Art Gallery of New South Wales Annual Report 2008â09

Art Gallery of New South Wales Annual Report 2008–09

With over 1.7 million visitors this year, the Art Gallery of NSW is one of 

Australia’s most popular art museums and a vital part of Sydney’s cultural 

life. Since the Gallery’s genesis in the 1870s, our objective has been to collect 

and present to the public the finest works of art available, with a special 

emphasis on the artistic traditions of Australia. The Gallery has been located 

at our present site in the Domain since 1885. The Grand Courts, designed 

by government architect Walter Liberty Vernon, were the very first rooms 

of the Gallery, built between 1895 and 1899 in typically grand Victorian style 

and scale. These elegant rooms now house Sydney’s premier collections of 

both European art, from the Renaissance to Impressionism, and Australian 

art, from colonisation to the end of the 19th century, along with a selection of 

20th-century Aboriginal art. The building extensions made to the Gallery in the 

1970s and ’80s responded to the changing needs of both the collection and 

our audience, doubling the available exhibition space and celebrating the art 

of our time with extensive displays of modern and contemporary Australian, 

Aboriginal and Torres Strait Islander, and European art. The beautiful 

and contemplative Asian galleries, expanded in 2003, affirm the Gallery’s 

commitment to presenting the art and culture of our region. This year the 

Gallery presented a program of 41 exhibitions, accompanied by a diverse 

and stimulating array of public and educational programs. 

The Art Gallery of NSW is a statutory body established under the Art Gallery of New South Wales Act 1980 and is a division of Communities NSW 

(formerly the Department of the Arts, Sport and Recreation) 

FRONT COVER: Nedko Solakov 

A Life (Black & White), which involved two workers constantly repainting the walls of the exhibition 

space in black and white paint for the duration of the exhibition, day after day (following each other), 

during the Biennale of Sydney 2008: Revolutions – forms that turn. 

BACK COVER: Gallery installation officers working on The lost Buddhas: Chinese Buddhist sculptures 

from Qingzhou exhibition.

Art Gallery of New South Wales Annual Report 2008–09

Contents 

2 

ART GALLERY OF NSW annual report 08–09

Contents 

4 Vision, purpose, pledge 

of service 

6 Year in brief 

14 President’s foreword 

16 Director’s statement 

20 Collections 

32 Exhibitions and audiences 

44 Educational, community 

and regional activities 

54 Publications 

58 Building and environmental 

management 

62 Support 

64 Corporate governance 

73 Appendices 

109 Financial statements 

138 General access information 

140 Index 

ART GALLERY OF NSW annual report 08–09 3

Vision 

‘To maintain our reputation as an energetic, outgoing and accessible Australian 

art institution, and at the same time strive to be a major international gallery of the 

world, continuing to inspire, interest and provide enjoyment to our increasingly 

diverse audiences.’ 

Purpose 

The Gallery’s core purpose is to maintain and develop a collection of works of art, 

and to promote understanding and appreciation of art. Our governing legislation is 

the Art Gallery of New South Wales Act 1980. 

The Gallery’s corporate plan sets out three mission goals: 

• To acquire, conserve and present to the public the finest works of art available, 

with special emphasis on the artistic traditions of Australia. 

• To explore and inspire through our collections and exhibitions, the emotional and 

intellectual resources of our audiences. 

• To create a sense of belonging and provide our visitors with an enjoyable and 

enduring experience. 

The Gallery has developed and successfully implemented a variety of strategies 

to achieve these goals. In doing so, we work closely with our key stakeholders, 

such as the Art Gallery Society of NSW and its approximately 30 000 members; 

the Art Gallery of NSW Foundation; Museums & Galleries NSW; Communities 

NSW (formerly the Department of the Arts, Sport and Recreation); the NSW 

government; and other arts institutions. 

For more information, see the ‘Corporate plan and outcomes’ section (pages 9–13). 

Pledge of service 

The Art Gallery of NSW aims to provide resources and experiences of the highest 

quality to all our visitors (both physical and virtual) for the enjoyment and study of 

fine art. 

The Gallery recognises that the public has a right to expect that services will be 

provided without discrimination. We continuously seek to improve our service and 

we welcome feedback, both directly to our staff and through regular surveys. 

In our dealings with you we will: 

• strive to provide high-quality services 

• be professional and courteous, and 

• listen and respond quickly and fairly, to any complaint that you make concerning 

our services. For general access information, see pages 138–39. 

The Hon Nathan Rees MP 

Premier and Minister for the Arts 

Parliament House 

Macquarie Street 

SYDNEY NSW 2000 

Dear Minister, 

It is our pleasure to forward to you 

for presentation to the New South 

Wales Parliament the Annual 

Report for the Art Gallery of NSW 

for the year ended 30 June 2009. 

This report has been prepared 

in accordance with the provision 

of the Annual Reports (Statutory 

Bodies) Act 1984 and the Annual 

Reports (Statutory Bodies) 

Regulations 2005. 

Yours sincerely, 

Steven 

Lowy 

President 

Edmund 

Capon 

Director 

20 October 2009 

previous page: Flacco and The Sandman, Show 

me the Monet, Art After Hours, 7 January 2009 

Standing figure of a Buddha, Northern Qi 

550-77, limestone, 151 x 40 x 22 cm from The 

lost Buddhas: Chinese Buddhist sculpture from 

Qingzhou (29 August – 23 November 2008) 

4 



Year in brief Highlights 

The 2008–09 financial year saw the 

Art Gallery of NSW successfully 

achieve many of our targeted 

Corporate Plan outcomes including 

strengthening our collections, 

stimulating appreciation of art 

through our exhibition programs 

and publications, engaging our 

visitors, improving our energy 

sustainability and maintaining our 

museum assets. 

Through purchases and gifts, the 

Gallery acquired for our permanent 

collections 504 works of art valued at 

over $18.6 million. Our exhibition 

program presented 41 shows, ranging 

from the annual HSC visual arts 

exhibition, Artexpress, to the Sydneyonly, 

Monet and the Impressionists, 

with more than 436 940 people attending 

our four ticketed shows. Our total 

attendance numbers climbed 26% from 

the previous year to 1.7 million visits. 

Part of the Gallery’s success as a 

vibrant and engaging arts institution is 

the broad range of opportunities we 

provide for people to access, enjoy and 

learn about the arts. This year 240 470 

visitors participated in the hundreds of 

performances, courses, lectures, curator 

talks, celebrity talks, symposia, musical 

concerts, films, school programs and 

daily guided tours of exhibitions and 

collections on offer by the Gallery. Many 

of these activities were free and many 

were developed and delivered to children 

and family audiences. 

This year the Gallery also published 

nine major titles to further promote 

understanding of the visual arts. Books 

published included the director’s 

highlights handbook and several major 

exhibition catalogues. Several of our 

books attracted strong international 

sales and the Intensely Dutch exhibition 

catalogue proved so popular it sold out 

and was quickly reprinted during the 

time of the exhibition. 

The outstanding success of our Monet 

show ensured the financial position of 

the Gallery remained sound, with the 

NSW government contributing 43% of 

the $64.5 million of total revenues. As at 

30 June 2009, the Gallery’s net assets 

totalled $1.026 billion. 

Summary details of several Gallery 

highlights for the 2008–09 financial year 

are included here. 

Paul Cézanne painting 

During a year when the world faced a 

serious financial downturn the Gallery 

successfully raised the $16.2 million 

required for the purchase of the 

Paul Cézanne painting, Bords de la 

Marne c1888. Funds were generously 

contributed by the general public and 

major support was given by the Art 

Gallery of NSW Foundation, the Art 

Gallery Society of NSW and more 

than 30 individual benefactors who 

contributed over $100 000 each, 

including the most generous $1 million 

donation from Australian artist Margaret 

Olley AC, who claimed ‘it will be the 

most important painting in the Gallery’. 

More detailed information about this 

superb acquisition is included in the 

director’s statement. 

The lost Buddhas 

In 1996, one of the most significant 

archaeological finds of the 20th century 

was uncovered when construction 

workers in the Chinese town of Qingzhou 

were levelling a sports field. These 

remarkable sculptures were carefully 

wrapped and buried in a purpose-built 

pit during the 12th century. In August 

2008, 35 of the best-preserved and most 

exquisite sculptures were presented 

in the Gallery’s exhibition, The lost 

Buddhas: Chinese Buddhist sculpture 

from Qingzhou. This exhibition was the 

first time seven of these sculptures had 

left China. The dramatic installation of 

these works was courtesy of acclaimed 

architect Richard Johnson of Johnson 

Pilton Walker and music by Nicholas Ng 

was especially commissioned for this 

show. This free exhibition attracted over 

50 800 visitors and included a sell-out 

catalogue. 

Korean Culture Day 

A full day of free activities on Korean 

Culture Day saw hundreds of Gallery 

visitors making paper lotus lanterns with 

volunteers from Jong Bop Sa Temple, 

watching various styles of Korean 

traditional tea ceremony and getting their 

names translated and written in brush 

and ink by Korean calligraphers. We 

are also very grateful to the Consulate- 

General of the Republic of Korea, who 

worked closely with the Gallery in 

developing the public program for our 

Korean dreams exhibition. 

Half light: portraits from 

black Australia 

This AGNSW publication is the first 

major survey of the work of Australian 

Indigenous artists engaging with the 

photographic medium and the portrait. 

Showcasing a range of techniques from 

classic black-and-white portraiture to 

digital imagery, this 140-page book 

offers an unprecedented insight into 

the black experience that transcends 

national borders and the harsh reality 

of the everyday. This publication has 

been welcomed by schools and tertiary 

institutions and has been ordered by 

bookstores around Australia. 

6 


Education audience management 

Manageable and sustainable education 

visits are an ongoing priority for the 

Gallery. In 2008–09 the daily visitation 

quota for kindergarten to tertiary students 

was reset to 1000 students per day 

(down from 1500 students per day in 

2007–08) in order to reduce increasing 

pressures on Gallery spaces, exhibitions 

and collections, staff and infrastructure 

created by this large and dynamic 

audience. The total number of our 

education audience reduced to 91 805, 

down from 103 505 in the previous year. 

As a result, education programs have 

been more evenly distributed throughout 

the week and across an entire day’s 

schedule, rather than the traditional 

2–3 hours morning focus. 

Peer2peer: student video 

interview project 

Peer2peer is a new education initiative, 

a first for an Australian art museum, 

which continues the Gallery’s 

development of our youth audience 

(ages 13–18 years). The program 

focused on teenage students in the 

Gallery context, offering them a public 

voice, a rich engagement with the visual 

arts and its professional world, and 

an enhanced social, vocational and 

educational experience. Phase 1 of the 

project piloted in February 2009 invited 

year 11 and 12 students from diverse 

NSW schools to participate in a twoday 

workshop with a filmmaker, their 

Visual Arts teachers and Gallery staff 

as mentors. The project will train the 

students in video/filmmaking techniques 

and interviewing skills, for the purpose 

of producing video interview resources 

about practising artists and their work 

presented in the Gallery’s exhibitions or 

held in our collections. 

The completed ten-minute videos were 

posted on the Gallery’s YouTube page 

and the Artexpress website. To date, 

there have been 8184 views of all the 

peer2peer interviews. 

New iPod tours 

During 2008–09 a new series of iPod 

audio tours of the Gallery’s collections 

was introduced. The iPods are available 

for hire at the Gallery and the tour 

content is downloadable for free from our 

website and iTunes, or can be viewed 

online. Created to help visitors explore 

the collection and enrich their visit, the 

tours have proven very popular. There are 

two versions: a director’s choice adults 

tour of 30 favourite works discussed by 

Edmund Capon and a kids tour of 30 

works narrated by children for children 

aged 5–12 years. Questions, role-play 

and ‘at home’ activities are also a 

strong aspect of the kids audio tour and 

encourage the children to think further 

beyond their time in the Gallery. Schools 

are increasingly accessing the kids tour 

to extend their experience of the Gallery. 

During the 37 weeks that the adults 

version has been operating in 2008–09, 

over 1000 adults hired the tour, and in 

the 25 weeks since the introduction of 

the children’s version, 310 kids audio 

tours have been hired. Many more free 

downloads have been made online. 

The average length of both tours is two 

hours. 

Collection store 

The Gallery’s new off-site collection 

store is a purpose-designed 5000-square 

-metre building incorporating recycled 

water for the air-conditioning plant with 

three water tanks on-site to collect 

roof water. The two-storey building will 

have state-of-the-art storage systems 

and will include a multifunctional digital 

photography studio and workshop for 

conservation work. The construction 

stage of this project commenced in 

January 2009 and the building will 

be completed in 2009. It is estimated 

that the Gallery’s building projects in 

2008–09, with the collection store being 

the largest capital works project, have 

supported the employment of over 

80 people in the general construction 

industry including three apprentices. 

Ricky Maynard, Wik Elder, Joe from the 

series Returning to Places That Name Us 2000, 

gelatin silver photograph, 96.1 x 121.4 cm 

(image). Annette Margaret Dupree Bequest 

Fund 2002. ©the artist. Licensed by Viscopy, 

Australia. Exhibited in Half light: portraits from 

black Australia (21 November 2008 – 

22 February 2009). 

Building construction is underway on the 

Gallery’s new Collection store. 

Edmund Capon, director, and Margaret Olley, 

artist and major benefactor, at the media 

announcement of the Gallery’s acquisition 

of the Paul Cézanne painting Bords de la 

Marne c1888. 

Korean performers from the Min Sun Song 

Dance Academy gave daily school holiday 

shows during the Korean dreams: paintings and 

screens of the Joseon dynasty exhibition 

(5 March – 8 June 2009). 


Year in brief Performance summary 

Revenue 2008–09 

$64.5 million 

Expenditure 2008–09 

$37 million 

Net assets as at 30 June 2009 

$1.026 billion 

Government 

recurrent 

funding 

$21.8m 

34% 

Bequests & special 

income $18.8m 29% 

Merchandise sales 

$4.5m 8% 

other operating 

land & building 

$14.3m 38% 

personnel services 

$175.5m 17% 

$20.0m 54% 

Plant, equipment & 

other $13.7m 1% 

Government 

capital funding 

$5.8m 9% 

admissions 

$4.8m 7% 

Other revenue 

$8.8m 13% 

Insurance 

$0.6m 2% 

Depreciation 

$2.1m 6% 

Collection 

$813.2m 79% 

Bequests & 

special funds 

$23.8m 2% 

Efficiency 

UNIT NOTE 2004–05 2005–06 2006–07 2007–08 2008–09 

Number of employees eFT 1 203 210 208 220 236 

Opening days lost to industrial dispute 2 0 0 0 0 0 

Hours lost to industrial disputes per employee 0 0 0 0 0 

Days lost for workers compensation per employee 1.50 0.38 0.10 0.00 0.16 

Average days sick leave per employee 5.00 2.70 5.00 5.14 5.50 

Staff turnover rate 12% 8% 8% 10% 12% 

Services 

Total number of visitors thousands 1,351 1,690 1,302 1,354 1,706 

General admission 1,072 1,257 1,179 1,149 1,313 

Whiteley Studio 9 8 10 10 9 

Touring exhibitions 3 270 425 113 195 384 

Art After Hours 61 63 62 62 67 

Number of exhibitions 35 52 38 40 41 

Value of exhibition program $ m 4 232 890 921 1,145 815 

Number of collection objects acquired during year 480 585 442 467 504 

Value of collection objects acquired during year $ m 11.2 9.9 8.2 14.1 18.6 

Financial 

Core business expenses $ m -18.7 -20.0 -22.5 -21.3 -22.3 

Government funding – recurrent & liabilities assumed $ m 17.9 19.1 22.5 20.6 21.8 

Net core business income (deficit) $ m -0.8 -0.9 0.0 -0.7 -0.5 

Exhibition & visitor services net income $ m 5 1.6 3.9 1.5 2.5 4.3 

Bequest & special funds net income $ m 6 11.7 11.3 15.4 5.4 19.6 

Government funding – capital $ m 7 2.8 1.8 5.4 13.6 5.8 

Depreciation / other minor items $ m -2.4 -1.9 -1.8 -3.1 -2.1 

Surplus as per financial statements $ m 12.9 14.1 20.5 17.7 27.6 

Collection $ m 8 614.8 628.7 781.7 795.0 813.2 

Land & building $ m 9 133.5 133.5 133.5 160.6 175.5 

Other $ m 25.0 28.5 42.4 49.3 44.4 

Total assets $ m 773.3 790.7 957.6 1,004.9 1,033.1 

Total liabilities $ m 5.1 4.3 3.8 6.7 7.1 

Net assets as per financial statements $ m 768.2 786.4 953.8 998.2 1,026 

Data in this table has not been subject to audit 

Notes 

1 Equivalent full-time (EFT) staff number is a yearly average. Increases in 2008-09 mainly 

reflect casuals for temporary exhibitions (commercial) and packing the collection for 

relocation off-site (capital). 

2 The Gallery is open to the public 363 days per year (closed Good Friday and Christmas 

Day). In 2008-09 the building was also closed for half a day on 18 July 2009 for WYD08. 

3 Includes regional NSW, interstate, and overseas tours. 

4 Value reflects major Picasso (2002-03); Caravaggio (2003-04); Pissarro (2005-06); Arts of 

Islam (2006-07); and Monet (2008-09) exhibitions. 

5 Includes exhibitions, Gallery Shop and venue hire activities. 

6 Includes trust funds with controlled purpose, much of it for acquisition of works of art. 

7 Funding from the NSW government received in 2007-08 for capital projects in later years. 

8 The Gallery’s collections were externally valued in 2006-07. 

9 The Gallery’s building was re-valued in 2007-08. 

8 


Year in brief Corporate plan and outcomes 

Principal objectives and 

corporate goals 

In line with the Gallery’s principal 

activities, as outlined in the Art Gallery 

of New South Wales Act 1980 and in 

our vision, we seek to excel at what we 

do by continually improving our service 

to the public and thus maintaining our 

position as one of NSW’s leading cultural 

institutions. In May 2003, the Board of 

Trustees endorsed our corporate plan. 

The plan contains six major objectives: 

1 Enhance and conserve the state’s art 

collection and heritage building. 

2 Operate a varied, exciting and active 

exhibition program to encourage 

visitors and expand appreciation of art. 

3 Provide education and research 

programs and services to an everbroadening 

audience. 

4 Inspire and explore artistic attitude and 

aspiration. 

5 Operate the Gallery in an efficient and 

effective manner that encourages an 

increasing level of public attendance. 

6 Ensure effective funding sources for 

the Gallery to support its acquisition 

program and expansion of services. 

Measuring our performance 

The Gallery’s corporate plan includes a 

number of performance measurement 

targets. The following table details a 

selection of key strategies, targets 

and the performance outcomes for the 

2008–09 reporting period. The Gallery 

will review our plan in 2009 and endorse 

a new plan for a five-year period 

commencing 2009–10. 

Strategy Key target Performance outcome 

Increase acquisitions of 

artworks – specifically 

‘icons’ – and maintain high 

standards of curatorial 

work and conservation. 

(Objective 1) 

Acquire suitable works for 

the Gallery. 

Key works were acquired in all three collection areas: a painting by Margaret 

Preston, Flowers (Australian); the Paul Cézanne painting, Bords de la Marne 

(International); and Suzuribako with design of dragonfly by UNRYÛAN 

Kitamura Tatsuo (Asian). 

In total, in 2008–09, 504 works, valued at $18.6 million were added to the 

Gallery’s collections, through purchase and gifting. 

Also see Collections page 20 

Maintain and refurbish 

the building in keeping 

with its heritage value 

and its significance as a 

public venue (including the 

Whiteley Studio). 

(Objective 1) 

Exhibit and feature the 

permanent collection in 

as attractive a manner 

as possible and develop 

significant temporary 

exhibitions. 

(Objective 2) 

Ongoing building 

maintenance in 

accordance with the plan, 

including fire compliance. 

Resolve current storage 

issues with consolidation 

of off-site rental space. 

Present major Gallerycurated 

exhibitions, 

with success measured 

by critical and visitor 

response, catalogues and 

financial viability. 

Major building maintenance and upgrades completed this year include the 

replacement of the six escalators linking the ground level to lower level three. 

The early warning information system (emergency public address system) was 

also upgraded in 2008–09, as was the audiovisual equipment and systems in 

the entrance court. The security technology upgrade also commenced and will 

be completed in October 2009. The loading dock upgrade commenced and 

will be completed in time for the relocation of the collection to the new off-site 

storage facility. In addition, the routine annual building maintenance program 

was completed for 2008–09. 

The planning and design stages for the John Kaldor Family Collection Space 

were completed this year. The refurbishment work for this new display space 

is scheduled to commence in March 2010. 

Also see Building and environmental management page 58 

The three-year building project for the off-site storage facility completed its 

second year with construction well underway. Planning, design and council 

approval were completed in year 1 with building construction commencing in 

January 2009. The building’s construction and the specialist storage fit-out will 

be completed in year 3. To date, the project has been on time and on budget. 

