream gridded wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(Tuscan Town), circa 1947 pen and<br />
brown ink, brown and dark blue<br />
wash on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Outskirts <strong>of</strong> Florence, 1947 pen and<br />
brown ink, brown and opaque grey<br />
wash on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Florence, 1947 pen, brush and brown<br />
ink, opaque white wash on cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
After Masaccio, 1948 brush and<br />
brown ink wash on gridded cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Masaccio, 1948 brush and brown ink<br />
wash on gridded cream wove paper<br />
from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Dredging on the Fiume Arno, 1947<br />
pen and brown ink on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Firenze, 1947 pen and brown ink,<br />
brush and brown ink wash on cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno, 1947 pen and brown ink,<br />
opaque white wash on cream wove<br />
paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno, 1947 pen and brown ink<br />
on cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Florence, 1947 pen and brown ink on<br />
cream wove paper from a<br />
sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Santa Croce, 1948 pen and brown<br />
ink, orange wash on gridded cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Piazza della S S Annunciata, 1948<br />
pen and brown ink, brush and brown<br />
ink, wash, white gouache on cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Fiume Arno – dusk, 1947 pen and<br />
brown ink on cream wove paper from<br />
a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
Ponte, 1947 pen and brown ink,<br />
wash, opaque white wash on cream<br />
wove paper from a sketchbook<br />
Frank Hodgkinson (Australia, b.1919),<br />
(Tuscan buildings), 1948 oil on<br />
cardboard<br />
MARJORY HOLLINSWORTH<br />
H.A. Hanke (Australia, b.1901,d.1989),<br />
Oriental still life, 1943 oil on canvas<br />
on cardboard<br />
MICHAEL AND MARGOT JOHNSON<br />
Michael Johnson (Australia, b.1938),<br />
Frontal 2, 1968 synthetic polymer<br />
paint on canvas<br />
BRUNO LETI<br />
Bruno Leti (Australia, b.1941), Clunes,<br />
1996-1997 artist’s book with oil<br />
monotypes and intaglio<br />
Bruno Leti (Australia, b.1941),<br />
Apprehensions, 1994 artist’s book<br />
with nine coloured monotypes and<br />
screenprinted text<br />
Bruno Leti (Australia, b.1941),<br />
Drawing, 1994 artist’s book with<br />
seven etchings, monotypes,<br />
aquatints and chine collé<br />
Bruno Leti (Australia, b.1941),<br />
13 prints from the folio Journey to,<br />
1993 –1994 drypoint, etchings and<br />
drypoints with plate tones<br />
JULIAN LYMBURNER, THE<br />
ARTIST’S SON<br />
Francis Lymburner (Australia,<br />
b.1916,d.1972), Josephine, (1938) pen<br />
and black ink on cream laid paper<br />
Francis Lymburner (Australia,<br />
b.1916,d.1972), Two people at a table,<br />
circa 1940 (printed 1986) etching,<br />
black ink on thin cream wove paper<br />
Francis Lymburner (Australia,<br />
b.1916,d.1972), Reclining female<br />
nude, circa 1940 printed 1986<br />
etching, black ink with plate tone on<br />
white wove paper<br />
Francis Lymburner (Australia,<br />
b.1916,d.1972), Etching plate for<br />
‘Two people at a table’ and<br />
‘Reclining female nude’ circa 1940<br />
copper etching plate<br />
DON AND ALISON MITCHELL<br />
Marjorie Fletcher (Australia,<br />
b.1912,d.1988), Self-torso, 1934 (cast<br />
1996) bronze<br />
MARGARET OLLEY<br />
Criss Canning (Australia, b.1947),<br />
Waratah, 1999 oil on canvas<br />
Weaver Hawkins (United<br />
Kingdom;Australia, b.1893,d.1977),<br />
Kurraba Road, North Sydney, pre<br />
1960 pencil, watercolour on white<br />
watercolour paper<br />
MARGARET HANNAH OLLEY<br />
ART TRUST<br />
Robert Barnes (Australia), Macbeth’s<br />
visitor, 1999 oil on canvas<br />
PETA PHILLIPS<br />
Rosemary Madigan (Australia,<br />
b.1926), Torso, 1986 bronze<br />
Rosemary Madigan (Australia,<br />
b.1926), Group <strong>of</strong> three figures,<br />
1983 bronze<br />
ALAN AND JANCIS REES<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
Aden, 1976 s<strong>of</strong>t ground etching, black<br />
53
ink on ivory wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
Mount Warning, 1976 sugarlift<br />
aquatint, black ink on ivory wove<br />
paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
‘Our home’ in Majorca, 1976 s<strong>of</strong>t<br />
ground etching, black ink on ivory<br />
wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
Majorca, 1976 s<strong>of</strong>t ground etching,<br />
black ink on ivory wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
Monastery, Corfu, 1976 sugarlift<br />
aquatint, black ink on ivory wove<br />
paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
recto: Drawing for s<strong>of</strong>t-ground<br />
etching ‘Plaza Soller, Majorca’;<br />
verso: Drawing for s<strong>of</strong>t-ground<br />
etching ‘Tuscan Town’, 1976 recto:<br />
pencil and red ball-point pen on ivory<br />
laid paper; verso: pencil<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
recto: Drawing for s<strong>of</strong>t-ground<br />
etching ‘Farm House, Majorca’;<br />
verso: Drawing for s<strong>of</strong>t-ground<br />
etching ‘Our home in Majorca’, 1976<br />
pencil on ivory wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
recto: Drawing for s<strong>of</strong>t-ground<br />
etching ‘Monastery, Corfu’; verso:<br />
Impression <strong>of</strong> s<strong>of</strong>t-ground etching<br />
‘Plaza Soller Majorca’, 1976 recto:<br />
pencil on ivory wove paper; verso:<br />
wax-ground impression on ivory<br />
wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
recto: Drawing for s<strong>of</strong>t-ground<br />
etching ‘Aden’; verso: Impression <strong>of</strong><br />
s<strong>of</strong>t-ground etching ‘’Our home’ in<br />
Majorca’, 1976 recto: pencil on ivory<br />
laid paper; verso: wax-ground<br />
impression<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
recto; Drawing for s<strong>of</strong>t-ground<br />
etching ‘Majorca’; verso: Impression<br />
<strong>of</strong> s<strong>of</strong>t-ground etching ‘Farm house,<br />
Majorca’, 1976 recto: pencil on ivory<br />
laid paper; verso: wax-ground<br />
impression<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
The city from Waverton, circa 1919<br />
etching, black ink on ivory wove<br />
paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
The city from Waverton, circa 1919<br />
(printed 1995) etching, black ink on<br />
white wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
The city from Waverton, circa 1919<br />
(printed 1995) etching, black ink on<br />
chiné collé on white wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
Etching plate for ‘The city from<br />
Waverton’, circa 1919 copper etching<br />
plate sealed with black ground<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
Old Medical School, University <strong>of</strong><br />
Sydney, 1922 (printed 1965) etching<br />
and drypoint (?), black ink on thick<br />
white wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
Old Medical School, University <strong>of</strong><br />
Sydney, 1922 (printed 1984) etching<br />
and drypoint (?), brown ink on cream<br />
54<br />
wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
A tower in Europe, 1922 (printed<br />
1976) etching and drypoint (?), brown<br />
ink on cream wove paper<br />
Lloyd Rees (Australia, b.1895,d.1988),<br />
A tower in Europe, 1922 (printed<br />
1984) etching and drypoint (?), brown<br />
ink on cream wove paper<br />
SAM AND HEATHER URE–SMITH<br />
Rayner H<strong>of</strong>f (Australia, b.1894,d.1937),<br />
Aboriginal head, 1925 terracotta<br />
THEA WADDELL FOR THE THEA<br />
PROCTOR MEMORIAL FUND<br />
Anne Starling (Australia, b.1967),<br />
Inner city, 1999 woodcut, black ink on<br />
white rice paper<br />
LYN WILLIAMS<br />
Fred Williams (Australia, b.1927,<br />
d.1982), The river, Werribee Gorge,<br />
1977 oil on canvas<br />
SALVATORE ZOFREA<br />
Salvatore Z<strong>of</strong>rea (Australia, b.1946),<br />
Drawing book for Appassionata:<br />
book no. 1, 1994 – 1999 40 pages <strong>of</strong><br />
drawings; 19 leaves/38 pages <strong>of</strong><br />
white Arches paper; 2 buff fly leaves,<br />
one at front, one at back <strong>of</strong> book;<br />
bound in maroon covers with 3<br />
Chicago screws<br />
Salvatore Z<strong>of</strong>rea (Australia, b.1946),<br />
Drawing book for Appassionata:<br />
book no. 2, 1994 – 1999 44 pages <strong>of</strong><br />
drawings 20 leaves/40 pages <strong>of</strong> white<br />
Arches paper 2 buff fly leaves, one at<br />
front, one at back <strong>of</strong> book<br />
Salvatore Z<strong>of</strong>rea (Australia, b.1946),<br />
Drawing book for Appassionata:<br />
book no. 3, 1994 – 1999 42 pages <strong>of</strong><br />
drawings 20 leaves/40 pages <strong>of</strong> white<br />
Arches paper 2 buff fly leaves, one at<br />
front, one at back <strong>of</strong> book<br />
Salvatore Z<strong>of</strong>rea (Australia, b.1946),<br />
40 prints from the suite Appassionata,<br />
1994 – 1999: Title page, 1994 – 1999<br />
two prints from separate woodblocks;<br />
black ink on heavy white Japanese<br />
Hitachi paper; The winding road into<br />
Borgia, 1994 – 1999 woodblock print;<br />
black ink on heavy white Japanese<br />
Hitachi paper; My parents conceive<br />
me, 1994 – 1999 woodblock print;<br />
black ink on heavy white Japanese<br />
Hitachi paper; Later that day in the<br />
cornfield, 1994 – 1999 woodblock<br />
print; black ink on heavy white<br />
Japanese Hitachi paper; My birth at<br />
9pm, 1994 – 1999 woodblock print;<br />
black ink on heavy white Japanese<br />
Hitachi paper; The promise, 1994 –<br />
1999 woodblock print; black ink on<br />
heavy white Japanese Hitachi paper;<br />
The promise broken, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; The<br />
first time I saw the stars, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
My mother collects water from the<br />
spring, 1994 – 1999 woodblock print;<br />
black ink on heavy white Japanese<br />
Hitachi paper; My mother and her<br />
sister collecting flax, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
Spinning the flax into linen, 1994 –<br />
1999 woodblock print; black ink on<br />
heavy white Japanese Hitachi paper;<br />
Harvesting the wheat, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; Lunch<br />
break in harvest time, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; The<br />
harvest dance, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; The<br />
village idiot, 1994 – 1999 woodblock<br />
print; black ink on heavy white<br />
Japanese Hitachi paper; Catching<br />
fire-flies in summer, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
Remembering playing in the<br />
wildflowers, 1994 – 1999 woodblock<br />
print; black ink on heavy white<br />
Japanese Hitachi paper; My mother<br />
making bread with her sisters, 1994 –<br />
1999 woodblock print; black ink on<br />
heavy white Japanese Hitachi paper;<br />
The blind woman <strong>of</strong> Borgia, 1994 –<br />
1999 woodblock print; black ink on<br />
heavy white Japanese Hitachi paper;<br />
Picking wildflowers for Corpus<br />
Christi, 1994 – 1999 woodblock print;<br />
black ink on heavy white Japanese<br />
Hitachi paper; The gypsies come to<br />
Borgia, 1994 – 1999 woodblock print;<br />
black ink on heavy white Japanese<br />
Hitachi paper; Picking figs, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; The<br />
blessing <strong>of</strong> the animals, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
Harvesting grapes, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; The<br />
village Madonna, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; The<br />
death <strong>of</strong> my grandfather, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
Harvesting olives, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
Crushing olive oil, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
Collecting firewood at Christmas,<br />
1994 – 1999 woodblock print; black<br />
ink on heavy white Japanese Hitachi<br />
paper; Chritsmas Eve - shepherds<br />
with pipes, 1994 – 1999 woodblock<br />
print; black ink on heavy white<br />
Japanese Hitachi paper; Christmas<br />
presents from America, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
Killing the pig for salami, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; The<br />
beginning <strong>of</strong> Lent, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; The<br />
last supper at my mother’s house,<br />
1994 – 1999 woodblock print; black<br />
ink on heavy white Japanese Hitachi<br />
paper; Holy Week, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper;<br />
Easter Sunday - the Resurrection,<br />
1994 – 1999 woodblock print; black<br />
ink on heavy white Japanese Hitachi<br />
paper; Easter Monday – the picnic at<br />
my grandfather’s farm, 1994 – 1999<br />
woodblock print; black ink on heavy<br />
white Japanese Hitachi paper; St<br />
Gregory’s fair, 1994 – 1999 woodblock<br />
print; black ink on heavy white<br />
Japanese Hitachi paper; The circus<br />
in Borgia, 1994 – 1999 woodblock<br />
print; black ink on heavy white<br />
Japanese Hitachi paper; Children’s<br />
games, 1994 – 1999 woodblock print;<br />
black ink on heavy white Japanese<br />
Hitachi paper<br />
Salvatore Z<strong>of</strong>rea (Australia, b.1946),<br />
40 woodblocks for the Appassionata<br />
suite, 1994 – 1999: Title, 1994 – 1999<br />
Kauri pine woodblock; Vignette <strong>of</strong><br />
figs, 1994 – 1999 Kauri pine<br />
woodblock; The winding road into<br />
Borgia, 1994 – 1999 magnolia<br />
woodblock; My parents conceive me,<br />
1994 – 1999 magnolia woodblock;<br />
Later that day in the cornfield, 1994 –<br />
1999 magnolia woodblock; My birth<br />
at 9pm, 1994 – 1999 magnolia<br />
woodblock; The promise, 1994 – 1999<br />
magnolia woodblock; The promise<br />
broken, 1994 – 1999 magnolia<br />
woodblock; The first time I saw the<br />
stars, 1994 – 1999 Kauri pine<br />
woodblock; My mother collects<br />
water from the spring, 1994 – 1999<br />
Kauri pine woodblock; My mother<br />
and her sister collecting flax, 1994 –<br />
1999 Kauri pine woodblock; Spinning<br />
the flax into linen, 1994 – 1999<br />
jelutong woodblock; Harvesting the<br />
wheat, 1994 – 1999 jelutong<br />
woodblock; Lunch break in harvest<br />
time, 1994 – 1999 jelutong woodblock;<br />
The harvest dance, 1994 – 1999<br />
jelutong woodblock; The village idiot,<br />
1994 – 1999 jelutong woodblock;<br />
Catching fire-flies in summer, 1994 –<br />
1999 jelutong woodblock;<br />
Remembering playing in the<br />
wildflowers, 1994 – 1999 jelutong<br />
woodblock; My mother making<br />
bread with her sisters, 1994 – 1999<br />
Kauri pine woodblock; The blind<br />
woman <strong>of</strong> Borgia, 1994 – 1999<br />
magnolia woodblock; Picking<br />
wildflowers for Corpus Christi, 1994 –<br />
1999 jelutong woodblock; The<br />
gypsies come to Borgia, 1994 – 1999<br />
jelutong woodblock; Picking figs,<br />
1994 – 1999 magnolia woodblock;<br />
The blessing <strong>of</strong> the animals, 1994 –<br />
1999 Kauri pine woodblock;<br />
Harvesting grapes, 1994 – 1999<br />
magnolia woodblock; The village<br />
Madonna, 1994 – 1999 jelutong<br />
woodblock; The death <strong>of</strong> my<br />
grandfather, 1994 – 1999 Kauri pine<br />
woodblock; Harvesting olives, 1994 –<br />
1999 jelutong woodblock; Crushing<br />
olive oil, 1994 – 1999 Kauri pine<br />
woodblock; Collecting firewood at<br />
Christmas, 1994 – 1999 magnolia<br />
woodblock; Christmas Eve -<br />
shepherds with pipes, 1994 – 1999<br />
magnolia woodblock; Christmas
presents from America, 1994 – 1999<br />
magnolia woodblock; Killing the pig<br />
for salami, 1994 – 1999 Kauri pine<br />
woodblock; recto: The beginning <strong>of</strong><br />
Lent; verso: Easter Sunday – the<br />
Resurrection, 1994 – 1999 recto and<br />
verso: carved, magnolia woodblock;<br />
The last supper at my mother’s<br />
house, 1994 – 1999 jelutong<br />
woodblock; Holy Week, 1994 – 1999<br />
magnolia woodblock; Easter Monday<br />
– the picnic at my grandfather’s<br />
farm, 1994 – 1999 magnolia woodblock;<br />
St Gregory’s fair, 1994 – 1999<br />
magnolia woodblock; The circus in<br />
Borgia, 1994 – 1999 jelutong<br />
woodblock; Children’s games, 1994 –<br />
1999 magnolia woodblock<br />
ABORIGINAL AND TORRES<br />
STRAIT ISLANDER<br />
BRENDA L CROFT<br />
Brenda L. Cr<strong>of</strong>t (Australia, b.1964),<br />
Sue Ingram, Botany Road /Regent<br />
Street, Redfern, 1992 duratran,<br />
light box<br />
Brenda L. Cr<strong>of</strong>t (Australia, b.1964),<br />
Shane Phillips and Noel Collett,<br />
Eveleigh Street, Redfern, 1992<br />
duratran, light box<br />
Brenda L. Cr<strong>of</strong>t (Australia, b.1964),<br />
Mathew Cook and Bonny Briggs,<br />
Aboriginal Community health<br />
services, Pitt street, Redfern, 1992<br />
duratran, light box<br />
Brenda L. Cr<strong>of</strong>t (Australia, b.1964),<br />
Mervyn Bishop and Joseph Cr<strong>of</strong>t,<br />
Prince Alfred park, Redfern, 1992<br />
duratran, light box.<br />
INTERNATIONAL ART<br />
EUROPEAN ART BEFORE 19<strong>00</strong><br />
MARGARET OLLEY<br />
Pierre Bonnard (France,<br />
b.1867,d.1947), Promenade des<br />
nourrices – avec frise de fiacres,<br />
1899 four lithographs arranged in the<br />
form <strong>of</strong> a screen<br />
Edouard Vuillard (France,<br />
b.1868,d.1940), Madame Prospe –<br />
Emile Weil à son bureau, circa 1923<br />
pastel and distemper on paper<br />
mounted on board<br />
MODERN AND<br />
CONTEMPORARY ART<br />
MARIE BROWN IN MEMORY OF<br />
CLIFFORD T. BROWN<br />
Jean–Paul Riopelle (Canada;France,<br />
b.1923), Untitled, 1949 oil on canvas<br />
Jean–Paul Riopelle (Canada;France,<br />
b.1923), Untitled, 1950 oil on canvas<br />
FRED HAGSTROM<br />
12 prints from the portfolio Portfolio<br />
<strong>of</strong> prints by contemporary American<br />
artists, 1998:<br />
Charles Cohan (United States <strong>of</strong><br />
America, b.1960), Untitled, 1998<br />
lithograph, relief, intaglio<br />
Teresa Cole (United States <strong>of</strong><br />
America, b.1961), Harness, 1998<br />
intaglio<br />
William Fick (United States <strong>of</strong><br />
America, b.1963), Cartoon head, 1998<br />
linocut<br />
Fred Hagstrom (United States <strong>of</strong><br />
America, b.1954), Conquest, 1998<br />
photo etching and plastic plate<br />
intaglio<br />
Adele Henderson (United States <strong>of</strong><br />
America, b.1955), Biogenesis No. 13,<br />
lithograph<br />
Kurt Kemp (United States <strong>of</strong> America,<br />
b.1957), The drunken man’s lament,<br />
1998 intaglio, chine collé,<br />
handworking<br />
Michael Kruger (United States <strong>of</strong><br />
America, b.1967), Closed circuit or<br />
the discovery <strong>of</strong> being seen by a<br />
machine, 1998 photo lithograph and<br />
intaglio<br />
Beauvais Lyons (United States <strong>of</strong><br />
America, b.1958), The philosophy <strong>of</strong><br />
Liebnez, 1998 lithograph<br />
Laurie Sloan (United States <strong>of</strong><br />
America, b.1962), Untitled, 1998<br />
intaglio and relief<br />
Sarah Smelser (United States <strong>of</strong><br />
America, b.1971), Untitled, 1998<br />
intaglio with monoprinting<br />
Tanja S<strong>of</strong>tic (United States <strong>of</strong><br />
America, b.1966), Nocturne, 1998<br />
intaglio<br />
Jennifer Yorke (United States <strong>of</strong><br />
America, b.1973), Victim or<br />
Perpetrator?, 1998 silkscreen<br />
THE REVEREND THEODORA HOBBS<br />
Denise Green (Australia;United<br />
States <strong>of</strong> America, b.1946),<br />
Pend/ance #2, 1979 pencil and paint<br />
stick on graph paper<br />
JANET LAURENCE<br />
Janet Laurence (Australia, b.1949),<br />
Untitled, 2<strong>00</strong>0 Laboratory glass tubes,<br />
cylinders and flasks, petrie dishes<br />
with various elements, old<br />
thermometers. Old glass vessels to<br />
collect tears, 3 duraclear<br />
photographic images mounted on<br />
acrylic, natural specimens in glass<br />
case<br />
MOËT & CHANDON AUSTRALIAN<br />
ART FOUNDATION COLLECTION<br />
Susan Norrie (Australia, b.1953), fête,<br />
1986 oil on canvas<br />
Kathy Temin (Australia, b.1968),<br />
Troubled Times, 1999 felt<br />
MARGARET OLLEY<br />
Giorgio Morandi (Italy, b.1890,<br />
d.1964), Natura Morta, 1933 etching<br />
in black and brown ink<br />
ANNE SULLIVAN<br />
John Bellany (Scotland, b.1942),<br />
The return <strong>of</strong> the prodigal, 1983 oil on<br />
canvas<br />
PHOTOGRAPHY<br />
ANTHONY BOND<br />
Ian Dodd (Australia, b.1937), Mirror<br />
image, 1975 (printed later) gelatin<br />
silver photograph<br />
CAZNEAUX FAMILY<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), The debut,<br />
1922 gelatin silver photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Warrens<br />
Gorge, Flinders Range, 1935 gelatin<br />
silver photograph, toned<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Australian<br />
Gum, 1935 gelatin silver photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Pr<strong>of</strong>ile,<br />
child study, 1930s gelatin silver<br />
photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Backstage,<br />
1936 gelatin silver photograph, toned<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Old Bond<br />
Store, Sydney Harbour, circa 1906 –<br />
circa 1910 bromoil photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Boys with<br />
hose, fire at Redfern, 1919 gelatin<br />
silver photograph, toned<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), The veil,<br />
Miss Leslie Sugden, 1931 gelatin<br />
silver photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Surry Hills,<br />
child under veranda, 1914 gelatin<br />
silver photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Model in<br />
Norman Lindsay’s garden,<br />
Springwood, circa 1920 gelatin silver<br />
photograph, toned<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Evening on<br />
the Clarence River, circa 1930 gelatin<br />
silver photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), The<br />
Humorist (Spencer Shier), circa 1920<br />
gelatin silver photograph, toned<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Dee Why<br />
Pool II, 1934 gelatin silver photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Balloons,<br />
Angela, 1933 gelatin silver photograph<br />
Harold Cazneaux (<strong>New</strong> Zealand;<br />
Australia, b.1878,d.1953), Placid<br />
waters, Albury district, circa 1935<br />
gelatin silver photograph, toned<br />
MRS VI COLLINGS<br />
Lawrence Collings (Australia,<br />
b.1910,d.1993), Early light, 1986<br />
gelatin silver photograph<br />
PAOLA INCERTI<br />
Michael Corridore (Australia, b.1962),<br />