Also see Building and environmental management page 58 

This year the Gallery’s exhibition program presented 41 shows – 11 continuing 

from 2007–08 and 30 new exhibitions commencing in 2008–09. At least 20 

shows featured works predominantly from our collections and a selection 

of major shows curated by the Gallery included The lost Buddhas: Chinese 

Buddhist sculpture from Qingzhou; Half lights: portraits from black Australia; 

Tim Johnson: painting ideas; The dreamers; and Intensely Dutch: image, 

abstraction and the word post-war and beyond. 

Also see Exhibitions and audiences page 32 


Year in brief Corporate plan and outcomes continued 


Encourage loyalty and 

longer-term commitment 

among our visitors; 

broaden the visitor base. 

(Objectives 2, 3 and 4) 

Continue to develop and 

improve children’s and 

family programs. 

Total visitor numbers for the GalleryKids program was 33 375, an increase 

of 13% on the previous year. This year’s new GalleryKids initiatives were 

introduced to engage visitors more closely with the Gallery’s permanent 

collection through two new children’s art trails and the new iPod audio tours 

for children aged 5–12 years. 

Also see Educational, community and regional activities page 44 

Work with the Art Gallery 

of NSW Foundation and 

the Art Gallery Society to 

grow the membership and 

donor base. 

The AGNSW Foundation led the fundraising campaign for the purchase of 

the Paul Cézanne painting Bords de le Marne, contributing $5 million and a 

committment to underwrite the purchase of the work, which was completed in 

two stages during 2008–09. 

The Art Gallery Society of NSW also made a significant contribution of 

over $1.1 million towards this major acquisition. The Society’s annual 

membership remained at over 30 000 in 2008–09; this high renewal rate clearly 

demonstrates the Society members’ commitment to the Gallery. 

Also see Support page 62 

Expand the Gallery profile 

by establishing a ‘centre 

of excellence’ in Asian art 

without detracting from 

the Gallery’s objective of 

covering all categories 

of art. 

(Objective 3) 

Further develop Asian 

exhibitions, lectures, 

acquisitions and other 

programs. 

The second half of our 2008 Arts of Asia course, Literature and legend 2, 

focused on Japan, covering literary masterpieces like The tale of Genji and 

Tales of Ise, and formats from narrative picture scrolls to ukiyo-e prints and 

anime. Over 100 people regularly attended each lecture. The 2009 series, 

Decoding dress, had the largest enrolment of any series to date with a 45% 

increase in subscriptions and an average of 178 people attending each 

lecture. The series was introduced by UTS Professor of Design History Peter 

McNeil, who linked developments in Asian and European dress and fashion. 

Term 1 concentrated on traditional dress with topics covering the breadth of 

Central, South, Southeast and East Asia. 

The Gallery’s Asian art educators hosted 120 teachers from around the state 

for the annual Japanese language teachers conference and also hosted a 

two-day conference for the Department of Education and Training and the 

Asia Education Foundation, which promoted the study of Asia in secondary 

schools. 


Lend and borrow works 

of art; and support 

regional galleries in their 

endeavours. 

(Objectives 2 and 4) 

Regional program to be 

continued. 

During 2008–09 the Gallery loaned 495 works from its collections to over 

70 venues across NSW, Australia and internationally. Specifically, 148 works 

from our collections travelled to 22 regional NSW venues. One significant 

loan included 51 works lent to the Bathurst Regional Art Gallery for the 

exhibition Themes and variations: Australian drawings from the collection of 

the Art Gallery of New South Wales. Six works were lent to the Blacktown Arts 

Centre for their Dream merchant exhibition and Hazelhurst Regional Gallery 

and Arts Centre borrowed 23 works for their Flora: still life moving fast show. 

The Gallery also contributed 15 key works to the Great collections exhibition 

organised by Museums & Galleries NSW. The show travelled from the 

Campbelltown Arts Centre to Tweed River Arts Gallery, Western Plains Cultural 

Centre and Albury Regional Gallery. 


10 



Conduct public programs; 

disseminate information 

on art; and contribute 

to the scholarship of 

the further enjoyment 

and appreciation of art, 

particularly by young 

people. 

(Objective 3) 

Enhance public and 

education programs for 

the community. 

This year the Gallery reset its education audience limit to 1000 students per 

day (down from 1500 per day in 2007–08). The education audience totalled 

91 805 primary, secondary and tertiary students. There were 154 956 visitors 

who participated in other public programs. 

A large number of Gallery staff conducted educational activities during 

the year, including lectures for the Art Gallery Society education courses 

Decoding the baroque and the Arts of Asia series; and also for the University 

of Newcastle; the University of Sydney; Port Macquarie Hastings Regional 

Art Gallery; Wollongong City Gallery; Blackheath Probus Club; Department of 

Education and Training; Gosford Regional Gallery; National Gallery of Victoria; 

College of Fine Arts, Sydney; Queens Club, Sydney; Asian Civilizations 

Museum, Singapore; the National Art School, Sydney; the Australian Society 

of Archivists; Forty Eight Hours of Visual Arts festival (FEHVA), Bangalow; 

Tamworth Visual Arts Student Symposium; the Art Gallery of South Australia; 

the University of Adelaide; Queensland Art Gallery; and the Japanese Studies 

Association of Australia. 

Also see Educational, community and regional activities page 44 and the Staff publications, 

presentations and related activities appendix pages 101 

Inspire and explore artistic 

attitude and aspiration. 

(Objective 4) 

Focus on quality of 

research, interpretation, 

publication, exhibition 

and events. (Produce at 

least two major collectionbased 

publications.) 

This year the Gallery published nine major titles which included several major 

exhibition catalogues. The titles Monet and the Impressionists and Intensely 

Dutch: image, abstraction and the word post-war and beyond both attracted 

strong international sales. Major collection titles included Highlights from the 

collection and Half light: portraits from black Australia. 

Also see Publications page 54 

A total of $185 800 in prizes, scholarship and awards was presented during 

2008–09, with 11 tenancies in two Paris studios also granted. 

Also see Art prizes, grants and scholarships appendix page 75 

Manage the Gallery 

operations effectively. 

(Objective 5) 

Ensure visitor access and 

enjoyment; ensure no 

disruptions to service. 

This year the Gallery was closed only on Good Friday, Christmas Day and one 

afternoon in July 2008 for a WYD08 event. 

During 2008–09, over 1.705 million people visited the Gallery, the Brett 

Whiteley Studio and our touring exhibitions, which was 26% higher than last 

year’s total. 

The extent of the building work undertaken this year has created some 

temporary disruption to Gallery services with a substantially reduced dock 

facility, limited car parking and restricted access to some public areas of the 

building. 

Meet customer needs by 

improving service levels. 

(Objectives 3 and 5) 

Art After Hours to be 

continued. 

Develop electronic 

educational programs. 

Over 67 400 visitors attended the Wednesday evening Art After Hours 

activities, an increase of over 5000 in audience numbers from 2007–08. 

During 2008–09 a new series of iPod audio tours of the Gallery’s collections 

was introduced, with the tour content also downloadable for free from our 

website. There are two versions: a director’s choice adults tour of 30 favourite 

works discussed by Edmund Capon and a kids tour of 30 works narrated by 

children for children aged 5–12 years. 

Additionally, educational and public program ‘vodcasts’ – videos of Art After 

Hours talks and interviews with artists – were available free on the Gallery’s 

website, providing greater access for the public to relevant information about 

artists, exhibitions and collections. 

Also see Electronic service delivery appendix page 82 


Year in brief Corporate plan and outcomes continued 


Implement state-of-the-art 

technology and corporate 

systems. 

(Objective 4) 

Manage staff resources 

effectively to ensure high 

employee morale, high 

skill levels and support for 

continued expansion. 

(Objective 5) 

Digitisation of collection. 

Social network sites. 

Computerised ticketing 

system. 

High morale and 

professionalism with 

minimal industrial issues 

and staff grievances. 

Staff training and 

development. 

During 2008–09, further progress was made in creating images of the Gallery’s 

collections with 17 158 works digitised (approximately 45% of the collections). 

Over 12 967 images are now available online with 100% of the collections also 

detailed in text form. 

This year the Gallery’s expanded presence on several social network sites 

proved popular. Access details for each site are: 

Facebook: www.facebook.com/ArtGalleryofNSW 

Flickr: www.flickr.com/photos/31243265@N02/ 

Twitter: twitter.com/ArtGalleryofNSW 

YouTube: www.youtube.com/user/ArtGalleryNSW 

A new computerised ticketing system was also introduced this year that will 

more effectively link into the increasing popularity of online ticket sales. This 

proved to be a large cultural and physical change for many of the Gallery’s 

regular visitors, and several suggested improvements were integrated into the 

system to address concerns. 

Staff morale continues to be high. At 5.50%, sick leave was only marginally 

higher than last year’s figure of 5.14%. 

2008–09 was the first full year of operation of the staff committees – the 

Management Committee met six times and the Curatorial Committee met four 

times. These meetings have led to an improvement in communication between 

the executive and staff across operational divisions. 

The Gallery’s regular Joint Consultative Committee meetings with the union 

continued. There were no major industrial disputes resulting in lost time during 

2008–09. 

Also see Corporate governance page 64 

This year regular weekly two-hour training sessions were introduced for 

Gallery service officers. Front-of-house staff and volunteers were provided 

access awareness training by Accessible Arts NSW. Also this year, the Gallery 

created a $10 000 per annum staff scholarship which will be implemented in 

2009–10. 

During the year a number of Gallery employees were invited to present papers 

at overseas symposium, workshops and conferences, building links with their 

international peers. Additionally, the Gallery hosted interstate and international 

colleagues at symposiums held at the Gallery during 2008–09. 

Effective use of 

government funding and 

improve government 

relations. 

(Objective 6) 

Manage operations 

within budget. 

The Gallery also offers internships to arts students from tertiary institutions. 

Training and mentorships were made available to regional gallery officers. 

Also see Staff publications, presentations and related activities appendix page 101 

The Gallery’s core business continued to be in deficit; however, the success 

of commercial activities including the exhibition program, venue hire, the 

Gallery shop and sponsorship offset the deficit, providing a net surplus 

overall. The Gallery is facing a deficit budget in core activity in future years 

mainly due to salary award increases which are only partially funded by 

government. Reliance on commercial funding in the current contracting 

financial environment may not be sustainable and could require a reduction in 

services. Ensuring a balanced budget will be a major focus for the executive in 

2009–10. 

Also see Financial commentary page 110 

12 



Increase funding from 

bequests, donations and 

sponsorships. 

(Objective 6) 

Manage membership and 

structures of all entities 

(Trust, Foundation, Art 

Gallery Society, Brett 

Whiteley Foundation, 

VisAsia and other 

fundraising programs). 

(Objective 6) 

Develop and grow 

commercial and 

benefaction income. 

Strengthen funding base 

for acquisitions. 

Maintain and increase 

membership of fundraising 

programs. 

Despite the economic downturn, the 2008–09 year has been successful in 

terms of sponsorship, raising over $2.3 million (cash and in-kind). This success 

can be traced to the strength of the 2008–09 exhibition program, as well as 

the Gallery’s ability to tailor sponsorship benefits to suit the more conservative 

marketplace. 

Bequest and special funding income for 2008–09 was $18.8 million – this was 

significantly above target due to the successful fundraising campaign for the 

Paul Cézanne acquisition. 

Also see Financial commentary page 110 

VisAsia and the Brett Whiteley Foundation both generated earnings and 

enhanced their capital base in 2008–09. Due to the AGNSW Foundation’s 

significant contribution towards the purchase of the Paul Cézanne acquisition, 

its capital base reduced in 2008–09. The Art Gallery Society’s year-end result 

repeated its $1 million surplus from 2008–09. 

Also see Support page 62 

UNRYÛAN Kitamura Tatsuo 

Suzuribako with design of dragonfly 2008, lacquerware, 18 x 10 x 3.5 cm. Purchased with funds donated by Joanna R Coghlan, 

Karma Abraham, Ros and Alex Hunyor, Sabrina Snow, Mary Jane Brodribb, Lesley Heath, and Andrew and Ann Proctor 2008. ©the artist. 


President’s foreword 

The Art Gallery of NSW is one of 

Australia’s great cultural institutions and 

I am proud to report that during the past 

year this was confirmed again with a 

world-class exhibition program, great 

attendance numbers and the acquisition 

of arguably the most important painting 

yet to enter the Gallery’s collection – 

Paul Cézanne’s Bords de la Marne. 

Two extraordinary milestones were also 

recorded during the year – 30 years of 

service by our director, Edmund Capon 

AM OBE; and the 25th anniversary of the 

establishment of the Art Gallery of NSW 

Foundation. 

Edmund’s enormous contribution to 

the Gallery and to the cultural life of 

Australia generally is well known and was 

acknowledged at a gala dinner where he 

was honoured by his many friends and 

supporters of the Gallery. 

His achievements, leadership and the 

qualities he has brought to his role are 

too numerous to catalogue here but 

perhaps one of the most lasting and 

important contributions has been the 

way in which he has made the Gallery 

more accessible and popular; another, 

is the way in which he developed and 

expanded the Asian collection; another, 

his famous ability to get on with people, 

and the infectious enthusiasm he has 

maintained for the institution he leads … 

the list is long and impressive. 

The anniversary of the Art Gallery of 

NSW Foundation served to remind us 

all of the value of long-term financial 

planning to the Gallery’s collection. The 

foundation was established to create a 

source of funds to purchase important 

works to continually improve the quality 

of the collection, and its role in leading 

the fundraising effort to acquire the 

Cézanne this year was a fitting and richly 

symbolic achievement. 

The quality of the exhibitions during 

the year, especially Monet and the 

Impressionists; The lost Buddhas; Korean 

dreams; and Taishō chic, as well as the 

success of other events held during 

the year including touring exhibitions, 

generated over 1.705 million visits. 

The Monet show recorded the fourth 

highest attendance for any exhibition in 

our modern history, with 225 745 visits, 

and the scholarly debate and evocative 

display of The lost Buddhas, as well as 

the energetic contemporary program, 

were highlights. 

The Gallery’s public and education 

programs, Art After Hours and visitor 

facilities such as the Gallery Shop 

and venue hire also performed well 

and generated valuable income for 


The Gallery continued to receive 

generous support from many people 

in the community including volunteers 

and those who make major financial 

contributions or bequeath important 

works or collections to the Gallery. 

The 2008–09 financial year has been a 

particularly important year in this respect. 

Acquisitions and philanthropy 

The outstanding success of the 

fundraising campaign to acquire 

Bords de la Marne c1888 was a great 

achievement. The purchase price of 

$16.2 million is the highest amount 

paid by the Gallery for a work of 

art. The fundraising effort led by the 

Art Gallery of NSW Foundation was 

remarkable, together with the many 

friends and supporters of the Gallery. The 

Foundation Board committed $5 million 

of its income, and $11.2 million was 

contributed in cash and/or in the form 

of pledges, which included $1 million 

from Margaret Olley AC. The balance 

of the contributions and pledges were 

from the Art Gallery Society, benefactors 

and members, Gallery staff and trustees 

past and present, volunteer guides and 

Task Force members and the Gallery’s 

operating surplus for 2008–09. 

The role of the foundation, and the 

Art Gallery Society of NSW, which 

contributed $1.1 million to the Cézanne 

fundraising effort, was critical, and I 

would like to especially acknowledge 

the role of the chair of the foundation, 

Rowena Danziger AM, for the leadership 

she displayed. I would also like to thank 

the president of the Art Gallery Society, 

Professor Michael Feneley, for his 

support and on a personal note would 

like to thank former trustee and current 

member of the foundation, Life Governor 

Jillian Broadbent AO, for assisting me 

with the important financial planning and 

foreign exchange issues surrounding this 

purchase. 

While the Cézanne painting was the 

fundraising focus for the Gallery this year, 

benefactors continued to be generous 

in gifting works. Major contributors this 

year included Geoff and Vicki Ainsworth, 

the Nelson Meers Foundation, Hal and 

Judith Sperling, John Yu AC and George 

Soutter AM. I would like to thank them 

for their continuing generosity. 

Sponsorship and corporate support 

Despite the difficult economic conditions 

of the past couple of years, the Gallery 

continued to be successful in attracting 

sponsorship, up from $1.5 million in 

2007–08 to $2.4 million in 2008–09. 

This achievement is due in part to the 

strength of the exhibition program, 

but also to the Gallery’s ability to tailor 

sponsorship benefits specifically to 

corporate needs. 

I would like to thank our principal 

sponsors: Delta Electricity, Ernst & 

Young, ING and ING Direct, J.P. Morgan, 

Macquarie Capital, Myer, Optimal Fund 

Management, Qantas and UBS. I am 

extremely grateful to all our partners 

for their loyalty and generous support 

of the Gallery and I would like to thank 

past president and Life Governor, David 

Gonski AC, chairman of the Sponsorship 

Sub-Committee, for his contribution 

during the year. 

The Gallery also receives substantial 

support from members of the President’s 

Council and VisAsia Council. The funds 

raised by these bodies sustain many of 

the Gallery’s programs, particularly the 

exhibition program. Council members 

also provide a vital source of business 

expertise and advice and I appreciate 

their support of the Gallery. 

Building and security 

In 2007–08 the NSW government 

agreed to provide $27.6 million for the 

construction of a purpose-built collection 

storage facility. This is a significant 

development for the long-term future 

of the Gallery and will involve three 

distinct stages of activity beyond the 

actual construction of the new facility. 

Firstly, the Gallery’s existing loading dock 

is being upgraded to a dual dock to 

manage transport between the two sites. 

Secondly, the collection of artworks 

for relocation is being photographed, 

conserved and packed in readiness for 

the move. Thirdly, the freed-up space will 

allow the establishment of a new gallery 

to accommodate the substantial gift of 

contemporary art from John Kaldor. This 

area of 1400 square metres will become 

the John Kaldor Family Collection Space 

and is scheduled to open in May 2011. 

With this and the generous donation 

from the Belgiorno-Nettis family last 

year and the associated naming of the 

contemporary galleries on level 2, the 

14 


Gallery’s display space for contemporary 

art will be doubled. 

This year the Gallery commenced a 

major upgrade of the security systems 

including the installation of new 

surveillance technologies and access 

controls, and reconfigured the security 

control room. 

The year ahead 

In the coming year, the plans made by 

the Gallery over the past few years to 

make better use of our space and take 

better care for our collection will come 

to fruition. The new storage facility and 

the John Kaldor Family Collection Space 

will represent a once-in-a-generation 

change to the way we operate, with the 

potential to show more of our collection, 

as well as new works never before seen 

by visitors to the Gallery. 

The building activity made necessary 

by these important long-term changes 

will involve some minor short-term 

disruption to our activities and the 

exhibition program for 2009–10 will be 

streamlined accordingly. 

Next year’s program will nonetheless 

continue the Gallery’s tradition of staging 

a rich and diverse exhibition program. 

It will include a major retrospective of 

Rupert Bunny that will tour Melbourne 

and Adelaide, a remarkable collection 

of large Indian paintings in Garden 

and cosmos: the royal paintings 

from Jodhpur, as well as the regular 

exhibitions of the Archibald, Wynne and 

Sulman Prizes, and the Dobell Prize for 

Drawing. 

Thanks 

I would like to take this opportunity to 

acknowledge the support of the NSW 

government, and in particular thank the 

Premier and Minister for the Arts, the 

Hon Nathan Rees MP. My thanks are 

also extended to Carol Mills, Director- 

General, Communities NSW, for her keen 

interest in and support of the Gallery. 

Our benefactors, donors and volunteers 

all deserve thanks and I would also like 

to commend the director Edmund Capon 

and all of the staff at the Gallery for their 

commitment and professionalism, which, 

together with our excellent collection, 

exhibition and public programs, create 

an exciting and vibrant environment at 


My fellow trustees again gave of 

their time and expertise generously, 

particularly the vice president Sandra 

McPhee, the chairman of the Finance 

and Audit Sub-Committee, Peter Young 

AM, chairman of the Risk Management 

Sub-Committee, David Baffsky AO 

and chairman of the Strategy and 

Development Sub-Committee, Guido 

Belgiorno-Nettis AM. I would also like to 

acknowledge the role of trustee Janice 

Reid AM, chair of the Acquisitions and 

Loans Sub-Committee, for her efforts 

during the year. 

In a year that has had such a strong 

building focus, I thank the Building 

Project Control Group, chaired by Guido 

Belgiorno-Nettis AM, which includes 

former trustee and Life Governor, John 

Morschel, for its contribution. 

I would also like to welcome new trustee 

Eleonora Triguboff, who commenced her 

first term in July 2008. 

I look forward to working with our 

trustees and the Gallery’s executive team 

during what promises to be another 

challenging and exciting year ahead. 

Steven Lowy 

President 

Art Gallery of NSW Trust 

16 September 2009 


Director’s statement 

I like words; particularly I like those 

words that, rather like a piece of 

Chinese calligraphy, resonate with 

both meaning and spirit. My word for 

this year is bumper; not one, I admit, 

that carries with it great intellectual 

potency but one, nonetheless, that 

alludes to good harvest and bonhomie. 

It is a word of feeling, is it not? It is a 

word that recalls the image of Hotei, 

that manifestation of Maitreya the 

future Buddha as a plump and genial 

deity with a sackful of goodies and a 

benevolent and beaming grin. 

A bumper year 

I may describe the 2008–09 year at 

the Gallery as a bumper year. After at 

least 25 years of intermittent aspiration 

we have finally acquired a great and 

classic painting by the artist so often 

described as the ‘father of modern art’, 

Paul Cézanne. Our exhibitions were, 

as ever, outstanding. They included 

the immensely and understandably 

popular Monet and the Impressionists; 

the annual festival that is the Archibald 

Prize exhibition, along with its 

colleagues the Wynne and the Sulman; 

the exquisite and at times titillating 

modernity of Japanese art of the first 

three decades of the 20th century in 

Taishō chic; the all-embracing challenge 

and intrigue of the Biennale of Sydney 

2008 and its waltzing title Revolutions 

– forms that turn; the powerful Half 

light on the subject of contemporary 

Aboriginal portrait photography; and 

The lost Buddhas, an exhibition of 

recently discovered (October 1996) 

Artist Margaret Olley gives Edmund Capon a $1 million donation towards the 

acquisition of the Paul Cézanne painting Bords de la Marne c1888. 

6th-century Chinese Buddhist 

sculptures of breathtaking beauty, 

serenity and surprising modernity. That 

sample demonstrates the breadth of 

our highly active exhibition and special 

display program, which this year 

totalled some 41 shows. I must add 

that an admission charge was imposed 

on just four of those exhibitions, 

which, on their own, attracted no less 

than 436 944 visitors. The admissions 

income they generated made a 

significant contribution to the Gallery’s 

financial position. Indeed, these events, 

and especially the big drawcards like 

Monet and the Impressionists and 

those that we are working on for the 

near future, have some surprising 

ramifications beyond the immediate 

interests of the Gallery. For example, a 

review of the Monet exhibition revealed 

that it brought many millions of dollars 

into the local economy through 

interstate and other visitors, as well as 

creating 29 jobs, albeit temporary ones. 

Such considerations I acknowledge are 

a little alien to us when developing our 

major exhibitions but on reflection let’s 

put such statistics to good use. 

For the last two decades or more, 

our commercial and revenueraising 

activities have funded the 

discretionary component of our art 

acquisitions program; arguably and 

legislatively one of our two most 

important responsibilities. In spite of 

an outstanding result this year, we are 

sadly unable to expend those funds 

on our acquisition program, as they 

must be preserved for operational 

expenses for the immediate future. 

This is particularly galling in the light of 

such a ‘bumper’ result but it is also one 

which I earnestly trust is temporary, for 

the development of the collections is 

not only a fundamental and foremost 

responsibility of the Gallery but also a 

vital part of the intellectual dynamic of 

an art museum such as this, in which 

the permanent collections are the raw 

material of our business. 

Cézanne acquisition 

Enough of numbers, figures and 

statistics: we must address the 

heart of things, which means, firstly, 

that extraordinary endeavour which 

resulted in the acquisition of our great 

Cézanne painting. Bords de la Marne 

is a grand picture, of mature Cézanne 

composure and yet with that element 

of tension that inevitably comes with 

his manipulation and restructuring 

of the subject. It is classic Cézanne: 

the horizontal strata of sky, buildings, 

embankment and water with all his 

distinctive and characteristic motifs and 

touches. His paintings are a harmony 

of the objective – a reality – and the 

subjective – the felt or perceived. This 

is perhaps more succinctly stated in 

Cézanne’s own use of two words in 

particular, réalisation and modulation. 

Cézanne sought to retain that sense of 

reality but always with the imposition 

of an intellectual order. Thus it is 

that the qualities of composition, 

order, structure, without prejudice to 

the experience of sensation, are the 

hallmark of Cézanne’s indelible and 

enduring art. All such characteristics 

are brilliantly displayed in the Gallery’s 

acquisition. To embark on such an 

ambitious acquisition with a $16.2 

million price tag, not at all excessive 

for such a painting, just as the financial 

world was going into freefall, might be 

considered the height of folly. However, 

the funds were raised within 12 months 

through the immense generosity and 

belief of our community of supporters, 

benefactors and indeed visitors, all 

no doubt inspired by the indefatigable 

Margaret Olley, who gave us and 

everybody a characteristic and joyful 

jolt with a $1 million contribution at the 

outset of the campaign. I have to sign 

the cheques for the Margaret Hannah 

Olley Art Trust, and as she was writing 

this particular transaction she seemed 

momentarily uncertain as to the exact 

number of noughts in a million and 

16 


Paul Cézanne 

Bords de la Marne c1888, oil on canvas, 65 x 81.3 cm. Purchased 2008 with funds provided by the Art Gallery of New South Wales 

Foundation, the Art Gallery Society of New South Wales, and donors to the Masterpiece Fund in joint celebration of the Foundation’s 

25th anniversary and Edmund Capon AM OBE’s 30th anniversary as director of the Gallery. 

managed to place seven rather than 

the sufficient six after that definitive 1. 

Fortunately, that extra nought was 

noticed by somebody before we tried 

to elicit an unlikely $10 million from the 

bank; but what a magnificent gesture 

and what an inspiration to us all. 

Over 30 individuals each contributed 

$100 000 or more. The Art Gallery of 

NSW Foundation was, understandably, 

the largest single contributor and I must 

express my deep appreciation, not only 

to all those who made this acquisition 

possible, but especially to the chair of 

the foundation, Rowena Danziger, and 

to Jane Wynter for their relentless and 

successful garnering of the funds to 

purchase a painting that will forever and 

inspiringly grace the wall of our Gallery. 

Art books published in 2008–09 

One aspect of our work of which I am 

particularly proud is the quality and 

consistency of our publications. During 

the course of the year we published no 

less than seven exhibition catalogues 

which, in terms of their substance and 

content, might qualify as books. These 

include Genji: the world of the Shining 

Prince and Double take: Anne Landa 

Award for video and media arts, and 

more substantial publications such 

as The lost Buddhas, Half light, Tim 

Johnson, Monet and the Impressionists 

and Intensely Dutch. In addition, 

we are continuing the collection 

publications, with two new books, 

invaluable tools for referencing and 

accessing the collections. In the past 

few years, comprehensive books have 

been published on the Australian, the 

Aboriginal and Torres Strait Islander, 

Asian, Photography, Contemporary 

and Brett Whiteley Studio collections. 

This year a more personal view was 

published in the form of the director’s 

Highlights from the collection, in which 

my highly edited selection of 88 works 

from across all the collections are 

described. We are currently working on 

another important contribution to this 

series of books: on the pre-modern 

Western collections. These are not mere 

picture books, but more substantive 

works of research, scholarship and 

access. Of course, nowadays, ‘access’ 

is a much-favoured word in political and 

bureaucratic circles but I do not think 


that our collections, programs, activities 

and exhibitions have ever been so 

readily available and accessible. Here, 

the internet is the most powerful and 

probably most effective vehicle, but I 

would never overlook the more 

temperate and studious realm of the 

book. The value of all these resources 

is entirely dependent upon the integrity 

and authenticity of the information 

provided. We must acknowledge the 

fundamental importance of the quiet 

side of the Gallery’s remit; the research 

and enquiry of our collections. Just as 

those collections are the raw material of 

our profession, so their research and 

application are the soul of our profession. 

Future planning 

There are other matters that must 

be addressed at this time; above 

all, my mind is concerned for the 

mid- and long-term prospects for 

the Gallery. With the current work 

on the construction of the off-site 

collection store well underway and on 

both budget and schedule, and the 

conversion plans for the collection 

store in the Gallery into contemporary 

galleries for the Kaldor collection 

also well advanced, we can see with 

clarity and optimism the immediate 

future. But what, I ask, will be our 

situation in, say, 15 or 20 years. Like 

most art museums and especially 

those engaged with contemporary art, 

creativity and collection development, 

growth is irresistible. That being so, 

we are only too aware that within two 

decades we shall once again be not 

merely constrained but in all likelihood 

strangled through limitations of space. 

Our minds and imaginations are now 

engaged with the longer-term future of 

the Gallery, and as ever the horizons 

are as challenging as they are exciting. 

Retirement of key employees 

It has often been remarked that the 

Gallery has retained an extraordinarily 

loyal staff. This is true; and no one 

has been more so than Alan Lloyd, 

who retired as head conservator after 

an amazing 45 years of service to 

the Gallery. With him goes not only a 

remarkable store of experience and 

memory of the evolution of the Gallery 

from the early 1960s, when it was such 

a very different place, but an equally 

remarkable store of knowledge and 

expertise on the diverse practices of 

art conservation. Alan was primarily 

an expert in the restoration and care 

of oil paintings but his knowledge was 

both wide-ranging and profound. He 

does indeed deserve his retirement and 

whilst he had been contemplating it for 

a year or two, he quietly declared to me 

one day that he was not going to go 

until the exhibition of The lost Buddhas; 

he wanted to have that as his last 

working exhibition experience and that 

I can fully appreciate. Another hugely 

valued member of staff who retired this 

year was Susan Schmocker, who had 

presided over the library for 28 years. 

Well, we know librarians are pretty 

much immortal but that is an equally 

impressive period of service. As one 

of our library’s more persistent users, 

I am only too well aware how Susan 

effectively administered this invaluable 

resource and, furthermore, embraced 

my wish that it be open to not just staff, 

guides and others directly associated 

with the Gallery but also to the general 

public. Finally, Rosemary Senn retired 

from her position as assistant director, 

finance and resources. Although 

Rosemary had been with us just a mere 

decade, her contribution was anything 

but slight. Under her administration we 

attained new heights of efficient and 

economic management, and I believe I 

speak for all the staff, the trustees and 

the government agencies with whom 

we deal, in saying that Rosemary was 

as much admired as an individual as 

she was for her achievements here. We 

are delighted to welcome John Wicks, 

well experienced in the arcane corridors 

of arts management and administration, 

who has joined the Gallery on 

Rosemary’s departure. 

Thanks 

In July 2008 we welcomed Eleonora 

Triguboff to the Board of Trustees and 

the appointments of Steven Lowy, 

David Baffsky AO and Lindy Lee were 

thankfully renewed. The resolution and 

willingness of the trustees, who devote 

so much time and energy to the life 

of the Gallery, may escape attention 

and it is timely for me to acknowledge 

their contribution. They have enjoyable, 

if controversial, moments judging 

the Archibald and Wynne Prizes and 

deliberating on major acquisitions, 

for example, but for the most part 

their concerns are directed towards 

more pragmatic affairs, such as 

finance (inevitably), risk management, 

buildings, strategies for the future and 

development, fundraising and fostering 

of our supporters and benefactors. 

I and the staff appreciate greatly the 

services of our president Steven Lowy, 

the vice president Sandra McPhee 

and all the members of the Board of 

Trustees. I mention the trust’s role in 

progressing and nurturing benefaction 

in its many guises and this is my annual 

opportunity to say thank you to all our 

private benefactors, to the members 

of our numerous support groups from 

the Art Gallery of NSW Foundation to 

the Art Gallery Society, our sponsors, 

our volunteer guides and Task Force 

and the many individuals and bodies 

who help to ensure the life and times of 

the Gallery. To all the staff, as always, 

my thanks, for it is they who create the 

atmosphere of the Gallery, which our 

visitors clearly love and appreciate; 

my thanks especially to the deputydirector 

Anne Flanagan, and assistant 

directors Tony Bond and John Wicks, 

and head curators Barry Pearce and 

Jackie Menzies. To our Minister, the 

Hon Nathan Rees, and to Carol Mills, 

Director-General, Communities NSW, 

and her staff, we extend our thanks. 

The forthcoming 2009–10 year might 

appear to be a quieter one in some 

respects as we focus on completing 

building works and relocating much of 

the collection to the new off-site store, 

but that is but a temporary hiatus as 

we gather pace for events later in the 

calendar year and for 2011, when we 

launch our new contemporary galleries 

and the Kaldor collection. 

Edmund Capon 

Director 

27 July 2009 

Tim Johnson 

Lotus born 2006 (panel 7 detail), synthetic polymer 

point on canvas, 9 panels, each 198 x 91.5 cm. 

Purchased by the Contemporary Collection 

Benefactors 2006. ©the artist, courtesy Dominik 

Mersch Gallery. Exhibited in Tim Johnson: painting 

ideas (3 March – 17 May 2009). 

18 



Collections 

20 


During 2008–09 the Gallery 

acquired, through purchases and 

gifts, 504 works of art for our 

permanent collections, which were 

valued at $18.6 million. The Gallery 

also loaned 495 works of art from 

our collections to over 70 venues 

including NSW regional galleries, 

other NSW institutions, interstate 

galleries and overseas institutions. 

A full listing of collection activity 

(purchases, gifts, loans) is available 

in the appendix of this report. 

A major project consuming the Gallery’s 

collection registrars, conservators, 

photographers and curators has been 

the packing up of the collection works 

for transfer to our new off-site fine arts 

collection storage facility currently under 

construction. The packing started in 

March 2008 and the move, which will 

take several months to complete, is 

scheduled to get underway in November 

2009. This project will see every work 

photographed, conservation assessed, 

recorded in detail in our computerised 

collection management system, and 

packed into unique made-to-measure 

travelling frames or object boxes. This 

large and complex project is funded as 

part of the NSW government’s grant for 

the new collection store. 

This section highlights some of the 

major works added to our collection 

in 2008–09. These acquisitions either 

enabled a strengthening of artists already 

represented in the collection or filled 

gaps in the Gallery’s holdings through 

our targeted acquisition policy. 

Paul Cézanne 

The outstanding acquisition for the 

Gallery this year was Cézanne’s Bords 

de la Marne c1888, acquired following 

an ambitious fundraising campaign to 

mark Edmund Capon’s 30th anniversary 

as director. A significant painting by the 

so-called ‘father of modernism’ has long 

been a high priority for the collection 

because of the seminal importance of his 

work for both European and Australian 

20th-century painting. The work is an 

important and characteristic example 

of Cézanne’s landscapes painted in the 

environs of Paris in the late 1880s. 

Jan Senbergs 

Detail for ‘Artificial garden’ 1968, colour screenprint 

on offset lithographic paper, 68.4 x 55.6 cm. Gift of 

the artist 2008. ©the artist. 

For more information on the Cézanne 

acquisition see the director’s statement 

of this report. 

Australian paintings 

Aida Tomescu 

One of the major acquisitions for the 

Gallery was Aida Tomescu’s Aqua alta, 

which was purchased with funds from 

the Patrick White Bequest. Tomescu is 

one of Australia’s most powerful midgeneration 

painters, and it is prescient 

to represent her trajectory from the 

cooler, earthy graffiti-scored works 

of the previous decade to the molten 

poetic passion of her recent period. 

Aqua alta heralds from her Campi Flegrei 

paintings begun in 2007, and references 

the unstable volcanic regions between 

Naples and Cuma of southern Italy, with 

its fiery, chromatic explosion of blistering 

red and yellow. 

Margaret Preston 

Following our retrospective on Preston 

in 2005, the publication of a major 

monograph on the artist and with it, 

the published catalogue raisonné of 

Preston’s paintings, this Gallery is 

Australia’s centre of Preston expertise 

and viewer experience. Flowers – a 

painting which has remained entirely 

unknown since Preston painted and 

sold it in 1922 – can be viewed as a 

transitional work, straddling the aesthetic 

concerns of the artist in England over 

the period 1912–17 and the greater 

interest in light, the flattened picture 

plane and Australian flora manifested by 

Preston once she settled in Sydney and 

developed her increasingly nationalist 

and modernist position. An exceptional 

painting in terms of its impeccable 

design and understated yet sophisticated 

colour combinations, this work rewards 

considered viewing and will clearly 

come to be seen as the major work in 

the Gallery’s Preston holdings of these 

years. It was a most welcome gift from 

the late Miss Patricia McKee, in memory 

of Robert ‘Bruce’ Ferguson OAM (1916– 

2008) in recognition of his many years of 

service to the community of Camden. 

Rick Amor 

The first work in over a decade to 

enter the collection by this established, 

Melbourne-based artist, Journey 2007 is 

the final scaled-up version of the image 

of a certain rock that protrudes from 

the water at Back Beach in Sorrento, 

Victoria, which Amor first sketched in 

Paul Solly, registration assistant, packing collection 

objects for future relocation to the Gallery’s new 

Collection store. 

charcoal in 1996. Small, painted versions 

followed the charcoal study under the 

title Sailing to the west, leading ultimately 

to the recent canvas. The rock formation 

in this work makes reference to one of 

the most popular symbolist images of 

the late 19th century: The isle of the 

dead by Böcklin, who Amor regards 

with great admiration. Ships and vast 

rocks hover with Goya-esque menace 

against sombre skies and low sightlines 

in many of Amor’s compositions, 

whose progressively darkening palette 

challenges the tenacity of spirit often 

represented by a single figure on the 

beach, or a white sliver of sail piercing 

the shadows above a strip of water. 

Anthony Dattilo-Rubbo 

Adding appreciably to the Gallery’s 

collection of work by this Italian-born 

artist, Poverty makes strange bedfellows, 

painted in 1905, was one of Dattilo- 

Rubbo’s most admired and critically 

acclaimed paintings of the period. 

Originally in the collection of Bulletin 

managing director William Macleod, the 

work reflects the painter’s admiration 

of Rembrandt, with his adoption of 

striking effects of light and shade, 

and a penchant for depicting the lined 

and rugged faces of the elderly and 

destitute. Such empathy with the aged 

may also be observed in a number of 

beautifully drawn charcoal sketches and 

watercolours in the collection and in the 

painting A veteran 1857–58, purchased 

in 1899. The acquisition of this painting 

is a fitting addition to these works and a 

tribute to an important figure in this city’s 

artistic heritage. 

John R Walker 

A familiar finalist hung in the Archibald, 

Wynne and Sulman Prizes exhibitions 

over several years, John R Walker came 

to prominence through his inclusion 

in Australian perspecta at our Gallery 


in 1983. In 2002, Walker left Sydney 

to live in the town of Braidwood in 

the southern tablelands. Since then, 

assiduously enthused by the tradition 

of Fred Williams and John Olsen, he 

has concentrated almost purely on 

landscape, with occasional forays into 

the nude. A road, a gate, and a forest 

2008, its shapes gently dispersed 

across the picture plane with the 

decorative sensibility of Vuillard, is a 

brilliant coalescence of subtle lyricism 

and evocation of place. This is the first 

painting by the artist acquired by the 

Gallery since 1983. 

Aida Tomescu 

Aqua alta 2008, oil on canvas, 182.6 x 152.4 © the artist. Licensed by 

Viscopy, Australia. Purchased by the Patrick White Bequest Fund 2008. 

Margaret Preston 

Flowers 1922, oil on cardboard, 43.4 x 43.4 cm. Gift of Miss PM McKee 2008 in 

memory of Robert ‘Bruce’ Ferguson OAM (1916–2008) in recognition of his many 

years of service to the community of Camden and the state of New South Wales. 

A man widely held in high esteem. ©Estate Margaret Rose Preston. Licensed by 

Viscopy, Australia. 

Sam Atyeo 

A further welcome addition to the 

collection was the gift from Madame 

Anne Atyeo, widow of artist Sam 

Atyeo, of a group of two paintings 

and four works on paper by her late 

husband. Atyeo, who died in 1990, is 

regarded as the first Melbourne-based 

artist to produce abstract paintings 

and he became one of the first artists 

encouraged by John and Sunday Reed, 

who later supported Nolan, Tucker and 

Joy Hester. Indeed, his work, seen by 

Nolan at Heide, had a marked influence 

on the younger man. These are the first 

works by the artist to enter the Australian 

art collection. 

Aboriginal and Torres 

Strait Islander Art 

Papunya Tula Artists 

This year our strong collection of works 

from Papunya Tula Artists was further 

enhanced through the significant 

purchase of 11 drawings completed 

during August and September 1971. 

Collected by Geoffrey Bardon, these 

rare drawings evidence the strong 

iconography and simplicity of design that 

are the hallmarks of the earliest days of 

the movement and were a focus of the 

Gallery’s landmark exhibition in 2000, 

Papunya Tula: genesis and genius. In 

addition, the Gallery gratefully accepted 

the gift of a Martin Tjampitjinpa painting 

from Papunya Tula Artists, drawn from 

his memorial exhibition. Tjampitjinpa 

was one of the most unique of the 

recent male artists working for Papunya 

Tula Artists, and his career was cut all 

too short with his untimely passing. 