Texaco, Salton Sea, California, Feb<br />
1999 type C photograph<br />
ANNA PACI AND GIORGIO COLOMBO<br />
Anna Paci (Italy, b.1940) and Giorgio<br />
Colombo (Italy, b.1934), Daedalus A<br />
Gain, 1980 22 gelatin silver photographs<br />
JULIANA SWATKO<br />
Juliana Swatko (United States <strong>of</strong><br />
America;Australia, b.1952),<br />
2 gelatin silver photographs, multiple<br />
toned from the series Facts and<br />
Fabrications, 1990: Tower <strong>of</strong> Babel,<br />
Duomo Milan, 1990 gelatin silver<br />
photograph, multiple toned<br />
Treachery, Palestrina Italy, 1990<br />
gelatin silver photograph, multiple<br />
toned<br />
Juliana Swatko (United States <strong>of</strong><br />
America;Australia, b.1952),<br />
2 type C photographs from the series<br />
Neo Eden, 1998:<br />
Red leaf, 1998 type C photograph<br />
Blue leaves, 1998 type C photograph<br />
ASIAN ART<br />
BURMA<br />
ANONYMOUS GIFT<br />
Vessel with a scene <strong>of</strong> the Churning<br />
<strong>of</strong> the Milky Ocean, early 20th<br />
century cast non-ferrous metal with<br />
lacquer coating<br />
ALEX BIANCARDI<br />
Arakan, Crowned Buddha,<br />
15th century copper alloy with traces<br />
<strong>of</strong> pigment and gilding<br />
ESTATE OF DAVID STRACHAN<br />
Seated Buddha, 17th century – 18th<br />
century bronze<br />
CAMBODIA<br />
ANONYMOUS GIFT<br />
Khmer, Torso <strong>of</strong> a female divinity,<br />
Angkor period 802 – 1431, mid 12th<br />
century grey sandstone<br />
ALEX BIANCARDI<br />
Khmer, Head <strong>of</strong> Harihara,<br />
late 7th century – early 8th century<br />
sandstone<br />
Bequest <strong>of</strong> Alex Biancardi 2<strong>00</strong>0<br />
Khmer, Hand and forearm <strong>of</strong> a deity,<br />
7th century – 8th century copper alloy<br />
Khmer, Standing figure <strong>of</strong> Vishnu,<br />
7th century – 8th century sandstone<br />
Kulen ware, Pedestal jar, circa 12th<br />
century – 13th century crackled pale<br />
green glazed stoneware with incised<br />
decoration on lid and rim<br />
CHINA<br />
ANONYMOUS GIFT<br />
Hebei Province, Ding ware, Large<br />
shallow dish decorated with carved<br />
floral design, Northern Song 960 –<br />
1127, Song dynasty 960 – 1279, 11th<br />
century–early 12th century porcelain<br />
with copper bound rim<br />
Earthenware, “Hill jar” with cover,<br />
Han dynasty 206 BCE – 220 CE<br />
earthenware with lead glaze<br />
QI Baishi (China, b.1863,d.1957),<br />
Pumpkins, hanging scroll; ink and<br />
colour on paper<br />
EDMUND CAPON<br />
QIAN Du (China, b.1763,d.1844),<br />
Landscape after Ju Ran,<br />
Qing dynasty 1644 – 1911 album leaf;<br />
ink on paper<br />
DR PETER ELLIOTT<br />
CHEN Wenxi (China;Singapore,<br />
b.1908,d.1991), Gourds and a bird, ink<br />
and colour on paper<br />
IFOULD FAMILY<br />
JU Lian (China, b.1828,d.1904),<br />
(Courtesan reading), Guangxu 1875 –<br />
1908, Qing dynasty 1644 – 1911, 1896<br />
album leaf; ink and colour on silk<br />
LEE TECK–CHIOW<br />
LU Yanshao (China b.1909,d.1993),<br />
Landscape <strong>of</strong> Liuzhou, 1985<br />
handscroll; ink and colour on paper<br />
J H MYRTLE COLLECTION<br />
Jiangxi Province, Jingdezhen ware,<br />
Tripod censor (‘ding’), Wanli 1573 –<br />
1619, Ming dynasty 1368 – 1644, early<br />
17th century porcelain with<br />
underglaze blue decoration<br />
55
Jiangxi Province, Jingdezhen ware,<br />
Wine cup decorated with five carp<br />
on the interior and four on the<br />
exterior, Qing dynasty 1644 – 1911,<br />
early 18th century porcelain with<br />
overglaze enamel<br />
Porcelain, Shallow bowl decorated<br />
with figure <strong>of</strong> Li Bai, Qing dynasty<br />
1644 – 1911, late 17th century – early<br />
18th century porcelain with famille<br />
verte decoration<br />
MARGARET OLLEY<br />
Informal waistcoat, circa 1890 ‘kesi’<br />
silk brocade<br />
J A AND H D SPERLING<br />
Stem cup, Ming dynasty 1368 – 1644,<br />
16th century porcelain with ‘anhua’<br />
(secret) decoration<br />
JUDITH AND KEN RUTHERFORD<br />
Female rank badge with silver<br />
pheasant design, Yongzheng 1723 –<br />
1735, Qing dynasty 1644 – 1911<br />
embroidery with gold and coloured<br />
threads, and peacock feathers on<br />
silk<br />
Imperial Duke’s insignia, Qianlong<br />
1736 – 1795, Qing dynasty 1644 – 1911<br />
‘kesi’ [woven silk]<br />
INDIA<br />
ALEX BIANCARDI<br />
Andhra Pradesh, Cosmetic tray with<br />
image <strong>of</strong> Lakshmi lustrated by<br />
elephants Gajalakshmi), Satavahana<br />
period, circa 1st century – 3rd<br />
century, 3rd century – 4th century<br />
marble<br />
Bihar, probably Nalanda region,<br />
Seated Buddha stele, Pala Period 750<br />
– 1159, late 10th century – early 11th<br />
century black stone<br />
Central India, Head and torso <strong>of</strong><br />
Kumara, circa 9th century pink<br />
sandstone<br />
North India, possibly Gujarat, Torso,<br />
10th century white marble<br />
North India, Head <strong>of</strong> a woman, circa<br />
7th century dark sandstone<br />
Orissa, Varaha rescuing the Earth<br />
Goddess, Bhudevi, 10th century –<br />
11th century stone<br />
MARGARET OLLEY<br />
Rajasthan, Jodhpur, Marwar style,<br />
Portrait <strong>of</strong> Raja Kesari Singhji <strong>of</strong><br />
Jodhpur on horseback, circa 1820<br />
opaque watercolour on paper<br />
PAL FAMILY IN HONOUR OF JACKIE<br />
MENZIES<br />
West Bengal, Plaque depicting<br />
centaur, Pala Period 750 – 1159, 12th<br />
century terracotta<br />
J A AND H D SPERLING<br />
Rajasthan, Ranakpur Seth Amandji<br />
Klayanji Pedhi temple, Figure <strong>of</strong> a<br />
Jina, 20th century copper alloy<br />
ESTATE OF DAVID STRACHAN<br />
Madhya Pradesh, Gandharva, circa<br />
11th century pink sandstone<br />
INDONESIA<br />
PAL FAMILY IN HONOUR OF JACKIE<br />
MENZIES<br />
Mirror handle, 11th century bronze<br />
56<br />
ESTATE OF DAVID STRACHAN<br />
Java, Head <strong>of</strong> a woman, circa 14th<br />
century terracotta<br />
JAPAN<br />
ANONYMOUS GIFT<br />
Large vase decorated with<br />
sculptured lotus and frogs and<br />
incised water pattern and water<br />
plants, Meiji period 1868 – 1912<br />
copper alloy<br />
Vase with design <strong>of</strong> cranes in flight,<br />
Meiji period 1868 – 1912 copper alloy<br />
with various metal overlay<br />
Suzuki NANREI (Japan,<br />
b.1775,d.1844), (Landscape with<br />
fisherman on river bank), Edo<br />
(Tokugawa) period 1615 – 1868 hanging<br />
scroll; ink and slight colour on paper<br />
IFOULD FAMILY<br />
Hosoda EISHO - (Japan, active circa<br />
1793 – 1799), (Women celebrating<br />
<strong>New</strong> Year), Edo (Tokugawa) period<br />
1615 – 1868 colour woodcut<br />
Ando- /Utagawa HIROSHIGE (Japan,<br />
b.1796,d.1858), Futagawa From the<br />
series Fifty-three stations <strong>of</strong> To- kaido- ,<br />
Tenpo era 1830 – 1844/ Edo<br />
(Tokugawa) period 1615 – 1868,<br />
circa 1833 colour woodcut<br />
Katsushika HOKUSAI (Japan,<br />
b.1760,d.1849), Fukui in Echizen From<br />
the series Remarkable views <strong>of</strong> the<br />
bridges in all provinces, Tenpo era<br />
1830 – 1844/Edo (Tokugawa) period<br />
1615 – 1868, circa 1834 colour<br />
woodcut<br />
Katsushika HOKUSAI (Japan,<br />
b.1760,d.1849), Youth setting out from<br />
home From the series A true mirror<br />
<strong>of</strong> Chinese and Japanese poems,<br />
Tenpo era 1830 – 1844/Edo<br />
(Tokugawa) period 1615 – 1868, circa<br />
1833 colour woodcut<br />
Torii KIYONAGA (Japan,<br />
b.1752,d.1815), Fine day in early<br />
Spring From the series Eight views <strong>of</strong><br />
four seasons, Edo (Tokugawa) period<br />
1615 – 1868, colour woodcut<br />
Katsukawa SHUNCHO - (Japan, active<br />
circa 1770-circa 18<strong>00</strong>), Evening bell<br />
at Umeyashiki (Plum Mansion) from<br />
the series Eight famous views <strong>of</strong> Edo,<br />
Edo (Tokugawa) period 1615 – 1868,<br />
colour woodcut<br />
Utagawa TOYOKUNI I (Japan,<br />
b.1769,d.1825), Actor Iwai Hanshiro- ,<br />
Edo (Tokugawa) period 1615 – 1868,<br />
circa 18<strong>00</strong> colour woodcut<br />
Kitagawa UTAMARO (Japan,<br />
b.1753?,d.1806), (Mitate puppeteers)<br />
from the series Songs <strong>of</strong> faithful love<br />
Edo, (Tokugawa) period 1615 – 1868,<br />
circa 18<strong>00</strong> colour woodcut<br />
Kitagawa UTAMARO (Japan,<br />
b.1753?,d.1806), Mirror polishing from<br />
the book Spring colours [illustrated<br />
book], Edo (Tokugawa) period 1615 –<br />
1868, 1794 colour woodcut<br />
REV MUNEHARU KUROZUMI<br />
KIKKO - Ju- so- ken (b.1948), Black raku<br />
tea bowl, Heisei period 1989 – , 1997<br />
earthenware with black raku glaze<br />
KENNETH MYER<br />
TSURUYA Ko- kei (Japan, b.1946),<br />
Actor Nakamura Tomiju- ro- in the role<br />
<strong>of</strong> Ko- no Moronao, Sho- wa period<br />
1926 – 1988, 1986 colour woodcut<br />
with mica<br />
YASUKO MYER BEQUEST FUND<br />
O - TA Saburo- (Japan, b.1884,d.1969),<br />
Café waitress, 1914 colour woodcut<br />
MARGARET OLLEY<br />
Utagawa KUNISADA I /TOYOKUNI III<br />
(Japan, b.1786,d.1864), (Maple<br />
viewing party), 1847 – 1852 colour<br />
woodcut [triptych]<br />
DR JOHN YU & DR GEORGE SOUTTER<br />
Hasami ware (Japan), Dish with flat<br />
rim with incised pattern and flower<br />
design, Edo (Tokugawa) period 1615 –<br />
1868, 1650 – 17<strong>00</strong> stoneware with<br />
celadon glaze<br />
Hasami ware (Japan), Dish with<br />
incised waves and lotus design, Edo<br />
(Tokugawa) period 1615 – 1868, 1650<br />
– 17<strong>00</strong> stoneware with celadon glaze<br />
KOREA<br />
J A AND H D SPERLING<br />
Mirror with design <strong>of</strong> two birds,<br />
Koryo period 918 – 1392, bronze<br />
NEPAL<br />
ALEX BIANCARDI<br />
Carved temple strut (tunala) with<br />
celestial woman, 13th century – 14th<br />
century wood<br />
Conch shell with image <strong>of</strong> standing<br />
Vishnu, 16th century – 17th century<br />
carved conch shell<br />
Conch shell with images <strong>of</strong> Vishnu,<br />
16th century carved conch shell<br />
Mandala <strong>of</strong> Avalokiteshvara,<br />
16th century – 17th century opaque<br />
watercolour on cotton glued to<br />
painted wooden table<br />
J A AND H D SPERLING<br />
Vajradakini, 20th century parcel gilt<br />
and inlaid silver bronze<br />
PAKISTAN<br />
ALEX BIANCARDI<br />
Ancient Gandhara, Reliquary box<br />
with lotus design, Kushan period<br />
circa 1st century – 4th century,<br />
1st century schist<br />
Ancient Gandhara, Votive Stupa with<br />
base, Kushan period circa<br />
1st century – 4th century,<br />
1st century marble<br />
Sri Lanka, Polonnaruva, Seated<br />
Buddha, 14th century copper alloy<br />
with gilding<br />
CAMBODIA<br />
ALEX BIANCARDI<br />
Bayon style, Lion, 15th century –<br />
16th century copper alloy with gilt<br />
THAILAND<br />
ALEX BIANCARDI<br />
Sawankhalok, Covered box, circa<br />
14th century – 15th century grey<br />
stoneware with pale blue-white glaze<br />
and iron underglaze decoration on lid<br />
Footprint <strong>of</strong> the Buddha, 18th century<br />
– 20th century wood with gilt<br />
Peninsular Thailand, Standing<br />
Buddha, circa 6th century copper<br />
alloy<br />
F STORCH<br />
Ayutthaya, Head <strong>of</strong> Buddha, 14th<br />
century sandstone with traces <strong>of</strong><br />
lacquer<br />
ESTATE OF DAVID STRACHAN<br />
Head <strong>of</strong> Buddha, circa 15th century<br />
copper alloy<br />
Head <strong>of</strong> Buddha, circa 15th century<br />
copper alloy<br />
Mon/Dvaravati style, Buddha head<br />
and upper torso, circa 8th century<br />
terracotta<br />
TIBET<br />
ALEX BIANCARDI<br />
Sino-Tibetan style, Fire-spoon with<br />
vajra and phoenix design, 16th<br />
century – 18th century<br />
blackened iron with gilding<br />
MARIE-FRANCOISE FATTON<br />
<strong>South</strong>ern Tibet, Karma Pa and<br />
consort, 17th century – 18th century<br />
gouache on cotton<br />
<strong>South</strong>ern Tibet, The seven treasures,<br />
17th century-18th century gouache<br />
on cotton<br />
J A AND H D SPERLING<br />
Dorje cushion, 19th century 16th –<br />
17th century embroidered Chinese<br />
silk with cotton appliqué, cotton<br />
reverse<br />
Ritual bell and cover, 18th century<br />
brass bell; cover: woven cane with<br />
leather tie<br />
Storage box for stem cup with<br />
woven cover, Ming dynasty 1368 –<br />
1644, 16th century<br />
lacquer over cloth base fitted box<br />
Woven cover for stem cup, Ming<br />
dynasty 1368 – 1644, 16th century<br />
fibre, thread and leather
WORKS OF ART LOANED<br />
TO THE GALLERY<br />
1999.32 Sidney Nolan<br />
Diver 1945<br />
oil, enamel on paperboard<br />
Anonymous loan<br />
L2<strong>00</strong>0.1 Anselm Kiefer<br />
Wege Der Weltweisheit: Die<br />
Hermann Schlacht 1978<br />
mixed media (woodblock print,<br />
synthetic polymer paint, varnish)<br />
Private collection, Sydney<br />
L2<strong>00</strong>0.3 Francis Bacon<br />
Study for portrait with bird 1980<br />
oil on canvas<br />
Private Collection, Sydney<br />
L2<strong>00</strong>0.4 Patricia Piccinini<br />
Psychogeography 1996<br />
type C photograph from Digiprint<br />
Private collection, Sydney<br />
L2<strong>00</strong>0.5 Cindy Sherman<br />
Untitled 1999 1999<br />
gelatin silver photograph<br />
Private collection, Sydney<br />
L2<strong>00</strong>0.6 Mat Collishaw<br />
Ideal Boys ‘Francesso & Gennaro’<br />
1997<br />
Colour photograph on dibond<br />
Private collection, Sydney<br />
L2<strong>00</strong>0.7 Mat Collishaw<br />
Ideal Boys ‘John Luca & Paco’ 1997<br />
Colour photograph on dibond<br />
Private collection, Sydney<br />
L2<strong>00</strong>0.8 Paul Smith<br />
Make my night 1998<br />
RA4 colour photograph, aluminium<br />
mounted<br />
Private collection, Sydney<br />
L2<strong>00</strong>0.9 Paul Smith<br />
Make my night 1998<br />
RA4 colour photograph, aluminium<br />
mounted<br />
Private collection, Sydney<br />
L2<strong>00</strong>0.10 Baron Wilhelm von Gloeden<br />
Youth with a headband, Naples<br />
circa 19<strong>00</strong><br />
albumen photograph<br />
Private collection, Sydney<br />
L2<strong>00</strong>0.11.a-b YOSHINORI<br />
PAIR OF STIRRUPS<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.12 PLAQUE<br />
19th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.13 TEA BOWL<br />
19th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.14 SATSUMA WARE BOWL<br />
19th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.15 EARTHENWARE<br />
Cup<br />
07<strong>00</strong>-0750<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.16 FIGURE OF A CAMEL<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1983<br />
L2<strong>00</strong>0.17.a-b SUKOTHAI WARE<br />
COVERED BOWL<br />
13th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.18.a-b SETO WARE TEA CADDY<br />
18th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.19.a-b SETO WARE TEA<br />
CADDY<br />
18th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.20.a-b SETO WARE TEA CADDY<br />
18th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.21 VASE<br />
circa 19th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.22 VASE OF HU SHAPE<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.23 BOX COVER<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.24 BOTTLE<br />
circa 14<strong>00</strong><br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.25.a-b COVERED BOWL<br />
14th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.26 ROOF ORNAMENT (IN THE<br />
FORM OF A NAGA HEAD)<br />
14th century<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.27.a-b TRIPOD CENSER AND<br />
COVER<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.28 CENSER<br />
On loan from the Museum <strong>of</strong> Applied<br />
Arts and Sciences 1987<br />
L2<strong>00</strong>0.29 Bill Henson<br />
Untitled 1997/2<strong>00</strong>0<br />
1997-2<strong>00</strong>0 {printed 2<strong>00</strong>0}<br />
type C photograph<br />
On loan from the collection <strong>of</strong> John<br />
Kiley and Eugene Silbert, Sydney<br />
L2<strong>00</strong>0.30 Hanuman circa 12th century<br />
copper alloy with traces <strong>of</strong> vermilion<br />
(‘kum-kum’) powder applied during<br />
worship<br />
Anonymous loan 2<strong>00</strong>0<br />
L2<strong>00</strong>0.31 Jean Bellette<br />
Greek girl<br />
oil on canvas<br />
Private collection loan<br />
L2<strong>00</strong>0.32 Margaret Olley<br />
Portrait in the mirror 1948<br />
oil on hardboard<br />
Private collection loan<br />
WORKS OF ART LOANED<br />
BY THE GALLERY<br />
LAWRENCE WILSON ART GALLERY<br />
Drysdale<br />
13/8/99 – 19/9/99 Russell Drysdale<br />
Crucifixion 1946<br />
oil on plywood<br />
OA1.1963 Russell Drysdale<br />
Road to the Black Mountains<br />
circa 1952<br />
oil on canvas<br />
8679 Russell Drysdale<br />
Kimberley landscape 1961<br />
pencil, pen and black ink<br />
132.1996 Russell Drysdale<br />
Working drawing for ‘Home town’<br />
(1941)<br />
pencil, squared<br />
LOANS<br />
11.1972 Russell Drysdale<br />
Study for ‘Home town’ (1943)<br />
pencil and black ink, watercolour<br />
278.1990<br />
SARJEANT GALLERY/ TE WHARE O<br />
RHUA<br />
Edith Collier and her circle<br />
July 1999 – May 2<strong>00</strong>0<br />
Sarjeant Gallery 14/8/99 – 10/10/99<br />
Auckland City Art Gallery 18/12/99 –<br />
13/2/<strong>00</strong><br />
Dowse Art Museum 4/3/<strong>00</strong> – 30/4/<strong>00</strong><br />
Margaret Preston<br />
(Still life with teapot and daisies)<br />
circa 1915<br />
oil on hardboard<br />
192.1977<br />
Margaret Preston<br />
(Millpond, Bilbury) circa 1916<br />
s<strong>of</strong>tground etching<br />
DA53.1963<br />
S.H. ERVIN GALLERY<br />
Love magic: Erotics, politics and<br />
Indigenous Art<br />
21/8/99 – 3/10/99<br />
Samuel Wagbara<br />
Three Mimi Spirit Figures Dancing<br />
circa 1964<br />
natural pigments on eucalyptus bark<br />
P2.1964<br />
MUSEO DE ARTE<br />
CONTEMPORÁNEO, MEXICO<br />
Imants Tillers<br />
24/9/99 – 1/1/2<strong>00</strong>0<br />
Imants Tillers<br />
Conversations with bride 1974 – 1975<br />
gouache, synthetic polymer paint,<br />
paper on aluminium [112 paintings],<br />
112 aluminium tripods, 7 type C<br />
colour photographs<br />
235.1976.1, 235.1976.2 a-g<br />
Imants Tillers<br />
52 displacements 1979 – 1980<br />
gouache on canvas (six paintings),<br />
text (six framed panels)<br />
16.1980.a-l<br />
Imants Tillers<br />
Two paintings, hidden from view<br />
1981–1982<br />
diptych: synthetic polymer paint on<br />
canvas<br />
122.1984.a-b<br />
HISTORIC HOUSES TRUST OF<br />
NEW SOUTH WALES,<br />
MUSEUM OF SYDNEY<br />
Bamaradbanga<br />
18/9/99 – 5/12/99<br />
Karen Casey<br />
Gateway 1994<br />
oil and mixed media on linen<br />
57
MUSEUM OF CONTEMPORARY ART<br />
WORD<br />
9/9/99 – 29/11/99<br />
John Brack<br />
Out 1979<br />
oil on canvas<br />
47.1981<br />
102.1999.a-c Joseph Kosuth<br />
One and three tables 1965<br />
Installation; (table, photograph, text)<br />
TOOWOOMBA REGIONAL ART<br />
GALLERY<br />
What’s Lost/what’s won – Conviction<br />
and contradiction in the art <strong>of</strong><br />
Frederick McCubbin<br />
9/9/99 – 28/11/99<br />
8559 Frederick McCubbin<br />
Self Portrait 1886<br />
oil on canvas<br />
ROSLYN OXLEY9 GALLERY<br />
Rosalie Gascoigne<br />
1/9/99 – 25/9/99<br />
55.1999.a-c Rosalie Gascoigne<br />
Great Blonde paddocks 1999<br />
sawn wood<br />
187.1999 Rosalie Gascoigne<br />
Metropolis 1999<br />
retro-reflective road sign<br />
THE AMERICAN FEDERATION OF ARTS<br />
James Tissot<br />
1/9/99 – 30/7/2<strong>00</strong>0<br />
Yale Center for British Art<br />
22/9/99 – 28/11/99<br />
Musée du Québec<br />
15/12/99 – 12/3/2<strong>00</strong>0<br />
Albright-Knox Art Gallery, Buffalo<br />
24/3/2<strong>00</strong>0 – 2/7/2<strong>00</strong>0<br />
6697 James Jacques Joseph Tissot<br />
The Widower 1876<br />
oil on canvas mounted on hardboard<br />
AUSTRALIAN MUSEUM<br />
Bats<br />
25/9/9 – 28/2/2<strong>00</strong>0<br />
2283 Elizabeth Söderberg<br />
Bowl with flying fox design 1912<br />
beaten copper with repoussé<br />
22.1998 Unknown, China<br />
Jindezhen ware – Bowl with design<br />
<strong>of</strong> five bats on yellow ground<br />
surrounding the character ‘shau’<br />
[longevity] in centre on interior and<br />
two dragons and two phoenix<br />
medallions on exterior<br />
Qing dynasty, Guangxu period<br />
porcelain with overglaze enamel<br />
DO30.1961 Utagawa TOYOKUNI II<br />
Matching <strong>of</strong> beautiful women and<br />
flowers à la mode circa 1830<br />
colour woodcut; aizuri-e<br />
LISMORE REGIONAL ART GALLERY<br />
A Moment in Time; Brett Whiteley’s<br />
Byron Bay Series<br />
20/10/99 – 28/11/99<br />
Brett Whiteley<br />
Wategoes Beach Holiday Suite;<br />
Wategoes Beach No.10<br />
gouache on paper<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
58<br />
Brett Whiteley<br />
Midday at Wategoes Beach<br />
oil on canvas<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
Brett Whiteley<br />
Good Morning Glory II<br />
oil on canvas<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
Brett Whiteley<br />
Wategoes Beach Holiday Suite;<br />
Wategoes Beach No.3 (Dolphins)<br />
ink on rice paper<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
Brett Whiteley<br />
Wategoes Beach Holiday Suite;<br />
Wategoes Beach No.6 (Untitled)<br />
charcoal<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
Brett Whiteley<br />
Wategoes Beach Holiday Suite;<br />
Wategoes Beach No 8 (Monsterio)<br />
charcoal<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
Brett Whiteley<br />
Wategoes Beach Holiday Suite;<br />
Wategoes Beach No.11 (Untitled)<br />
gouache and ink<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
Brett Whiteley<br />
Wategoes Beach Holiday Suite;<br />
Wategoes Beach No.14 (Monsterio<br />
Deliciosa)<br />
ink on paper<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
Brett Whiteley<br />
Wategoes Beach Holiday Suite;<br />
Wategoes Beach No.15 (Dolphins in<br />
Storm)<br />
gouache on paper<br />
Collection: The Brett Whiteley Studio<br />
Museum , Sydney<br />
AUSTRALIAN MARITIME MUSEUM<br />
Secrets <strong>of</strong> the Sea: Myth, Lore and<br />
Legend<br />
October 1999 – August 2<strong>00</strong>0<br />
2479 Unknown, Italy<br />
Standing bowl circa 1850<br />
venetian glass, gilt, enamel<br />
246.1985 Salvatore Rosa<br />
Glaucus and Scylla circa 1661<br />
etching<br />
MUSEU PICASSO, BARCELONA<br />
Picasso. Indoor, Outdoor Landscapes<br />
26/10/99 – 30/1/<strong>00</strong><br />
66.1981 Pablo Picasso<br />
Femme nue dans un rocking-chair<br />
1956<br />
oil on canvas<br />
MOREE PLAINS GALLERY<br />
Brett Whiteley – The genius<br />
27/11/99 – 28/1/2<strong>00</strong>0<br />
OA19.1962 Brett Whiteley<br />
Untitled painting II 1961<br />
oil, pencil, collage on hardboard<br />
8.1979 Brett Whiteley<br />
The pink heron 1969<br />
synthetic polymer paint on hardboard<br />
7.1979 Brett Whiteley<br />
The green mountain (Fiji) 1969<br />
oil, collage on cardboard<br />
189.1976 Brett Whiteley<br />
Still life with meat 1975–76<br />
snythetic polymer paint, shell, bone<br />
on plywood<br />
354.1998 Brett Whiteley<br />
Self-portrait after three bottles <strong>of</strong><br />
wine 1978<br />
oil and ink on board<br />
350.1998.a-c Brett Whiteley<br />
The bush 1966<br />
oil and mixed media on board<br />
299.1994 Brett Whiteley<br />
Woman under the shower 1976<br />
etching<br />
13.1985 Brett Whiteley<br />
Untitled 1962<br />
charcoal and white body colour<br />
352.1998 Brett Whiteley<br />
To Yirrawalla 1972<br />
oil and mixed media on board<br />
Brett Whiteley<br />
Weet 1968<br />
oil on plywood<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Wendy 11pm (drunk) 1983<br />
brush and ink on paper<br />
1983<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Rembrandt 1971–72<br />
oil and fibreglass on board<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
The Orange nude 1981<br />
oil on canvas<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Oberon 1987<br />
oil and collage on canvas (triptych)<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
The Lyrebird 1972 – 73<br />
oil, mixed media and collage on<br />
canvas<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Distorted nudes (Thanks to André<br />
Certez) 1987<br />
ink, hair, gouache<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Self-portrait with beard 1972<br />
brush and ink on rice paper on card<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Getting quite close 1983<br />
colour photograph, oil, collage,<br />
masking tape and card on board<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Unposted letter to mother 1980<br />
pen and ink<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Ch’uan circa 1978 – 79<br />
oil and mixed media on canvas<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Fragment <strong>of</strong>f Olga or Jah! How black<br />
can you get 1974 – 75<br />
oil and mixed media on board<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
Brett Whiteley<br />
Self-Portrait at 16 (First self-portrait)<br />
1955<br />
oil on board<br />
Collection: The Brett Whiteley Studio<br />
Museum, Sydney<br />
GOLD COAST ARTS CENTRE<br />
Joe Furlonger Survey Exhibition<br />
November 1999 – April 2<strong>00</strong>1<br />
Gold Coast City Art Gallery 10/12/99 –<br />
23/1/<strong>00</strong><br />
Grafton Regional Gallery 1/3/<strong>00</strong> –<br />
9/4/<strong>00</strong><br />
Moree Plains Gallery 14/4/<strong>00</strong> –<br />
21/5/<strong>00</strong><br />
Lawrence Wilson Art Gallery 2/6/<strong>00</strong> –<br />
9/7/<strong>00</strong><br />
Bundaberg Arts Centre 4/8/<strong>00</strong> –<br />
10/9/<strong>00</strong><br />
Gladstone Regional Art Gallery<br />
22/9/<strong>00</strong> – 28/10/<strong>00</strong><br />
Toowoomba Regional Art Gallery<br />
1/12/<strong>00</strong> – 14/1/01<br />
<strong>New</strong> England Regional Art Museum<br />
25/2/01 – 2/4/01<br />
395.1996.a-b Joe Furlonger<br />
Artist in residence 1996<br />
diptych: tempera on linen<br />
ART GALLERY OF SOUTH AUSTRALIA<br />
Bill Bowmore Collection<br />
2/11/1999 – 2/4/2<strong>00</strong>0<br />
167.1991 Niccolò Dell’ Abbate<br />
Portrait <strong>of</strong> a gentleman with a falcon<br />
circa 1548 – 50<br />
oil on canvas<br />
119.1992 Jean-Marc Nattier<br />
Madame de la Porte 1754<br />
oil on canvas<br />
NATIONAL EXHIBITION TOURING<br />
SUPPORT/ MUSEUMS AND<br />
GALLERIES FOUNDATION OF NSW<br />
Pets, Prey and Predators<br />
November 1999 – June 2<strong>00</strong>1<br />
Mosman Region Gallery 26/11/99 –<br />
30/1/<strong>00</strong><br />
Dubbo Regional Gallery 12/2/<strong>00</strong> –<br />
28/4/<strong>00</strong><br />
Campbelltown City Art Gallery 5/5/<strong>00</strong><br />
– 11/6/<strong>00</strong><br />
Bathurst Regional Gallery<br />
11/8/<strong>00</strong> – 17/9/<strong>00</strong><br />
Shepparton Art Gallery 27/9/<strong>00</strong> –<br />
29/10/<strong>00</strong><br />
Logan Art Gallery 10/11/<strong>00</strong> – 17/12/<strong>00</strong><br />
Toowoomba Regional Art Gallery<br />
15/2/01 – 25/3/01<br />
Grafton Regional Gallery 11/4/01 –<br />
27/5/01<br />
5.1995 William Robinson<br />
Untitled 1970s<br />
charcoal
8.1995 William Robinson<br />
Untitled 1970s<br />
diptych, charcoal<br />
6.1995 William Robinson<br />
Untitled 1970s<br />
pencil<br />
7.1995 William Robinson<br />
Untitled 1970s<br />
charcoal, brown conte<br />
MANLY ART GALLERY & MUSEUM<br />
Celebrating Paradise – The artist and<br />
the Northern Beaches 19<strong>00</strong> – 2<strong>00</strong>0<br />
10/12/99 – 30/1/2<strong>00</strong>0<br />
49.1985 Roy de Maistre<br />
Woman with parasol at Palm Beach<br />
1927<br />
oil on hardboard<br />
OA12.1965 Rah Fizelle<br />
Cliffs at <strong>New</strong>port circa 1932<br />
oil on canvas on hardboard<br />
249.1976 Weaver Hawkins<br />
(Interior, Mona Vale:Rene reading)<br />
1944<br />
watercolour<br />
217.1991 James Jackson<br />
Summer day, Mona Vale 1937<br />
oil on canvas on paperboard<br />
244.1975 Margaret Preston<br />
Manly pines 1953<br />
colour gouache, stencil on black paper<br />
65.1971 Sali Herman<br />
Tropical garden 1966<br />
oil on canvas<br />
9917 Sydney Long<br />
Narrabeen Lake post 1928<br />
etching<br />
9920 Sydney Long<br />
Old Customs House, Barrenjoey<br />
post 1928<br />
etching<br />
152.1975 Harold Cazneaux<br />
The bent tree, Narrabeen 1914<br />
bromoil photograph<br />
113.1975 Harold Cazneaux<br />
The Wheel <strong>of</strong> youth 1929<br />
gelatin silver photograph<br />
863.1996 Max Dupain<br />
Heavy Seas, <strong>New</strong>port Reef 1976<br />
gelatin silver photograph<br />
26.1981 Max Dupain<br />
Sunrise at <strong>New</strong>port 1974<br />
gelatin silver photograph<br />
190.1981 Max Dupain<br />
At <strong>New</strong>port 1952<br />
gelatin silver photograph<br />
853.1996 Max Dupain<br />
Surf race start 1946<br />
gelatin silver photograph<br />
376.1987 Fiona Hall<br />
Manly Beach, Sydney, Australia,<br />
January 1985 1985<br />
gelatin silver photograph<br />
David Moore<br />
207.1984 Lifesavers, Manly circa 1960<br />
gelatin silver photograph<br />
HISTORIC HOUSES TRUST OF<br />
NEW SOUTH WALES<br />
MUSEUM OF SYDNEY<br />
Metropolis<br />
18/12/99 – 16/4/2<strong>00</strong>0<br />
55.1987 Max Dupain<br />
Untitled (staircase in demolition <strong>of</strong><br />
old CSR head <strong>of</strong>fice building, Sydney)<br />
1962 (printed 1983)<br />
gelatin silver photograph<br />
152.1982 Max Dupain<br />
Sydney from Harbour Bridge pylon<br />
1938<br />
gelatin silver photograph<br />
332.1989 Robyn Stacey<br />
Ice (from the series Redline 7<strong>00</strong>0) 1989<br />
cibachrome on plexiglass<br />
70.1984 Max Dupain<br />
Towards end <strong>of</strong> stage 1 (Sydney<br />
Opera House) 1963<br />
gelatin silver photograph<br />
77.1984 Max Dupain<br />
Concrete support beams (Sydney<br />
Opera House) 1962<br />
gelatin silver photograph<br />
60.1993 Mark Johnson<br />
Sydney Cove: The Rocks 1982<br />
gelatin silver photograph<br />
93.1988 Max Pam<br />
Luna Park, Sydney 1978<br />
(printed 1988)<br />
gelatin silver photograph<br />
201 A.H. Fullwood<br />
Wet evening, George Street, Sydney<br />
(1889)<br />
charcoal, chalk<br />
7452 John D Moore<br />
The two stones 1944<br />
watercolour, pen and ink<br />
62.1997 Lloyd Rees<br />
City Skyline 1935<br />
oil on canvas on cardboard<br />
511.1995 Elizabeth Rooney<br />
King Street 1890 – 1980 1980-81<br />
etching, artist’s pro<strong>of</strong><br />
198.1975 Jessie Trail<br />
Building the harbour Bridge 1:<br />
Beginnings 1927<br />
etching, ed 11/30<br />
199.1975 Jessie Trail<br />
Building the harbour Bridge 11:The<br />
works north side November 1927<br />
1928<br />
etching, aquatint, ed.1/30<br />
2<strong>00</strong>.1975 Jessie Trail<br />
Building the harbour Bridge 111: The<br />
granite workers, April 1929 1929<br />
etching<br />
201.1975 Jessie Trail<br />
Building the harbour Bridge 1V:The<br />
ants progress, November 1929 1929<br />
etching, ed 4/30<br />
202.1975 Jessie Trail<br />
Building the harbour Bridge V:going<br />
up 1930<br />
etching, ed 7/25<br />
203.1975 Jessie Trail<br />
Building the harbour Bridge<br />
V1:Nearly complete 1931<br />
etching<br />
255.1991 Jessie Trail<br />
The great arch 1932<br />
etching, aquatint<br />
42.1988 Jessie Trail<br />
The red light, Harbour Bridge, June<br />
1931 1932<br />
etching, aquatint, hand-colouring<br />
605 Normand Baker<br />
Morning in the markets 1932<br />
oil on canvas<br />
NATIONAL GALLERY OF AUSTRALIA<br />
Aboriginal Art in Modern Worlds<br />
January 2<strong>00</strong>0 – December 2<strong>00</strong>0<br />
State Hermitage Museum 2/2/<strong>00</strong> –<br />
9/4/<strong>00</strong><br />
National Gallery <strong>of</strong> Australia 8/9/<strong>00</strong> –<br />
19/11/<strong>00</strong><br />
567.1994.a-c Emily Kame Kngwarreye<br />
Untitled (awelye) 1994<br />
triptych; synthetic polymer paint on<br />
paper laminated to canvas<br />
S.H. ERVIN GALLERY – NATIONAL<br />
TRUST OF AUSTRALIA<br />
Favourites: Margaret Olley and Barry<br />
Humphries choose from Australian<br />
Collections<br />
15/1/2<strong>00</strong>0 – 27/2/2<strong>00</strong>0<br />
496.1996 Robert Barnes<br />
Black boots 1995<br />
oil on canvas<br />
7226 William Dobell<br />
Nude 1931<br />
oil on canvas on wood (frame)<br />
9142 Russell Drysdale<br />
Woman filing her nails (1943)<br />
oil on canvas<br />
9204 Donald Friend<br />
The fortune teller (1953)<br />
oil on canvas on hardboard<br />
460.1995 Nicholas Harding<br />
St Paul’s Place, Redfern 1993 – 1995<br />
oil on canvas on hardboard<br />
870 Margaret Preston<br />
Australian gum blossom 1928<br />
oil on canvas<br />
14.1997 David Strachan<br />
The old wall, Bricherasio 1959<br />
oil on canvas on hardboard<br />
37.1988 Anne Wienholt<br />
The medium 1984<br />
bronze<br />
138.1995 Lawrence Daws<br />
Night sea journey 1994<br />
oil on canvas<br />
128.1974 Charles Conder<br />
Madame Errazuriz 1905<br />
oil on canvas<br />
57.1975 Arthur Murch<br />
Beach Idyll 1930<br />
tempera on canvas on plywood<br />
4804 Hans Heysen<br />
Summer 1909<br />
pencil, watercolour<br />
114.1981 Sali Herman<br />
Sydney 1942 1981<br />
oil on canvas<br />
398.1987 Francis Lymburner<br />
The studio corner circa 1964<br />
oil on hardboard<br />
DA1.1959 George W. Lambert<br />
Hugh Ramsay 1901 – 1902<br />
pencil<br />
1.1982 Charles Conder<br />
Flowers in a vase against a<br />
background <strong>of</strong> the coastline <strong>of</strong><br />
Mustapha, Algiers 1891<br />
oil on canvas<br />
8592 William Dargie<br />
The yellow couch (1952)<br />
oil on plywood<br />
7<strong>00</strong>1 Adrian Feint<br />
Flowers in sunlight 1940<br />
oil on canvas<br />
Elioth Gruner<br />
6911 Afternoon, Bondi 1915<br />
oil on canvas on paperboard<br />
53.1998 Margaret Olley<br />
Apples (1980)<br />
oil on hardboard<br />
OA8.1961 John Passmore<br />
If you don’t believe me, ask the old<br />
bloke (1953)<br />
oil on hardboard<br />
93.1978 Margaret Preston<br />
Western Australian gum blossom<br />
1928<br />
oil on canvas<br />
OA9.1967 Grace Cossington Smith<br />
Things on an iron tray on the floor<br />
circa 1928<br />
oil on plywood<br />
OA2.1964 Grace Cossington Smith<br />
Landscape at Pentecost (circa 1932)<br />
oil on paperboard<br />
60.1983 Edgar Degas (artist), Adrien<br />
Hebrard (founder)<br />
Dancer looking at the sole <strong>of</strong> her<br />
right foot sculpt:19<strong>00</strong> – 1910<br />
cast: 1919 – 1921<br />
bronze<br />
7197 André Derain<br />
Landscape late 1920s<br />
oil on canvas<br />
355.1987 André Derain<br />
Still life 1921 – 1922<br />
oil on canvas<br />
902 Thomas Gotch<br />
My crown and sceptre 1891<br />
oil on canvas<br />
6927 Albert Marquet<br />
The Pont Neuf in the snow<br />
late 1920s<br />
oil on canvas<br />
431.1997 Giorgio Morandi<br />
Still life 1957<br />
oil on canvas<br />
7772 Walter Sickert<br />
Gatti’s Hungerford Palace <strong>of</strong><br />
Varieties: Second turn <strong>of</strong> Katie<br />
Lawrence circa 1887 – 1888<br />
oil on canvas mounted on hardboard<br />
194.1999 Edouard Vuillard<br />
Madame Prosper-Emile Weil à son<br />
bureau circa 1923<br />
pastel and distemper on paper<br />
156.1999 a-d Pierre Bonnard<br />
Promenade des Nourrices – avec<br />
Frise de Fiacres (Nannie’s<br />
Promenade – with a Frieze <strong>of</strong><br />
Carriages) 1899<br />
lithograph<br />
157.1999 Giorgio Morandi<br />
Natura Morta 1933<br />
etching in black and brown ink<br />
157.1999 Giorgio Morandi<br />
Natura Morta 1933<br />
etching in black and brown ink<br />
McCLELLAND GALLERY<br />
The Potteries <strong>of</strong> Brunswick<br />
27/2/2<strong>00</strong>0 – 16/4/2<strong>00</strong>0<br />
83.1978 Alan Finlay and Ernest Finlay<br />
Vase with gum tree and kangaroo<br />
design 1913<br />
earthenware with painted underglaze<br />
2222 Ernest Finlay<br />
Lidded jar ‘in the manner <strong>of</strong> Lang<br />
Yao’ 1930<br />
glazed earthenware<br />
THE DETROIT INSTITUTE OF ARTS<br />
The Portraits <strong>of</strong> Vincent van Gogh<br />
February 2<strong>00</strong>0 – February 2<strong>00</strong>1<br />
The Detroit Institute <strong>of</strong> Arts 12/3/2<strong>00</strong>0<br />
– 4/6/2<strong>00</strong>0<br />
Boston Museum <strong>of</strong> Fine Arts<br />
2/7/2<strong>00</strong>0 – 24/9/2<strong>00</strong>0<br />
Philadelphia Museum <strong>of</strong> Art<br />
59
22/10/2<strong>00</strong>0 – 14/1/2<strong>00</strong>0<br />
211.1990 Vincent van Gogh<br />
Head <strong>of</strong> a peasant 1884<br />
oil on canvas<br />
GOVETT-BREWSTER ART GALLERY,<br />
NEW ZEALAND<br />
Drive<br />
12/2/2<strong>00</strong>0 – 30/4/2<strong>00</strong>0<br />
497.1993 Weegee<br />
Tramp 1940s<br />
gelatin silver photograph<br />
70.1998.1–6 Ed Ruscha<br />
Sunset Strip 1966 (printed 1995)<br />
6 gelatin silver photographs (framed)<br />
frame<br />
1987.19.1 Eduardo Paolozzi<br />
Bunk – Evadne in green dimension<br />
1972<br />
colour photo screenprint, collage<br />
1987.19.25 Eduardo Paolozzi<br />
Bunk – 2<strong>00</strong>0 horses and turbopowered<br />
1972<br />
colour photo screenprint<br />
1987.19.27 Eduardo Paolozzi<br />
Bunk – Never leave well enough<br />
alone 1972<br />
colour photo lithograph<br />
1987.19.33 Eduardo Paolozzi<br />
Bunk – You can’t beat the real thing<br />
1972<br />
colour photo screenprint<br />
CANBERRA MUSEUM AND GALLERY<br />
Belgian Art in Australia<br />
19/2/2<strong>00</strong>0 – 12/6/2<strong>00</strong>0<br />
808 Georges Croegaert<br />
Confidences 1889<br />
oil on panel<br />
4534 Jean-Baptiste Robie<br />
Flowers and fruit 1877<br />
oil on panel<br />
915 Charles Watelet<br />
Les felins 1923<br />
oil on canvas<br />
1116 Louis Haghe<br />
The miseries <strong>of</strong> war 1850<br />
watercolour<br />
101.1978 James Ensor<br />
Death pursuing the human flock 1896<br />
etching<br />
THE NEW ENGLAND REGIONAL ART<br />
MUSEUM<br />
Roy de Maistre – St Jean de Luz<br />
25/2/2<strong>00</strong>0 – 30/4/2<strong>00</strong>0<br />
OA11.1968 Roy de Maistre<br />
(St Jean de Luz) 1924<br />
oil on pinewood panel<br />
OA6.1968 Roy de Maistre<br />
(Mending nets, France) circa 1924<br />
oil on paperboard<br />
48.1974 Roy de Maistre<br />
Figure in a garden (The aunt) 1945<br />
oil on hardboard<br />
52.1974 Roy de Maistre<br />
(Sketch interior: St Jean de Luz,<br />
study for ‘Summer’) 1955<br />
gouache, watercolour, pencil<br />
ART GALLERY OF SOUTH AUSTRALIA<br />
Beyond the Pale<br />
3/3/2<strong>00</strong>0 – 16/4/2<strong>00</strong>0<br />
245.1998 Long Tom Tjapanangka<br />
Big Mob Puli (Rocks) – other side <strong>of</strong><br />
Mt Leibig 1998<br />
synthetic polymer paint on linen<br />
60<br />
58.1999 Ginger Riley<br />
Munduwalawala<br />
Ngak Ngak and the ruined city 1998<br />
synthetic polymer paint on canvas<br />
AUSTRALIAN MUSEUM/ DJAMU<br />
GALLERY<br />
Sospen Graun, Traditional Pottery <strong>of</strong><br />
Papua <strong>New</strong> Guinea<br />
4/3/2<strong>00</strong>0 – 28/8/2<strong>00</strong>0<br />
152.1976 Unknown (Aibom, Chambri<br />
lakes, Sepik region)<br />
Gable top decoration 1965<br />
ceramic with rattan fibre<br />
397.1994 Unknown (Dimiri [Biwat],<br />
Lower Sepik)<br />
Male Figure 1965<br />
low fired clay<br />
402.1994 Unknown (Dimiri [Biwat],<br />
Lower Sepik)<br />
Male figure with hands up 1965<br />
low fired clay<br />
57.1973 Unknown (Toanambu,<br />
Wewak area)<br />
Bowl 1965<br />
low fired clay, carved<br />
NATIONAL PORTRAIT GALLERY<br />
Mirror with a Memory: The<br />
Photographic Portrait in Australia<br />
4/3/1999 – 20/6/1999<br />
310.1985 Harold Cazneaux<br />
Portrait <strong>of</strong> an Operator, Freeman’s<br />
Studio circa 1907<br />
gelatin silver photograph<br />
160.1975 Harold Cazneaux<br />
Meditation (Grace Macbeth)<br />
circa 1904 – 08<br />
gelatin silver photograph<br />
94.1975 Harold Cazneaux<br />
Mask and model (Gayfield Shaw)<br />
circa 1919<br />
gelatin silver photograph<br />
265.1996.a-c Sue Ford<br />
Fabian 1966, 1974, 1980 from the<br />
Times Series 1966, 1974, 1980<br />
gelatin silver photograph<br />
191.1984.1 Hans Hasenpflug<br />
Untitled (head <strong>of</strong> a man) 1940s<br />
gelatin silver photograph<br />
16.1986.2.c Paul Foelsche<br />
Portrait <strong>of</strong> ‘Almarara, Point Essington<br />
and Malay bay, Iwaldja, NT aged 7<br />
years, November 1877 1877<br />
gelatin silver photograph<br />
16.1986.2.d Paul Foelsche<br />
Portrait <strong>of</strong> a girl, Alligator River,<br />
Bunitj, NT aged 15 years 1880’s<br />
gelatin silver photograph<br />
16.1986.7.c Paul Foelsche<br />
Portrait <strong>of</strong> a girl, Limilngan River, NT<br />
aged 14 years 1880s<br />
gelatin silver photograph<br />
16.1986.7.d Paul Foelsche<br />
Portrait <strong>of</strong> a man, Limilngan River, NT,<br />
aged 47 years 1880s<br />
gelatin silver photograph<br />
KWANGJU BIENNALE<br />
2<strong>00</strong>0 Kwangju Biennale<br />
27/3/2<strong>00</strong>0 – 7/6/2<strong>00</strong>0<br />
173.1999 WEI, Guan<br />
Revisionary 1999<br />
synthetic polymer paint, 26 panels<br />
NATIONAL GALLERY OF AUSTRALIA<br />
Matisse: The art <strong>of</strong> drawing<br />
March 2<strong>00</strong>0 – March 2<strong>00</strong>1<br />
<strong>New</strong>castle Region Art Gallery 14/4/<strong>00</strong><br />
– 11/6/<strong>00</strong><br />
Cairns Regional Art Gallery 23/6/<strong>00</strong><br />
Queen Victoria Museum and Art<br />
Gallery 18/8/<strong>00</strong> – 1/10/<strong>00</strong><br />
Art Gallery <strong>of</strong> <strong>South</strong> Australia<br />
20/10/<strong>00</strong> – 10/12/<strong>00</strong><br />
Art Gallery <strong>of</strong> Western Australia<br />
December 2<strong>00</strong>0 – February 2<strong>00</strong>1<br />
DO17.1965 Henri Matisse<br />
Torse de face (Duthuit 407) 1913<br />
lithograph<br />
222.1976 Henri Matisse<br />
Nue de Trois quartz, les bras leves/<br />
(Petit Bois clair Duthuit 318) 1906<br />
woodcut<br />
MUSEO D’ARTE MODERNA – CITTÀ<br />
DI LUGANO<br />
Ernst Ludwig Kirchner<br />
12/3/2<strong>00</strong>0 – 2/7/2<strong>00</strong>0<br />
58.1984 Ernst Kirchner<br />
Drei Badende 1913<br />
oil on canvas<br />
TEL AVIV MUSEUM OF ART<br />
Josl Bergner<br />
30/3/2<strong>00</strong>0 – 30/8/2<strong>00</strong>0<br />
210.1980 Josl Bergner<br />
Portrait <strong>of</strong> Mr I Segal 1944<br />
oil on canvas<br />
1.1987 Josl Bergner<br />
The Evidence 1985 – 1986<br />
oil on canvas<br />
HISTORIC HOUSES TRUST OF NEW<br />
SOUTH WALES<br />
MUSEUM OF SYDNEY<br />
Suburb<br />
15/4/2<strong>00</strong>0 – 23/7/2<strong>00</strong>0<br />
217.1994 Harry J Wedge<br />
Stop and think 1993<br />
synthetic polymer paint on canvas<br />
186.1982 Colin Lanceley<br />
Glad family picnic 1961–62<br />
oil, mixed media on plywood<br />
484.1996 John D. Moore<br />
Chaos 1923<br />
oil on canvas<br />
288.1984 Margaret Preston<br />
Children’s corner at zoo circa 1944<br />
oil on canvas<br />
7177 Margaret Preston<br />
I lived at Berowra 1941<br />
oil on canvas<br />
7920 Herbert McClintock<br />
Street scene 1944<br />
oil on paperboard<br />
Brett Whiteley<br />
Paling fence and red ro<strong>of</strong>s<br />
synthetic polymer paint and mixed<br />
media on plywood, with wood fence<br />
palings<br />
Brett Whiteley<br />
Red ro<strong>of</strong>s with palm tree<br />
oil on canvas on board<br />
7.1973 Eric Thake<br />
An Opera House in every home 1972<br />
linocut, black on white cartridge<br />
paper folded as card<br />
320.1981 Donald Friend<br />
A view <strong>of</strong> the harbour 1981<br />
gouache on paper<br />
DA9.1964 John Olsen<br />
McElhone steps 1964<br />
colour lithograph on zinc, ivory<br />
arches wove paper<br />
233.1977 Sally Robinson<br />
Beach Crossing 1976<br />
colour screenprint on white chalk<br />
coated paper<br />
MUSÉE D’ARTS AFRICAINS,<br />
OCÉANIENS, AMÉRINDIENS –<br />
MARSEILLE<br />
Papuan Arts and Civilisation<br />
19/4/2<strong>00</strong>0 – 30/8/2<strong>00</strong>0<br />
287.1978 Unknown (Wapenda,<br />
Manda, Western Highlands, Papua<br />
<strong>New</strong> Guinea)<br />
Wig and head holder<br />
human hair, tambo shells, pit-pit<br />
seeds on gourd<br />
283.1978 Unknown<br />
Male Figure – Upin or Kepil idol<br />
cane, natural pigments<br />
NATIONAL GALLERY OF AUSTRALIA<br />
Secession<br />
6/5/2<strong>00</strong>0 – 6/8/2<strong>00</strong>0<br />
167.1979 Egon Schiele<br />
Poster for the Vienna Secession 49th<br />
exhibition 1918<br />
colour lithograph<br />
166.1984 Berthold Löffler<br />
Kunst Schau, Wien 1908<br />
colour lithograph<br />
173.1985 Gustav Klimt<br />
Standing Robed Woman Holding<br />
Card circa 1899<br />
pencil<br />
57.1986 Maxamilian Kurzweil<br />
Der Polster 1903<br />
colour woodcut<br />
211.1982 Peter Behrens<br />
Der Kuss 1898<br />
colour woodcut<br />
PERC TUCKER REGIONAL ART<br />
GALLERY<br />
Romancing the sea; drama in early<br />
Australian maritime art<br />
19/5/2<strong>00</strong>0 – 16/7/2<strong>00</strong>0<br />
6294 Oswald Brierley<br />
Whalers <strong>of</strong>f Tw<strong>of</strong>old Bay, <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong> 1867<br />
watercolour, opaque white on paper<br />
SYDNEY BIENNALE<br />
12th Sydney Biennale<br />
26/5/2<strong>00</strong>0 – 30/7/2<strong>00</strong>0<br />
14.1993 Gerhard Richter<br />
Ema 1992<br />
cibachrome photograph<br />
65.1999 Gerhard Richter<br />
Abstract painting (812) 1994<br />
oil on canvas<br />
388.1993 England Banggala<br />
Wangarra Spirit Being circa 1986<br />
ochre on carved wood<br />
82.1985 England Banggala<br />
Wangarra Spirit being 1985<br />
ochre on carved wood<br />
187.1999 Rosalie Gascoigne<br />
Metropolis 1999<br />
retro-reflective road signs<br />
78.2<strong>00</strong>0 Owen Yalandja<br />
Yawk Yawk 1999<br />
ochre on carved wood<br />
79.2<strong>00</strong>0 Owen Yalandja<br />
Yawk Yawk 1999<br />