Eschewing the stylistic tendencies of his 

peers to create works of ever increasing 

optical complexity, Tjampitjinpa’s works 

are refreshing in their simplicity. 

22 


Nyapanyapa Yunupingu 

Nyapanyapa Yunupingu’s paintings are 

truly unique, both in their subject matter 

and in their execution. Rather than depict 

the ancestral stories inherited from her 

family, Yunupingu focuses on actual 

events from her own life and renders 

these in animated detail in her works. 

The Gallery has purchased three bark 

paintings from Yunupingu’s first solo 

exhibition with funds provided by the 

Annette Margaret Dupree Bequest. These 

paintings are in stark contrast to the 

highly geometric works being produced 

by most artists working through Yirrkala 

today and also to the tightly composed 

paintings produced by artists in the 

past such as Yunupingu’s father, 

Munggurrawuy Yunupingu, whose works 

are among the most significant in the 

Gallery’s early collection. 

Martin Tjampitjinpa 

Untitled 2007, synthetic polymer paint on canvas, 153 x 122 cm. Gift of 

Papunya Tula Artists 2008. ©the artist, courtesy Aboriginal Artists Agency. 

Anthony Dattilo-Rubbo 

Poverty makes strange bedfellows 1905, oil on canvas on hardboard, 76 x 137 cm. 

Purchased by the Edward Stinson Bequest Fund 2009. ©Estate Anthony Dattilo-Rubbo. 

‘Great audio tour, especially of the “Old 

Courts” section of European Art. We’ve 

travelled to many art museums around the 

world and found your audio descriptions one 

of the best. Thanks.’ Gallery visitor 

Larrakitj 

The Gallery has acquired an outstanding 

collection of nine larrakitj by female 

artists working in northeast Arnhem 

Land. Larrakitj are sculptures that 

originate as trees in stringybark forests. 

Hollowed out by termites, the trees 

selected for larrakitj are usually harvested 

after the dry season fires. These works 

complement the Gallery’s classic 

collection of early bark paintings from 

this region from the late 1950s and early 

1960s. This collection of larrakitj includes 

pieces by Mulkun Wirrpanda and 

Malaluba Gumana, acquired with funds 

provided by the Aboriginal Collection 

Benefactors Group, along with works by 

Djirrirra Wununmarra, purchased with 

funds from the Don Mitchell Bequest. 

These works highlight the exciting 

developments in the work of female 

artists from Buku-Larrnggay Mulka Art 

Centre in Yirrkala. 

Jakayu Biljabu 

Jakayu Biljabu works through the 

recently established art centre 

of Martumili in the previously 

underrepresented east Pilbara region 

of Western Australia. Biljabu first 

exhibited in 2006, and like many artists 

who come to art-making later in life, 

has an extraordinary energy, producing 

works of great vibrancy. Minyi Puru 

2008 is a celebration of colour on a 

grand scale and was purchased with 

funds from the D G Wilson Bequest. 

With its loose iconography and amazing 

array of colours, this work reveals 

Biljabu’s assured hand and intimate 

knowledge of the country depicted, 


Nishikawa School 

Beauty with a cat (parody of the Third Princess) 

1750s, hanging scroll; ink, colour and mica 

paper, 80 x 26 cm. Purchased by the D G 

Wilson Bequest Fund 2009. 

much like the works of Emily Kam 

Ngwarray in the early 1990s. 

Mervyn Bishop 

Mervyn Bishop is perhaps the most 

distinguished Aboriginal photographer 

working today and is known for his 

exceptional and historic images of 

Indigenous Australia. The Gallery has 

purchased a selection of photographs by 

Mervyn Bishop, taken between 1966 and 

1988, under the terms of the Florence 

Turner Blake Bequest. These works 

showcase Bishop’s skill in documenting 

aspects of everyday life for Indigenous 

people with a tenderness and respect 

that allows the viewer to connect with 

the subject and share in the emotions 

of their world. The humanity imbued in 

Bishop’s works is key to their success 

and was clearly evident in the Gallery’s 

2008–09 exhibition Half light: portraits 

from black Australia, which included all of 

the works acquired. 

Peter Yanada McKenzie 

Funds from the Aboriginal Collection 

Benefactors Group were used to 

purchase the series It’s a man’s game by 

Peter Yanada McKenzie, which was also 

included in Half light: portraits from black 

Australia. Set against the unmistakable 

backdrop of Redfern, these images 

record the La Perouse Panthers’ 1991 

season. They capture the energy and 

passion of football and are a testament 

to the spirit and vitality of contemporary 

urban Aboriginal life. 

Julie Gough 

With funds from the Patricia Lucille 

Bernard Bequest, the Gallery has 

purchased two works by Julie Gough 

from 2008: Bind and Dark valley, Van 

Diemen’s Land. Gough is an artist 

of national and indeed international 

importance who deals with the divergent 

histories of Tasmania and her place 

within these histories. Both works are 

drawn from Gough’s exhibition Aftermath 

and reflect on the legacies of the crosscultural 

colonial stories she has inherited, 

particularly from her maternal family. 

Ninuku Arts 

Ninuku Arts is a community-owned art 

centre established in 2006 to service 

the remote Indigenous communities of 

Pipalyatjara and Kalka in far northwest 

South Australia. In October 2008, a print 

workshop was held in Kalka and for the 

majority of the artists this was their first 

opportunity to work in the print medium. 

The Gallery acquired an outstanding 

group of etchings from this workshop 

through the Mollie Gowing Acquisition 

Fund for Contemporary Aboriginal Art. 

These prints by Harry Tjutjana, Milyika 

Paddy, Nyayati Stanley Young and 

Puntjina Monica Watson clearly show the 

skill of the artists in adapting to the print 

medium and are an excellent addition to 

the Gallery’s fine collection of Indigenous 

prints. 

Niningka Lewis 

Niningka Lewis is one of the most 

innovative fibre artists working with the 

Tjanpi weavers today. She produces 

a range of forms from classic baskets 

to sculptural objects of a variety of 

subjects, such as the small Toyota, 

Tjanpi Truckpa 2007, purchased for 

the collection through the Aboriginal 

Collection Benefactors Group. Made 

on the scale of a child’s toy, this 

miniature Toyota, lovingly crafted with 

all of the essential details, highlights 

the iconic status that cars have in the 

desert regions of Australia. As tools to 

connect people with country and with 

distant family, Toyotas are in many 

ways the lifeblood of remote Indigenous 

communities. 

Paperbark sculptures 

Margaret Tuckson has had a long 

association with the Gallery and 

generously gifted two exceptional 

paperbark sculptures from her personal 

collection, which were originally acquired 

by Tony Tuckson in the 1960s. It is 

likely that both works were collected 

at Milingimbi in the late 1950s or early 

1960s and are a fine addition to the 

Gallery’s collection of paperbark objects 

from this period. 

Australian artists’ gifts 

The Gallery was fortunate to receive 

Tony Albert’s photographic work Hey ya! 

(Shake it like a Polaroid picture) 2007 

and Genevieve Grieve’s video and sound 

installation Picturing the old people 2005. 

Both of these works were included in 

Half light: portraits from black Australia 

and were gifted by each of the artists at 

the conclusion of the exhibition. In the 

work Hey ya! (Shake it like a Polaroid 

picture), Albert captures the energy of 

the younger generation and exposes the 

role they are playing in re-invigorating the 

culture of the rainforest region. Picturing 

the old people by Grieves explores the 

relationship between photographers and 

the Indigenous people captured within 

24 


their images, the process of constructing 

Aboriginality and the various motives 

of the photographers ranging from the 

pursuit of anthropological information to 

the quest to record a ‘dying race’. 

Asian art 


One of the Gallery’s most important 

Asian art acquisitions this year is 

Suzuribako with design of dragonfly 

2008 by the contemporary Japanese 

lacquer artist Kitamura Tatsuo, who 

works under the art name Unryûan. It 

was purchased through funds generously 

provided by Joanna R Coghlan, Karma 

Abraham, Ros and Alex Hunyor, Sabrina 

Snow, Mary Jane Brodribb, Lesley 

Heath, and Andrew and Ann Proctor. 

Unryûan, who is acknowledged as 

one of the most important lacquerware 

artists living in Japan today, created 

this masterpiece which is decorated 

overall in traditional ichimatsu (repeating 

squares) design, with six dragonflies 

in flight, each dragonfly uniquely 

executed using a different lacquer 

technique. This extraordinary piece 

is an exemplary object, typifying the 

intricate craftsmanship of this talented 

contemporary artist who has proven that 

a quality that equals or surpasses that of 

past masterpieces can still be attained. 

The tale of Genji 

The Gallery’s Japanese collection has 

been enriched by a number of works, 

particularly in light of our successful 

Genji: the world of the Shining Prince 

exhibition held in 2008–09 marking the 

1000th anniversary of the book The 

tale of Genji. Through the D G Wilson 

Bequest Fund, the Gallery was able to 

acquire the Nishikawa School painting 

Beauty with a cat (parody of the Third 

Princess) 1750s. While fashion and 

hairstyle clearly identify the young lady 

as an Edo period beauty, an educated 

audience would recognise an allusion 

to the Third Princess, one of the female 

protagonists in The tale of Genji. Through 

the Asian Collection Benefactors 

Fund, two album leaves were acquired 

from the Episode from ‘The pink’ with 

accompanying calligraphy, Chapter 26 

from ‘The tale of Genji’ 1650–1700 by 

Sumiyoshi GUKEI (1631–1705). The 

classical iconography for this chapter 

shows the banquet scene in Genji’s 

fishing pavilion in the southeast quarter 

of his Rokujō mansion. Accompanying 

this picture is an album leaf of the same 

Niningka Lewis 

Tjanpi Truckpa 2007, weaving; wire, raffia, 19 x 20 x 45 cm. Purchased with funds 

provided by the Aboriginal Collections Benefactors Group 2008. ©the artist. 


Lotus leaf 2006, lacquerware, 18 x 62.7 cm. Gift of Lesley Kehoe Galleries 2009. ©the artist. 


Mark Dion 

The return (a cosmological cabinet for New South Wales) 2008, installation, Jarrah bookcase, unopened posted packages, 

221 x 274.3 x 38.1 cm. Purchased by the Mervyn Horton Bequest Fund 2008. ©the artist, courtesy Tanya Bonakdar Gallery. 

Sumiyoshi GUKEI 

Episode from ‘Thoroughwort flowers’ with accompanying calligraphy, Chapter 30 of ‘The tale of Genji’ 1650– 

1700, painting, 2 album leaves mounted in frame, illustration: ink, colour and gold on silk; calligraphy: ink on 

decorated paper, 21.2 x 18.2 cm. Purchased with funds provided by Joanna R Coghlan 2008. 

26 


size which bears the chapter title and 

a prose excerpt, written in an elegant 

cursive script. These works are some 

of the examples of how the Gallery is 

building up its number of Genji-related 

artworks to develop the largest collection 

of this material in Australia. 

Edward and Goldie Sternberg funds 

The Edward and Goldie Sternberg 

Chinese Art Purchase Fund supported 

the acquisition of a rare Chinese Dharani 

sutra quilt c1875. This large quilt was 

used to cover coffins during funeral 

ceremonies, and its rarity is due to the 

fact that sutra quilts were used mainly for 

the coffins of Qing emperors, empress 

dowagers, empresses and concubines 

of the upper rank. This piece has woven 

text of both Chinese and Sanskrit 

characters inscribed with excerpts from a 

Dharani sutra; woven in gold into the red 

brocade, the ideographs form the main 

design of a Buddhist stupa. Through the 

ongoing generosity of the Edward and 

Goldie Sternberg Southeast Asian Art 

Fund the Gallery was able to purchase 

seven Vietnamese painted propaganda 

posters produced during the Vietnam 

War from 1964–1975. 

Sati marker 

Through the Margaret Hannah Olley 

Fund, the Gallery was able to acquire an 

Indian marble sati marker from the 17th– 

18th century. The marker was erected 

in memory of a widow who followed her 

husband to death – the practice known 

as sati (widow burning). Based on the 

figures and their clothing, it would seem 

this marker was in memory of the wife of 

one of Rajasthan’s various princely rulers. 

Gifts of Asian art 

The Gallery was fortunate to receive 

a number of significant gifts this year. 

Again, due to the successful Genji: the 

world of the Shining Prince exhibition, 

a number of donors felt it worthwhile 

to give works relating to the novel. 

Generously, Joanna R Coghlan donated 

Episode from ‘Thoroughwort flowers’ 

with accompanying calligraphy, Chapter 

30 of ‘The tale of Genji’ by Sumiyoshi 

GUKEI (1631–1705), which complements 

the piece that we were able to purchase 

through the Asian Collection Benefactors 

Fund. In this chapter, Genji has arranged 

for Tamakazura to be appointed as 

‘wardess of the ladies’ apartments’ 

(naishi no kami) at the imperial court. 

Lesley Kehoe donated a number of 

Japanese lacquer pieces and also a 

pair of striking six-fold screens (that 

were originally loaned to the Genji 

exhibition) by the Tosa School – Six 

scenes from ‘The tale of Genji’ 1700–50. 

The screen represents certain episodes 

from chapters in ‘The tale of Genji’ 

in a number of vignettes divided by 

beautifully orchestrated gold-leaf clouds. 

Lesley Kehoe Galleries very generously 

donated a piece by UNRYÛAN, a 

lacquer Lotus leaf 2006, adding to the 

other piece acquired. Inspired by the 

gilt bronze lotus leaves adorning the 

sculpture of the Great Buddha in Nara, 

Unryûan applied masterfully the dry 

lacquer technique (kanshitsu) to create 

this impressive lotus leaf whose plasticity 

is rendered in an extremely realistic 

manner. 

James Hayes, who has been a great 

supporter of the Gallery and of the 

Japanese and Chinese collections, 

has this year donated works for both 

collections. Once again he has donated 

a number of Chinese calligraphic 

couplets, fans and calligraphy. The 

Chinese couplets are adding to the 

great number we have in the collection, 

ensuring the Gallery has the largest 

collection in Australia of Chinese 

couplets by scholar officials. Hayes 

also donated more Japanese prints, 

which make a further contribution to the 

Gallery’s Japanese print collection of 

the Edo period. Through the generosity 

of Jason Yeap, a work by an emerging 

contemporary Vietnamese-Chinese 

Australian artist, Kim Hoa TRAM, 

Returning to original nature 2004, was 

donated. The ink-on-paper abstract 

painting of two leaves falling evokes 

a sense of reflection and calmness. 

Peter Muller, apart from donating two 

Japanese Buddhist paintings, Seated 

Dainichi Nyorai of the matrix realm 

18th–19th century and Yakushi Nyorai 

triad 17th–18th century, also donated 

a Chinese storage jar of the Neolithic 

period – the Machang phase of Gansu 

and Qinghai (2310–2050 BCE). 

The Gallery’s Tibetan collection has 

been greatly enriched by a large number 

of gifts from Hal and Judith Sperling, 

devoted collectors of Tibetan art. 

Their gifts include a number of Tibetan 

ceremonial objects, including 18th–19th 

century bone apron, which is particularly 

significant, as it is rare to find aprons in 

as complete a state as this one. Tantric 

practitioners use bone aprons in ritual 

dance and advanced initiations, while 

China 

Dharani Sutra quilt c1875, textile, red silk brocade 

with silk thread. Edward and Goldie Sternberg Art 

Purchase Fund 2009. 

Buddhas who feature in the highest yoga 

tantras, such as Vajrayogini, Hevajra and 

Chakrasamvara, typically wear a set of 

six bone ornaments, including an apron. 

Peter Court gave a further piece in 

memory of his late wife Dee – a Dayak 

Ba’ (baby carrier) from Borneo. The 

20th century carrier is made of fibre, 

plaited and woven like a basket, and has 

a wooden base to hold the child. The 

cowrie shells decorating it symbolise 

fertility; tiger claws, teeth, boar tusk, 

bells and other charms on the carrier 

protect the baby from harmful spirits; 

and blue beads bring about happiness 

and wellbeing. 

The Gallery also received further works 

from the Bequest of Kenneth Myer, 

which included various Japanese prints 

and some lacquerware, all of which 

have further contributed to the Gallery’s 

Japanese collection, the development 

of which both Ken and Yasuko were so 

integral to. 

International modern 

and contemporary art 

Mark Dion 

Mark Dion’s The return (a cosmological 

cabinet for New South Wales) 2008 was 

purchased with funds from the Mervyn 

Horton Bequest Fund. It was included 


in the Biennale of Sydney 2008 and 

consisted of a beautiful bookcase where 

parcels sent from around the world to 

the Gallery are displayed according to 

a system devised by the artist. Dion 

has undertaken to continue sending ten 

parcels a year for the next decade, so the 

work will continue to evolve. 

Mona Hatoum 

Mona Hatoum’s Bukhara (red) 2007 was 

given to the Gallery by Geoff and Vicki 

Ainsworth. This important London-based 

Palestinian artist makes works that 

expose the flux of post-colonial relations 

through very material processes. In this 

case, a Persian carpet that has been 

shaved to create a map of the world. 

Tsuchiya Kimio 

Tsuchiya Kimio is a distinguished 

Japanese artist who was invited to 

Australia to undertake a residency 

at Bundanon during which time he 

completed a public artwork for Sydney’s 

Sculpture Walk and an exhibition at 

Sherman Galleries. His work, Untitled 

(sleeper installation) 1998, was created 

at Bundanon specifically for an exhibition 

at our Gallery and has now been kindly 

gifted by the artist. The work takes the 

form of an impressive arch made from old 

railway sleepers engraved with a text. 

Australian 

contemporary art 

Stephen Bush 

A magnificent new painting by Melbourne 

artist Stephen Bush, I am still what 

I meant to be 2009, was purchased 

through funds provided by the Art Gallery 

Society of NSW Contempo Group. Bush 

has combined abstract areas of paint 

poured onto the canvas with realist 

imagery in high-keyed colours. The 

poured paint forms a sublime landscape 

in the background, or even geographical 

strata, from which figures emerge. In 

the centre of the painting is a welder, 

completely covered in protective clothing, 

a figure that recalls the apiarists that have 

appeared in many of Bush’s other works. 

This figure is intent on working on the 

strata of paint beneath him and could be 

representative of the artist himself and 

the labour of making a painting. Bush’s 

richly inventive visual language draws 

on 19th-century landscape and history 

painting, mid-20th-century abstraction 

and contemporary mass media imagery. 

Narelle Jubelin 

Acquiring a major work by Narelle 

Jubelin has been a priority for some time 

and this year we were able to purchase 

Ungrammatical landscape.3 2003–09 

through the support of the Contemporary 

Collection Benefactors and a number of 

generous donations by individuals. The 

13-panel work reveals a journey through 

both late modernist art and landscape. 

Jubelin plots a narrative that begins in a 

Melbourne Park, spans Donald Judd’s 

Chinati Foundation in Marfa, Texas, and 

ends in the Yucatan – all sites where 

notable minimal or conceptual artworks 

were made by the artists Mel Ramsden, 

Judd and Robert Smithson. These are 

interspersed by contemporary rural and 

urban views from Spain and Australia 

that resonate with her recent experience 

as an expatriate artist living in Madrid. 

These are the finest petit points Jubelin 

has made in over two decades and for 

the first time are displayed as doublesided 

works. Viewed from the front, the 

petit points appear almost photographic. 

Yet the normally concealed side reveals 

the mess of intertwining threads that are 

the evidence of her labour, unravelling 

the seeming perfection of each image. 

On this side also is a salient observation 

from Australian conceptual artist Ian 

Burn, ‘A landscape is not something you 

look at but something you look through’. 

Australian prints, 

drawings and watercolours 

Highlights among acquisitions in the area 

of Australian prints and drawings this 

year were purchases of two Carl Plate 

multi-strip collages and a colour linocut 

by Tony Ameneiro. Plate was one of 

Sydney’s most important painters of the 

post-war period and these collages Wig 

74 and False rococo, both from 1974, 

represent the peak of his achievement 

in a medium which was at the core of 

his artistic practice. Tony Ameneiro is 

a highly accomplished printmaker in 

a variety of media including linocut, 

lithography and etching. Combining 

the primitive earthiness of an animal 

skull with a fantastical vision of the 

cosmos, his large-scale Big night skull 

exemplifies the increasing ambition and 

refinement of his recent work and brings 

an exceptional addition to the Gallery’s 

collection of contemporary Australian 

prints. 

A striking portrait drawing of the 

artist’s mother by John Philippides was 

also acquired through the Australian 

Prints, Drawings and Watercolours 

Benefactors Fund. A remarkable feat of 

draughtsmanship, this drawing is the first 

by Philippides to join the collection. 

Gifts of Australian 

works on paper 

Significant among many important and 

welcome gifts was a group of 31 colour 

screenprints (1963–77) by Jan Senbergs, 

given by the artist in recognition of 

our exhibition Jan Senbergs: from 

screenprinter to painter, staged by the 

Gallery in April 2008. Considered one of 

the best contemporary printmakers in 

this country during the 1960s and ’70s, 

Senbergs’ interest in technology prefigured 

the work of many artists today 

for whom photography, film and video 

are indispensable. Another large group 

of works comprising early drawings of 

Sydney by Lloyd Rees was given by the 

artist’s son and daughter-in-law Alan 

and Jancis Rees. Joining the Gallery’s 

unsurpassed and invaluable collection 

of Rees’ drawings and prints, they are 

part of an ongoing series of gifts from 

the Rees estate. Other gifts included 11 

early collages by Carl Plate, given by his 

widow and daughter Jocelyn and Cassi 

Plate, a number of exceptional drawings 

by Allan Mitelman, given by his son-inlaw 

Andrew Douglas, and two collages 

by Elwyn Lynn, given by his daughter 

Victoria Lynn. 

European prints, drawings 

and watercolours 

Margaret Spratt donated a wood 

engraving, The model 1926, by the 

British printmaker Blair Hughes- 

Stanton. The Gallery purchased a very 

rare complete set of 12 landscape 

lithographs by Jean-Baptiste-Camille 

Corot published in 1872. Until their 

acquisition, the Gallery had practically 

no representation of this key figure in 

the development of landscape painting. 

Other important 19th-century French 

lithographs purchased are Delacroix’s 

Macbeth consulting the witches, 

Géricault’s The Flemish farrier and 

Bonington’s Rue du Gros Horloge, 

Rouen. A number of engravings, after 

designs by Henry Fuseli, dating from 

the late 18th and early 19th centuries, 

28 


Narelle Jubelin 

Ungrammatical landscape.3 2003–09, installation, 13-part sewn essay, petit-point cotton thread over silk ground, perspex, 

each 15 x 20 x 2.5 cm, white lettering. Purchased by the Contemporary Collection Benefactors 2009 and a number of 

generous donations by individuals. ©the artist. 

Stephen Bush 

I am still what I meant to be 2009, oil on linen, 200 x 310 cm. Purchased with funds 

provided by the Art Gallery Society of New South Wales Contempo Group 2009. 

©the artist, courtesy Sutton Gallery 

Tony Ameneiro 

Big night skull 2006, colour linocut, black and blue ink on 

eight sheets of Japanese kozo paper, 174.8 x 90.6 cm. 

Purchased by the Theo Proctor Memorial Fund 2008. 

©the artist. 


Tracey Moffatt 

The movie star: David Gulpilil on Bondi Beach 1985, type C photograph, 48 x 71.2 cm. 

Purchased with funds provided by the Photography Collection Benefactors Program 2008. 

©the artist, courtesy Roslyn Oxley9 Gallery. 

Wols 

Jean Sendy (Abelson) with monocle c1930, gelatin 

silver photograph, 23.8 x 17.4 cm. Purchased by the 

Alistair McAlpine Photography Fund 2008. 

Christina Fernandez 

Lavanderia #4 2002, type C photograph, 76.2 x 101.8 cm. Gift of Geoff and Vicki Ainsworth 2009. 

©the artist, courtesy Gallery Luisotti. 

30 


Jean-Baptiste-Camille Corot 

The meeting in the grove 1872, transfer 

lithograph, 27.5 x 22 cm. Purchased 2008. 

Jean-Pierre Simon after Henry Fuseli 

The Tempest. Prospero, Miranda, Caliban and Ariel 1797, stipple engraving, 49.5 x 63 cm. 

Purchased by the Don Mitchell Bequest Fund 2009. 

were also acquired this year. These 

form an important bridge in the Gallery’s 

European print collection linking the 

world of Hogarth with that of the 

romantics. 

Photography 

The number of high-quality gifts to the 

photography collection has increased 

in the 2008–09 year. We have received 

important early works from the series 

Naar het Schilder-boeck by Jacky 

Redgate, in addition to recent major 

series The Murray’s edge by Bonita Ely 

and Threshold by Christine Cornish. 

The Gallery’s collection of contemporary 

photography from southern California 

given by Geoff and Vicki Ainsworth 

has expanded in its second year with 

significant works by Christina Fernandez, 

Allan Sekula and Miles Coolidge. 

The descendents of leading English 

pictorialist Francis J Mortimer generously 

gave works to add to our existing 

holdings. 

The Photography Collection Benefactors 

(PCB) have enabled important purchases 

of the work of Bill Henson and Tracey 

Moffatt, thus continuing to add depth 

to our unique representation of these 

two artists. PCB also assisted in the 

acquisition of Justene Williams’ new 

dvd Derr sonata, a collection of artist 

books by Edward Ruscha, and an 

issue of Alfred Stieglitz’s Camera Work 

which will appear in the Gallery’s major 

2010 exhibition. As well, the PCB 

provided funds for the acquisition of 

Raquel Ormella’s Going back/volver, 

an important series of 44 photographs 

which marks the first acquisition by the 

Gallery of this significant artist’s work. 

The Alistair McAlpine Photography Fund 

assisted with the purchase of a rare 

photograph by Wols, which adds to our 

photography collection of European 

avant-garde. This is the first photograph 

by Wols acquired. 

Research library and 

archive 

Archive of Gallery A 

Gallery A was one of Sydney’s most 

innovative and influential galleries from 

1964–1983, exhibiting abstract art and 

Aboriginal painting as contemporary 

art before many other galleries. The 

extremely rich archive of this gallery 

– which includes correspondence from 

its artists, exhibition files, slides and 

photographs and sale records – was 

donated to our archive by Ann Lewis AM, 

Gallery A’s director. 

Dupain photographs of the 

Art Gallery of NSW 

A portfolio of 15 black-and-white Max 

Dupain photographs was donated to the 

Gallery’s archive by Patrick Corrigan AM. 

This included external and internal views 

of the Gallery taken by Dupain when the 

Gallery reopened in 1972 after a major 

refurbishment and extensions. 

Stephen Birch 

A fascinating collection of notebooks, 

sketchbooks, correspondence and digital 

resources was donated to the Gallery’s 

archive by the artist’s family. 


Exhibitions and audiences 

32 


The Gallery’s active exhibition 

program this year offered a total 

of 41 exhibitions: 11 shows 

continuing on from the 2007–08 

year and 30 new exhibitions 

presented in 2008–09. The diverse 

exhibition program was generally 

free to the public with only four 

shows attracting an admission 

fee. The four shows, Taishō chic 

(commenced in May 2008), 

The lost Buddhas (August 2008), 

Monet and the Impressionists 

(October 2008) and the annual 

Archibald Prize (March 2009), 

drew combined audience numbers 

of 436 944. 

During the year, there were two regional 

touring shows, Archibald Prize 08 and 

9 shades of Whiteley, which toured to 

eight venues across NSW; as well, our 

2007–08 exhibition Extraordinary images 

of ordinary people: the photographs of 

August Sander toured to Los Angeles, 

USA to popular acclaim; and our 

Sidney Nolan retrospective toured 

interstate to Queensland. A full list of the 

Gallery’s exhibitions can be found in the 

appendices. 

Taking advantage of our later opening 

hours on Wednesday nights, the Gallery 

is presenting 5.30pm floor talks, which 

each week highlight our temporary 

exhibitions and/or our permanent 

collection displays. In 2008–09, a total 

of 64 of these exhibition and collection 

talks were delivered by both Gallery 

employees and external professionals 

including artists and art historians. 

Taishō chic: Japanese modernity, 

nostalgia and deco 

22 May – 3 August 2008 

The Taishō chic exhibition from the 

collection of the Honolulu Academy of 

Arts included 70 paintings, prints, textiles 

and decorative artworks, with many of 

the pieces coming from the collection of 

Patricia Salmon. Highlighting the Taishō 

and early Showa periods from 1912 

to the 1930s, the exhibition conveyed 

the clash and acceptance of Western 

modernity, articulating how a traditional 

Japan was coming to terms with Western 

avant-garde tastes that were entering the 

country from Europe and America. Much 

Installation image from Monet and the Impressionists 

(11 October 2008 – 26 January 2009). 

of the development of modernity could 

be witnessed through women’s changing 

roles, such as in the representation of the 

modern girl (modan gaaru or moga) and 

the tradition girl (bijinga). 

In July 2009, the exhibition was the 

focus of the Art After Hours program 

with talks and performances. Musicians 

attending the World Shakuhachi Festival 

2008 in Sydney put on a free concert 

attended by 500 people. Curators 

and academics provided four weeks 

of exhibition talks, and celebrity talks 

were given by author Ben Hills and 

designer Akira Isogawa. Cabaret artist 

Asako Izawa appeared as ‘Taishō chick’ 

in the ArtBar with period songs in 

Japanese, English and French. Visiting 

US photography curator Anne Wilkes 

Tucker offered a special lecture on 

the development of photography in 

the Taishō period. For the July school 

holidays, storyteller Bronwyn Vaughan 

focused on Japan, and children’s 

workshops produced kimono designs 

from origami paper. This popular 

exhibition attracted 25 332 visitors 

across its run (13 285 in 2007–08 and 

12 047 in 2008–09). 

The lost Buddhas: Chinese Buddhist 

sculpture from Qingzhou 

29 August – 23 November 2008 

The lost Buddhas exhibition was a 

rare opportunity for the public to see 

some extraordinarily sublime stone 

Buddhas. The exhibition was initiated by 

the Gallery, which negotiated with the 

relevant Chinese authorities to borrow 

from the Qingzhou Museum 35 of the 

best-preserved pieces in their collection. 

The Buddhas were part of a collection 

of some 400 stone Buddhist sculptures 

that were discovered in 1996 in Qingzhou, 

one of the most significant finds of the 

20th century. Created in the 6th century, 

they were buried for unknown reasons 

in a purpose-built pit in the 12th century. 

These beautiful sculptures reflect the 

Buddhist beliefs that permeated many 

levels of local life, and epitomise the 

dramatic stylistic changes in sculpture 

that occurred during a time when 

Buddhist art in China reached its 

apogee. This show was the first of its 

kind to come to Australia, and included 

a number of exceptional pieces from 

the discovery, seven of which had not 

previously been seen outside of China. 

The exhibition was supported by a 

variety of public programs including a 

major symposium, Chinese Buddhist art: 

new directions and perspectives, which 

opened with the exhibition and included 

12 international scholars over two 

days. The symposium was organised 

in conjunction with the University of 

Sydney and with support of the Chiang 

Ching-kuo Foundation for International 

Scholarly Exchange. 

‘Mindful mornings’ meditations, led 

by Buddhist teachers from different 

traditions, and held amidst the 

sculptures, were so popular they required 

an extra session. The Art After Hours 

program featured prominent Chinese- 

Australian speakers including Lindy 

Lee and Jenny Kee, and a concert 

by Nicholas Ng and Nirmal Jena was 

subsequently broadcast by ABC Radio 

National’s The rhythm divine. The series 

concluded with 702 ABC Sydney radio 

presenter Adam Spencer interviewing 

director Edmund Capon. The ArtBar 

featured Chinese musicians Chai Chang 

Ning on flute and Chow Pei Qian on ruan. 

For the October 2008 school holidays, 

the workshop task was clay tablets 

with relief and incised decoration and 

the Chinese Youth League performance 

group had a one-week season presenting 

Yunwuyingzhen, literally, ‘dance with 

rhythm to welcome treasures’, featuring 

dances from around China. Approximately 

400 children and their families attended 

the performance each day. A four-week 

film program offered feature films 

and documentaries on the beliefs and 

practices of Buddhism. Daily guided 

tours of the exhibition in English and 

weekly tours in Chinese were enormously 

popular for the duration of the exhibition. 

The dramatic installation of this exhibition 

was courtesy of acclaimed architect 

Richard Johnson of Johnson Pilton 

Walker and music by Nicholas Ng 

was especially commissioned for the 

show. This free exhibition attracted over 

50 900 visitors and included a sell-out 

catalogue. 


11 October 2008 – 26 January 2009 

This exhibition was on loan from the 

Museum of Fine Arts, Boston, which 

has one of the world’s finest collections 

of Impressionist paintings. Paintings 

by the master of Impressionism, Claude 

Monet, were presented with paintings 

by his contemporaries, including 

Cézanne, Manet, Degas, Pissarro, 

Renoir and Sisley. The show was 

expanded to include additional works 


held in Australian collections, including 

our own Monet painting, Port-Goulphar, 

Belle-Île 1887, thereby presenting 

these works in a wider historical context 

than could have otherwise been 

afforded. The exhibition’s 228-page 

catalogue combined beautiful and 

elegant design with original scholarly 

research on the subject of Monet 

and his influence on Impressionist art. 

This major exhibition was naturally 

supported by a large number of public 

programs, beginning on the opening 

weekend with the full-day symposium, 

Monet and his world. Academic lectures 

were continued over the subsequent 

weeks, with four special lectures in 

the Centenary Auditorium by George 

Shackelford (senior curator, Museum 

of Fine Art Boston), who addressed a 

capacity crowd, John James (medieval 

scholar), Gael Newton (senior curator 

of photography, National Gallery of 

Australia) and Jonathan Mane-Wheoki 

(Te Papa Museum, Wellington). 

A rich Art After Hours program was 

developed for this exhibition, attracting 

huge audiences. Exhibition talks were 

given at 5.30pm by Gallery staff and 

art historians, and audiences flooded 

the central foyer for the 6.30pm celebrity 

talks, attracting a total of 8975 people 

over 14 weeks. The most popular talks 

were delivered in January by comedians 

the Sandman and Flacco, journalist 

Annabel Crabb, federal politician 

Senator Bob Brown and gardening 

expert Peter Cundall. 

The art practitioners’ perspective was 

provided through a landscape painting 

course run by the National Art School 

in conjunction with the exhibition, 

culminating in a painters’ forum in 

the Centenary Auditorium. Open to 

both course attendees and the 

general public, the forum included 

talks by three significant contemporary 

Australian landscape painters – Imants 

Tillers, Michelle Hiscock and Paul 

Connor – providing a sense of the 

continuing landscape tradition from 

the Impressionists to the present day. 

An audience of French speakers 

attended a special event in conjunction 

with the Alliance Française that included 

a talk in French by René Gimpel, 

grandson of the Paris art dealer who 

knew Monet, and a recreation of Michel 

Butor’s seminal 1968 lecture on Monet. 

Also popular was the film series Water 

glimpses screened in conjunction 

with Monet and the Impressionists. 

The cinematic subject was water and 

its mesmerising, illusionistic qualities. 

Films included such classics as Pather 

Panchali by Bengali filmmaker Satyajit 

Ray; the first feature film by Roman 

Polanski, Knife in the water; and 

Werner Herzog’s meditative period 

adventure about Spanish conquistadors 

searching for El Dorado in the wilds 

of Peru, Aguirre: the wrath of God. 

With over 225 740 visitors, these 

attendance numbers rank as our fourth 

highest ever, and as the Gallery was the 

only Australian venue for the show, its 

success also occasioned over $7 million 

of new spending in the NSW economy 

(source: Events NSW survey), as well as 

creating 29 temporary jobs in our visitor 

facility service areas of the shop and 

catering venues. 

Archibald, Wynne 

and Sulman Prizes 2009 

7 March – 24 May 2009 

The 2009 prizes, sponsored by Myer, 

proved as popular as ever, drawing a 

near-record audience of 148 336, and 

attracted a total of 1981 works of art 

entered into the three competitions, 

of which 108 works were selected for 

display. The Archibald Prize of $50 000 

for portraiture was awarded to Guy 

Maestri for his work Geoffrey Gurrumul 

Yunupingu. The Wynne Prize of $25 000 

for an Australian landscape or figure 

sculpture was awarded to Lionel 

Bawden for his work The amorphous 

ones (the vast colony of our being). 

The Sir John Sulman Prize of $20 000 

was judged by artist Jon Cattapan and 

awarded to Ivan Durrant for his work 

ANZAC match, MCG. 

The Gallery’s Archibald Prize and our 

Art After Hours celebrity talks blend 

beautifully, attracting many popular 

public figures to provide enlivening and 

entertaining 6.30pm talks. This year, 

large audiences attended talks by 

‘The Bedroom Philosopher’ (comedian 

Justin Heazelwood), radio personality 

Adam Spencer, ABC TV arts presenter 

Fenella Kernebone, actor Barry Otto 

and comedian Jean Kittson. Fashion 

designers Sarah-Jane Clarke and 

Heidi Middleton (Sass & Bide) and 

actor Gyton Grantley reflected on their 

experiences of sitting for an Archibald 

portrait. The Packing Room Prize 

winner Paul Jackson and his subject 

Paul Livingston (Flacco) provided insight 

into the relationship between portraitist 

and sitter in an interview with Moya 

Sayer Jones, followed by a witty and 

highly entertaining performance by 

Livingston’s art-savvy alter ego, Flacco. 

Living black 

20 December 2007 – 16 November 2008 

Inspired by the title of the late Kevin 

Gilbert’s award-winning book, this 

exhibition from the Gallery’s Indigenous 

collection revealed experiences of living 

black in 21st-century Australia. Key 

artists included Mabel Juli, Freddie 

Timms, Lorna Napanangka, Gloria 

Petyarre, Tony Albert and Kevin Gilbert, 

as well as artists whose works operated 

within strong design or graphic aesthetic. 

This exhibition was supported by an 

extensive range of public programs. 

Speakers included Deborah Cheetham, 

Indigenous soprano, actor and author 

of the acclaimed play White Baptist 

Abba fan; Daniel Browning, ABC 

Radio National Awaye! presenter, in 

conversation with Tony Albert, Living 

black artist; and Patrick Johnson, 

Olympic sprinter, in conversation with 

Rhianna Patrick from the Speaking out 

program on ABC local radio. A special 

rock ’n’ roll performance by Vic Simms, 

musician and Deadly Award winner for 

outstanding contribution to Aboriginal 

music, rounded out the public programs. 

Living black coincided with one of the 

highlights of the Aboriginal cultural 

calendar, the NAIDOC week celebrations 

in July. In association with NAIDOC 

week, Bidigal/Eora artist and historian 

Laddie Timbery gave a boomerang 

demonstration and talk, followed by 

a cooking show by celebrity chef 

‘The Black Olive’ (Mark Olive) using 

Indigenous Australian ingredients. The 

award-winning film Ten canoes directed 

by Rolf de Heer and Peter Djigirr was 

screened, and a stunning performance 

by Emma Donovan took place in the 

ArtBar. The standout event of NAIDOC 

week at the Gallery was a performance 

by the Wangatunga Strong Women’s 

Group, an extraordinary choir from 

Nguiu, Bathurst Island, Northern Territory. 

Their self-composed songs encompass 

the fundamental elements of Tiwi culture. 

Half light: portraits from 

black Australia 

21 November 2008 – 22 February 2009 

This first major survey of the work of 

Australian Indigenous artists engaging 

with the photographic medium and 

the portrait showcased a range of 

34 


Installation image from Taishō chic: Japanese modernity, nostalgia and deco (22 May – 3 August 2008). 

Press announcement for the winner of the Archibald Prize 2009: artist Guy Maestri in front of his portrait 

Geoffrey Gurrumul Yunupingu. 


techniques from classical black-andwhite 

portraiture to digital imagery. The 

exhibition offered an unprecedented 

insight into the black experience that 

transcends national borders and the 

harsh reality of the everyday. The show 

was designed around the Gallery’s 

collection of Indigenous photography 

and the participation of exhibiting artists 

was a highlight of the accompanying 

public programs. Richard Bell, Destiny 

Deacon, Dianne Jones and Vernon Ah 

Ke led a fascinating forum, which gave 

insight into their creative practice, ideas 

and concepts. Another artist discussion 

featured Tony Albert and r e a, who 

spoke about their work in the show. 

Installation image from Half light: portraits from black Australia (21 November 2008 – 

22 February 2009). Brenda L Croft from the series Strange Fruit 1994. 

Installation image from Biennale of Sydney 2008: Revolutions – forms that turn 

(18 June – 7 September 2008). Dan Perjovschi, Sydney Drawing 2008. 

Celebrity talks included Sean 

Choolburra, one of Australia’s finest 

comic entertainers. Daniel Browning, 

of the ABC Radio National Aboriginal 

program Awaye!, spoke with the creative 

team behind the TV series The first 

Australians, Rachel Perkins and Darren 

Dale. Lionel Rose, boxing legend and 

subject of one of the photographs in 

Half light, appeared in conversation 

with Karla Grant, executive producer/ 

presenter of SBS TV’s Living black. And 

the final celebrity speaker in this series 

was the popular Stephen Page, artistic 

director of Bangarra Dance Theatre. 