ochre on carved wood
QUEENSLAND ART GALLERY<br />
Erich Buchholz: the restless avantgardist<br />
25/6/9 – 17/9/2<strong>00</strong>0<br />
340.1991 Erich Buchholz<br />
Sign P 1922<br />
wood relief, carved and painted<br />
221.1994 Erich Buchholz<br />
Red, violet, blue-accord 1960<br />
pastel on light grey paper<br />
179.1997 Erich Buchholz<br />
Mother and child (Mutter und Kind)<br />
1920<br />
watercolour on paper<br />
310.1990 Erich Buchholz<br />
Bull (Stier) 1919<br />
woodcut on paper<br />
307.1990 Erich Buchholz<br />
Broken cross (Zerbrochenes Kreuz)<br />
1918<br />
woodcut on paper<br />
304.1990 Erich Buchholz<br />
[Chaos] circa 1917<br />
woodcut touched with white<br />
bodycolour<br />
303.1990 Erich Buchholz<br />
Nuzzling horses (Kosende Pferde)<br />
1917<br />
woodcut, hand-coloured with red<br />
and green watercolour<br />
305.1990 Erich Buchholz<br />
Sun horses (Sonnen Pferde) 1917<br />
woodcut, hand-coloured with pink<br />
watercolour wash worked over with<br />
charcoal<br />
28.1986 Erich Buchholz<br />
XX 1919<br />
crayon<br />
The following Art Gallery<br />
publications are available for sale<br />
from Gallery Shop<br />
<strong>AGNSW</strong> Collections, Capon et al.<br />
s<strong>of</strong>tbound $60.50 hardbound $88<br />
<strong>AGNSW</strong> Handbook, James<br />
s<strong>of</strong>tbound $22 slipcased $33<br />
Arthur Boyd Retrospective, Pearce<br />
hardbound $44<br />
Artist and the Patron, Pearce<br />
s<strong>of</strong>tbound $30.25<br />
Australian Drawing, Kolenberg,<br />
s<strong>of</strong>tbound $33<br />
Australian Painting, Pearce<br />
s<strong>of</strong>tbound $50 hardbound $70<br />
Australian Prints, Kolenberg<br />
s<strong>of</strong>tbound $38.50<br />
Australian Watercolours, Kolenberg<br />
s<strong>of</strong>tbound $33<br />
FURNISHING LOANS BY THE<br />
GALLERY<br />
OFFICE OF THE PREMIER<br />
William Dargie (Australia, b.1912),<br />
La Perouse, 1947 oil on canvas<br />
Roy de Maistre (Australia;United<br />
Kingdom, b.1894,d.1968), Patrick<br />
White, (1939) oil on canvas<br />
Roy de Maistre (Australia;United<br />
Kingdom, b.1894,d.1968), Mrs Victor<br />
White, (circa 1938) oil on canvas<br />
William Dobell (Australia,<br />
b.1899,d.1970), Portrait <strong>of</strong> Thelma<br />
Clune, (1946) oil on hardboard<br />
James R Jackson (Australia,<br />
b.1882,d.1975), Sand dunes, Botany,<br />
oil on canvas on plywood<br />
Sydney Long (Australia,<br />
b.1871,d.1955), Spring, St. Alban’s,<br />
MacDonald River, oil on canvas<br />
Sidney Nolan (Australia;United<br />
Kingdom, b.1917,d.1992), Gallipoli<br />
soldier (2), synthetic polymer paint on<br />
hardboard<br />
Douglas Pratt (Australia,<br />
b.19<strong>00</strong>,d.1972), The old toll house,<br />
Rushcutters Bay, 1959 oil on canvas<br />
William Robinson (Australia, b.1936),<br />
Wispy landscape, 1990 oil on canvas<br />
Paquita Sabrafen (Spain;Australia,<br />
b.1931) Australian wildflowers, 1990<br />
oil on canvas<br />
Lance Solomon (Australia,<br />
b.1913,d.1989), Country lane, 1947 oil<br />
on canvas on hardboard<br />
Body, Bond<br />
s<strong>of</strong>tbound $33<br />
Brett Whiteley, Pearce<br />
s<strong>of</strong>tbound $44<br />
Classic Cézanne, Maloon<br />
s<strong>of</strong>tbound $$38.50<br />
Dancing to the Flute, Menzies<br />
s<strong>of</strong>tbound $44<br />
Dead Sea Scrolls<br />
s<strong>of</strong>tbound $25<br />
Dobell, Pierce/Kolenburg<br />
s<strong>of</strong>tbound $33<br />
Donald Friend, Pearce<br />
hardbound $60.50<br />
Fragrant Space, Yang<br />
s<strong>of</strong>tbound $33<br />
Gamarada<br />
s<strong>of</strong>tbound $27.50<br />
OFFICE OF THE MINISTER FOR THE<br />
ENVIRONMENT, MINISTER FOR<br />
EMERGENCY SERVICES, MINISTER<br />
FOR CORRECTIVE SERVICES AND<br />
MINISTER ASSISTAING THE<br />
PREMIER ON THE ARTS<br />
Malcolm Dickson (England, b.1941),<br />
A. Speed <strong>of</strong> darkness, 1964 synthetic<br />
enamel on hardboard<br />
Malcolm Dickson (England, b.1941),<br />
B. Excavations in the abyss, 1965<br />
synthetic enamel on hardboard<br />
Malcolm Dickson (England, b.1941),<br />
D. Aftermath, 1965 synthetic enamel<br />
on hardboard<br />
Leonard Hessing (Australia, b.1931),<br />
The combatant, 1957 oil on<br />
hardboard<br />
Desiderius Orban (Australia;Hungary<br />
b.1884,d.1986), Back alley, (1958-1960)<br />
oil on canvas<br />
William Rose (Australia, b.1929,<br />
d.1997), Aural painting, 1959 oil on<br />
hardboard<br />
Jeffrey Smart (Australia, b.1921),<br />
Parkland, 1950 oil on canvas<br />
LIEUTENANT COLONEL EDWARD P<br />
KREMER, OAM<br />
Anthony Dattilo-Rubbo (Australia,<br />
b.1870,d.1955), Dr Thomas Fiaschi, oil<br />
on canvas<br />
MR JOHN SPENDER, AMBASSADOR,<br />
AUSTRALIAN EMBASSY IN PARIS<br />
Sidney Nolan (Australia;United<br />
Kingdom, b.1917,d.1992), The journey<br />
(Silk Road cat no 39), synthetic<br />
polymer paint on canvas<br />
Giorgio Morandi, Klepac<br />
s<strong>of</strong>tbound $44<br />
India Songs<br />
s<strong>of</strong>tbound $16.50<br />
Jeffrey Smart Retrospective,<br />
Capon/Pearce<br />
s<strong>of</strong>tbound $40 hardbound $66<br />
Let’s Face It, Ross<br />
s<strong>of</strong>tbound $44 hardbound $55<br />
Lion Among Painters, Yang<br />
s<strong>of</strong>tbound $27.50<br />
Margaret Olley, Pearce<br />
hardbound $55<br />
Modern Boy Modern Girl,<br />
Menzies/Ajioka<br />
s<strong>of</strong>tbound $38.50<br />
Olive Cotton, Ennis<br />
s<strong>of</strong>tbound $30.80<br />
Sidney Nolan (Australia;United<br />
Kingdom, b.1917,d.1992), Himalayas<br />
(Silk road cat no 1), synthetic<br />
polymer paint on canvas<br />
Sidney Nolan (Australia;United<br />
Kingdom, b.1917,d.1992), Desert. 1986<br />
(Silk Road cat no 3), 1986 synthetic<br />
polymer paint on canvas<br />
Sidney Nolan (Australia;United<br />
Kingdom, b.1917,d.1992), Cave (Silk<br />
road cat no 17), synthetic polymer<br />
paint on canvas<br />
Bryan Westwood (Australia,<br />
b.1930,d.2<strong>00</strong>0), <strong>South</strong> <strong>of</strong> Alice Springs<br />
after good rains, 1992 oil on canvas<br />
OFFICE OF THE CHIEF JUSTICE<br />
Seymour Lucas (England,<br />
b.1849,d.1923), The Gordon Riots,<br />
1780, 1879 oil on canvas<br />
MINISTRY FOR THE ARTS<br />
Marg Adams (Australia, b.1942),<br />
Reflection, 1996 synthetic polymer<br />
paint on canvas<br />
Michael Kmit (Australia, b.1910,<br />
d.1981), Girl in green, 1955 oil on<br />
canvas<br />
Elaine Russell (Australia), Inspection<br />
day, 1994 synthetic polymer paint on<br />
cardboard<br />
Elaine Russell (Australia), Lachlan<br />
River: our childhood dreams, 1994<br />
synthetic polymer paint on cardboard<br />
Ken Searle (Australia, b.1951),<br />
<strong>New</strong>town, 1978 oil on canvas.<br />
PUBLICATIONS<br />
Orientalism, Prunster (ed.)<br />
s<strong>of</strong>tbound $44<br />
Papunya Tula, Perkins (ed.)<br />
s<strong>of</strong>tbound $55 hardbound $70<br />
Portraits <strong>of</strong> Oceania, Annear<br />
s<strong>of</strong>tbound $27.50<br />
Raynor H<strong>of</strong>f, Edwards<br />
s<strong>of</strong>tbound $30.80<br />
Rosalie Gascoigne, Edwards<br />
s<strong>of</strong>tbound $27.50<br />
Salvatore Z<strong>of</strong>frea, Kolenberg/Ryan<br />
s<strong>of</strong>tbound $33<br />
Treasures <strong>of</strong> Asian Art, Lee<br />
s<strong>of</strong>tbound $27.50<br />
Yiribana, Neal<br />
s<strong>of</strong>tbound $38.50<br />
52 Views <strong>of</strong> Rudy Komon, Raymond<br />
(ed.)<br />
hardbound $33<br />
61
EXHIBITIONS<br />
1999/2<strong>00</strong>0 EXHIBITIONS<br />
Date Department Exhibition Title Ticketed <strong>AGNSW</strong> <strong>AGNSW</strong><br />
Tours Catalogue<br />
3.7.99 – 8.8.99 Western – Contemporary The well built Australian – Michael Goldberg<br />
3.7.99 – 15.8.99 Aboriginal Michael Riley<br />
10.7.99 – 8.8.99 Western – Contemporary Contemporary Collection<br />
16.7.99 – 15.8.99 Aboriginal Raiki Wara: Long Cloth from Aboriginal Australia & Torres Strait<br />
1.8.99 – 24.10.99 Australian Grace Cossington Smith – The Lacquer Room 1935 – 36 •<br />
7.8.99 – 10.10.99 Western Hard Edge<br />
11.8.99 – 17.10.99 Western – Photography Light Pictures: The photographs <strong>of</strong> Nakayama Iwata & Nojima •<br />
15.8.99 – 26.8.99 Western – Contemporary Exit, Horst Kiechle/Margaret Roberts<br />
20.8.99 – 26.9.99 Western – Contemporary Australian Perspecta 99: Living here now – Art and Politics •<br />
27.8.99 – 31.10.99 Australian Jeffrey Smart • • •<br />
4.9.99 – 10.4.<strong>00</strong> Aboriginal Another Country<br />
11.9.99 – 5.12.99 Australian Whiteley in Paris<br />
24.9.99 – 4.10.99 Public Programmes Operation Art<br />
3.10.<strong>00</strong> – 14.11.99 Western – Contemporary Joan Brassil – The Breath <strong>of</strong> Psyche<br />
8.10.99 – 14.11.99 Western – Contemporary Voiceovers –The 5th Guinness Contemporary Art Project •<br />
8.10.99 – 23.1.<strong>00</strong> Western Ideas & Actions – Modern Collection<br />
29.10.99 – 9.1.<strong>00</strong> Western – Photography Modotti & Weston: Mexicanidad •<br />
30.10.99 – 24.1.<strong>00</strong> Australian George Baldessin, Occassional images from a city chamber 1975 •<br />
20.11.99 – 27.2.<strong>00</strong> Western Michelangelo to Matisse, Drawing the figure • •<br />
26.11.99 – 16.1.<strong>00</strong> Australian This vital flesh: The sculpture <strong>of</strong> Rayner H<strong>of</strong>f and his school •<br />
4.12.99 – 6.2.<strong>00</strong> Western – Contemporary Australian Contemporary Collection<br />
11.12.99 – 2.4.<strong>00</strong> Australian Brett Whitiely nudes<br />
28.1.<strong>00</strong> – 19.3.<strong>00</strong> Public Programmes Art Express<br />
29.1.<strong>00</strong> – 5.3.<strong>00</strong> Asian Please the mind, cultivate the mind •<br />
5.2.<strong>00</strong> – 12.6.<strong>00</strong> Australian Les Sauvages des la mer Pacifique •<br />
9.2.<strong>00</strong> – 19.3.<strong>00</strong> Western – Contemporary Passing Time: Moet & Chandon Touring Exhibition 2<strong>00</strong>0<br />
12.2.<strong>00</strong> – 26.3.<strong>00</strong> Western – Contemporary Neil Emmerson (surrender,penence, IWYS)<br />
18.3.<strong>00</strong> – 7.5.<strong>00</strong> Australian Archibald Wynne & Sulman • •<br />
18.3.<strong>00</strong> – 7.5.<strong>00</strong> Australian Dobell Drawing Prize •<br />
18.3.<strong>00</strong> – 7.5.<strong>00</strong> Australian Sporting Portrait Prize • •<br />
29.3.<strong>00</strong> – 30.4.<strong>00</strong> Australian Salvatore Z<strong>of</strong>rea: Appassionata • •<br />
31.3.<strong>00</strong> – 24.5.<strong>00</strong> Western Marking the place<br />
1.4.<strong>00</strong> – 28.5.<strong>00</strong> Western – Contemporary Dale Frank<br />
8.4.<strong>00</strong> – 3.9.<strong>00</strong> Australian Whiteley in words<br />
15.4.<strong>00</strong> – 18.6.<strong>00</strong> Aboriginal Ochre: Bark Painting from the Collection<br />
6.5.<strong>00</strong> – 25.6.<strong>00</strong> Asian Fragrant Space: Chinese bird & flower painting • •<br />
13.5.<strong>00</strong> – 2.7.<strong>00</strong> Western – Photography Olive Cotton • •<br />
26.5.<strong>00</strong> – 30.7.<strong>00</strong> Western 12th Biennale <strong>of</strong> Sydney 2<strong>00</strong>0<br />
27.5.<strong>00</strong> – 4.6.<strong>00</strong> Aboriginal Reconciliation Exhibition: Sharing our Future<br />
3.6.<strong>00</strong> – 9.7.<strong>00</strong> Western – Contemporary Picinnini and Langton<br />
1999/2<strong>00</strong>0 TOURING EXHIBITIONS<br />
Date Exhibition Venue City/State Exhibition Title Attendance<br />
Figures<br />
3.7.99 – 15.8.99 Australian Centre for Contemporary Art Melbourne, Vic Modern Lovers – Bettina Rheims 3,630<br />
9.7.99 – 15.8.99 Moree Plains Regional Gallery Moree, NSW Archibald 1,828 *<br />
4.9.99 – 10.10.99 <strong>New</strong>castle Region Gallery <strong>New</strong>castle, NSW Archibald 14,202 *<br />
17.9.<strong>00</strong> – 31.10.99 Ballarat Regional Gallery Ballarat, Vic Seeing Cézanne 6,363<br />
3.11.99 – 27.11.99 Griffith Regional Gallery Griffith, NSW Archibald 1,213 *<br />
26.11.99 – 6.2.99 Art Gallery <strong>of</strong> <strong>South</strong> Australia Adelaide, SA Jeffrey Smart 14,115<br />
10.12.99 – 6.2.<strong>00</strong> George Adams Gallery, Victorian Arts Centre Melbourne, Vic Archibald 50,329<br />
10.3.<strong>00</strong> – 21.5.<strong>00</strong> Queensland Art Gallery Brisbane, Qld Jeffrey Smart 29,921<br />
17.5.<strong>00</strong> – 30.6.<strong>00</strong> National Portrait Gallery Canberra, ACT Sporting Portrait Prize, Archibald 21,838<br />
3.6.<strong>00</strong> – 2.7.<strong>00</strong> Albury Regional Gallery Albury, NSW Archibald 4,308 *<br />
10.6.<strong>00</strong> – 6.8.99 Museum <strong>of</strong> Modern Art, Heide Bulleen, Vic Jeffrey Smart 8,<strong>00</strong>0 *<br />
*Tour organised in association with the Museums and Galleries Association <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
62
WHITELEY REGIONAL<br />
TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS DOMAIN STUDIO TOURING<br />
MONTH 1995/96 1996/97 1997/98 1998/99 1999/2<strong>00</strong>0 1999/2<strong>00</strong>0 1999/2<strong>00</strong>0 1999/2<strong>00</strong>0<br />
July 76,482 126,453 86,712 76,333 60,969 57,025 772 3,172<br />
August 76,296 150,593 79,541 65,489 57,015 53,956 773 2,286<br />
September 92,321 75,816 67,863 43,356 77,132 67,624 948 8,560<br />
October 90,166 90,945 76,853 48,226 86,532 73,658 869 12,<strong>00</strong>5<br />
November 106,412 81,647 74,083 58,774 56,432 53,710 639 2,083<br />
December 84,397 59,312 62,639 152,012 98,737 72,714 192 25,831<br />
January 125,541 124,466 109,782 220,369 151,067 119,281 1,147 30,639<br />
February 113,702 125,980 116.724 182,183 127,839 119,727 988 7,124<br />
March 122,702 81,649 102,436 92,777 97,926 84,072 1,354 12,5<strong>00</strong><br />
April 102,548 92,476 1<strong>00</strong>,478 1<strong>00</strong>,271 90,537 80,515 803 9,219<br />
May 75,425 136,228 98,402 71,583 72,115 56,531 502 15,082<br />
June 89,031 85,875 1<strong>00</strong>,037 56,943 88,853 60,980 607 27,266<br />
TOTAL 1,155,216 1,231,440 1,075,550 1,168,316 1,065,154 899,793 9,594 155,767<br />
PAID EXHIBITIONS<br />
PROGRAMME FOR 1999/<strong>00</strong> MONTH(S) TOTAL<br />
Rockefeller (part) July – Aug 8,472<br />
Indonesian Gold (part) July – Aug 4,409<br />
Jeffrey Smart Aug – Oct 55,171<br />
M’angelo to Matisse Nov – Jan 124,312<br />
Archibald 2<strong>00</strong>0 Mar – May 63,849<br />
Fragrance Space May – June 6,239<br />
TOTAL 262,452<br />
Visitors 1995/96 to 1999/2<strong>00</strong><strong>00</strong><br />
PREVIOUS YEAR TOTALS<br />
COMPARISONS<br />
1992/93 748,455<br />
1993/94 914,785<br />
1994/95 988,527<br />
1995/96 1,155,216<br />
VISITORS<br />
63
SPONSORSHIP AND PHILANTHROPY<br />
• A one-<strong>of</strong>f initiative to highlight the<br />
unique sporting focus in 2<strong>00</strong>0 was<br />
presented with cash and promotional<br />
support from the Daily Telegraph, as<br />
principal sponsor. The 2<strong>00</strong>0 Sporting<br />
Portrait Prize <strong>of</strong> $20,<strong>00</strong>0 was<br />
presented in conjunction with the<br />
annual Archibald, Wynne and<br />
Sulman prizes.<br />
• Continued support for the 2<strong>00</strong>0<br />
Archibald, Wynne and Sulman Prizes<br />
came from Colonial, principal<br />
sponsor for the past 10 years.<br />
• The 4th Annual Guinness<br />
Contemporary Art Project, entitled<br />
Voiceovers, focused on video<br />
installations by four international<br />
women artists who explored shifting<br />
identities across culture and region.<br />
This year also marked the inaugural<br />
Guinness Contemporary Art Prize,<br />
which was awarded to encourage<br />
excellence in screen-based works by<br />
young art students in <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong>. The prize <strong>of</strong> $5,<strong>00</strong>0 was the<br />
first <strong>of</strong> its kind in Australia and<br />
attracted over 40 entries.<br />
• ABN AMRO Rothschild’s invaluable<br />
support for Australian art at the<br />
Gallery continued in 1999, climaxing<br />
in the immensely successful Jeffrey<br />
Smart exhibition, which also toured<br />
interstate, providing substantial<br />
branding and exposure for the<br />
sponsor, as well as opportunities for<br />
corporate entertaining.<br />
• Generous support for the Gallery<br />
from Qantas continued in 1999/2<strong>00</strong>0<br />
with ongoing sponsorship <strong>of</strong> the<br />
Yiribana Gallery, as well as<br />
invaluable support with freight and<br />
passenger transport in association<br />
with the major exhibition,<br />
Michelangelo to Matisse: Drawing<br />
the Figure.<br />
• JCDecaux, international street<br />
furniture supplier, provided highexposure<br />
advertising for Jeffrey<br />
Smart and Michelangelo to Matisse<br />
through their Citylight poster sites<br />
throughout Sydney and <strong>South</strong><br />
Sydney.<br />
• Cody Outdoor also provided<br />
invaluable advertising support with<br />
the allocation <strong>of</strong> a number <strong>of</strong> giant<br />
billboard ‘supersites’ for both the<br />
Jeffrey Smart and the Michelangelo<br />
to Matisse exhibitions.<br />
64<br />
• Once again, the Hotel Inter-<br />
Continental Sydney provided<br />
accommodation support through the<br />
year, as well as a very successful<br />
programme <strong>of</strong> luncheons, The Art<br />
Collection Series. These luncheons,<br />
provided an opportunity to hear from<br />
a wide range <strong>of</strong> guest speakers,<br />
including curators, artists, dealers<br />
and specialists, and discover more<br />
about the Gallery’s major exhibitions.<br />
• One <strong>of</strong> the Gallery’s long-term<br />
corporate partners, Louis Vuitton<br />
Australia, hosted a dinner for special<br />
benefactors on 22 February 2<strong>00</strong>0, in<br />
conjunction with the Michelangelo to<br />
Matisse exhibition. This dinner also<br />
provided an opportunity to farewell<br />
Louis Vuitton’s CEO, Julia King, who<br />
has consistently supported the<br />
Gallery for many years.<br />
• A new corporate partnership with<br />
Arthur Andersen was launched at<br />
their stylish Sydney premises on 19<br />
May 2<strong>00</strong>0. Support commences in<br />
2<strong>00</strong>1 for 3 years and will be for a<br />
touring exhibition: <strong>New</strong> Painting in<br />
Australia<br />
• The overwhelming focus by the<br />
corporate sector on the 2<strong>00</strong>0 Olympic<br />
Games and restrictions <strong>of</strong> Olympic<br />
sponsorship agreements proved<br />
difficult in the Gallery’s search for<br />
new corporate partners for<br />
exhibitions for this period.<br />
ART GALLERY SUPPORTERS<br />
CENTENARY FUND<br />
The Centenary Fund was launched<br />
on 24 February 2<strong>00</strong>0. Its first project<br />
is to build a new auditorium due to<br />
be completed in 2<strong>00</strong>1. The<br />
auditorium is a critical facility for the<br />
Gallery to fulfil its role as a forum for<br />
discussion and education.<br />
Centenary Fund patrons are an<br />
exclusive group. Membership is<br />
limited to 1<strong>00</strong> who have been invited<br />
to contribute $1<strong>00</strong>,<strong>00</strong>0 each over a<br />
specified period <strong>of</strong> time.<br />
Centenary Fund Patrons: Alex & Vera<br />
Boyarsky, Jillian Broadbent and Olev<br />
Rahn, David & Michelle Coe, Kenneth<br />
Coles & Rowena Danziger, Jenny<br />
Ferguson, David Gonski, In memory<br />
<strong>of</strong> Aida Gordon, Peter & Sharon<br />
Ivany, Peter Joseph OAM, Anne<br />
Landa, Ge<strong>of</strong>frey & Deborah Levy,<br />
Elizabeth Longes, John & Jane<br />
Morschel, Mrs Kerry Packer, John L<br />
Sharpe, Brian Sherman, Gene<br />
Sherman , Ge<strong>of</strong>frey Susskind, Orli<br />
Wargon.<br />
PRESIDENT’S COUNCIL<br />
The President’s Council was<br />
established under the auspices <strong>of</strong><br />
the Board <strong>of</strong> Trustees to further the<br />
tradition <strong>of</strong> corporate partnership<br />
and patronage <strong>of</strong> the Gallery. It is<br />
headed by the President <strong>of</strong> the<br />
Board, Mr David Gonski and<br />
membership is by invitation only. The<br />
following companies are represented<br />
by their chief executives:-<br />
Mr Peter Young – ABN AMRO, Mr<br />
David Baffsky – Accor Asia Pacific,<br />
Mr Roger Allen – Allen &<br />
Buckeridge, Mr Chris Knoblanche –<br />
Arthur Andersen & Co,<br />
Mr Michael Rollo – Australian Water<br />
Services Pty Ltd, Mr Rob Ferguson –<br />
BT Financial Group Limited, Mr Chris<br />
Anderson – Cable & Wireless Optus,<br />
Mr Pierce Cody – Cody Outdoor<br />
Advertising, Mr Peter Smedley –<br />
Colonial Limited, Ms Deeta Colvin –<br />
Colvin Communications International,<br />
Mr Ken Borda – Deutsche Bank AG,<br />
Mr Bruce Cutler – Freehill<br />
Hollingdale & Page, Dr Ken Moss –<br />
Howard Smith Limited, Mr Greg Daniel<br />
– Issues & Images Group Pty Ltd,<br />
Mr Peter Ivany – Ivany Investment<br />
Group, Mr Fred Hilmer – John Fairfax<br />
Holdings Limited, Mr Gregg Johnston<br />
– JP Morgan Australia Limited,<br />
Mr Roy Woodhouse – Knight Frank<br />
Australia, Mr Daniel Gauchat –<br />
Korn/Ferry International, Mrs Julia<br />
King – Louis Vuitton Australia Pty Ltd,<br />
Mr Neville Miles – MTM Funds<br />
Management Ltd, Mr Chris Gorman –<br />
Ord Minnett Group Limited, Mr<br />
James Strong – Qantas Airways<br />
Limited, Mr Rick Lee – Rothschild<br />
Australia, Mr Guido Belgiorno–Nettis<br />
– Transfield Pty Ltd, Mr Peter<br />
Brutsche – Warburg Dillon Read<br />
COLLECTION BENEFACTORS<br />
ASIAN COLLECTION BENEFACTORS<br />
Peter M Elliot<br />
AUSTRALIAN COLLECTION<br />
BENEFACTORS<br />
Lou Klepac<br />
CONSERVATION COLLECTION<br />
BENEFACTORS<br />
James Agapitos, Mathew Alderson,<br />
Sidney Anderson, Sam and Susan<br />
Ballas, Lynette Bignill, Pr<strong>of</strong>essor<br />
Michael and Dr Jenny Birt, Helen<br />
Booth, Donald Booth, Edward &<br />
Susan Bosch, Paul Bramble, Candice<br />
Bruce, Elizabeth Callanan, Adrian<br />
and Evan Cardiacos, J Cashmere,<br />
Maurice Cashmere, Licia Cattani,<br />
Christie’s Australia, John &<br />
Rosemary Clarke, Colliers Jardine,<br />
Joan Connery, Elaine Coote, J C<br />
Corkill, Cranbrook School, John<br />
Cruthers, D E A Investments Pty Ltd,<br />
John & Jan Doherty, Suzanne<br />
Dougall, Stella Downer, J Dwyer,<br />
Chaise Eaton, Peter Elliott, Sonya<br />
Everett, Gwen Frolich, Donald and<br />
Rosita Gibson, Robert Gould, Neville<br />
& Margot Gruzman, Dr Earle Hackett,<br />
Diana & Ken Handley, Jane Hardy, Dr<br />
Elizabeth Hazel, Sue Hewitt, Jeffrey<br />
Hinde, Winifred Hinds, Michael and<br />
Doris Hobbs, Ejvind Hoholt, Fraser<br />
Hopkins, Robyn Hutcherson, Angela<br />
Isles, Elizabeth Isles, Pamela<br />
Jennings, May Kavanagh, Suzanne<br />
Kelly, Ray & Diana Kidd, Jill Kloster,<br />