Exhibition talks were delivered by 

curators Hetti Perkins, Emily McDaniel, 

Jonathan Jones, Brenda L Croft and 

artists Genevieve Grieves, Peter 

McKenzie and r e a. Throughout the 

exhibition, the Gallery also presented 

a daily free documentary series in 

conjunction with the ABC Message 

stick program. 


12 December 2008 – 15 February 2009 

Installation image from Genji: the world of the Shining Prince 

(12 December 2008 – 15 February 2009). 

The year 2008 marked the 1000th 

anniversary of the writing of The tale 

of Genji by the court lady Murasaki 

Shikibu. Made up of 54 chapters, 

spanning three-quarters of a century 

and with some 430 characters, this 

tale recounts the fortunes and exploits 

of the imperial prince Genji with his 

heirs and lovers. This exhibition was a 

response to this important anniversary, 

with the various works exploring The tale 

of Genji as a symbol of court culture, 

imperial privilege and cultural authority 

in Japan. The exhibition consisted of 79 

works, including paintings, woodblock 

prints and printed books dating from 

the 17th to early 18th centuries, along 

with manga and design objects sourced 

36 


from collections within Australia. Many 

of the works included were executed by 

well-established artistic lineages such as 

the Tosa, Matabei Kano and Sumiyoshi 

schools, and were intended for the 

amusement of the elite, who would 

display them in the female quarters of 

aristocratic residencies. Since the 17th 

century, Genji motifs were also desired 

decorations on dowry sets for daughters 

of wealthy and influential families. 

The show was previewed in November 

2008 with a lecture by the translator 

of the latest English edition of the text, 

Royall Tyler, and screenings of a classic 

1952 film version of the famous novel. 

Both the film and lecture were organised 

by The Japan Foundation. This free 

exhibition was extremely successful, 

attracting an estimated 75 000 people, 

and was supported with an informative 

catalogue which sold out. 

Biennale of Sydney 2008 

18 June – 7 September 2008 

The Gallery’s component of the 2008 

Biennale of Sydney: Revolutions 

– forms that turn exhibited significant 

reappraisals of the continuing discovery 

of the avant-garde, and included a 

major historical survey of revolutionary 

visual ideas of the late 20th century. This 

show’s diverse range of public programs 

began with artist talks led by Achille 

Bonito Oliva on Luigi Russolo, plus Dan 

Perjovschi, Michael Rakowitz, Wystan 

Curnow on Len Lye, Tim Lee, Renata 

Lucas, Michael Snow, Lia Perjovschi, 

Ayreen Anastas with Rene Gabri, Stuart 

Ringholt and Raquel Ormella. There 

was also an exhibition talk by George 

Alexander and Dougal Phillips, and 

performers included UK artist Ryan 

Gander. Symposia were a key feature of 

the program, featuring artists, writers, 

anthropologists, curators, filmmakers and 

activists in conversation. The keynote 

address at the two-day symposium was 

presented by Michael Taussig, professor 

of anthropology, Columbia University. 

Dobell Prize for Drawing 

5 September – 9 November 2008 

The 2008 Dobell Prize for Drawing 

was judged on 4 September 2008 

by Anne Kirker, art historian, writer and 

formerly curator of prints, drawings 

and photographs at Queensland Art 

Gallery. This year, there were 586 

drawings entered of which 49 were 

included in the free exhibition. The 

prize of $20 000, sponsored by the Sir 

William Dobell Art Foundation, went 

to Melbourne artist Virginia Grayson 

for her work No conclusions drawn 

– self portrait, which brings to 16 the 

number of prize-winning drawings in 

the collection acquired as a result of 

the prize. They form part of our growing 

Australian drawings collection. 

Korean dreams: paintings and 

screens of the Joseon dynasty. 

5 March – 8 June 2009 

The first exhibition of traditional Korean 

painting to be shown at the Gallery, 

Korean dreams comprised 40 decorative 

paintings and screens from the 17th–19th 

centuries (the latter stage of the Joseon 

dynasty). One of the most important 

collections of its type assembled by a 

single connoisseur, the distinguished 

contemporary Korean artist Lee U-fan, 

these works were gifted to the Musée 

Portrait of an official 1700s–1800s, colour 

on paper, from the Korean dreams: paintings 

and screens of the Joseon dynasty 

(5 March – 8 June 2009). 

Guimet, Paris. The paintings encapsulate 

the lost beauty of nature, and engender 

in the viewer a type of nostalgia for this 

loss. In Korea, shamanism, the belief 

that all animate and inanimate things 

have their own spirit, has been of 

importance in regards to the seasons 

and the lives of plants and animals, real 

and mythological, and this belief could 

be seen to be encapsulated in many of 

the works on show. Other influences 

on Korean visual language have been 

Confucianism and Daoism. Throughout 

Korea’s turbulent history, invasions by 

Tim Johnson 

Lotus born 2006, synthetic polymer point on canvas, 9 panels, each 198 x 91.5 cm. Purchased by the Contemporary Collection 

Benefactors 2006. ©the artist, courtesy Dominik Mersch Gallery. Tim Johnson: painting ideas (3 March to 17 May 2009). 


the Mongols, Manchus and Japanese 

have resulted in the destruction of 

much of the unique body of Korean 

paintings and material culture. Decorative 

paintings, created by court artists 

and untrained itinerant painters, have 

survived as many were commissioned for 

the decoration of homes and for use on 

auspicious occasions such as weddings 

and birthdays. 

Jaap Nanninga 

72 Stilleven (still life) 1953, pastel, gouache, 46.5 x 63.5 cm, collection: Van Abbemuseum, 

Eindhoven from the exhibition Intensely Dutch: image, abstraction and the word post-war and 

beyond (5 June – 23 August 2009). ©Marianne Dommisse, permission Menlenhoff, Amsterdam. 

An afternoon seminar featuring collector 

Lee U-fan and Musée Guimet curator 

Philippe Cambon opened the exhibition. 

An extensive film series, Korea dreaming, 

showcased contemporary Korean cinema 

and ran for the duration of the exhibition. 

Korea was the focus for one week of the 

school holidays with daily performances 

by Min Sun Song Dance Academy and 

children’s workshops creating paper 

dragons. A full day of free activities on 

Korean Culture Day saw hundreds of 

people participate: making paper lotus 

lanterns with volunteers from Jong Bop 

Sa Temple; watching various styles of 

Korean traditional tea ceremony; and 

getting their names translated and written 

in brush and ink by Korean calligraphers. 

In the Art After Hours celebrity speakers 

program, Korean-born Australian actress 

Sun Park spoke movingly about coming 

to terms with her Korean background 

as she grew up, and drummer Simon 

Barker told an inspirational tale of his 

encounters with musicians in Korea. The 

Consulate General of the Republic of 

Korea was closely involved in developing 

the public programs for Korean dreams. 

Attendance for this free exhibition was 

estimated to be around 78 000, and a 

beautiful catalogue accompanied the 

exhibition. 

Tim Johnson: painting ideas 

13 March – 17 May 2009 

TV Moore 

Nina, me and Ricky Jay 2009 (winner) from the exhibition Double take: Anne Landa 

Award for video and new media arts 2009 (7 May – 19 July 2009). 

This was the first museum exhibition 

surveying Australian artist Tim Johnson’s 

art practice from 1970 to the present day. 

Developed by the Gallery in collaboration 

with the Queensland Art Gallery, the 

exhibition explored the visionary and 

often eclectic search for artistic and 

spiritual connections between cultures 

and countries that is at the core of Tim 

Johnson’s art over the last four decades. 

This exhibition included his early 

conceptual works, artist books, films and 

documentation of often controversial 

performances, punk paintings, paintings 

of the Papunya artists and collaborations. 

A feature was the magnificent mature 

paintings in which such diverse figures 

as Buddhas, bodhisattvas, Aboriginal 

38 


artists, Indigenous Americans, Tibetan 

monks, Vietnamese farmers, extraterrestrials 

and Christian religious figures 

emerge from fields of white dots or float 

across a shimmering haze of colour. 

The exhibition focused on the humanist 

conceptual project that underlies 

Johnson’s practice, his engagement 

with Aboriginal culture and belief in 

collaboration, and his search for spiritual 

meaning influenced by Buddhist and 

other philosophies. It was supported with 

a range of exhibition talks and forums 

featuring art historian Roger Benjamin 

along with Tim Johnson, among others. 

The exhibition is subsequently touring 

to the Gallery of Modern Art, Brisbane, 

and The Ian Potter Museum of Art, 

the University of Melbourne. It was 

supported by the Contemporary Touring 

Initiative through Visions Australia, an 

Australian government program, and 

the Visual Arts and Craft Strategy, an 

initiative of the Australian, state and 

territory governments. 

Double take: Anne Landa Award for 

video and new media arts 2009 

7 May – 19 July 2009 

The Anne Landa Award is the first 

biennial exhibition in Australia dedicated 

to moving image and new media arts. 

The artists in this year’s exhibition 

considered what it means to transform 

the self into another persona – as a 

doppelganger, a karaoke performer, 

an avatar, a robot or a fantasy alter 

ego. As we live in a digital era we have 

opportunities to not only imagine but 

also realise what it means to be someone 

other than ourselves. Through video, 

video installation, interactive robotics 

and digital photography, the artists in 

this exhibition explored questions such 

as: how can we be both the self and 

another at the same time; both a self 

and an out-of-body split self? What is 

lost and what is gained in such double 

visions? What is imagined and what 

is realised? This year’s exhibition was 

guest-curated by Victoria Lynn and 

included major work by artists Phil 

Collins (UK), Cao Fei (People’s 

Republic of China), Gabriella Mangano 

and Silvana Mangano (Australia), 

TV Moore (Australia), Lisa Reihana (New 

Zealand) and Mari Velonaki (Australia). 

The acquisitive award was only open 

to Australian artists and the winner was 

TV Moore. 

Intensely Dutch: image, abstraction 

and the word post-war and beyond 

5 June – 23 August 2009 

This major exhibition included works 

drawn from the influential wave of Dutch 

modernism that blossomed after the 

Second World War. With its vibrant 

colour, primitivism, vigorous execution 

and experimentation, the show was 

envisaged as an introduction for the 

Australian public to modern Dutch 

culture. After the Second World War, a 

new generation of Dutch artists took to 

modernity as never before. For them 

it was a time of renewal; their work 

was uncompromising, confronting and 

optimistic. The exhibition presented 

114 paintings, gouaches and drawings 

by 15 of the most important post-war 

Dutch artists including those associated 

with the CoBrA movement (Karel Appel, 

Constant, Corneille and Lucebert), 

members of the art informel movement 

(Jaap Wagemaker, Jan J Schoonhoven 

and Bram Bogart) and those who 

preceded them, such as Bram van Velde 

and Willem de Kooning, who rose to 

international prominence after the war. 

The exhibition also offered the 

opportunity to highlight connections 

between Dutch and Australian art and 

experience. Dutch-born Australian 

painter Jan Riske was one of the 

selected artists, as was Theo Kuijpers, 

who visited Australia in 1979 and 

1985, where he met Australian artists, 

and made work that responded to his 

Australian experience. 

Dutch poetry was also included in 

the exhibition, via a select number of 

collaborative portfolios of prints and 

poetry, reflecting the energetic postwar 

interaction between Dutch artists 

and poets. A lively and well-attended 

public program was organised to 

complement the exhibition including 

Dutch films, music, poetry reading, 

talks, conversations between artists 

and a forum with a keynote lecture by 

distinguished scholar and curator Ludo 

van Halem. 

Intensely Dutch was accompanied 

by a fully illustrated catalogue, which 

sold out and was reprinted, attracting 

international sales. 

Francis J Mortimer 

26 July – 9 November 2008 

This free exhibition showcased the 

work of British photographer Francis J 

Francis J Mortimer 

Untitled (study for The wreck / The trail of the 

Huns – lifeboat crew attending shipwreck) 1916, 

composite collage: gelatine silver photographs, 

gouache. Gift of Juan Roberson 2008. 

Mortimer (1874–1944) and considered 

the artist’s enduring dedication to art 

photography in the early decades of the 

20th century. Featuring 36 photographs 

drawn from the Gallery’s collection, and 

many gifts from the artist’s daughter 

not previously exhibited in Australia, the 

show covered subjects that not only 

fascinated Mortimer but which evoked 

the pictorialist milieu: dramatic images 

of sea, portraits of Edwardian femininity, 

scenes of traditional Dutch life and, 

most uniquely, the artist’s creative and 

patriotic response to war. Mortimer’s 

sophisticated use of the bromoil process 

was also an important focus of the 

show, as was the display of ephemera 

illustrating his influential involvement in 

the photographic press of his day – an 

involvement that extended to Australia. 

Kate Beynon: auspicious charms 

for transcultural living 

7 August – 26 October 2008 

Kate Beynon presented a new series of 

paintings in which she explored ideas 

of transcultural identity and the ‘global 

citizen’. Beynon’s works are informed by 

a variety of sources such as calligraphy, 

graffiti, comic book graphics and 

traditional Chinese textile design, which 

she uses to continue her exploration in 

the creative possibilities of language – its 

translation, mistranslation and distillation 

into symbols. 


Installation image from Tom Arthur: the fertilization of Drako Vülen’s cheese pizza (6 September – 23 November 2008). ©the artist. 

‘Wonderful works, very inspiring and full of 

life and light.’ Gallery visitor 

Installation image from Kate Beynon: auspicious charms for transcultural living 

(7 August – 26 October 2008). 

40 


Installation image from Justene Williams: bighead garbageface guards ghost derr sonata (19 February – 14 June 2009). 

Installation image from Òscar Muñoz: Bíografias (19 February – 14 June 2009). 


Tom Arthur: the fertilization of 

Drako Vülen’s cheese pizza 

6 September – 23 November 2008 

Tom Arthur’s extraordinary installation, 

The fertilization of Drako Vülen’s cheese 

pizza, was the first of a major trilogy 

of works produced by the Sydneybased 

sculptor in the 1970s and 

pinpoints a period of fabulously Dadaist 

tendencies in Australian sculptural 

practice. This free Focus Room exhibition 

was accompanied by a room brochure 

publication. 

The late landscape paintings of 

Horace Trenerry 

29 November 2008 – 15 March 2009 

Installation image from Nicholas Mangan: between a rock and a hard place 

(25 June – 13 September 2009). 

This free Focus Room show featured 

a selection of paintings by the South 

Australian painter Horace Trenerry (1899– 

1958). Born in Adelaide, which remained 

his base for his entire career, Trenerry’s 

vision as a painter was remarkably 

adventurous. He lived a gypsy existence 

tracking isolated roads and fields of the 

coastal plain south of Adelaide, and was 

dedicated to the pure cause of painting 

oblivious to fame and commercial 

success. It is Trenerry’s late work that 

provides the most significant evidence 

of his genius: chalky, boldly designed 

images that place him on a par with 

the finest modern Australian landscape 

painters of his time. This installation of 

19 works was based on the small group 

of his paintings acquired by the Gallery 

since 1986, supplemented by several 

loans, and was accompanied by an 

online catalogue, which received over 

6000 hits on the Gallery’s website. 

Country, culture, community 

12 November 2008 – 19 April 2009 

Featuring over 32 key artists from the 

Gallery’s collection, this exhibition 

celebrated Indigenous Australia’s cultural 

heritage and its many contemporary 

expressions. It was held in conjunction 

with the launch of the Gallery’s new 

Aboriginal and Torres Strait Islander 

education kit (of the same title). This 

exhibition collectively highlighted the 

many different communities and their 

individual art-making practices, and by 

being displayed in the Project Gallery 

on the ground floor, rather than the lower 

level 3 Yiribana Gallery, it atracted a 

new audience and brought a new context 

to the Gallery’s Indigenous collection. 

Installation image from The dreamers (9 May – 18 December 2009). 

42 


Ângela Ferreira and Narelle Jubelin: 

the great divide 

19 February – 14 June 2009 

Ângela Ferreira and Narelle Jubelin 

began a dialogue about their art 

practices in 1992, but this was only their 

second collaborative exhibition following 

on from Front of house at Parasol unit in 

London in 2008. Jubelin was born and 

raised in Australia but now resides in 

Madrid; Ferreira grew up in Mozambique 

and South Africa and lives in Lisbon. 

Both of their practices are informed 

by their post-colonial experiences, 

their respective explorations of history 

and place and an interest in how late 

modernist cultural practices such as 

minimal and conceptual art changed 

and accumulated various meanings in 

different parts of the world. The great 

divide featured two new video works 

and a large sculpture that grew from the 

dialogue between Jubelin and Ferreira, 

four photographs by Ferreira and a suite 

of Jubelin’s exquisite petit points. 

Justene Williams: bighead 

garbageface guards ghost derr 

sonata 


Justene Williams’ installation of six 

new video works explored avant-garde 

performance and the history of imagemaking. 

Williams was inspired by the 

do-it-yourself aesthetics of futurism and 

dada, which originated in Europe in the 

first and second decades of the 20th 

century. 

Óscar Muñoz: biografías 


The Gallery presented Colombian 

artist Óscar Muñoz’s five-channel 

video installation Biografías; one of a 

series of works by the artist in which 

portraits slowly vanish, reflecting the 

disappearance of people on a regular 

basis in Colombia. 

Mountford gifts 

21 March – 3 June 2009 

Mountford gifts: works from the 

American Australian Scientific Expedition 

to Arnhem Land 1948 presented, in 

the Gallery’s Focus Room, eight bark 

paintings and 16 works on paper that 

came into the Gallery collection in 1956 

from the American Australian Scientific 

Expedition to Arnhem Land, the largest 

expedition in Australia’s history. These 

early works from the communities of 

Groote Eylandt, Yirrkala, Milingimbi and 

• Installation image from Ângela Ferreira and Narelle Jubelin: the great divide 

(19 February – 14 June 2009). 

Gunbalanya (Oenpelli) in the Northern 

Territory became the foundation of our 

collection of Aboriginal and Torres Strait 

Islander art. A free online catalogue 

featured reproductions of a number of 

the works and a curator essay. 

The dreamers 

9 May – 18 December 2009 

This exhibition celebrates the lives 

and work of eight distinguished 

Aboriginal artists who have contributed 

significantly to Australia’s cultural 

landscape. It profiled major bodies of 

work by Kutuwulumi Purawarrumpatu 

(Kitty Kantilla), Ronnie Tjampitjinpa, 

Rusty Peters, Dr David Malangi, 

John Mawurndjul, Ginger Riley 

Munduwalawala, Judy Watson and 

Munggurrawuy Yunupingu. This show 

from the Gallery’s collection draws 

comparisons with key works by other 

artists with whom they share a synergy, 

each creating a new vision. 

Sydney Long’s Pan 

6 June – 30 August 2009 

This free Focus Room exhibition featured 

one of the Gallery’s most popular 

paintings, Sydney Long’s art-nouveau 

masterpiece Pan. Displayed as part of 

the group of works by Long from our 

collection, the exhibition emphasised 

the significance of Pan’s symbolist 

aesthetic to Australian painting practices 

at the end of the 19th century. 

Nicholas Mangan: between a rock 

and a hard place 

25 June – 13 September 2009 

In conceiving his richly imagined 

installation, Melbourne-based artist 

Nicholas Mangan looked to the South 

Pacific island of Nauru. Between a 

rock and a hard place includes video, 

photographs and found objects gathered 

as the artist researched and visited 

the island. His work draws on Nauru’s 

troubled social and economic history, 

which includes its temporary, fabulous 

wealth from phosphate mining, status 

as a tax haven and money-laundering 

hub in the 1990s, and serving as a 

home to an immigration detention centre 

as part of the Howard Government’s 

‘Pacific Solution’. 

‘Cost me $12 to have the most 

wonderful morning of viewing 

art so beautiful I will remember 

it always.’ 

Gallery visitor 


Educational, community 

and regional activities 

44 


In 2008–09 the Gallery education 

and public programs attracted 

an audience of 246 761, which 

included 91 805 students, 33 375 

people to our children and family 

programs, 41 250 people enjoying 

a free guided tour, and the two 

regional NSW touring exhibitions 

attracted a further 76 824 visitors. 

Participation at the Gallery was down 

15% from the previous year (37 867 less), 

mainly due to reduced access to the 

Domain Theatre during its refurbishment, 

which reduced capacity for the film 

program, and also the resetting of the 

education audience numbers to 1000 per 

day, a policy change which is discussed 

below. However, with two shows touring 

regional NSW this year, instead of the 

usual single show, attendances for our 

regional NSW audience was up by 52 

472 over our 2007–08 visitor numbers. 