Len Kritharides, Fay Lansley, Annette<br />
Larkin, Dr Colin & Mrs Elizabeth<br />
Laverty, Audrey Laycock, Mr & Mrs I<br />
Laycock, Sonia Laycock, Karin<br />
Lemercier, Kevin Lemercier, Dr Frank<br />
and Mrs Martha Lucas, Tamp Lynam,<br />
Joan Mackenzie, Jennifer J Manton,<br />
Melissa Manton, Joy & Harold<br />
Marchant, H Marek, Robyn & Mitchel<br />
Martin-Weber, Christopher May, Tim<br />
McCormick, Justin Miller, Therese<br />
Mulford, Michael and Doris<br />
Musgrave, Faye M Parker, M Parker,<br />
Mr and Mrs John Parker, Michael &<br />
Fiona Pascalis, Patricia Pemberton,<br />
Penelope & Will Penfold, Mrs H & Mr<br />
G Pennefather, David Pfanner,<br />
Patricia Pfanner, E Prevedoros,<br />
Richard Rawle, Dr Collette E<br />
Rayment, Kenneth R Reed, Brain L<br />
Regan, Beverley M Reid, Josephine<br />
Revai, Margaret Robertson, Jewell<br />
Robinson, Rose Bay Family Medical<br />
Centre, Margaret Rose, Dr & Mrs<br />
Rozenberg, Mrs A S Saducas,<br />
Barbara Sanders, Greg & Elizabeth<br />
Sanderson, Max & Alison Sandow,<br />
Peter & Christa Satouris, John &
Juliana Schaeffer, Jan & Simon<br />
Sheller, Elizabeth Sheppard, Eve &<br />
Michael Silver, Mira Simpson, Sir<br />
William Dobell Art Foundation, Ross<br />
Small, Sotheby’s, Vicki Stait, Davod &<br />
Nikki Stein, Goldie Sternberg, Bruce<br />
and Allene Symonds, E H Thomas,<br />
Lindsay Thompson, Judy Twigg,<br />
Diana & Samantha Walder, Des &<br />
Carolyn Ward, Jean Ward, Suzanne<br />
A R Waterhouse, Michael Whitworth,<br />
Ray & Diana Wilson, Robin Wilson,<br />
Donna Woodhill<br />
EUROPEAN COLLECTION<br />
BENEFACTORS<br />
Mr & Mrs Binnie<br />
LIBRARY COLLECTION<br />
BENEFACTORS<br />
Mr and Mrs Binnie, Licia Cattani<br />
PHOTOGRAPHY COLLECTION<br />
BENEFACTORS<br />
John Alexander, Kate Armati, Richard<br />
Bailey, Graham Beirman, Anthony<br />
Bertini, Tony Bond, G Bradley, Cheryl<br />
Collins Design, Mr K G Coles, Patrick<br />
Corrigan, F Cress, Sally Dan-<br />
REPRESENTATION OF EEO GROUPS WITHIN SALARY LEVELS<br />
(as at 30 June 2<strong>00</strong>0)<br />
Cuthbert, Robert J Dein, Fabric<br />
Scouts Pty Limited, Paul and Sandra<br />
Ferman, Freedman Foundation, John<br />
Frey, Getty Images, Stephen Grant,<br />
David Greatorex, G & L Green,<br />
Amanda Harkness, Lachie Hill,<br />
Idorod Pty Ltd, Naomi Kaldor, Richard<br />
King, Charles Latimer, Josef &<br />
Jeanne Lebovic, Amanda Love,<br />
Martin Browne & Associates, Matrix<br />
Finance, Drew Metcalfe, Russell<br />
Mills, David Moore, Janet Oakley,<br />
Lisa Paulsen, Photo Technica Pty<br />
Limited, Bridget Pirrie, Philip &<br />
Elizabeth Ramsden, Reg Richardson,<br />
Annie Ross, Worling Saunders,<br />
Penelope & Harry Seidler, Lisa<br />
Simons, John Swainston, The<br />
Australian Financial Review, Michael<br />
and Eleanora Trigub<strong>of</strong>f, J S Walton,<br />
Ivan Wheen, Ron & Robin White,<br />
Young & Rubicam<br />
GRANTS<br />
Australia Council; University <strong>of</strong><br />
Western Sydney; Gordon Darling<br />
Foundation; Ministry for the Arts.<br />
EEO STATISTICS<br />
Total Staff Respondent Men Women Aboriginal & Torres People from People whose People with a People with a<br />
(number) Strait Islander People racial, ethinic, language first disability disability requiring<br />
Ethno-religious spoken as a child adjustment at work<br />
minority groups was not English<br />
Below $26,276 0 0% 0% 0% 0% 0% 0% 0% 0%<br />
$26,276 – $38,582 122 90% 51% 49% 3% 24% 17% 1% 0%<br />
$38,582 – $48,824 38 95% 42% 58% 3% 29% 26% 3% 0%<br />
$48,824 – $63,138 41 1<strong>00</strong>% 34% 66% 5% 22% 22% 0% 0%<br />
Greater than $63,138 18 1<strong>00</strong>% 56% 44% 0% 22% 17% 0% 0%<br />
(non-SES)<br />
SES 1 1<strong>00</strong>% 1<strong>00</strong>% 0% 0% 0% 0% 0% 0%<br />
Total 220 94% 47% 53% 3% 24% 20% 1% 0%<br />
REPRESENTATION OF EEO GROUPS BY EMPLOYMENT BASIS<br />
(as at 30 June 2<strong>00</strong>0)<br />
Total Staff Respondent Men Women Aboriginal & Torres People from People whose People with a People with a<br />
(number) Strait Islander People racial, ethinic, language first disability disability requiring<br />
Ethno-religious spoken as a child adjustment at work<br />
minority groups was not English<br />
Permanent Full-time 147 99% 61% 39% 3% 27% 22% 1% 0%<br />
Permanent Part-time 12 1<strong>00</strong>% 17% 83% 8% 8% 8% 0% 0%<br />
Temporary Full-time 11 1<strong>00</strong>% 45% 55% 0% 27% 27% 0% 0%<br />
Temporary Part-time 16 94% 19% 81% 6% 38% 38% 0% 0%<br />
SES 1 1<strong>00</strong>% 1<strong>00</strong>% 0% 0% 0% 0% 0% 0%<br />
Casual 33 70% 9% 91% 3% 9% 3% 0% 0%<br />
Total 220 94% 47% 53% 3% 24% 20% 1% 0%<br />
STAFF PROFILE<br />
Average over 12 months<br />
30/6/98 30/6/99 30/6/<strong>00</strong><br />
Building and Security Services 65 58 63<br />
Curatorial Services Staff 42 42 42<br />
Curatorial Staff 24 26 26<br />
Exhibitions / Display 19 19 19<br />
Corporate Services 20 19 19<br />
Commercial Services 13 14 15<br />
Marketing 9 8 9<br />
Total 192 186 193<br />
65
STAFF PUBLICATIONS, PRESENTATIONS<br />
AND RELATED ACTIVITIES<br />
Chiaki Ajioka, (Curator, Japanese Art)<br />
‘Reception <strong>of</strong> Japanese art in<br />
Australia’ [text in Japanese] DO - MO:<br />
Australia Living Handbook<br />
[Japanese language publication], 15<br />
Jan 2<strong>00</strong>0, Moshi-Moshi Pages<br />
Australia Pty.Ltd., Sydney, p.230.<br />
Lecture for Fine Arts students,<br />
Sydney University, at the Japan<br />
Gallery<br />
Two lectures for the Academy <strong>of</strong><br />
Decorative Arts on Japanese<br />
ceramics<br />
George Alexander (Public<br />
Programmes)<br />
Lecture on Photography into the<br />
Next Millenium, Sotheby’s, October<br />
1999<br />
Review <strong>of</strong> work by Denis Mizzi in<br />
Abaddon Magazine, Sydney 1999<br />
Catalogue Essay: "The Last Museum",<br />
Geneva, Switzerland (On Eugenia<br />
Raskopoulos, Peter Lyssiotis and<br />
Richard Colville’s Photographs) 1999<br />
Essay "Pull the Mandrake, Never<br />
Mind the Shrieks", Heat 11,<br />
International Journal 1999<br />
Review <strong>of</strong> Tina and Oliver Strewe,<br />
(East Gallery, Clovelly) exhibition in<br />
Wentworth Courier<br />
Keynote Lecture at University <strong>of</strong><br />
Sydney Conference on Connecting<br />
Flights, Australian Art in Transit, 1999<br />
Lecture at Hazlehurst Regional<br />
Gallery on Contemporary Art, 2<strong>00</strong>0<br />
Essay on Installation Art for OTEN<br />
(Open Training and Education<br />
Network), 2<strong>00</strong>0<br />
Lecture at Rozelle Writers’ Centre on<br />
Irish Culture, 2<strong>00</strong>0<br />
Reading at 7<strong>00</strong>th Anniversary <strong>of</strong><br />
Dante’s Divine Comedy, Great Hall,<br />
University <strong>of</strong> Sydney, 2<strong>00</strong>0<br />
Paper delivered at Span Galleries on<br />
The power <strong>of</strong> the media in<br />
Contemporary Art (with Marcia<br />
Langton, Nikos Papasteriadis)<br />
Judy Annear (Senior Curator,<br />
Photography)<br />
‘Tracey M<strong>of</strong>fatt’ ARCO noticias 15,<br />
Spain, September 1999<br />
‘Yasumasa Morimura’ TAASA Review<br />
February 2<strong>00</strong>0.<br />
Lecture at the Centre for<br />
Contemporary Photography,<br />
Melbourne, October 1999. The same<br />
month she judged the National<br />
Photographic Award, Albury<br />
Regional Art Centre, October 1999;<br />
Delivered a paper on ‘Australia’s<br />
cultural activities in the Asia Pacific<br />
region’ ARCO, Madrid, Spain,<br />
February 2<strong>00</strong>0<br />
66<br />
Richard Beresford (Senior Curator,<br />
European Art pre 19<strong>00</strong>)<br />
A revised edition <strong>of</strong> Anthony Blunt,<br />
Art and Architecture in France<br />
15<strong>00</strong>–17<strong>00</strong>. Yale University Press<br />
Taught a semester course and<br />
conducted tutorials at the University<br />
<strong>of</strong> Sydney.<br />
Anthony Bond (Head Curator,<br />
International Art)<br />
Working on final draft <strong>of</strong> Doctoral<br />
thesis and book at Sydney University.<br />
Metaphors <strong>of</strong> the earth, a paper to<br />
be included in a catalogue for<br />
Broken Hill Regional Gallery in July<br />
2<strong>00</strong>0 and published on the web by<br />
<strong>New</strong>castle University.<br />
Editor and contributor <strong>of</strong> TRACE the<br />
catalogue for Liverpool Biennial <strong>of</strong><br />
Contemporary Art, UK published<br />
Sept. 1999.<br />
Article on TRACE, Liverpool Biennial.<br />
ARCO Noticas No. 15 Sept. 1999<br />
Paper written for Symposium, TRACE<br />
Sept 1999.To be pub. by CAIR, John<br />
Moores University.<br />
Interview Published in ARCO Noticas<br />
No. 16<br />
Introduction to catalogue <strong>of</strong> Grad<br />
show <strong>New</strong>castle University Dec.<br />
1999<br />
Presentation/representation and<br />
Realising TRACE (a curatorial<br />
reflexion). Two papers presented at<br />
AAANZ AGM, Wellington NZ, Dec.<br />
1999.<br />
Devised and chaired a forum Surfing<br />
the International at ARCO 2<strong>00</strong>0 in<br />
Madrid 13/2/<strong>00</strong><br />
Joseph Beuys a paper for Post<br />
Graduates at <strong>New</strong>castle University<br />
21/3/<strong>00</strong><br />
TRACE a paper for Undergraduates<br />
at <strong>New</strong>castle University 22/3/<strong>00</strong><br />
Metaphors <strong>of</strong> the earth, a paper<br />
presented at Broken Hill Regional<br />
Gallery 11/4/<strong>00</strong><br />
Interpretation/(re)presentastion: to<br />
theme or not to theme. MoS Lecture<br />
to Education Department curriculum<br />
group<br />
Member <strong>of</strong> the executive committee<br />
<strong>of</strong> AAANZ.<br />
Industry Partner and investigator for<br />
a major ARC project (SPIRT) in<br />
conjunction with University <strong>of</strong><br />
Sydney, Macquarie University and<br />
NAVA.<br />
Chairman <strong>of</strong> the Australian Centre for<br />
Photography,<br />
Committee member <strong>of</strong> ARCO 2<strong>00</strong>2<br />
Committee with Australia Council<br />
Audience Development<br />
Programme.<br />
Member <strong>of</strong> Advisory Committee to<br />
City <strong>of</strong> Sydney Sculpture Walk.<br />
Assessor for ARC grants, Fine Arts.<br />
Member <strong>of</strong> Bundanon Trust<br />
Residency committee.<br />
Member <strong>of</strong> the International<br />
Honorary Committee <strong>of</strong> Construction<br />
and Process VII Poland 2<strong>00</strong>0.<br />
Member <strong>of</strong> academic advisory<br />
panels to: Uni <strong>of</strong> NSW, COFA Art<br />
History and Theory, UWS Nepean<br />
Art History and Theory,<br />
Member <strong>of</strong> the University <strong>of</strong><br />
<strong>New</strong>castle Faculty <strong>of</strong> Arts Gallery<br />
Committee.<br />
Member <strong>of</strong> Advisory panel for ISIS<br />
Art and Science conference Sydney<br />
2<strong>00</strong>1, through COFA NSW University.<br />
Advised Taree Regional Gallery on<br />
collection policy and establishment<br />
<strong>of</strong> a committee.<br />
Opened <strong>New</strong>castle Grammar annual<br />
art exhibition 28/10/99<br />
Judged Pacific Palms Art Festival<br />
award 29/10/99<br />
Received inaugural Power Bequest<br />
award for best book <strong>of</strong> art history<br />
and criticism in 1997. Awarded<br />
through AAA for BODY the catalogue<br />
<strong>of</strong> the exhibition at <strong>AGNSW</strong>. 4/12/99<br />
Opened <strong>New</strong>castle University Grad<br />
show 1/12/99.<br />
Judged <strong>New</strong>castle Show art<br />
exhibition and present speech for the<br />
Launch 28/2/<strong>00</strong><br />
Opened <strong>New</strong>castle University<br />
Postgrad show 22/3/<strong>00</strong>.<br />
Introduced the Launch <strong>of</strong> AAANZ<br />
journal at <strong>AGNSW</strong> 26/3/<strong>00</strong><br />
Delivered address at John Davis<br />
posthumous exhibition Robert<br />
Lindsay Gallery Melbourne 2/3/<strong>00</strong><br />
Judged Wangi Wangi art prize and<br />
open WW Festival <strong>of</strong> art and craft.<br />
5/4/<strong>00</strong><br />
Judged Taree sculpture commission<br />
2/6/<strong>00</strong><br />
Opened John Cattapan exhibition<br />
Taree 2/6/<strong>00</strong><br />
Jesmond Calleja (Registrar,<br />
Cataloguing and Documentation)<br />
‘The Registrar and GST’, Australian<br />
Registrars Committee newsletter<br />
No 33, Winter Issue, June 2<strong>00</strong>0.<br />
‘Delivering Documentation: Changing<br />
the Face <strong>of</strong> audience participation’<br />
Register, The United Kingdom<br />
Registrars Group newsletter, Vol. V,<br />
Issue 2, Spring 2<strong>00</strong>0, 6–7.<br />
Presented paper ‘The law in one day:<br />
a closing summary’, and Chaired<br />
session, ‘Australian Customs,<br />
Natural Science Collections and the<br />
Wildlife Protection Act’, Australian<br />
Registrars Committee seminar<br />
Legislation, Litigation and Lust:<br />
Museums and the Law, National<br />
Gallery <strong>of</strong> Australia, 12 August 1999<br />
Deborah Edwards, (Curator,<br />
Australian Art)<br />
Introduction for monograph on the<br />
work <strong>of</strong> Barbara Tribe to be<br />
published in December 1999.<br />
Jo Foster, (Museums Educator)<br />
Lecture on Asian Art, University <strong>of</strong><br />
Western Sydney.<br />
Presented paper at National Network<br />
Meeting <strong>of</strong> Museums Educators at<br />
National Gallery <strong>of</strong> Victoria.<br />
Presented lecture on ARTEXPRESS<br />
to members <strong>of</strong> Museums Australia<br />
Education Group.<br />
Opened Masada Annual Art<br />
Exhibition<br />
Judged St. Patrick’s College annual<br />
student art exhibition.<br />
Member <strong>of</strong> Art Education Society<br />
Member <strong>of</strong> Museums Australia<br />
Education Group<br />
Liz Gibson, (Public Programmes)<br />
Judged Royal Easter Show art<br />
competition 5–12 years<br />
Trustee for the William Fletcher Trust<br />
providing grants for NSW Art<br />
Students.<br />
Hendrik Kolenberg (Senior Curator,<br />
Australian Prints, Drawings &<br />
Watercolours)<br />
‘Drysdale’s drawings’ in Russell<br />
Drysdale exhibition catalogue,<br />
Lawrence Wilson Art Gallery, Perth,<br />
August 1999<br />
‘Introduction’ Robert Barnes<br />
exhibition catalogue, Philip Bacon<br />
Galleries, Brisbane, July 1999<br />
‘Introduction’ 1999 National Works<br />
on Paper Awards exhibition<br />
catalogue, Mornington Peninsula<br />
Regional Art Gallery, November 1999<br />
Spoke to Berrima District Art Society,<br />
Bowral on Lloyd Rees’ drawings.<br />
Opened an exhibition <strong>of</strong> David<br />
Fairbairn’s drawings at Mary Place<br />
Gallery, September 1999<br />
Spoke at the Lloyd Rees Memorial<br />
Youth Award, Lane Cove Council<br />
Chambers, May 2<strong>00</strong>0<br />
Spoke on ‘Portraiture’ as part <strong>of</strong> Up<br />
front, Australian artists at war exhibition<br />
by the Australian War Memorial, at<br />
Mosman Art Gallery, Sydney<br />
Spoke at the ‘Wind and water’<br />
concert, Bathurst Regional Art<br />
Gallery in December 1999<br />
Judged the Crows Nest Art Prize
On judging panel <strong>of</strong> Mornington<br />
Peninsula Regional Art Gallery<br />
‘National Works on paper’ awards in<br />
October and November 1999<br />
On judging panel <strong>of</strong> the David Brian<br />
Wilson Award at the Julian Ashton<br />
Art School, and advisor to the<br />
Bathurst Regional Art Gallery on the<br />
purchase <strong>of</strong> paintings and drawings<br />
by David Brian Wilson for its<br />
collection and its forthcoming<br />
retrospective on his work<br />
Reader for Anna Gray, Editor <strong>of</strong> the<br />
Donald Friend Diaries, National<br />
Library <strong>of</strong> Australia, Canberra; also<br />
for forthcoming book on Hector<br />
Gilliland by The Beagle Press, Sydney<br />
Victoria Lynn, (Curator <strong>of</strong><br />
Contemporary Art)<br />
Bill Seaman, Telstra Adelaide<br />
Festival, Adelaide, 2<strong>00</strong>0<br />
Rosemary Laing, Australian Centre<br />
for Photography<br />
Lecture, Bill Seaman, Telstra<br />
Adelaide Festival, Adelaide, 9 March,<br />
2<strong>00</strong>0 as part <strong>of</strong> Verve The Other<br />
Writing forum.<br />
Judge, Helen Lempriere Traveling Art<br />
Scholarship<br />
Advisor to the Adelaide Festival,<br />
Adelaide Biennial program.<br />
Chair, Board <strong>of</strong> Directors,<br />
Performance Space, Sydney.<br />
PhD candidate, part time, College <strong>of</strong><br />
Fine Arts, Art History Theory<br />
Department<br />
Ann MacArthur, (Coordinator, Asian<br />
Programmes)<br />
Editor, TAASA Review: The Journal <strong>of</strong><br />
The Asian Arts Society <strong>of</strong> Australia<br />
Lecturer, Australian Academy <strong>of</strong><br />
Decorative Arts<br />
Presented workshop, Textile Study<br />
Group <strong>of</strong> The Asian Arts Society <strong>of</strong><br />
Australia<br />
Judged Mosman Youth Art Prize<br />
Member <strong>of</strong> Management Committee,<br />
The Asian Arts Society <strong>of</strong> Australia<br />
Secretary, Australian Institute <strong>of</strong><br />
Eastern Music<br />
Jackie Menzies (Head Curator,<br />
Asian Art)<br />
Lectured in the Arts <strong>of</strong> Asia series run<br />
by the Centre for Asian Art Studies, to<br />
a visiting group from Taiwan, to various<br />
community groups (including tertiary<br />
students), and to the Gallery guides.<br />
President <strong>of</strong> The Asian Arts Society<br />
<strong>of</strong> Australia.<br />
Member <strong>of</strong> the Board <strong>of</strong> Directors <strong>of</strong><br />
VisAsia.<br />
Member, Nicolson Museum<br />
Committee and Morrissey Bequest<br />
Committee, University <strong>of</strong> Sydney<br />
Judged Sculpture by the Sea<br />
Supervisor for post-graduate<br />
students theses.<br />
Opened various exhibitions at public<br />
and commercial galleries, for<br />
example the Oriental Calligraphy<br />
Society's annual exhibition at<br />
Chatswood.<br />
Barry Pearce (Head Curator,<br />
Australian Art)<br />
Entry on David Strachan for<br />
Australian Dictionary <strong>of</strong> Biography, to<br />
be published shortly.<br />
Speech to commemorate re-siting <strong>of</strong><br />
Tom Bass sculpture at Mirvac Hotel<br />
building, Circular Quay, 18 August.<br />
Lecture on Arthur Boyd in<br />
connection with Arthur Boyd Study<br />
Day (with memorial), to Australian<br />
and Decorative Fine Arts Society,<br />
Shoalhaven, at Riversdale, 21<br />
August.<br />
Opened Westpac–Redlands Art prize,<br />
Mosman Art Gallery, 9 September.<br />
Talk on William Dobell for ABC Radio<br />
National, 23 September.<br />
Tour <strong>of</strong> Australian collection and<br />
Sydney commercial galleries with<br />
visiting American academic Joachim<br />
Pissarro, 18 and 22 October.<br />
Introduced Art Gallery Society<br />
members’ tour to Westpac Bank art<br />
collection, 27 October.<br />
Public talk and tour <strong>of</strong> Favourites<br />
exhibition, S.H. Ervin Gallery,<br />
30 January.<br />
Public talk and tour <strong>of</strong> Nudes<br />
exhibition, Brett Whiteley Studio,<br />
5 March.<br />
On judging panel for Brett Whiteley<br />
Traveling Art Scholarship,<br />
September; Sydney University<br />
Schools prize, October.<br />
One <strong>of</strong> the judges for Salon des<br />
Refusées exhibition, S.H. Ervin<br />
Gallery, 12 March.<br />
Member <strong>of</strong> Advisory Committee, S.H.<br />
Ervin Gallery, National Trust.<br />
Consultant to Banknote design<br />
committee, Reserve Bank <strong>of</strong> Australia.<br />
Rosemary Peel (Conservator, Works<br />
on Paper)<br />
Infrared Imaging and the Use <strong>of</strong> the<br />
Infrared Vidicon for the Examination<br />
<strong>of</strong> Works <strong>of</strong> Art on Paper, Workshop,<br />
22nd March, NGA.<br />
(With Sun Yu) 'The Vision <strong>of</strong> the<br />
Emperors' First National Symposium<br />
on Conservation <strong>of</strong> Paper, Books and<br />
Photographic Materials, AICCM.<br />
March 23rd–25th, NLA.<br />
Hetti Perkins, (Curator <strong>of</strong> Aboriginal<br />
and Torres Strait Islander Art)<br />
‘Judy Watson’ and ‘Emily Kame<br />
Kngwarreye’ Home and Away:<br />
Contemporary Australian and <strong>New</strong><br />
Zealand Art from yhe Chartwell<br />
Collection. Auckland Art Gallery Toi<br />
o Tamaki, 1999<br />
Ursula Prunster (Public<br />
Programmes)<br />
Lecturer on Art Gallery Society tour<br />
to Paris, 1999<br />
Research visit to Belle–Isle, Brittany.<br />
Peter Raissis (Assistant Curator,<br />
European Art pre 19<strong>00</strong>)<br />
Interviews for radio, television and<br />
print media relating to Michelangelo<br />
to Matisse:Drawing the Figure<br />
exhibition in November.<br />
Delivered lectures at Sydney<br />
University on David and the Art <strong>of</strong><br />
the French Revolution and Old<br />
Master Drawings: Technique and<br />
Function.<br />
Delivered lecture at University <strong>of</strong><br />
Western Sydney, Nepean on<br />
Curating an exhibition <strong>of</strong> Mannerist<br />
works in Australia.<br />
Conducted tutorials for Sydney<br />
University Art History students based<br />
on paintings in the European and<br />
British pre-19<strong>00</strong> collection.<br />
Anne Ryan (Assistant Curator,<br />
Australian Prints, Drawings &<br />
Watercolours)<br />
‘Sydney’s mermaid’ Look August 1999<br />
pp.20–1, 35<br />
‘The new gravure in Australia; S W<br />
Hayter and the early prints <strong>of</strong> Earle<br />
Backen’ Imprint volume 34 number 3<br />
(December 1999) pp.7–8<br />
‘Wendy Sharpe’s murals for the Cook<br />
and Philip Park Pool’ in Deborah<br />
Malor and Heather Johnson (Eds.)<br />
The un-illustrated proceedings <strong>of</strong><br />
‘Watch this space, a conference on<br />
public art’ Sydney: Australian<br />
Journal <strong>of</strong> Art, 1999<br />
Joan Kerr and Jo Holder (Eds.) Past<br />
Present, the national women’s art<br />
anthology Sydney: Craftsman<br />
House, 1999 (‘Exhibition venues’<br />
pp.136-158 and ‘Appendix’ pp.198-210)<br />
‘Wendy Sharpe’s Annette Kellermann<br />
murals at Cook & Phillip Park, Sydney’<br />
at Art Association ‘Watch This Space’<br />
conference on public art, <strong>New</strong>castle<br />
University, 4–5 September 1999<br />
Opened Limited editions, prints<br />
inspired by William Blake 20<br />
November – 4 December 1999,<br />
Ku-ring-gai Art Centre, Sydney on<br />
20 November 1999<br />
14 April 2<strong>00</strong>0 Lecture and tutorial to<br />
Sydney University M.A. students on<br />
printmaking techniques<br />
28 May 2<strong>00</strong>0 Floor talk at S H Ervin<br />
Gallery, Sydney on ‘Violet Teague’s<br />
prints and Night fall in the Ti Tree’ in<br />
conjunction with the Violet Teague<br />
Retrospective<br />