Audiences by program 

2009– 09 programs % Visitors 

Art After Hours – 

celebrity speakers 7 16 712 

Exhibition & collection talks, 

1 2 328 

Lectures, symposia 

& special events 1 2 954 

Film at the Gallery 9 23 114 

Sunday concerts 3 7 580 

Children & family programs 14 33 375 

Access programs 1 1 879 

Adult tours by 

volunteer guides 17 41 250 

Courses 7 16 804 

Primary schools (K–Y6) 12 29 535 

Secondary schools (Y7–12) 23 57 846 

Tertiary 21 4 424 

Brett Whiteley Studio 4 8 960 

TOTAL 100 246 761 

Education programs 

The participation rate for primary, 

secondary and tertiary education 

audiences (students, teachers and 

lecturers) in 2008–09 remained strong, 

with 91 805 visitors to the Gallery. Of 

these, 67% engaged with exhibitions and 

33% with the collection. 

A free school holiday performance by the Korean 

Min Sun Song Dance Academy presented during 

the Korean dreams: paintings and screens of the 

Joseon dynasty exhibition. 

Primary, secondary and 

tertiary student participation 

tertiary 

4 424 5% 

Secondary 

57 846 63% 

primary 

29 535 32% 

Special exhibitions and 

permanent collection engagement 

Special 

exhibitions 

61 509 67% 

permanent 

collection 

30 296 33% 

Manageable and sustainable visitation 

is an ongoing priority, achieved through 

improvements in booking procedures 

and policies, visitation information 

and the streamlining of organisational 

factors affecting education group visits. 

In 2008–09, the Gallery reset the daily 

visitation quota for the kindergarten 

to tertiary education audience to 1000 

students per day (previously 1500 

students per day in 2007–08) in order 

to reduce increasing pressures on 

the Gallery spaces, exhibitions and 

collections, staff and infrastructure 

created by this large and dynamic 

audience. The aim in doing so was to 

maintain all audiences’ ability (not just 

the education audience) to engage 

with the Gallery in high-quality, enjoyable 

and sustainable ways. As a result we 

have been able to more evenly distribute 

the Gallery’s large and consistent 

education audience and its program 

delivery throughout the week and across 

an entire day’s schedule, rather than 

the traditional 2–3 hour morning focus. 

Naturally, the Gallery’s education strategy 

emphasises the Visual Arts curricula 

and audience as our core business, 

however, the Gallery continues to develop 

programs and resources for other diverse 

curricula and education audiences 

including Languages (Italian, French, 

Chinese and Japanese), History, 

Science, English, Studies of Religion, 

Mathematics and Aboriginal Studies. 

Other important education audiences 

that continue to be developed through 

innovative outreach programs are 

Indigenous students, gifted and talented 

students, students with disabilities, 

and disadvantaged metropolitan and 

regional students. 


A landmark new education publication, 

Country, culture, community: an 

education kit for the Aboriginal and 

Torres Strait Islander Collection, was 

launched in March 2009. Developed over 

three years, the kit features the work 

of over 30 key artists in the Gallery’s 

collection, along with glossaries, 

artist statements and commentary, an 

eight-page booklet with key essays on 

Aboriginal history and the collection at 

the Gallery, a map of Aboriginal Australia 

and a socio-political timeline. 

Specifically tailored to support students 

and teachers, the kit features a unique 

essay on working with Aboriginal and 

Torres Strait Islander art, and also 

has kindergarten–year 6 and years 

7–12 investigative questions related 

to the education syllabus. It has been 

designed to develop understanding 

and engagement with the richness and 

diversity of Indigenous art in the Gallery’s 

collections and around Australia. The kit 

targets students and teachers working 

in Visual Arts, History and Aboriginal 

Studies. 

To launch the kit and support its use 

and implementation in the classroom, 

two innovative Teacher Professional 

Development Days were presented with 

83 teachers attending the kindergarten– 

year 6 day and 128 teachers attending 

the years 7–12 day. Both days featured 

a program of talks and workshops by 

artists, curators and educators from 

around Australia and were highly praised 

for addressing the need for high-quality 

educational resources focusing on this 

area of study. 

To coincide with the launch of the 

kit, all 32 artworks from the kit were 

exhibited in the Yiribana Gallery. This 

synergy between education resource and 

exhibition was a tremendous opportunity 

for the audience of 2868 students and 

teachers, who were able to literally walk 

through the education kit and experience 

the artworks and their rich relationships 

first hand. 


Peer2peer: student video 

interview project 

Peer2peer is a new education 

initiative which continues the Gallery’s 

development of a comprehensive 

youth audience strategy (ages 13–18). 

This strategy already incorporates the 

annual Artexpress exhibition and 

Inside Artexpress website, as well 

as the ARTside-in! outreach program 

for disadvantaged teenage students. 

Peer2peer is a unique program 

specifically focused on teenage students 

in the Gallery context which offers them 

a public voice, engagement with the 

visual arts and its professional world, 

and an enhanced social, vocational and 

educational experience. The project, a 

first for a major Australian public gallery, 

invites years 11 and 12 Visual Arts 

students from diverse NSW schools, 

to be trained in video/filmmaking 

techniques and interviewing skills, for 

the purpose of producing video interview 

resources about practising artists and 

their work presented in the Gallery’s 

exhibitions or held in its collections. 

Phase 1 of the project was piloted in 

February 2009 and received tremendous 

support from the seven invited teams 

of year 12 Visual Arts students from 

Kirrawee High School, Lithgow High 

School, Dulwich High School of Visual 

Arts and Design, International Grammar 

School, SCEGGS Redlands, North 

Sydney Girls High School and Fairfield 

High School. 

These teams conducted research on an 

artist and their work in the Artexpress 

09 exhibition, developing a series of 

investigative questions, which were then 

presented in a ten-minute video interview 

with the artist. All seven of the produced 

video interviews were posted on the 

multimedia section of our website, on 

the Inside Artexpress website and 

on the Gallery’s YouTube page with a 

short ‘making of’ video also produced 

and posted on YouTube. By the end of 

2008–09, there have been 8184 views 

of all the peer2peer video interviews. 

Due to the success of Phase 1, the 

program was expanded to incorporate 

video interviews with contemporary 

artists exhibiting at the Gallery: Australian 

artists Tim Johnson, for his retrospective, 

and Mari Velonaki, for her entry in Double 

take: Anne Landa Award for video and 

new media arts 2009. 

The long-term goal is for the peer2peer 

teams to be called on to present 

their insightful interviews on a range 

of exhibitions, collections and art 

professionals within the Gallery each 

year. A peer2peer section of the Gallery’s 

education website has been developed 

outlining the project, its aims, objectives, 

syllabus outcomes and quality teaching 

outcomes as well as presenting all the 

video interviews (www.artgallery.nsw.gov. 

au/ed/712/peer2peer). 

ARTside-in! outreach programs 

Now in its fifth year, Artside-In 

Metropolitan is a unique three-stage 

outreach program designed to engage 

disadvantaged NSW senior secondary 

Visual Arts students (years 10–12) who 

would otherwise have limited opportunity 

to access the Gallery’s collection, 

exhibitions and services. Stage 1 is held 

at the participating schools and Stage 

2 at the Gallery, while Stage 3 offers a 

mentorship placement at the Gallery for 

a selected student from each school. 

The program allows students who are 

disadvantaged by geographic, economic 

and cultural factors to participate in the 

culture of the Gallery and the wider art 

world, making valuable connections 

to the Visual Arts syllabus while 

discovering more about arts careers. 

Since its inception, ARTside-in! has been 

supported by the Caledonia Foundation. 

Participating schools over the 2008–09 

period included Chester Hill High 

School, Bankstown Girls High School, 

Miller Technology High School and 

Arthur Phillip High School (Parramatta). 

Four students were accepted for this 

year’s Stage 3 mentorship program. 

This exciting and inspiring stage of 

the program incorporated visits to 

key Sydney art-world destinations, 

including the studios of artists Jennifer 

Turpin and Janet Lawrence, Sotheby’s 

Auction House, NG Art Gallery, Artbank, 

the National Art School and the Brett 

Whiteley Studio. A core component 

of Stage 3 is mentoring from Gallery 

staff in the curatorial, public programs, 

conservation and registration 

departments. Stage 3 has been extended 

to include a one-day printmaking 

master class at the National Art School. 

Twelve students from four schools were 

given demonstrations in drawing and 

printmaking techniques and encouraged 

to make a body of work inspired by 

the historic grounds of the National Art 

School. 

As part of the Gallery’s ongoing 

commitment to developing the skills base 

and knowledge required to sustain best 

practice in Visual Arts teaching, each 

year one teacher from every participating 

school to date has been offered the 

chance to attend four professional 

development programs at the Gallery, 

free of charge. 

The Gallery’s website page for ARTsidein! 

was enhanced this year with the 

addition of information about the 

groundbreaking regional extension 

programs Artside-In Moree and Artside-In 

Condobolin, plus video documentaries, 

student artworks from the master class 

and a student presentation about the 

mentorship (www.artgallery.nsw.gov.au/ 

ed/712/artsidein). 

In December 2008 our senior coordinator 

of education programs was invited to 

speak at a national symposium, From 

margins to the centre: education in 

museums, on the Gallery’s innovative 

ARTside-in! outreach program. 

Teachers’ professional development 

The demand for teachers’ professional 

development continues to be high with 

733 primary school teachers and 1011 

secondary school teachers participating 

in a range of programs this year. The 

success of staff development days is 

such that they are fully booked to the 

end of 2010. 

Teachers enrichment days also had 

booked-out programs for Monet and 

the Impressionists, Operation art and 

the launch day for the Country, culture, 

community education kit. A total of 204 

teachers attended these days, which 

present an in-depth investigation of 

the exhibitions and collections through 

lectures, floor talks from artists and 

invited guests such as Indigenous 

artists Roy Kennedy and Elaine Russell, 

guided tours, discussion opportunities, 

practical workshops and education 

resources. Group sizes are strictly limited 

to allow Gallery staff to work closely 

with their colleagues in the teaching 

sector, enabling a personal and focused 

engagement. The Gallery worked closely 

with the Department of Education and 

Training for Operation art. 

Teachers holiday workshops, which 

began in 2006–07, maintained their 

popularity. Programs were offered for 

the following exhibitions: Taishō chic, 

The lost Buddhas, Monet and the 

Impressionists and Korean dreams. This 

has proven to be a highly successful 

46 


initiative, allowing for more flexible 

opportunities for primary school 

teachers to continue their professional 

development in the visual arts. A record 

number of teachers attended the Monet 

workshop in the middle of the January 

2009 school holidays. Korean artist Soon 

Hee Ko was also invited to present a 

special workshop on traditional Korean 

craft in April 2009, which was highly 

successful. 

The Gallery’s Asian art educators hosted 

120 teachers from around the state for 

the annual Japanese language teachers 

conference, which included the official 

reception, a lecture on The tale of Genji, 

and a Gallery viewing. The Gallery also 

hosted a two-day conference for the 

Department of Education and Training 

and the Asia Education Foundation 

that brought together professional 

associations, department officers and 

tertiary educators in the syllabus area of 

Human Society and its Environment to 

promote the study of Asia in secondary 

schools. 

Tertiary groups’ professional 

development 

A total of 530 students from universities 

and TAFEs attended the Gallery’s 

specially designed lectures in 2008–09. 

In many cases, this annual Gallery 

course is utilised by the higher 

education institutions as an exemplar of 

professional development and education 

strategies for engaging children with 

art in a fun and informative way. 

These lectures attract students from 

Museum Studies, Trainee Teachers, Arts 

Administration, Heritage Studies and 

Early Childhood. Most of the lectures are 

held on-site and include tours with the 

volunteer children’s guides. 

The Gallery is also the site for specialised 

courses offered by tertiary institutions 

specific to our collections or exhibitions. 

This year, for example, a landscape 

painting course offered by the National 

Art School was devised to connect with 

Monet and the Impressionists. Gallery 

staff delivered lectures to the University 

of Sydney’s Master of Art Curatorship 

students, who drew extensively on the 

Gallery’s collections and expertise as a 

case study of curatorship. 

Actor Russel Smith in character as Ngunnuy, the cheeky fruit bat conducts 

a tour for visual arts teachers attending the launch of the Country, culture, 

community education kit. 

Edmund Capon, director was interviewed by high school students as part of the 

new peer2peer young audience education initiative. 

‘I loved it! It was fun to learn all about the 

paintings, sculptors and swords. I ran to 

look for all the paintings.’ Young gallery visitor 

Workshops with the Royal 

Botanic Gardens 

Special workshops were offered in 

2008–09 for middle year students, years 

3–6 and years 7–8, aimed at engaging 

students with the ideas, concepts, 


A free school holiday performance by the Etcetra Duo presented during the Monet and the Impressionist exhibition. 

Da Vinci Project: Starting with Art workshop with students from St Edmund’s School with Danielle Gullotta, coordinator, access programs, 27 November 2008. 

48 


practices and sites related to the Monet 

and the Impressionists exhibition. Led 

by the Gallery’s education officers 

and delivered in the Royal Botanic 

Gardens, these workshops were a 

successful initiative between the Gallery 

and gardens. Training was provided 

by Gallery staff for the Royal Botanic 

Gardens educators to increase their 

awareness of art appreciation skills, and 

promoted a closer working relationship 

between the two agencies that was of 

mutual benefit. Thirteen schools and 

281 students took part in this innovative 

program and produced artworks based 

on the plein-air techniques of Monet. 

Access programs 

Access programs and services at the 

Gallery incorporate a range of programs 

for general and education audiences 

with special needs. This year a total of 

1879 people accessed these services, 

1406 with a disability and 473 in the 

gifted and talented student program. 

Signing Art – Auslan-interpreted tours 

and events for deaf and hearing people 

– is the Gallery’s longest running access 

program and attracts a loyal and growing 

audience to regular and changing events. 

In 2008–09, 206 visitors who are deaf 

as well as hearing visitors attended the 

Gallery’s free tours at 1.30pm on the last 

Sunday of every month. The successful 

integration of Auslan interpretation into 

selected Art After Hours celebrity talks 

continued this year with four interpreted 

talks attended by 36 deaf audience 

members. 

This year the Gallery’s In Touch program 

– free sculpture touch tours for people 

who are blind or visually impaired – was 

extended to include audio description 

of two-dimensional artworks. This 

improvement led to an increase of 

interest in the service for people who 

are vision impaired with the two audiodescribed 

tours of Monet and the 

Impressionists attended by 14 people 

who are vision impaired, plus their 

companions. The tours are available 

to the general public, but are also able 

to be adapted to suit the particular 

educational needs of school students. 

The Gallery, in conjunction with 

the Museum of Contemporary Art, 

Accessible Arts NSW and the City of 

Sydney, participated in the Lord Mayor’s 

community access day held on 23 

August 2008 as part of the Biennale 

of Sydney 2008. The Gallery offered 

a sensory tour for people with a mild 

to moderate intellectual disability, 

an Auslan-interpreted tour and an 

audio-described tour. These were well 

attended, with 56 people participating in 

the day’s events. 

The Gallery also participated in Seniors’ 

Week events (16–22 March 2009), funded 

and promoted by the NSW Department 

of Ageing, Disability and Home Care. 

A presentation on the history of the 

Archibald Prize was attended by 32 

people, and another program presented 

by the Gallery at the Brett Whiteley 

Studio was attended by 38 people. 

The Da Vinci Project is a schools 

audience access initiative for students 

with special learning needs and 

presents innovative workshops utilising 

the Gallery’s collections. The program 

includes Starting with Art for students 

with an intellectual disability and HOT 

Art for those students identified as 

intellectually gifted and talented (GAT) 

and able to develop Higher Order 

Thinking (HOT). Several schools that 

were not able to make the journey into 

the Gallery were able to access the Da 

Vinci Project resource materials online, 

enabling students to explore art through 

the online images. 

Starting with Art programs attracted 

strong interest from both new and return 

schools with 204 students participating in 

28 groups. Teachers were able to select 

from five different permanent collection 

workshops, ensuring the best match 

with the needs of the students and their 

classroom program. There was a further 

addition of tactile resources, which 

were incorporated into the workshops 

to assist students to relate and engage 

with the selected artworks. The Gallery’s 

access program partners Clayton Utz 

provided additional support through their 

employee volunteers assisting with the 

delivery of Starting with Art workshops. 

Gifted and talented programs continued 

to increase during 2008–09 with 473 

students participating in 28 HOT Art 

workshops. In the last year there was 

an increase in demand from NSW 

government primary school’s opportunity 

classes (OC) for the Gallery’s GAT 

services, with 90 years 5–6 students from 

Artarmon and Chatswood Public Schools 

attending six workshops. This is the 

second year that Artarmon Public School 

has brought its OC students to the 

Gallery’s Da Vinci programs. SCEGGS 

Darlinghurst and Sydney Grammar 

schools also booked multiple GAT 

workshops throughout the year. Four 

free HOT Art workshops were offered to 

disadvantaged schools including Glebe 

Public School, Granville High School, 

Katoomba North Public School and St 

Andrews Primary School, Blacktown. 

Community activities 

The Gallery continues to provide 

an extensive array of programs and 

popular activities for children and family 

audiences. Visitor numbers for the 

GalleryKids program was 33 375, an 

increase of 13% on the previous year. 

This year, new GalleryKids initiatives 

were introduced to engage visitors more 

closely with the Gallery’s permanent 

collections through children’s art trails 

and new iPod audio tours. Dance also 

proved to be a popular event for families 

with large attendances in October 2008 

for Chinese dances and in April 2009 for 

Korean dances. 

New performances were commissioned 

for the GalleryKids program in 2008–09 

which complimented the Gallery’s 

temporary exhibition program: Bronwyn 

Vaughan designed a storytelling/drama 

performance, Floating on a sea of 

stories, which linked to the Taishō chic 

show; dancers from Sydney’s Chinese 

Youth League were invited to perform 

traditional and modern Chinese dance 

in conjunction with The lost Buddhas 

show; the Etcetera Duo staged a magic, 

mime and illusion performance based on 

the colour and light found in the Monet 

and the Impressionists exhibition; and 

dancers from the Min Sun Song Korean 

Dance Academy performed beautiful 

dances to contextualise the exhibition 

Korean dreams. All of these programs 

were visually spectacular and generated 

much enthusiasm and excitement from 

the audiences. A multicultural approach 

brought to life stories and traditions 

from diverse cultures and enhanced the 

viewing experience and enjoyment of the 

exhibitions. 

The collection character tours continued 

their appeal and attracted large 

audiences to the Gallery’s permanent 

collection – Gert by Sea performed in 

the January 2009 school holidays and 

Ngununy, the cheeky fruit bat, performed 

a special new tour for the NAIDOC Week 

in July 2008 and a further new show 

linked to the Country, culture, community 

exhibition in January 2009. Due to his 

enduring popularity, Ngununy will have 


a new tour developed linking to The 

dreamers exhibition. 

Kids enjoying the new iPod audio tours designed especially for children aged 5–12 years. 

Aiko Hagiwara, Community Ambassador (right), conducting a free Japanese-language 

guided tour of the Gallery’s collection. 

‘The kids audio tour was fantastic! My 

8 year old son loved it and had a great 

time pointing out for me the things he had 

learned. Thank you.’ Gallery visitor 

Two new children’s art trails were 

produced in 2008–09. The Monet and 

the Impressionists trail was used by a 

record number of children (10 000) and 

was also the starting point for designing 

a script for a children’s audio tour of 

the show. Country, culture, community 

for the Yiribana Gallery collection as 

was the other new trail. Children’s art 

trails continue to incorporate looking 

and interpreting with practical drawing 

activities for children aged 5 years and 

up. All trails are made available on the 

Gallery’s website as downloadable A4 

sheets and are increasingly used by 

visiting school groups and on interactive 

electronic whiteboards in school 

classrooms. Additional new trails will 

be developed across further aspects of 

the Gallery’s collections in 2009–10 and 

again for next year’s major temporary 

exhibitions. 

Children’s holiday workshops were held in 

all four of the holiday periods in 2008–09 

and were fully booked each holiday, with 

many more Gallery visitors eager to fill 

any spaces suddenly left vacant. Extra 

workshops were also added for the 

Monet and the Impressionists exhibition 

and record numbers of attendees were 

noted. In some holidays more than 

one type of workshop was offered to 

increase opportunities and variety. This 

year’s program included a performancebased 

collaborative workshop linked to 

NAIDOC Week, led by contemporary 

multi-media Indigenous artist, Emily 

McDaniel; Japanese paper-kimono 

making workshops linked to the Taishō 

chic exhibition; clay sculpture workshops 

linked to The lost Buddhas show; 

landscape painting on canvas focusing 

on colour and light linked to Monet and 

the Impressionists; and decorative art 

workshops linked to the Korean dreams 

exhibition. 

IPod tours and audio guides 

A new initiative, introduced in 2008–09, 

was the introduction of audio tours for 

children, aged 5–12 years, through all 

of the Gallery’s collection areas. The 

tours include audio descriptions of key 

works from the collection, and encourage 

a fun way of looking at and engaging 

with the works of art. The guides are 

read by a child, which has proved to 

be a successful move, as listeners are 

immediately drawn into the world of their 

peers. Questions, role-play and ‘at home’ 

activities are also a strong aspect of 

50 


the tours and encourage the children to 

continue their learning beyond their time 

in the Gallery. The tours can be hired in 

the Gallery or downloaded for free from 

the Gallery’s website, and they have also 

been promoted to schools for use on 

interactive electronic whiteboards in the 

classroom. An adult version of the iPod 

audio tour, led by the Gallery’s director 

Edmund Capon, is also available and 

has proved popular with our visitors. 