Committee member <strong>of</strong> the Sydney<br />
International Works on Paper Fair<br />
1999; co-judge and responsible for<br />
hanging the ‘Emerging artists<br />
exhibition’ at the fair.<br />
Brian Ladd (Head Public<br />
Programmes)<br />
Radio interviews with 2BL, S2M,<br />
2SER, SMBS, SRE, including fortnight<br />
2BL morning program and live 2BL<br />
Archibald Prize broadcast<br />
Judged: Mosman Regional Gallery<br />
Youth Art Award, Operation Art,<br />
Royal Agricultural Society <strong>of</strong> NSW<br />
Committee member for Bachelor <strong>of</strong><br />
Visual Arts and Design Course,<br />
Australian Catholic University.<br />
Malgorzata Sawicki (Conservator,<br />
Frames)<br />
‘Caring for your Gilded Picture<br />
Frame’, Melbourne Journal <strong>of</strong><br />
Technical Studies in Art, The<br />
University <strong>of</strong> Melbourne<br />
Conservation Service, 1999.<br />
‘Research into Alternative Mat Water<br />
Gilding Technique Using Stable<br />
Synthetic Polymers’, a lecture at the<br />
1999 AICCM National Conference,<br />
Sept., Chairman <strong>of</strong> the Gilded Objects<br />
Conservation SIG session.<br />
‘Further Research into Alternative<br />
Mat Water Gilding Technique Using<br />
Stable Synthetic Polymers,’ lecture<br />
for Master <strong>of</strong> Applied Science<br />
(Materials Conservation) course,<br />
University <strong>of</strong> Western Sydney<br />
Nepean, Nov. 1999.<br />
2 Lectures for the students <strong>of</strong> the<br />
Master in Art History course, Sydney<br />
University <strong>AGNSW</strong>, March & May<br />
1999.<br />
‘The Visit <strong>of</strong> the Queen <strong>of</strong> Sheba to<br />
King Solomon’ by Edward Poynter,<br />
1884-1890. The frame revisited.’<br />
Conservator <strong>of</strong> the Year lecture for<br />
the AICCM members delivered on the<br />
request <strong>of</strong> the NSW AICCM Council,<br />
<strong>AGNSW</strong>, 11 April.<br />
Awarded The 1999 Conservator <strong>of</strong><br />
the Year Award – received at the<br />
1999 AICCM National Conference,<br />
Sydney, Sept.<br />
Graduation with Distinction from the<br />
Master <strong>of</strong> Applied Science<br />
(Materials Conservation) Course,<br />
University <strong>of</strong> Western Sydney<br />
Nepean, April 2<strong>00</strong>0.<br />
Research into alternative mat water<br />
gilding techniques using stable<br />
synthetic polymers – PhD research<br />
project, University <strong>of</strong> Western<br />
Sydney Nepean.<br />
Haema Sivanesan (Coordinator,<br />
Centre for Asian Art Studies)<br />
‘The body in Hindu art: a Chandella<br />
dynasty image <strong>of</strong> Vishnu at the Art<br />
Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong>’ Art in<br />
Education 1999–2<strong>00</strong>0, vol.19 Sydney:<br />
Art Education Society <strong>of</strong> NSW.<br />
‘Woman as erotic motif: translating<br />
Hindu images <strong>of</strong> the feminine’ paper<br />
for the conference Sexualities,<br />
Masculinites and Culture in <strong>South</strong><br />
Asia, Deakin University, Melbourne.<br />
July, 1999<br />
‘The female image as the ornament <strong>of</strong><br />
the Hindu temple’, an informal talk for<br />
The Asian Arts Society <strong>of</strong> Australia,<br />
Victorian chapter. July, 1999.<br />
Member, Management Committee,<br />
The Asian Arts Society <strong>of</strong> Australia<br />
Wayne Tunnicliffe (Curator,<br />
International Art)<br />
Chair Australian Perspecta<br />
Consortium. 1999.<br />
Connecting Flights, contemporary<br />
Australian art – lecture, <strong>AGNSW</strong>,<br />
November 1999<br />
Flow, contemporary electronic media<br />
art – Co-curator, National Gallery,<br />
Kuala Lumpur, March 2<strong>00</strong>0<br />
Curatorial Internship, Tate Gallery,<br />
London, April – July 2<strong>00</strong>0<br />
Australia Council Pr<strong>of</strong>essional<br />
Development Grant<br />
67
Art Gallery Society Scholarship<br />
awarded.<br />
Michael Wardell (Coordinator <strong>of</strong><br />
Curatorial Services)<br />
‘EAST(augh), WEST, NORTH &<br />
SOUTH’ Stephen Eastaugh,<br />
Antarctica Lonely Planet, Melbourne<br />
2<strong>00</strong>0 (pp. 3–7)<br />
Officially opened exhibition, Skin<br />
Culture, Tin Sheds Gallery, University<br />
<strong>of</strong> Sydney. Sept. 1999<br />
Chaired workshops at Regional<br />
Museums & Galleries Conference,<br />
From Local to Global – Distinctiveness<br />
and Diversity Oct. 1999.<br />
Presented paper ‘Minimalism and<br />
minimal tendencies in photography’<br />
and Chaired ‘Artist’s Forum’: Minimal<br />
Seminar presented by Australian<br />
Centre <strong>of</strong> Photography and the<br />
University <strong>of</strong> NSW at COFA, May 2<strong>00</strong>0.<br />
Launched Index & Source, two artist’s<br />
STAFF LIST<br />
DIRECTOR<br />
Edmund Capon A.M., M. Phil.<br />
EXECUTIVE ASSISTANT<br />
Margaret McLenaghan<br />
CURATOR EXHIBITIONS<br />
Terence Maloon B.A. (Hons), Dip. Art & Design<br />
GENERAL MANAGER CURATORIAL SERVICES<br />
Anthony Bond B. Ed. (Hons)<br />
CURATORIAL SERVICES COORDINATOR<br />
Michael Wardell B. A.<br />
STUDY ROOM COORDINATOR<br />
Denise Mimmocchi B.A. (Hons)<br />
SENIOR CURATOR EUROPEAN ART, PRE-19<strong>00</strong><br />
Richard Beresford B.A. (Hons) MBA PhD<br />
ASSISTANT CURATOR EUROPEAN ART, PRE-19<strong>00</strong><br />
Peter Raissis B.A. (Hons)<br />
CURATOR CONTEMPORARY ART<br />
Victoria Lynn B.A. (Hons), M.A. (Art Admin)<br />
ASSISTANT CURATOR, CONTEMPORARY/<br />
WESTERN ART<br />
Wayne Tunnicliffe B.A. (Hons) M.A., M. Art Admin<br />
ASSISTANT REGISTRAR (CATALOGUING & DOC.)<br />
Judy Peacock B.A., Grad. Dip. App. Sc., M. Art Admin<br />
PROJECT OFFICER<br />
Natalia Bradshaw B.A.<br />
SENIOR CURATOR PHOTOGRAPHY<br />
Judy Annear B.A.<br />
HEAD CURATOR ASIAN ART<br />
Jackie Menzies, B.A., (Hons), M.A.<br />
CURATOR JAPANESE ART<br />
Chiaki Ajioka B.A., M.A, PhD<br />
CURATOR CHINESE ART<br />
Yang Liu B.A., M.A., PhD<br />
68<br />
books by Debra Phillips, Published<br />
Art, Sydney, June 2<strong>00</strong>0.<br />
Member <strong>of</strong> the Cultural Institutions<br />
Regional Outreach Committee.<br />
External Masters assessor, COFA, The<br />
University <strong>of</strong> NSW<br />
Member <strong>of</strong> judging panel for the<br />
Moya Dyring Studio & Dr Denise<br />
Hickey Memorial Studio, Cité<br />
Internationale des Arts, Paris.<br />
Member <strong>of</strong> the Judging panel for The<br />
Basel and Muriel Hooper Scholarship.<br />
Member <strong>of</strong> the Judging panel for The<br />
Eliot Gruner Prize.<br />
Planning Committee for Regional<br />
Museums & Galleries Conference,<br />
True Stories – Celebrating<br />
distinctiveness and diversity in<br />
museums and galleries<br />
Planning Committee for AAANZ, NSW<br />
Chapter, Conference, Conducting<br />
Bodies: Affect, Sensation & Memory<br />
ASIAN PROGRAMMES COORDINATOR<br />
Ann MacArthur B.A., MIM<br />
ASSISTANT CURATOR<br />
Haema Sivanesan B.Arch. (Hons)<br />
PROJECT OFFICER<br />
Akiko Takesui<br />
PROJECT OFFICER<br />
Kathryn Gfeller Dip. Fine Arts<br />
PROJECT OFFICER<br />
Hsieh Shihying B.A.,M.A.<br />
Ken Watson (Assistant Curator <strong>of</strong><br />
Aboriginal and Torres Strait Islander<br />
Art)<br />
Review – ‘Flesh and Blood A Sydney<br />
Story – A Polylogue <strong>of</strong> the<br />
Imagination’, Australian and <strong>New</strong><br />
Zealand Journal <strong>of</strong> Art Vol. 1 No. 1<br />
Jan. 2<strong>00</strong>0<br />
(With Bronwyn Bancr<strong>of</strong>t) ‘Boomalli:<br />
Fact or Fantasy: You Decide!’ Artlink<br />
Vol. 20 No.1. 2<strong>00</strong>0<br />
HEAD CURATOR AUSTRALIAN ART<br />
Barry Pearce Dip. Art Ed.<br />
CURATOR AUSTRALIAN ART<br />
Deborah Edwards B.A. (Hons), M. Phil.<br />
ASSISTANT CURATOR AUSTRALIAN ART<br />
Vivienne Webb B.A. (Hons)<br />
ASSISTANT CURATOR AUSTRALIAN ART<br />
Helen Campbell B.A. (Hons), Grad. Dip. Museum<br />
Studies<br />
SENIOR CURATOR AUST. PRINTS AND<br />
DRAWINGS<br />
Hendrik Kolenberg Dip. Ed.<br />
ASSISTANT CURATOR AUST. PRINTS AND<br />
DRAWINGS<br />
Anne Ryan B.A. (Hons), M. Art Admin.<br />
PROJECT OFFICER<br />
Natalie Wilson B.A. (Visual Arts)<br />
CURATOR ABORIGINAL AND TORRES STRAIT<br />
ISLANDER ART<br />
Hetti Perkins B.A.<br />
ASSISTANT CURATOR<br />
ABORIGINAL & TORRES STRAIT ISLANDER ART<br />
Ken Watson B.A. (Hons)<br />
COORDINATOR OF ABORIGINAL PROGRAMMES<br />
Angela Martin B.A, Dip. Ed.<br />
HEAD LIBRARIAN<br />
Susan Schmocker B.A., Dip. Lib.<br />
TECHNICAL SERVICES LIBRARIAN<br />
Kay Truelove B.A., Dip Lib.<br />
LIBRARIAN<br />
Robyn Louey B.L. Arch, Grad. Dip. IM (Lib)<br />
LIBRARY TECHNICIAN<br />
Vivian Huang Assoc. Dip. Arts<br />
ARCHIVIST<br />
Steven Miller B.A. (Hons), B. Theol., Grad. Dip. IM<br />
(Arch)<br />
HEAD PUBLIC PROGRAMMES<br />
Brian Ladd Dip. Fine Art, Dip. Ed.<br />
MUSEUM EDUCATOR (CURATOR – SPECIAL<br />
PROJECTS)<br />
Ursula Prunster B.A. (Hons), M.A.<br />
MUSEUM EDUCATOR<br />
(COORDINATOR PROGRAMMES)<br />
Liz Gibson B.A. Ed, M.A. (Art Admin)<br />
MUSEUM EDUCATOR (SECOND IN CHARGE)<br />
Jonathan Cooper Dip. Art Ed.<br />
MUSEUM EDUCATOR<br />
(TERTIARY/CONTEMPORARY ART)<br />
George Alexander B.A. (Hons)<br />
MUSEUM EDUCATOR (SECONDARY SCHOOLS)<br />
Jo Foster B.A., Dip. Ed.<br />
MUSEUM EDUCATOR (PRIMARY SCHOOLS)<br />
Jennifer Keeler-Milne B. Ed., Grad Dip Fine Arts,<br />
M.A. (Art Admin)<br />
EDUCATION OFFICER<br />
Bronwyn Clarke–Coolee Dip. Teaching M.V.A<br />
CLERICAL OFFICER<br />
Joan Radkevitch<br />
BOOKINGS OFFICER<br />
Tingan Emery B.A. (Comm)
BOOKINGS OFFICER/SLIDE LIBRARIAN<br />
Meredith Williams B.A.<br />
COORDINATOR BRETT WHITELEY STUDIO<br />
Barbara Konkolowicz B.A. Dip. Ed.<br />
AUDIO-VISUAL COORDINATORS<br />
Laurence Hall B.A. (Com),<br />
Alex Smythe B.A. (Vis Arts)<br />
HEAD OF CONSERVATION<br />
Alan Lloyd<br />
ASSISTANT CONSERVATOR<br />
Mathew Cox<br />
ASSISTANT CONSERVATOR, MOUNT CUTTING<br />
Bill Lamont<br />
CONSERVATOR, PAINTINGS<br />
Stewart Laidler Dip. Con<br />
ASSISTANT CONSERVATOR, PAINTINGS<br />
Paula Dredge B. App. Sc. (Con), B.A. (Fine Arts)<br />
CONSERVATOR, WORKS ON PAPER<br />
Rosemary Peel B.A. (Fine Arts)<br />
CONSERVATOR, OBJECTS<br />
Donna Midwinter M.A. Applied Science (Con) Dip.<br />
Museum Tech.<br />
CONSERVATOR, OBJECTS<br />
Jolanta Grzedzielska, M.A. (Cons)<br />
CONSERVATOR, FRAMES<br />
Malgorzata Sawicki B.A.<br />
ASSISTANT CONSERVATOR, FRAMES<br />
Basia Dabrowa M.A. (Con)<br />
CONSERVATOR<br />
David Butler<br />
CONSERVATOR ASIAN ART<br />
Sun Yu B.A. (Art History)<br />
ASSISTANT CONSERVATOR ASIAN ART<br />
Yang Yan Dong<br />
HEAD REGISTRAR<br />
Ljubo Marun B.A. (Hons) PhD<br />
REGISTRAR (STORAGE)<br />
Emma Smith B.A., Grad. Dip Decorative Arts<br />
REGISTRAR (EXHIBITIONS)<br />
Ross Clendinning B. Ed.<br />
REGISTRAR – CATALOGUE & DOCUMENTATION<br />
Jesmond Calleja B.A.<br />
ASSISTANT REGISTRAR<br />
Susie Quinn B.A. (Fine Arts), Grad. Dip. Art History<br />
ASSISTANT REGISTRAR<br />
Peter Duggan B.A. (Fine Arts), M.A.<br />
SENIOR PHOTOGRAPHER<br />
Jenni Carter<br />
PHOTOGRAPHER<br />
Ray Woodbury<br />
GENERAL MANAGER, BUSINESS DEVELOPMENT<br />
& MARKETING,<br />
Jane Westbrook B.A. (Hons), M.A.<br />
PUBLICITY OFFICERS<br />
Jan Batten,<br />
Claire Martin B.A. (Hons), Dip Marketing<br />
TOURISM COORDINATOR<br />
Janelle Prescott<br />
VENUE MANAGER<br />
James Vaughan B. Ec.<br />
MARKETING COORDINATOR<br />
Kylie Wingrave B.A. (Vis Arts), B. Comm<br />
COORDINATOR, FOUNDATION &<br />
PRESIDENTS COUNCIL<br />
Jane Wynter B.A. L.L.B.<br />
BUSINESS DEVELOPMENT COORDINATOR<br />
Leanne Primmer<br />
WEEKEND COORDINATOR<br />
Jonquil Temple<br />
BOOKINGS/INFORMATION OFFICER<br />
Kerri Coombes<br />
COORDINATOR GRAPHICS<br />
Sarah Keogh B.A. (Hons)<br />
PRINT COORDINATOR<br />
Lucy Pickworth<br />
GENERAL MANAGER FINANCE &<br />
MANAGEMENT SERVICES<br />
Rosemary Senn B. Comm., FCPA, MAICD Dip.<br />
PROJECT OFFICER<br />
Jackie Bullions<br />
MANAGER ACCOUNTING & SYSTEMS<br />
Ray Lovat<br />
ASSISTANT ACCOUNTANT<br />
Bernadine Fong B. Bus. (Banking & Finance)<br />
PURCHASING & EXPENDITURE SUPERVISOR<br />
Maria Gutzinger<br />
ACCOUNTING CLERK<br />
Viva Chelvaduria<br />
ACCOUNTING CLERK (CASUAL)<br />
Merle Passmore<br />
CLERICAL OFFICER<br />
Graeme Callaghan<br />
MANAGER INFORMATION & TECHNOLOGY<br />
Maurice Cirnigliaro M. Bus Information Technology<br />
MANAGER HUMAN RESOURCES<br />
Donna Grubb<br />
HUMAN RESOURCES OFFICER<br />
Georgina Pearce B.A.<br />
MANAGER, MANAGEMENT SERVICES &<br />
STRATEGIC PLANNING<br />
Trish Kernahan<br />
ADMINISTRATION SERVICES SUPERVISOR<br />
Louise Fischer B.A., M.A.<br />
ADMINISTRATIVE SUPPORT OFFICERS<br />
Adrienne Vaughan-Smith Dip. Fine Arts,<br />
Deborah Spek, Nikki Young<br />
COPYRIGHT SERVICES OFFICER<br />
Cherith Devenish B. Juris., L.L.B., B.A.(Hons)<br />
IMAGE REPRODUCTIONS OFFICER<br />
Alice Livingston B.Ed., M.A.<br />
MERCHANDISING MANAGER GALLERY SHOP<br />
Brian Turner<br />
ASSISTANT SHOP MANAGER<br />
Gillian Williamson B. Sc.<br />
SUPERVISOR<br />
Tony Whitmore B.A.<br />
STOCK & SALES OFFICERS<br />
Rita Briguglio, Bill Burke, Dot Kolentsis,<br />
Denise Faulkner B.FA, Cassandra Willis,<br />
Sandra Christie B.A. (Hons).Grad.Dip. Elec. Imag.<br />
GENERAL MANAGER EXHIBITIONS AND<br />
BUILDING MANAGEMENT<br />
Anne Flanagan Dip. Int. Design, Dip. Ed., Dip. Vis Arts.<br />
EXHIBITIONS PROJECT REGISTRAR<br />
Anna Hayes<br />
PROJECT OFFICER<br />
Erica Drew<br />
EXHIBITIONS ASSISTANT<br />
Stefanie Tarvey<br />
TICKETING SUPERVISOR<br />
Diana Curtis<br />
TICKETING OFFICER<br />
Prue Watson<br />
MANAGER ENGINEERING SERVICES<br />
Don Alderson<br />
MANAGER BUILDING SERVICES<br />
Phil Johnstone<br />
MAINTENANCE OFFICER<br />
Rob Schumacher<br />
PLANT ASSISTANT<br />
Jan Krycki<br />
LIGHTING SUPERVISOR<br />
John Powis.<br />
INSTALLATION OFFICERS<br />
Brett Cuthbertson, Alan Jobson, John Freckleton,<br />
Nickoulas Rieth, John Robertson<br />
STORES OFFICER<br />
Steve Peters, J.P.<br />
SENIOR DISPLAY TECHNICIAN (CARPENTRY)<br />
Bill Viola<br />
SENIOR DISPLAY TECHNICIAN (PAINTING)<br />
Michael Brown<br />
DISPLAY TECHNICIANS (CARPENTRY)<br />
Ram Mudaliar, Gary Bennett<br />
HEAD OF SECURITY<br />
George Alamanos<br />
DEPUTY SUPERVISORS<br />
Jacques Michel, Jeff Browne<br />
SENIOR GALLERY SERVICE OFFICERS<br />
Judy O’Neil, Peter Howlett, Frank Flores<br />
GALLERY SERVICE OFFICERS<br />
Hilarion Aldaba, J.P., Freddi Alam, Michael Bennet,<br />
Arthur Boucas, Alan Boyd, Kevin Callope, Anthony<br />
Carricoglia, George Caruana, J.P., Camilla Cassidy,<br />
Steve Davies, Romeo Domingo, Tony Fletcher,<br />
Terry Forde, Christine Gracie, David Grech, Cheryl<br />
Gross, Phillip Hill-Travis, Peter Humphreys, Janak<br />
Kadian, B.A Nicholas Karydis, John Kavallaris,<br />
Craig Knott, Rayson Light, Ramon Lozada, Jamil<br />
Mati, Patrick McBride, Ray Nguyen, Trish Noonan,<br />
Bob Partridge, Peter Rawlins, Sharat Sharma,<br />
Jason Sipmson, Suzanne Slavec, Joan Standfield,<br />
Mary Thom, Peter Tsangarides, Jo Turner, Cesare<br />
Vetrisano, Russell Ward, Paul Woolcock, Heifen<br />
Zhu B. Eng.<br />
SECURITY OFFICERS<br />
Tom Casey, Emilio Cruz, Peter Gray, David Paine,<br />
JP, Bob Pearce, Steve Pegrem, Brian Reynolds,<br />
Peter Rozario<br />
69
MISCELLANEOUS STATUTORY ITEMS<br />
CODE OF CONDUCT<br />
The Code <strong>of</strong> Conduct for the Art<br />
Gallery <strong>of</strong> NSW covers the areas <strong>of</strong>:<br />
• Conflict <strong>of</strong> interest<br />
• Acceptance <strong>of</strong> gifts or benefits<br />
• Personal and pr<strong>of</strong>essional<br />
behaviour<br />
• Fairness and equity<br />
• Public comment and use <strong>of</strong> <strong>of</strong>ficial<br />
information<br />
• Use <strong>of</strong> <strong>of</strong>ficial facilities and<br />
equipment<br />
• Outside employment<br />
• Political participation<br />
• Gallery collections<br />
It is planned to review the Code <strong>of</strong><br />
Conduct during 2<strong>00</strong>0–2<strong>00</strong>1.<br />
COPYRIGHT<br />
The Gallery handles numerous<br />
images every year that are<br />
reproduced in exhibition catalogues,<br />
education kits, promotional material<br />
and shop merchandise. Developing<br />
more <strong>of</strong> our exhibitions in-house has<br />
also brought increasing<br />
responsibilities for ensuring copyright<br />
clearance. The use <strong>of</strong> the Internet<br />
and electronic delivery <strong>of</strong> services<br />
pose further challenges on copyright<br />
issues that will need to be addressed.<br />
Proposed legislative changes to<br />
copyright law will impact on the<br />
70<br />
Gallery's plans to interface our main<br />
research database to our website.<br />
The Gallery has accordingly made a<br />
submission to the Federal<br />
Government's Standing Committee on<br />
Legal and Constitutional Affairs that<br />
is considering amendments to the<br />
Copyright Act (Digital Agenda Bill,<br />
1999).<br />
ENERGY MANAGEMENT<br />
Energy management included the use<br />
<strong>of</strong> environmentally friendly refrigerant<br />
gases in the major air-conditioning<br />
upgrade to reduce greenhouse gas<br />
emissions. Modified programs for<br />
building management control system<br />
were introduced to reduce electrical<br />
consumption, through increased<br />
rates for electrical supply have<br />
negated cost savings. Constant<br />
monitoring and maintenance tuning<br />
to gas fired boilers have kept gas<br />
consumption to projected levels,<br />
maintaining contracted usage with no<br />
additional charges.<br />
FREEDOM OF INFORMATION<br />
The Art Gallery received one formal<br />
request for information under the<br />
Freedom <strong>of</strong> Information Act 1989.<br />
The request was granted in <strong>full</strong>.<br />
Full Freedom on Information<br />
Statement included as Appendix Q.<br />
GST IMPLEMENTATION<br />
Preparation for GST implementation<br />
involved training <strong>of</strong> staff and upgrade<br />
to systems to enable a smooth cutover<br />
on 1 July. All registrations for<br />
GST and related tax reforms were<br />
undertaken on behalf <strong>of</strong> Gallery<br />
entities. The Art Gallery will submit its<br />
Business Activity Statement<br />
electronically on a monthly basis.<br />
OCCUPATIONAL HEALTH & SAFETY<br />
No. <strong>of</strong> work related injuries: 9<br />
No. <strong>of</strong> work related illnesses: 0<br />
Prosecutions under the<br />
OH&S Act, 1983: Nil<br />
PRIVACY MANAGEMENT PLAN AND<br />
PERSONAL INFORMATION<br />
The Art Gallery has developed a<br />
Privacy Management Plan in<br />
response to Section 33 <strong>of</strong> the Privacy<br />
and Personal Information Protection<br />
Act, 1998. The Act aims to protect<br />
individual against the inappropriate<br />
collection, storage, use and<br />
disclosure <strong>of</strong> personal information by<br />
NSW Public Sector Agencies. The<br />
Plan outlines how the Art Gallery<br />
complies with the Act.<br />
For information on the Plan, contact<br />
the Privacy Contact Officer, Human<br />
Resources Services, Art Gallery <strong>of</strong><br />
<strong>New</strong> <strong>South</strong> <strong>Wales</strong>, Art Gallery Road,<br />
The Domain, Sydney, NSW 2<strong>00</strong>0 or<br />
telephone (02) 9225-1795 or fax (02)<br />
9221-6226.<br />
USE OF CONSULTANTS<br />
In the past financial year, the Gallery<br />
spend $98,<strong>00</strong>0 on consultants. No<br />
consultancy firm was paid more than<br />
$30,<strong>00</strong>0.<br />
WASTE REDUCTION<br />
The Art Gallery has taken measures<br />
over recent years to increase<br />
recycling and reduce waste. Paper<br />
recycling baskets are situated in<br />
every department. Recycled paper is<br />
purchased for use in <strong>of</strong>fice machines<br />
and staff are encouraged to<br />
communicate electronically<br />
whenever possible. The bookshop<br />
and library re-use cardboard boxes<br />
for packaging. All glass materials are<br />
recycled.<br />
YEAR 2<strong>00</strong>0 COMPLIANCE<br />
Year 2<strong>00</strong>0 compliance was a major<br />
activity in the first half <strong>of</strong> the financial<br />
year. The PABX and Gallery security<br />
systems had to be upgraded. As it<br />
turned out, the Art Gallery's activities<br />
were unaffected.<br />
IMPLEMENTATION OF ROYAL COMMISSION INTO<br />
ABORIGINAL DEATHS IN CUSTODY<br />
Recommendation number 56 & 3<strong>00</strong><br />
The Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
projects that introduce Aboriginal<br />
and Torres Strait Islanders and others<br />
to the history and culture <strong>of</strong> Indigenous<br />
peoples <strong>of</strong> Australia included:<br />
The continued acquisition,<br />
exhibition, conservation <strong>of</strong> Aboriginal<br />
art and commitment to making the<br />
collection accessible to the widest<br />
possible audience.<br />
The growth <strong>of</strong> exhibitions<br />
programmes and public programmes<br />
associated with the Yiribana Gallery,<br />
the largest space for the display <strong>of</strong><br />
Aboriginal art in the southern<br />
hemisphere.<br />
During the year there were<br />
exhibitions in Yiribana curated form<br />
the Gallery’s collection reflecting the<br />
diversity <strong>of</strong> Aboriginal and Torres<br />
Strait Islander art. Major thematic<br />
exhibitions were Another Country<br />
which pr<strong>of</strong>iled works on paper and<br />
photography and Ochre an exhibition<br />
<strong>of</strong> bark paintings.<br />
The touring exhibition from the<br />
National Gallery <strong>of</strong> Victoria Raiki<br />
Wara: Long cloth from Aboriginal<br />
Australia and the Torres Strait<br />
curated by Robin Healey and Judith<br />
Ryan was also held in Yiribana.<br />
For the fourth consecutive year<br />
the Art Gallery in conjunction with<br />
the Department <strong>of</strong> School Education,<br />
the Aboriginal Education Consultative<br />
Group and the Board <strong>of</strong> Studies<br />
staged the successful Reconciliation<br />
exhibition. This exhibition featured<br />
artworks by Aboriginal and non-<br />
Aboriginal students from primary and<br />
secondary schools throughout <strong>New</strong><br />
<strong>South</strong> <strong>Wales</strong> on the theme <strong>of</strong><br />
Reconciliation.<br />
NAIDOC Week in July 1999 was<br />
celebrated by a programme <strong>of</strong> school<br />
holiday activities held in Yiribana.<br />
Photographer Michael Riley’s Yarns<br />
from the Talbragar series <strong>of</strong> black<br />
and white portraits was exhibited as<br />
part <strong>of</strong> the NAIDOC Week activities.<br />
There was a continuing<br />
consolidation <strong>of</strong> links with<br />
Indigenous education institutions,<br />
courses in Aboriginal Studies and<br />
Aboriginal units and art courses at<br />
tertiary level.
The Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
is committed to the principles <strong>of</strong><br />
cultural diversity as outlines in<br />
Section 3 <strong>of</strong> the Ethnic Affairs<br />
Commission Act, 1979. The<br />
Government’s three Key Result areas<br />
are: Social Justice; Community<br />
Harmony; and Economic and Cultural<br />
Opportunities and to this meet this<br />
end the Gallery’s has developed an<br />
Ethnic Affairs Priority Statement<br />
(EAPS) which includes two main<br />
objectives:<br />
• Integrate EAPS principles into the<br />
Art Gallery’s policies, plans and<br />
procedures<br />
• Build the Art Gallery’s Collection<br />
and Services to reflect and promote<br />
cultural diversity and harmony<br />
The Gallery’s statement is<br />
incorporated by the Ministry for the<br />
Arts, as a key agency, into a Ethnic<br />
Affairs Agreement on behalf <strong>of</strong> the<br />
entire arts portfolio.<br />
ETHNIC AFFAIRS PRIORITY<br />
OUTCOMES<br />
• Increased the number <strong>of</strong><br />
community languages available<br />
to assist Gallery staff and visitors<br />
via the Community Language<br />
Allowance Scheme. As at<br />
30th June, 2<strong>00</strong>0 the Gallery had<br />
staff <strong>of</strong>ficially recognised to be<br />
able to <strong>of</strong>fer assist in the following<br />
community languages Polish,<br />
German, French, Hindi, Cantonese,<br />
Mandarin and Spanish.<br />
• Due to the on-going staff freeze, the<br />
Gallery did not increase<br />
membership <strong>of</strong> recruitment<br />
selection panels with a person<br />
from a cultural diverse background<br />
to the targeted 60%.<br />
• Circulated the annual calendar <strong>of</strong><br />
significant religious and holy days<br />
to all supervisors to enable<br />
ETHINIC AFFAIRS PRIORITIES STATEMENT<br />
scheduling <strong>of</strong> staff commitments to<br />
meet religious obligations.<br />
• The Gallery’s Guide Map is<br />
available in Japanese, Mandarin<br />
and Korean, languages.<br />
• The exhibitions and associated<br />
educational public programmes<br />
reflected and promoted cultural<br />
diversity and harmony.<br />
This year the programme included:-<br />
• Michelangelo to Matisse: Drawing<br />
the Figure. This epic exhibition was<br />
one <strong>of</strong> the most ambitious<br />
exhibitions ever conceived by the<br />
Gallery. Telling the story <strong>of</strong><br />
transformation <strong>of</strong> Western art, from<br />
the 16th century to the present,<br />
some 250 drawings from artists<br />
such as Michelangelo, Renoir,<br />
Raphael and Picasso were<br />
exhibited.<br />
• 5th Guinness Contemporary Art<br />
Project – Voiceovers. Presented<br />
the work <strong>of</strong> four women artists, Lin<br />
Li, Nalini Malani, Mariko Mori and<br />
Shirin Neshat and explored the<br />
shifting identities across culture<br />
and religion, contemporary politics<br />
and the role <strong>of</strong> women.<br />
• Light Pictures: Featuring the<br />
photographs <strong>of</strong> Nakayama Iwata<br />
and Nojima Yazou, this exhibition<br />
explored the early 20th style <strong>of</strong><br />
geijutsu shashin (Art Photography)<br />
and the rise <strong>of</strong> shino shashin (<strong>New</strong><br />
photography).<br />
• Please the Eye, Cultivate the mind.<br />
Significant Chinese Paintings from<br />
around Australia were selected for<br />
their beauty their role in promoting<br />
spiritual cultivation.<br />
• Fragrant Space, Chinese Flower<br />
and Bird Painting (5th May to 25th<br />
June) This exhibition focused on<br />
the appreciation <strong>of</strong> nature which is<br />
so integral to Chinese Culture.<br />
• Biennale <strong>of</strong> Sydney. Forty-nine<br />
artists from twenty-nine countries<br />
participated in this pre-eminent<br />
contemporary art event <strong>of</strong> the<br />
<strong>South</strong>ern Hemisphere. All five<br />
continents were represented and to<br />
make the exhibition more<br />
accessible, entry was free <strong>of</strong><br />
charge to all venues.<br />
• The Centre for Asian Arts Studies<br />
conducted regular lunchtime<br />
lectures as a part <strong>of</strong> the Gallery's<br />
ongoing commitment to cross<br />
cultural arts education.<br />
ETHNIC AFFAIRS PRIORITY GOALS<br />
FOR 2<strong>00</strong>0/01<br />
• Continued encouragement <strong>of</strong> staff<br />
participation in the Community<br />
Language Allowance Scheme and<br />
extend range <strong>of</strong> languages<br />
currently represented.<br />
• Increase cultural diversity on<br />
recruitment selection panels to 60%<br />
pending the lifting <strong>of</strong> the staff<br />
freeze.<br />
• Develop new General Information<br />
Brochure in several community<br />
languages including Italian,<br />
Spanish, French and German.<br />
• Continue the reflection and<br />
promotion <strong>of</strong> cultural diversity and<br />
harmony in the Gallery’s exhibitions<br />
and associated educational<br />
programme. The 2<strong>00</strong>0/01<br />
programme will included the<br />
following exhibitions:-<br />
• Dead Sea Scrolls. The most<br />
controversial archeological<br />
discovery <strong>of</strong> the 20th Century, the<br />
Scrolls can provide us with a much<br />
deeper understanding <strong>of</strong> the<br />
various approaches to Judaism<br />
current at that time, and <strong>of</strong> their<br />
relevance to the history <strong>of</strong> religious<br />
traditions in the Western World.<br />
• Indonesian Miniatures. Drawn from<br />
one <strong>of</strong> the finest collections <strong>of</strong><br />
Indian Paintings in the world, this<br />
exhibition features more than<br />
seventy paintings created between<br />
the 16th and 19th centuries for the<br />
Mughal and Rajput courts<br />
• Hanga: Japanese Creative Prints.<br />
This exhibition will focus on the<br />
Creative Print, a new concept <strong>of</strong><br />
‘prints as art’ that emerged at the<br />
beginning <strong>of</strong> the 20th century and is<br />
not familiar outside Japan.<br />
• Fun Five Fun Story, Five<br />
International Artists from Africa.<br />
Celebrating the young and vibrant<br />
street culture across Africa, the<br />
exhibition includes wild fashion<br />
design and performance, film,<br />
photography and installation art.<br />
• Masks <strong>of</strong> Mystery. Will feature<br />
Bronze Masks form the Sacrificial<br />
pits <strong>of</strong> the kings <strong>of</strong> Ancient China<br />
discovered when local farmers<br />
digging a well hit upon these relics.<br />
• World Without End – Photography<br />
and the 20th Century. Brings<br />
together some 2<strong>00</strong> works <strong>of</strong><br />
acclaimed Australian and<br />
international artists whose<br />
photographs have shaped our<br />
perceptions and our sensibilities <strong>of</strong><br />
the modern world.<br />
71
WOMEN’S ACTION PLAN<br />
The Annual Reports (Statutory<br />
Bodies) Amendment (Women’s<br />
Action Plan) Regulation 1997 requires<br />
agencies to provide information<br />
about their implementation <strong>of</strong> the<br />
Government’s Action Plan for Women.<br />
A) WHOLE OF GOVERNMENT<br />
APPROACH<br />
The Art Gallery is firmly supportive <strong>of</strong><br />
a whole <strong>of</strong> government approach in<br />
meeting the broad policy outcomes<br />
<strong>of</strong> the NSW Government’s Action<br />
Plan for Women. It is recognised<br />
that all areas <strong>of</strong> NSW Public Sector<br />
have a role in improving the<br />
economic and social participation <strong>of</strong><br />
women by integrating the needs and<br />
concerns <strong>of</strong> women as part <strong>of</strong> normal<br />
business. The Gallery is committed<br />
to the advancement <strong>of</strong> women in all<br />
forms <strong>of</strong> cultural and artistic life and<br />
is aware <strong>of</strong> the need to identify and<br />
redress discrimination against<br />
women in delivering services and<br />
programmes to the public. From an<br />
organisational perspective, the<br />
Gallery acknowledges the needs and<br />
interests <strong>of</strong> women as a direct<br />
occupational group and is supportive<br />
<strong>of</strong> strategies and initiatives that<br />
assist the advancement <strong>of</strong> women in<br />
the workplace.<br />
B) WOMEN’S INTERESTS AND THE<br />
ARTS<br />
While the majority <strong>of</strong> exhibitions<br />
staged by the Gallery include works<br />
<strong>of</strong> art created by women artists the<br />
following exhibitions related to<br />
women’s lives and history and/or<br />
featured work by specific women<br />
artists:<br />
• What is this thing called<br />
photography?: Fiona Hall, Sue Ford,<br />
Micky Allan, Carol Jerrema, Lynn<br />
Silverman, Marion Marrison, Jacky<br />
Redgate, Viva Jillian Gibb, Ingeborg<br />
Tyssen (5th June – 1st August 1999)<br />
• Grace Cossington Smith: Australian<br />
Collection Focus Series No 5<br />
(1st August – 24 October 1999)<br />
Cossington Smith was a pioneer<br />
post Impressionist in Australia who<br />
is widely regarded as the most<br />
brilliant artist <strong>of</strong> her generation.<br />
• Horst Kiechle/Margaret Roberts<br />
(14th August – 26th October 1999)<br />
Roberts is a Sydney based<br />
installation artist who has been<br />
72<br />
exhibiting in group and solo shows<br />
since 1987.<br />
• Modotti & Weston: Mexianidad<br />
(29th October 1999 – 9th January 2<strong>00</strong>0)<br />
In the 1920’s Tina Modotti spent<br />
seven years in Mexico where her<br />
photographic ambitions merged<br />
with a deepening involvement in<br />
social reform and revolutionary<br />
politics. Until recently, Modotti’s<br />
legacy as a photographer had been<br />
largely overshadowed by that <strong>of</strong><br />
Weston, her lover and colleague.<br />
This exhibition attempted to<br />
redress this imbalance.<br />
• Joan Brassil (9th October – 28th<br />
November 1999) Joan Brassil has<br />
been exhibiting her installationbased<br />
work since 1976. Much <strong>of</strong><br />
Brassil’s work involves<br />
collaboration with scientists in an<br />
ongoing investigation into<br />
evolutions and transformations in<br />
space, time and energy.<br />
• Rayner H<strong>of</strong>f and his School: The<br />
Vital Flesh (25th November 1999 to 16<br />
January 2<strong>00</strong>0) The ehxibition also<br />
focused on the work <strong>of</strong> H<strong>of</strong>f’s most<br />
important students – Barbara Tribe<br />
Eileen McGrath and Jean Broome-<br />
Norton<br />
• Olive Cotton (13 May 2<strong>00</strong>0 – 2 July<br />
2<strong>00</strong>0) Olive Cotton is recognised as<br />
one <strong>of</strong> Australia’s leading twentieth<br />
century photographers, well know<br />
for such images as the compelling<br />
modernist Tea cup ballet and<br />
Glasses<br />
The Gallery also administers two<br />
bequests which conditions stipulate<br />
are only open to women. These<br />
bequests are the John and Elizabeth<br />
<strong>New</strong>nham Pring Memorial Prize for<br />
‘the best landscape executed in<br />
watercolours by a women artists’<br />
and a capital fund in the name <strong>of</strong><br />
Viktoria Marinov with income used to<br />
purchase works <strong>of</strong> art for the<br />
permanent collection ‘by female<br />
artists under the age <strong>of</strong> 35 years.’<br />
C) ACHIEVEMENTS UNDER KEY<br />
OBJECTIVES IN THE ACTION<br />
PLAN FOR WOMEN<br />
The following achievements have<br />
been made under the two key<br />
objectives that are relevant to the<br />
Gallery in the Government’s Action<br />
Plan for Women:<br />
• PROMOTING WORKPLACES THAT<br />
ARE EQUITABLE, SAFE AND<br />
RESPONSIVE TO ALL ASPECTS OF<br />
WOMEN’S LIVES<br />
The Gallery’s performance under this<br />
key objective is documented in the<br />
equal employment opportunity (EEO)<br />
statistics listed in appendix J <strong>of</strong> this<br />
report which provide information <strong>of</strong><br />
EEO groups within salary levels and<br />
employment basis. The Gallery is<br />
committed to employment <strong>of</strong> staff<br />
based on selection on merit<br />
principles and the Gallery workforce<br />
is currently made up <strong>of</strong> 54% women.<br />
Under employment on merit the<br />
employees benefit by having their<br />
capabilities <strong>full</strong>y utilised and their<br />
skills expanded. Of the four General<br />
Manager positions, three are<br />
currently filled by women which is<br />
indicative <strong>of</strong> the Gallery's<br />
commitment to the advancement <strong>of</strong><br />
women based on merit. Further,<br />
approximately 20% <strong>of</strong> women took<br />
advantage <strong>of</strong> the Gallery's flexible<br />
work practices such <strong>of</strong> part time<br />
work, job sharing, working from<br />
home, part time leave without pay<br />
and the career break scheme in<br />
order to effectively balance<br />
workplace priorities with family and<br />
personal commitments. The Gallery<br />
as a whole benefits in the long term<br />
by being adaptable and responsive to<br />
changing community need and<br />
expectations.<br />
PROMOTING THE POSITION OF<br />
WOMEN IN all aspects <strong>of</strong> society<br />
The Gallery:<br />
• has maintained a general free<br />
admission policy to ensure the<br />
broadest range <strong>of</strong> the community,<br />
including the financial<br />
disadvantaged <strong>of</strong>ten being women,<br />
have access to the State’s fine art<br />
collection and associated<br />
education programmes.<br />
• delivers an exhibition programme<br />
that is representative <strong>of</strong> women<br />
artists’ contribution to the history <strong>of</strong><br />
art and reflects the lives and<br />
achievements <strong>of</strong> women in society.<br />
• administers awards and<br />
scholarships which are open to<br />
women that are designed to assist<br />
in the pr<strong>of</strong>essional development <strong>of</strong><br />
Australian artists.<br />
• recognises the traditional gender<br />
imbalances on decision-making<br />
bodies and the implications <strong>of</strong><br />
representation on strategic<br />
outcomes. There are four females<br />
on the nine member Board <strong>of</strong><br />
Trustees.<br />
D) SPECIFIC COMMITMENTS UNDER<br />
THE ACTION PLAN FOR WOMEN<br />
There are no specific commitments<br />
in the plan which refers to the Art<br />
Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong>.<br />
E) FURTHER INFORMATION ON<br />
WOMEN’S STRATEGIES<br />
For further information on women<br />
specific and other programmes<br />
managed by the Art Gallery <strong>of</strong> <strong>New</strong><br />
<strong>South</strong> <strong>Wales</strong>, please contract the<br />
Gallery on telephone number<br />
9225-17<strong>00</strong>.
The Art Gallery is developing a<br />
updated Aged and Disability Plan<br />
that will incorporate strategies<br />
across six major areas including<br />
physical access, promotion <strong>of</strong><br />
positive community attitudes; staff<br />
training; information about services;<br />
employment; and complaints. The<br />
Art Gallery’s commitment to equal<br />
access for all people is reflected in<br />
our policy as detailed below.<br />
GUARANTEE OF SERVICE<br />
The Art Gallery recognise that the<br />
public has the right to expect that<br />
services will be provided without<br />
discrimination. In particular we will<br />
provide access service for visitors<br />
with special needs, including the<br />
aged and disabled. We will seek to<br />
continuously improve our service to<br />
visitors and welcome feedback<br />
directly to staff and through regular<br />
surveys.<br />
MOBILITY HANDICAPPED VISITORS<br />
Two dedicated Disabled Parking<br />
spaces are available at the rear <strong>of</strong><br />
the Art Gallery for visitors with<br />
disabilities. Special arrangements<br />
are also made for bus parking.<br />
Access to these spaces is via the<br />
service road on the southern side <strong>of</strong><br />
the Art Gallery. From the rear <strong>of</strong> the<br />
Art Gallery access to all exhibitions,<br />
displays, public and administrative<br />
areas is by way <strong>of</strong> ramps and lifts,<br />
suitably signposted.<br />
There are two public Disabled<br />
Parking spaces available at the front<br />
<strong>of</strong> the Art Gallery.<br />
The Art Gallery’s Domain Theatre has<br />
access space designed for wheelchair<br />
users.<br />
DEAF AND HEARING IMPAIRED<br />
VISITORS<br />
Severely and Pr<strong>of</strong>oundly Deaf<br />
Visitors<br />
In 1997 the Art Gallery implemented<br />
free monthly Auslan guided tours.<br />
We regularly book sign-language<br />
interpreters for advertised guided<br />
tours, and particularly in association<br />
with Deaf Awareness Week. Groups<br />
<strong>of</strong> deaf people making bookings are<br />
provided with sign-language<br />
interpreters free <strong>of</strong> charge. In 1996<br />
the Art Gallery implemented at TTY<br />
telephone number (9225-1711).<br />
This number is listed in the Telstra<br />
TTY directory.<br />
Hearing Impaired<br />
Our Domain Theatre provided Audio-<br />
Induction Loop facilities for all<br />
lectures and films. An FM-<br />
Microphone System for hearing-aid<br />
users is available on request for<br />
guided tours.<br />
VISUALLY IMPAIRED VISITORS<br />
A major refurbishment <strong>of</strong> the elevator<br />
servicing Level 1, Ground Floor and<br />
Upper Level has seen the installation<br />
<strong>of</strong> voice notification <strong>of</strong> floor and<br />
access details.<br />
AGED AND DISABILITY PLAN<br />
GENERAL<br />
Staff Training<br />
Information and awareness sessions<br />
are held for staff and Volunteer<br />
Guides, with particular reference to<br />
servicing visitors with special needs.<br />
Some Volunteer Guides and staff<br />
have undertaken introductory<br />
courses in sign-language.<br />
We have designated an Education<br />
Officer to manage the Art Gallery’s<br />
programmes and facilities for people<br />
with disabilities.<br />
Helpers<br />
General entry to the Art Gallery is<br />
free to all visitors. However, where<br />
charges are made for special<br />
exhibitions, helpers accompanying<br />
visitors with disabilities are admitted<br />
free <strong>of</strong> charge.<br />
Information and Publicity<br />
Our information publication<br />
exhibitions / events is freely available<br />
from our Information Desk. This<br />
booklet contains information for<br />
visitors with special needs. Currently<br />
the Bulletin is posted to over 4,<strong>00</strong>0<br />
interest individuals or organisation.<br />
Employment Practices<br />
The Art Gallery ensures equal<br />
opportunity principles are used for<br />
recruitment and general employment<br />
practice.<br />
NEW STRATEGIES TO IMPROVE<br />
SERVICES<br />
Ramp Access<br />
The Gallery engaged heritage<br />
architects to design ramp access to<br />
the front <strong>of</strong> the Art Gallery. This type<br />
<strong>of</strong> access would be beneficial to<br />
people in wheel chairs, the aged,<br />
and people with prams. The building<br />
plans will be submitted for review by<br />
an appropriate disability community<br />
organisation. Unfortunately,<br />
Government funding was not<br />
forthcoming for the 2<strong>00</strong>0/2<strong>00</strong>1<br />
financial year to build this ramp.<br />
The Art Gallery will pursue funding<br />
for the 2<strong>00</strong>1/2<strong>00</strong>2 financial year.<br />
Communications<br />
The new Internet website launched<br />
this year includes capacity for large<br />
print screen versions <strong>of</strong> all<br />
information.<br />
73
OVERSEAS TRAVEL SUMMARY – 1999/2<strong>00</strong>0<br />
Ms Paula Dredge<br />
July 1999 to December 1999<br />
USA<br />
Take up Advanced Conservation<br />
Internship with Fine Arts Museum <strong>of</strong><br />
San Francisco<br />
Mr Richard Beresford<br />
13 to 30 September 1999<br />
USA<br />
Courier The Widower by<br />
James Tissot to Yale Centre<br />
for British Art.<br />
Dr LIU Yang<br />
27 September to 12 October 1999<br />
China<br />
Research and select works for<br />
major exhibitions <strong>of</strong> Chinese art.<br />
Mr Edmund Capon<br />
30 September to 19 October 1999<br />
Israel and China<br />
Finalise arrangements for<br />
exhibitions – Sanxingdui Bronze<br />
Figures and Dead Sea Scrolls<br />
Mr Alan Lloyd<br />
8 to 17 October, 1999<br />
Spain<br />
Courier Femme nue dans un<br />
rocking-chair by Picasso<br />
Ms Victoria Lynn<br />
22 October to 13 November 1999<br />
UK and Italy<br />
Visit Venice Biennale, Liverpool<br />
74<br />
Biennale. Visit London galleries.<br />
Discuss Visions in Motion with<br />
curators and artists.<br />
Ms Deborah Edwards<br />
14 to 21 December 1999<br />
UK<br />
Courier Pan by Sydney Long to<br />
Royal Academy in London<br />
Mr Terence Maloon<br />
12 to 28 January 2<strong>00</strong>0<br />
Austria and Germany<br />
Negotiate loans for Picasso: the Last<br />
Decade exhibition<br />
Ms Paula Dredge<br />
31 January to 16 February 2<strong>00</strong>0<br />
Spain and Holland<br />
Courier return <strong>of</strong> Femme nue dans un<br />
rocking-chair by Picasso<br />
Ms Judy Annear<br />
2 to 22 February 2<strong>00</strong>0<br />
Japan and Europe<br />
Give a paper at Conference in<br />
Madrid and research future<br />
exhibitions<br />
Mr Tony Bond<br />
7 to 25 February 2<strong>00</strong>0<br />
England, Spain and France<br />
Participate in international forum in<br />
Spain and discuss with Anselm<br />
Kiefer exhibition <strong>of</strong> his works.<br />
Mr Stewart Laidler<br />
25 February to 1 March 2<strong>00</strong>0<br />
USA<br />
Courier Head <strong>of</strong> a Peasant by van<br />
Gogh to Detroit Institute <strong>of</strong> Arts<br />
Mr Alan Lloyd<br />
25 February to 6 March 2<strong>00</strong>0<br />
Switzerland<br />
Courier Drei Badende by<br />
Ernst Kirchner to Museo d’arte<br />
Moderna in Lugarno, Switzerland<br />
Mr Wayne Tunnicliffe<br />
17 March to 1 April 2<strong>00</strong>0<br />
Singapore and Kuala Lumpur,<br />
Malaysia<br />
To install, oversee catalogue printing<br />
and open exhibition Flow at National<br />
Gallery <strong>of</strong> Malaysia<br />
Mr Sun Yu<br />
3 to 7 April 2<strong>00</strong>0<br />
China<br />
Condition report on works to be<br />
included in Fragrant Space exhibition<br />
Mr Edmund Capon<br />
20 to 24 April 2<strong>00</strong>0<br />
Singapore<br />
View proposed major donation to the<br />
Art Gallery <strong>of</strong> NSW<br />
Mr Brian Turner<br />
24 April to 1 May 2<strong>00</strong>0<br />
Israel<br />
To negotiate merchandise for the<br />
Dead Sea Scrolls exhibition shop<br />
Ms Susie Quinn<br />
1 to 29 May 2<strong>00</strong>0<br />
USA<br />
Undertake an internship with Box Art<br />
in NY and visit storage facilities.<br />
Ms Gillian Williamson<br />
24 to 31 May 2<strong>00</strong>0<br />
USA<br />
To attend Museum Store Association<br />
Conference in Chicago.<br />
Mr Brian Turner<br />
31 May to 13 June 2<strong>00</strong>0<br />
USA<br />
To attend Art Book Fair in <strong>New</strong> York<br />
and Book Expo America book fair<br />
and conference in Chicago.<br />
Mr Richard Beresford<br />
22 June to 14 August 2<strong>00</strong>0<br />
Europe and USA<br />
Finalise negotiations for major<br />
exhibition Claude<br />
Mr Sun Yu<br />
27 June to 4 July 2<strong>00</strong>0<br />
China<br />
To carry out condition reports on<br />
works included in Fragrant Space<br />
exhibition
FREEDOM OF INFORMATION – STATEMENT OF AFFAIRS<br />
The following Statement <strong>of</strong> Affairs<br />
is presented in accordance with<br />
the Freedom <strong>of</strong> Information Act,<br />
1989, section 14 (1) (b) and (3).<br />
The Art Gallery's (FOI Agency No.<br />
376) statement is correct as at<br />
30 June 2<strong>00</strong>0.<br />
The Art Gallery received one formal<br />
request for information under the<br />
Freedom <strong>of</strong> Information Act, 1989<br />
during 1999-2<strong>00</strong>0. No requests were<br />
carried over from the previous<br />
financial year. The request was<br />
completed and granted in <strong>full</strong>. The<br />
request was classified as an "other"<br />
request.<br />
ART PRIZES<br />
The 1999–2<strong>00</strong>0 Archibald, Wynne and<br />
Sulman Prize competitions,<br />
sponsored by Colonial, were held in<br />
March 2<strong>00</strong>0. A total <strong>of</strong> 1,795 entries<br />
were received, 75 <strong>of</strong> which were<br />
selected for display. The Dobell<br />
Prize for Drawing, sponsored by the<br />
Sir William Dobell Art Foundation,<br />
was held in conjunction with the<br />
Archibald, Wynne and Sulman<br />
competitions. Of the 560 entries<br />
received, 36 were selected for<br />
display. The Trustees decided to<br />
hold a special competition in this<br />
Olympic year called The 2<strong>00</strong>0<br />
Sporting Portrait Prize. Of the 144<br />
entries received 19 were selected for<br />
display.<br />
THE ARCHIBALD PRIZE<br />
The prize <strong>of</strong> $35,<strong>00</strong>0 for portraiture<br />
was awarded to Adam Cullen for his<br />
work entitled Portrait <strong>of</strong> David<br />
Wenham. The Archibald Prize:<br />
People’s Choice competition, asks<br />
the viewing public to vote for their<br />
favourite entry, was won by Esther<br />
Erlich for her work Never been<br />
better. Erlich received $2,5<strong>00</strong> as did<br />
the Art Gallery patron whose vote for<br />
the winning entry was drawn from a<br />
barrel containing all votes cast.<br />
The Art Gallery regularly receives<br />
representations from the public<br />
concerning its operations. The<br />
Gallery endeavours to make the<br />
collection and associated<br />
information as accessible to the<br />
public as is possible. The Art Gallery<br />
welcomes public interest and<br />
participation in its activities.<br />
DOCUMENTS HELD BY THE ART<br />
GALLERY<br />
Art Gallery <strong>of</strong> NSW Act, 1980,<br />
Accounts Manual, Agendas and<br />
Minutes <strong>of</strong> Meetings, Collections<br />
Management Policy, Administrative<br />
Procedures Manuals, Education<br />
THE WYNNE PRIZE<br />
The prize <strong>of</strong> $15,<strong>00</strong>0 for an Australian<br />
landscape or figure sculpture was<br />
awarded to John Dahlsen for his<br />
work entitled Thong Totems.<br />
THE TRUSTEES WATERCOLOUR<br />
PRIZE<br />
The prize <strong>of</strong> $2,<strong>00</strong>0 available to<br />
entries submitted in the Wynne<br />
Competition was won by Graham<br />
Fransella for his work entitled Kintore<br />
Desert landscape.<br />
THE SIR JOHN SULMAN PRIZE<br />
The prize, judged by artist John Firth-<br />
Smith, <strong>of</strong> $10,<strong>00</strong>0 was awarded to<br />
John Peart for his work entitled<br />
Snailsnake.<br />
THE DOBELL PRIZE FOR DRAWING<br />
The $10,<strong>00</strong>0 prize, judged by Betty<br />
Churcher, was awarded to Nick<br />
Mourtzakis for his work entitled<br />
Untitled Study.<br />
THE 2<strong>00</strong>0 SPORTING PORTRAIT<br />
PRIZE<br />
The prize <strong>of</strong> $15,<strong>00</strong>0 was awarded to<br />
Lewis Miller for his work entitled<br />
Ronald Dale Barassi.<br />
Policy, Annual Report, Exhibitions<br />
Policy, EEO Annual Report, Filming &<br />
Photography Policy, Corporate Plan,<br />
Financial reports, Human Resources<br />
Policies, Ministerial Correspondence,<br />
Deaccessioning policy<br />
DOCUMENTS AVAILABLE FOR<br />
PURCHASE<br />
The Art Gallery publishes a range <strong>of</strong><br />
catalogues and books. The<br />
publication prices are continually<br />
reviewed and prices are available<br />
from the Gallery Shop. The Art<br />
Gallery also publishes a bi-monthly<br />
bulletin and monthly calendar <strong>of</strong><br />
events free <strong>of</strong> charge.<br />
GRANTS<br />
STUDIOS IN PARIS<br />
The Art Gallery allocates tenancy to<br />
two art studios, the Moya Dyring<br />
Studio and the Dr Denise Hickey<br />
Memorial Studio, it leases at the Cite<br />
Internationale des Art in Paris. The<br />
studios were occupied during the<br />
year by Kate Dorrough, Sandra<br />
Levison, Stephen McCarthy,<br />
Jacquelene Drinkall, John Beard,<br />
David Thomas, Jon Plapp and Alice<br />
Byrne.<br />
THE BASIL AND MURIEL HOOPER<br />
SCHOLARSHIP<br />
These scholarships, valued at $6,<strong>00</strong>0<br />
each, are available each year to fine<br />
art students attending recognised<br />
schools in <strong>New</strong> <strong>South</strong> <strong>Wales</strong> to<br />
assisted with the costs <strong>of</strong> fees,<br />
materials and general living<br />
expenses. Three half scholarships<br />
were awarded to Stephen Garrett,<br />
Rodney Love and Monika Damhuis.<br />
THE ELIOTH GRUNER PRIZE<br />
The prize <strong>of</strong> $1,5<strong>00</strong> for the best<br />
landscape in oil by an art student<br />
was jointly awarded for 1999 to<br />
Corinne Handley and Marisa Purcell.<br />
FOI PROCEDURES<br />
Applications for access to Art Gallery<br />
documents under the Freedom <strong>of</strong><br />
Information Act should be made in<br />
writing and directed to:<br />
Human Resource Manager<br />
Art Gallery <strong>of</strong> NSW<br />
Art Gallery Road<br />
The DOMAIN NSW 2<strong>00</strong>0<br />
Arrangements can be made to obtain<br />
copies <strong>of</strong> documents, or to inspect<br />
them by contacting the Human<br />
Resource Manager on telephone<br />
(02) 9225 1795.<br />
ART PRIZES AND GRANTS AWARDED<br />
THE ROBERT LE GAY BRERETON<br />
MEMORIAL PRIZE<br />
This prize aims to promote and<br />
encourage the art <strong>of</strong><br />
draughtsmanship, is available each<br />
year to art students. The 1999 prize<br />
<strong>of</strong> $1,2<strong>00</strong> was jointly awarded to<br />
Thomas Doherty and <strong>New</strong>ell Harry.<br />
DYASON BEQUEST<br />
Administered under the terms <strong>of</strong> the<br />
will <strong>of</strong> the late Miss Anthea Dyason,<br />
the bequest provides grants to<br />
Australian art students who have<br />
already won traveling scholarships<br />
so as to enable them to better study<br />
architecture, sculpture or painting in<br />
countries other than Australian and<br />
<strong>New</strong> Zealand. No grants were<br />
awarded during the year as the Art<br />
Gallery introduced a deadline <strong>of</strong> 30th<br />
June for the review <strong>of</strong> all<br />
applications received over the<br />
previous 12 months.<br />
75
INDEX<br />
access 73,77<br />
acquisitions <strong>of</strong> works <strong>of</strong> art<br />
australian 8,50<br />
aboriginal & torres strait islander 10,50<br />
asian 10, 51<br />
international 12,50<br />
photography 13,51<br />
administrative reporting requirements<br />
aged and disability plan 73<br />
aim 21<br />
art prizes & grants awarded 75<br />
building 20<br />
brett whitely studio 14,77<br />
centenary fund 2,64<br />
code <strong>of</strong> conduct 70<br />
collection benefactors 64<br />
collections 8<br />
commercial facilities 19,77<br />
conservation 13<br />
consultants 70<br />
consumer response 76<br />
contact details 77<br />
copyright 70<br />
corporate governance 24<br />
corporate plan 26<br />
director’s statement 4<br />
EEO Statistics 65<br />
energy management 70<br />
ethnic affairs priority statement 71<br />
exhibitions 13,62<br />
australian 13<br />
aboriginal & torres strait islander 14<br />
asian 14<br />
PLEDGE OF SERVICE<br />
OUR CUSTOMERS<br />
The Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong> endeavours to provide each<br />
<strong>of</strong> our visitors with an experience<br />
that exceeds expectations and<br />
inspires repeat visits.<br />
GUARANTEE OF SERVICE<br />
We aim to ensure that all visitors<br />
enjoy themselves, will want to<br />
return and will recommend the Art<br />
76<br />
international 16<br />
photography 16<br />
financial summary 30<br />
financial statements 33<br />
freedom <strong>of</strong> information 70,75<br />
gifts & bequests (<strong>of</strong> art works) 52<br />
australian 8,52<br />
aboriginal & torres strait islander 10,55<br />
asian 10,55<br />
photography 13,55<br />
international 12,55<br />
grants 65<br />
gst implementation 70<br />
guided tours 77<br />
highlights 1<br />
independant audit report 32<br />
insurance 26<br />
internal audit 26<br />
investment 39<br />
letter <strong>of</strong> transmission, inside cover<br />
life governors 27<br />
loans to the gallery 57<br />
loans by the gallery 57<br />
membership 77<br />
mission 21<br />
new audiences 19<br />
objectives 21<br />
occupational health & safety 70<br />
olympics 10<br />
organisation structure 28<br />
overseas travel 74<br />
paris studio 26<br />
parking 77<br />
Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> to<br />
friends and relatives as a world<br />
standard venue for the enjoyment<br />
and study <strong>of</strong> art.<br />
CUSTOMER SERVICE<br />
The Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong><br />
<strong>Wales</strong> aims to provide the highest<br />
levels <strong>of</strong> service to all visitors.<br />
Visitor feedback provides<br />
management with valuable<br />
CUSTOMER COMPLAINTS<br />
information to improve Gallery<br />
procedures and services.<br />
Written complaints are handled<br />
promptly and pr<strong>of</strong>essionally and<br />
are responded to within two<br />
weeks. Visitor suggestions have<br />
also led to the introduction <strong>of</strong> new<br />
services, such as improved<br />
signage and simpler printed<br />
guides.<br />
performance indicators 21<br />
photography 77<br />
planning 26<br />
president’s council 64<br />
president’s foreward 2<br />
privacy management plan and<br />
person information 70<br />
publications 16<br />
publications available for sale 61<br />
public transport 77<br />
risk management 26<br />
research library 77<br />
regional contact 18<br />
royal commission into<br />
Aboriginal deaths in custody 70<br />
senior management pr<strong>of</strong>ile 26<br />
staff pr<strong>of</strong>ile 28<br />
staff list 63<br />
society 19<br />
sponsorship & philanthropy 64<br />
staff publications & presentations 60<br />
support 19,64<br />
total asset management plan 26<br />
touring exhibitions 62<br />
trustees 24<br />
venue management 19<br />
visitors 63<br />
visitors with special needs 73,77<br />
waste reduction 70<br />
website 18<br />
women’s action plan 72<br />
year 2<strong>00</strong>0 compliance 70<br />
year in review 8<br />
Telephone enquiries are addressed<br />
promptly within two working days,<br />
wherever possible.<br />
Visitors can <strong>of</strong>fer suggestions and<br />
provide feedback at the<br />
Information Desk at the main<br />
entrance to the Gallery.<br />
The Art Gallery had just under 9<strong>00</strong>,<strong>00</strong>0 visitors to the Domain site during 1999/2<strong>00</strong>0. During the year there were only 223 complaints received, representing<br />
less than one twenty-fifth <strong>of</strong> one percentage <strong>of</strong> our visitors. The bulk <strong>of</strong> the complaints concerned visitor facilities (such as more seating) and improved<br />
access for visitors with special needs. These issues are being addressed as part <strong>of</strong> the Art Gallery’s Strategic Plan. Complaints can be recorded in the<br />
visitor complaints journal available to the public at the ground level information desk. These records are regularly reviewed by the Director and referred to<br />
relevant Department Managers for action, if required.
ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION<br />
ACCESS<br />
The Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> open<br />
every day except Good Friday and<br />
Christmas Day between the hours <strong>of</strong><br />
10am and 5pm. General admission is<br />
free. Entry fees may apply to a<br />
limited number <strong>of</strong> individual major<br />
temporary exhibitions.<br />
GUIDED TOURS<br />
The volunteer Guides <strong>of</strong> the Art<br />
Gallery Society <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
<strong>of</strong>fer a range <strong>of</strong> free guided tours <strong>of</strong><br />
the Gallery’s collection and major<br />
exhibitions.<br />
General Tours: Daily, one hour tours<br />
revealing highlights <strong>of</strong> the collection<br />
and the Gallery.<br />
Monday 1pm and 2pm; Tuesday to<br />
Friday 11am, 12 noon, 1pm and 2pm;<br />
Saturday 1pm and 2pm; Sunday 11am,<br />
1pm, and 2pm.<br />
Yiribana Tours (Aboriginal and Torres<br />
Strait Islander Gallery)<br />
Tuesday to Friday 11am; Saturday<br />
1pm; Sunday 11am and 1pm.<br />
Asian Gallery:<br />
Wednesday and Saturday 2pm.<br />
Private Groups: Tours tailored to the<br />
needs <strong>of</strong> groups during the Gallery<br />
hours or with private evening<br />
functions are also available.<br />
Enquiries telephone (02) 9225-18<strong>00</strong>.<br />
MEMBERSHIP<br />
You are invited to join the Art Gallery<br />
Society <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong> and<br />
share in the many pleasures <strong>of</strong><br />
membership. Stay informed about<br />
what’s on in the Gallery, choose from<br />
over two hundred special events and<br />
enjoy membership privileges and<br />
priorities all year long. Enquiries<br />
telephone (02) 9221-1878.<br />
ART RESEARCH LIBRARY<br />
The Gallery’s Research Library is<br />
open Monday to Friday between<br />
10am and 4pm, excluding public<br />
holidays. The Library is located on<br />
Ground Floor Level and has the most<br />
comprehensive collection <strong>of</strong> Fine Art<br />
books in <strong>New</strong> <strong>South</strong> <strong>Wales</strong>.<br />
Enquiries telephone (02) 9225 1785.<br />
An Opinion, Conservation and<br />
Identification Service, operating from<br />
the Library, is provided free every<br />
Thursday 10am to 12 noon (excluding<br />
valuations).<br />
The Study Room for Prints, Drawings<br />
and Photography is on Level 2,<br />
adjacent to the Prints, Drawings and<br />
Watercolours gallery. Open to the<br />
public weekdays from 10am to 4pm,<br />
excluding public holidays. The Study<br />
Room Assistant will attend to and<br />
supervise visitors. Appointments are<br />
advisable but not essential. School<br />
groups are welcome. Enquires<br />
telephone (02) 9225-1758.<br />
PHOTOGRAPHY<br />
Photography <strong>of</strong> the Gallery’s<br />
permanent collection, with the<br />
exception <strong>of</strong> works in the Yiribana<br />
gallery, is allowed by members <strong>of</strong> the<br />
public providing no flash or tripods<br />
are used. Quality photographs <strong>of</strong><br />
Gallery’s collection including works<br />
from the Yiribana gallery or a<br />
photograph <strong>of</strong> works not in the<br />
Gallery’s permanent collection can<br />
be obtained from the Gallery’s Image<br />
Reproduction Officer. Photography<br />
for publication or other commercial<br />
purposes is allowed only after<br />
written application to the Gallery.<br />
Enquires telephone (02) 9225-1798.<br />
COMMERCIAL FACILITIES<br />
The Gallery Shop is opened daily<br />
from 10am to 5pm. The finest range<br />
<strong>of</strong> art books in Australia is available<br />
at the Gallery Shop, which also<br />
specialises in school and library<br />
supply. The Shop stocks an<br />
extensive range <strong>of</strong> art posters, cards,<br />
replicas and giftware. Enquires<br />
telephone (02) 9255-1718.<br />
The Gallery’s Harbour Café is<br />
situated on Level 1 and is open daily<br />
from 10am to 4pm. The Brasserie,<br />
located on the Upper Level, is open<br />
each day between 12pm and 4pm.<br />
For Brasserie bookings phone<br />
(02) 9225-1819.<br />
Art Gallery facilities are also<br />
available for private exhibition<br />
viewings and functions in the<br />
evening. Enquiries telephone the<br />
Gallery’s Venue Manager on<br />
(02) 9225-1836.<br />
EXHIBITIONS / EVENT<br />
INFORMATION<br />
The free tri-monthly publication,<br />
exhibitions / events, is available in<br />
the Gallery. This booklet details<br />
current exhibitions, public<br />
programmes events including a film<br />
programme and school education<br />
activities being staged by the Gallery.<br />
Information is also available on our<br />
website.<br />
VISITORS WITH SPECIAL NEEDS<br />
A limited number <strong>of</strong> wheelchairs are<br />
available at the Gallery’s rear<br />
entrance, where there is a ramp and<br />
an elevator giving access to most<br />
parts <strong>of</strong> the Gallery. Two parking<br />
spaces for the disabled have been<br />
designated in the Gallery’s car park<br />
close to the rear entrance but it is<br />
advisable to confirm availability by<br />
telephoning (02) 9225-1775.<br />
The Domain Theatre is fitted with an<br />
audio induction loop system and an<br />
FM-transmitter system used for<br />
guided tours if requested. Sign<br />
Language Tours are now conducted<br />
for deaf people, using Australian sign<br />
language, on the third Saturday <strong>of</strong><br />
every month at 2.30pm. The service<br />
is free apart from entry fees to<br />
exhibitions, if applicable.<br />
PUBLIC TRANSPORT<br />
Bus Service: The 441 Bus route<br />
includes the Art Gallery as a stop on<br />
route through to the Queen Victoria<br />
Building in the city. The service is<br />
every 20 minutes on weekdays and<br />
every 30 minutes on weekends.<br />
Please call the STA on 131 5<strong>00</strong> for<br />
details.<br />
Trains: Closest train stations to the<br />
Art Gallery are the St James or<br />
Martin Place stops.<br />
PARKING<br />
There is limited metered parking<br />
outside the Gallery and additional<br />
metered parking down Mrs<br />
Macquarie’s Road. The Domain<br />
Parking Station is open daily with a<br />
Special Discount Rate <strong>of</strong> $11 per day<br />
(on weekdays) for visitors to major<br />
exhibitions with admission charges,<br />
just have your parking ticket stamped<br />
at the entrance to the exhibition.<br />
CONTACT INFORMATION<br />
Physical and postal address:<br />
Art Gallery <strong>of</strong> <strong>New</strong> <strong>South</strong> <strong>Wales</strong><br />
Art Gallery Road<br />
The Domain NSW 2<strong>00</strong>0<br />
ELECTRONIC COMMUNICATIONS:<br />
Administration switchboard<br />
(02) 9225-17<strong>00</strong><br />
Information Desk (02) 9225-1744<br />
Recorded What’s On Information<br />
(02) 9225-1790<br />
TTY number (02) 9225-1808<br />
General facsimile (02) 9221-6226<br />
Website: www.ag.nsw.gov.au<br />
e-mail: artmail@ag.nsw.gov.au<br />
BRETT WHITELEY STUDIO<br />
The Brett Whiteley Studio, located at<br />
2 Raper Street Surry Hills, and is<br />
open Saturday and Sunday 10am to<br />
5pm except Christmas Day. On<br />
Thursday the studio is open by<br />
appointment for education tours<br />
groups. Admission is $7 and $4<br />
concession.<br />
Enquires telephone (02) 9225-1740.<br />
The Art Gallery printed 1,<strong>00</strong>0 copies<br />
<strong>of</strong> the 1999/2<strong>00</strong>0 Annual Reports at a<br />
cost <strong>of</strong> $20 per copy<br />
77
ART<br />
GALLERY<br />
NSW<br />
ART GALLERY OF NEW SOUTH WALES<br />
Art Gallery Road The Domain Sydney NSW 2<strong>00</strong>0 Telephone: (02) 9225 17<strong>00</strong> Information Line: (02) 9925 1790 Email (general): artmail@ag.nsw.gov.au<br />
For information on current exhibitions and events, visit the Gallery’s website www.artgallery.nsw.gov.au