New works of art will continue to be 

added to the iPod audio tour repertoires 

throughout 2009–10. 

Volunteer guides 

There are currently 102 active Art 

Gallery Society of NSW volunteer 

guides – 100 women and two men 

– who are committed to supporting the 

Gallery by conducting free tours which 

enhance our visitors’ experiences of 

art. In 2008–09, an estimated 56 000 

visitors, including more than 15 000 

school children, participated in over 

5100 tours conducted by the volunteer 

guides. Regular activities by the guides 

include the free daily tours of the 

Gallery’s collection areas. These cover 

the director’s highlights of the collection; 

the Asian gallery; Aboriginal and Torres 

Strait Islander art; and the contemporary 

collection. They also conduct tours of 

the major temporary exhibitions, which 

this year included the Biennale of Sydney 

2008; The lost Buddhas; Monet and the 

Impressionists; and the annual Archibald, 

Wynne and Sulman Prizes exhibition. 

This latter show is always a challenge 

due to the very short amount of time 

between the final selection of works 

and the opening of the exhibition to the 

public, thereby requiring many hours 

of intensive research and preparation 

by the volunteers to ensure readiness. 

The guides also conduct private tours 

for diverse visitors including members of 

the Art Gallery Society; corporate clients; 

visiting dignitaries; overseas tourists; 

English as a Second Language students; 

In Touch tours for the visually impaired; 

and community groups. As well, for those 

who can’t travel to the Gallery, such as 

residents in nursing homes, the guides 

help ensure an arts experience can travel 

to them, with outreach programs using 

video technology. 

The volunteer guides also attend 

fortnightly lectures which focus on 

aspects of the Gallery’s collections, 

temporary exhibitions and art history. 

This ongoing training is supported by the 

Gallery and the Art Gallery Society. In 

addition, guides undertake extra research 

and self-education; and visit other 

galleries and art schools in preparation 

of their tours. Guides who conduct 

tours for children also attend special 

workshops and lectures at the Gallery 

on engaging children with art. 

The Task Force 

The Task Force of 198 Art Gallery 

Society of NSW members provide 

voluntary assistance to both the 

Gallery and the society each year. 

This assistance is in the form of 

working on Gallery exhibitions; taking 

rosters in the members lounge, on 

the membership desk and assisting at 

functions; and preparing mailouts and 

other administrative services activities. 

Task Force members also assist in 

conservation with the Asian programs, 

in the image library, the Sunday and 

Wednesday night film programs, in 

the study room, the Photography 

department and at the Brett Whiteley 

Studio. 

During 2008–09 the Task Force 

successfully conquered a new challenge 

with the introduction by the Gallery of 

a new computerised ticketing system 

which required additional Task Force 

members to operate ticketing terminals 

and an exhibition entrance scanning 

system. 

In addition, the project of digitising the 

Gallery’s slide library collection has 

progressed at a steady and consistent 

rate this year with the assistance 

provided by Task Force members. Of 

the library’s approximately 140 000 

slides, more than 24 000 have now 

been scanned. 

The tremendous work contributed by 

both the volunteer guides and the Task 

Force members in 2008–09 is estimated 

to be worth over $1.6 million of in-kind 

service provision to the Gallery. Without 

their commitment and dedication many 

key activities which make for a wonderful 

arts experience could not otherwise 

be provided to many thousands of 

Gallery visitors. 

Community ambassadors outreach 

The Gallery’s community ambassador 

volunteers conducted weekly free guided 

tours for over 1500 visitors in 2008–09, 

featuring the Gallery’s collections 

and major exhibitions in three Asian 

languages: Mandarin, Cantonese and 

Japanese. Unfortunately, the oncemonthly 

Vietnamese language tour was 

suspended in 2009. 

Cantonese Community Ambassadors 

continued their collaboration with 

SBS Cantonese Radio writing and 

presenting a program focusing on the 

Gallery’s collections and exhibitions, 

which airs on the second Thursday of 

the month. Topics this year included 

religious paintings, the Biennale of 

Sydney 2008, The lost Buddhas, 

Cézanne, Monet, contemporary Chinese 

ink paintings, auspicious Chinese 

symbols and contemporary Chinese 

artists. The success of the Cantonese 

program led to a further collaboration 

with SBS Mandarin Radio culminating 

in a series of six short radio talks in 

that language focusing on the Gallery’s 

collections. A new outreach opportunity 

arose with an invitation to contribute 

a quarterly column to the newsletter 

of the Australian Chinese Community 

Association. 

Community ambassadors continued 

to be active in welcoming international 

delegations including the Kurozumi 

Foundation, Tzu Chi, Tokyo National 

Museum, Taiwan Universities Alumni and 

TVBS and Global View Magazine – both 

media organisations from Taiwan. 

Regional activities 

Collection loans 

During 2008–09 the Gallery loaned 

495 works from its collections to over 

70 venues across NSW, Australia and 

internationally. Specifically, 148 works 

from our collections travelled to 22 

regional NSW venues. One significant 

loan included 51 works lent to the 

Bathurst Regional Art Gallery for the 

exhibition, Themes and variations: 

Australian drawings from the collection of 

the Art Gallery of New South Wales. This 

show included works from Australian 

artists such as Albert Tucker, Donald 

Friend, John Olsen, Grace Crowley, Lloyd 

Rees, Brett Whiteley, Sidney Nolan and 

Wendy Sharpe. Six works by Norman 

Lindsay were lent to the Blacktown 

Arts Centre for their Dream merchant 

exhibition and Hazelhurst Regional 

Gallery and Arts Centre borrowed 23 

works for their Flora: still life moving 

fast show. The Gallery also contributed 

15 key works to the Great collections 

exhibition organised by Museums & 

Galleries NSW. This show travelled 

from the Campbelltown Arts Centre to 


Western Plains Cultural Centre 

• 15 works in Great collections exhibition 

3 APR – 10 MAY 09 

Griffith Regional Gallery 

• An education mentorship awarded to 

the gallery’s education officer 

Lismore Regional Gallery 

• 9 shades of Whiteley touring exhibition 

13 sept 08 – 15 nov 08 

• Archibald Prize 08 touring exhibition 

23 JAN – 28 FEB 09 

• 1 work in Life of the land: simultaneous 

perspectives – John Olsen and 

William Robinson exhibition 

9 MAY – TBC 

Tweed River Regional Art Gallery 


6 FEB – 15 AR 09 

Bangalow, North Coast 

• Forty Eight Hours of Visual Arts Festival. 

Lecture: Curating Artexpress: 

a conceptual framework crossroads. 

MAY 08 

Dubbo 

Murwillimbah 

Bangalow 

Lismore 

Grafton 

Armidale 

Tamworth 

Port Macquarie 

Grafton Regional Gallery 

• Judged 2008 Jacaranda Acquisitive 

Drawing Award exhibition 

24 OCT – 5 DEC 08 

Port Macquarie Hastings 

Regional Gallery 


15 DEC 08 – 18 JAN 09 

• Lecture on contemporary international 

collection 

26 SEPT 08 

Griffith 

Albury 

Lake Macquarie 

Newcastle 

Bathurst 

Blue Mountains Gosford 

Penrith Blacktown 

Campbelltown Sydney 

Mittagong 

Wollongong 

Goulburn Warrawong 

Lake Macquarie City Art Gallery 


31 OCT – 12 DEC 08 

Gosford Art Gallery 

• Presentation to Gosford Art Gallery 

supporters 

23 AUG 08 

• Lecture: The defence of Rorke’s Drift 

by Alphonse De Neuville, Frame 

Conservation 

23 AUG 08 

Bathurst Regional Art Gallery 


12 JULY – 16 AUG 08 

• 51 works in Themes and variations 

exhibition 

17 oct – 30 NOV 08 


1 MAY – 14 JUNE 09 

• Opening address: Themes and 

variations, drawings from the collection 

of the Art Gallery of New South Wales 

exhibition 

17 OCT 08 

Albury Regional Gallery 

• 3 works in Step right up exhibition 

10 OCT– 23 NOV 08 


29 MAY – 5 JUL 09 

• Program developer, presenter 

and forum participant. Paper: 

Artexpress: connecting with public 

galleries and the influence on the HSC 

MAY 08 

Goulburn Regional Art Gallery 


12 JULY – 16 AUG 08 

• Opening address: Geoffrey de Groen 

exhibition 

27 JUNE 09 

Sturt Gallery Mittagong 

• Opening address: Plus minus equals 

exhibition of sculptures and drawings 

by Brian Kirkby 

21 JUN 08 

Penrith Regional Art Gallery 

• Judge Operation art 

3 JUL 08 

• 1 work in Sydney Ball: the colour 

paintings exhibition 

8 NOV 08 – 25 JAN 09 

Blacktown Arts Centre 

• 6 works in Dream merchant exhibition 

6 NOV 08 – 31 JAN 09 

Probus Club Blackheath 

• Lecture: Why art matters 

23 OCT 08 

Jenolan Caves 

• Launched Seed Project exhibition 

12 SEPT 08 

Campbelltown Arts Centre 


12 DEC 08 – 18 JAN 09 

• 6 works in Gallery A Sydney exhibition 

9 MAY – 19 JUL 09 

Coomaditie United Aboriginal 

Corporation, Warrawong 

• Consultant curator 

08–09 

KEY • Collection • Exhibition • Education 

52 


New England Regional Art Museum 

• Curated Pop art: from Chandler 

Coventry Collection exhibition 

26 SEPT 08 – 8 FEB 09 


22 nov 08 – 8 FEB 09 

• 9 shades of Whiteley exhibition 

nov 08 

• Member: Acquisitions committee 

New England Regional Schools 

• Presentation: Artexpress art camp 

17 OCT 08 

Tamworth Visual Arts Student 

Symposium 

• Lecture: Developing a body of work 

OCT 08 

Newcastle Region Art Gallery 


14 FEB – 19 APR 09 

• 6 works in Gallery A Sydney exhibition 

21 MAR – 3 MAY 09 

• Whiteley’s Garden exhibition talk 

26 MAR 09 

Newcastle University Gallery 

• Launched Ben Quilty exhibition 

14 FEB – 19 APR 09 


collection 

10 SEPT 08 

• Essay: Being before and beyond the 

frame, face to face 

10 SEPT 08 

Wollongong City Art Gallery 

• 3 works in Step right up exhibition 

12 DEC 08- 25 JAN 09 


collection 

27 AUG 08 

• Essay: Regis Lansac: Vita Breva 

SEPT 08 

• Consultant curator: Pallingjang 

Saltwater 

DEC 09 

Wollongong University 

• Lecture on Papunya Tula 

9 APRIL 09 

Tweed River Arts Gallery, Western Plains 

Cultural Centre and Albury Regional 

Gallery. It included our collection works 

by renowned artists Albrecht Dürer, Pablo 

Picasso, Paul Cézanne, Olive Cotton, 

David Moore, Tim Leura Tjapaltjarri, 

Arthur Streeton, Russell Drysdale and 

Brett Whiteley. 

Regional exhibition tours 

The Gallery toured two exhibitions to 

eight different regional art museums 

throughout NSW in 2008–09, with 

these popular shows attracting a total 

audience of 76 824. First up, the Gallery 

once again toured the Archibald Prize 

exhibition to five regional NSW venues: 

Goulburn Regional Art Gallery, Bathurst 

Regional Art Gallery, Lake Macquarie 

City Art Gallery, Port Macquarie Hastings 

Regional Art Gallery and Lismore 

Regional Gallery. In 2009–10, this 

exhibition tour will increase to six NSW 

regional venues: Dubbo, Cowra, Broken 

Hill, Gosford, Griffith and Maitland. This 

tour is organised each year in association 

with Museums & Galleries NSW. 

The second exhibition to tour was 

9 shades of Whiteley, which was the 

first time a Brett Whiteley exhibition has 

toured to regional Australia since the 

Brett Whiteley Studio opened in 1995. 

The show included 20 Whiteley works 

and traced the artist’s life and career 

from his earliest painting, Self portrait 

at sixteen 1955, to just a few months 

before his death with Port Douglas, 

far North Queensland 1992. The ‘nine 

shades’ include Whiteley’s early works, 

abstracts, Christie and London zoo 

series, Lavender Bay, portraits, birds and 

landscapes, sculptures, late works and a 

final section that included photographs of 

the Brett Whiteley Studio, his last home 

and studio from 1985–1992 before it 

became a public museum. This exhibition 

was supported by Visions Australia, an 

Australian government program that 

supports touring exhibitions by providing 

funding for the development and touring 

of Australian cultural materials across 

Australia. In NSW the show toured to 

Lismore Regional Gallery, New England 

Regional Art Museum, Newcastle 

Region Art Gallery and Bathurst Regional 

Art Gallery. 

Other regional NSW outreach 

activities 

Throughout the year many Gallery staff 

offer assistance and their services in 

a broad range of activities undertaken 

on behalf of regional NSW galleries 

including opening exhibitions, guest 

lecturing, judging art prizes, developing 

and presenting workshops, offering 

curatorial assistance and helping in 

the development of local exhibitions, 

mentorships, internships and writing 

articles for publications. Some highlights 

of this year include: Barry Pearce, the 

Gallery’s head curator of Australian 

art, continued his role as advisor to 

New England Regional Art Museum 

(NERAM) and curated the exhibition 

Juxtapositions: two aspects of Australian 

art, selected from the Howard Hinton and 

NERAM collections for which he wrote 

a catalogue essay; Hendrik Kolenberg, 

the Gallery’s senior curator of Australian 

prints, drawings and watercolours, 

judged the Jacaranda Acquisitive 

Drawing Award at the Grafton Regional 

Gallery in October 2008; and the 

Gallery’s senior coordinator of education 

programs, Tristan Sharp, was the 

program developer, presenter and forum 

participant for the Albury Regional Art 

Gallery as part of the Great collections 

exhibition in May 2009. Lectures also 

play a large part in regional support, and 

have been given by Anthony Bond, the 

Gallery’s assistant director, curatorial 

services, at Port Macquarie Hastings 

Regional Art Gallery, at the University 

of Newcastle, Wollongong City Gallery 

and Gosford Regional Gallery during 

2008–09. 


Publications 

54 


This year saw the publication 

of nine major new titles across 

a variety of subjects including 

Impressionist art, Asian art, 

Aboriginal art and Dutch art, 

as well as a highlights book on 

the Gallery’s collection. 

Monet and the Impressionists, the 

catalogue for the Gallery’s summer 

blockbuster exhibition, combined 

beautiful and elegant design with original 

scholarly research on the subject. It 

attracted strong orders from overseas 

distributors. 

Two Asian publications, The lost 

Buddhas and Korean dreams proved 

very popular with Gallery visitors, with 

The lost Buddhas requiring reprinting. 

The success of these publications 

indicates the growing sophistication 

and knowledge of Asian art by the 

Gallery’s visitors. 

A second publication to be reprinted 

was Intensely Dutch. The first print run 

sold out early in the exhibition’s run 

and was reprinted. It was also ordered 

by international distributors. 

Half light was a groundbreaking book 

showcasing for the first time in a major 

survey the work of Australian Indigenous 

artists engaging with the photographic 

medium and the portrait. It has been 

welcomed by schools and tertiary 

institutions and has been ordered by 

bookstores around Australia. 

This year also saw the Gallery’s director, 

Edmund Capon, putting his special 

knowledge and insight of the collection 

to good use in another of our ongoing 

series of handbooks. Highlights from the 

collection is an energetic and fascinating 

guided tour of the Gallery’s highlights 

from the director’s unique perspective. 

Publication awards 

The high quality of our publications 

was recognised during the year, with 

the Gallery being presented with the 

following awards. 

AUSTRALIAN PUBLISHERS ASSOCIATION 

• 57th Annual APA Book Design Awards 

Best designed specialist illustrated book 

sponsored by Lamb Print 

Commended 

Adam Cullen: let’s get lost 

Designer: Analiese Cairis 

MUSEUMS AUSTRALIA 

• MAPDA (Multimedia and Publication 

Design Awards) 

Exhibition catalogue – major 

(over 64 pages) 

Level C 

Highly commended 

Adam Cullen: let’s get lost 


Judges’ comments: Design bravery, 

typography reflects spirit of the artist 

without conflicting with the content 

of his works. 



Education material 

Level C 

Winner 

Art speaks language kits (Japanese 

and Italian) 


Judges’ comments: Sophisticated, 

beautifully produced, great colour 

dynamics and use of logo, taking 

education seriously. 



Website (B) (website designed for a 

specific exhibition or program) 

Level C 

Winner 

Inside Artexpress 08 

Designer: Jo Hein 

Judges’ comments: Highly original and 

creative concept and controlled clear 

design. 



Multimedia (Communication media – 

animation, game, interactive and motion 

graphics accessed via the worldwide web) 

Level C 

Winner 


Designer: Jo Hein 

Judges’ comments: Sublimely beautiful, 

clever interactive, uses the technology 

extremely well, high production values 

as the institution values this program 

and has resourced it accordingly. 

AUSTRALASIAN REPORTING AWARDS 

• Art Gallery of New South Wales 

Annual Report 2007–08 

Gold Award 

To receive an ARA Gold Award a report 

must demonstrate overall excellence in 

annual reporting – providing high-quality 

coverage of most aspects of the ARA 

criteria, full disclosure of key aspects 

of the core business, and outstanding 

disclosure in major areas, and it must be 

a model report for other organisations in 

its field. 

Judges’ comments: This interesting, 

informative and stylish report reflects 

the Art Gallery’s vision to ‘inspire interest 

and provide enjoyment to diverse 

audiences’. It includes comprehensive 

reporting against the corporate plan, 

and informative reporting on community 

and regional activities. 


Titles published in 2008–09 

Archibald 09 

2008, 44pp, pb, 40 colour images 

This year’s Archibald catalogue has 

been the most popular yet reflecting 

the great interest from the public in this 

year’s entries. 

Half light: portraits from black Australia 

2008, Perkins, 140pp, pb, 85 colour and 

black-and-white images 

This is the first major survey of the 

work of Australian Indigenous artists 

engaging with the photographic medium 

and the portrait. Showcasing a range 

of techniques from classical black-andwhite 

portraiture to digital imagery, the 

book offers an unprecedented insight 

into the black experience that transcends 

national borders and the harsh reality of 

the everyday. 

Highlights from the collection 

2008, Capon, 88pp, fb, 176 colour images 

In this overview of the Gallery and its 

collection, director Edmund Capon 

invites the reader to ‘Join with me on a 

tour that will of necessity be succinct 

and selective but not, I trust, without 

colour and feeling…’ 

Intensely Dutch: image, abstraction and 

the word post-war and beyond 

2009, Kolenberg, 200pp, pb, 129 colour 

and black-and-white images 

Uncompromising, confronting, optimistic 

– after the Second World War a new 

young generation of Dutch artists took 

to modernity as never before. For them 

it was a time of renewal. Bright colour, 

impasto and vigorous handling were 

features of their work. 

This publication presents the work of 

some of the most important Dutch artists 

of the post-war period including those 

associated with CoBrA (Karel Appel, 

Constant, Corneille and Lucebert), with 

art informel (Jaap Wagemaker, Jan J 

Schoonhoven and Bram Bogart) and 

those who preceded them, like Bram 

van Velde and Willem de Kooning, 

whose work found international favour 

after the war. The book provides a rare 

first-hand introduction to modern Dutch 

art, incorporating the collaborations 

that many artists had with Dutch poets 

(Bert Schierbeek, Jan G Elburg, Simon 

Vinkenoog). 

Korean dreams: paintings and screens 

of the Joseon dynasty 

2009, U-fan, 128pp, pb, 88 colour images 

The paintings in this publication 

represent popular decorative traditions 

used in Korean homes, rather than the 

Chinese literati style favoured by officials 

in the Confucianism-dominated society. 

Themes covered include calligraphy, 

landscape, bird-and-flower, mythical 

animals and portraits. A popular subject 

represented by some fine examples is 

the so-called book screen (Chaek’kori), 

a genre adopted with relish by Koreans, 

artist and patron alike. 


sculptures from Qingzhou 

2008, Capon & Liu Yang, 144pp, pb, 73 

colour images 

Lost for over 800 years, the discovery 

of some 400 Buddhist figures by 

construction workers levelling a sports 

field is considered one of the most 

significant archaeological finds of the 

20th century. The sculptures were 

carefully wrapped and buried in the 

grounds of a long-destroyed temple for 

reasons that remain a mystery. Created 

nearly 1500 years ago, these are some 

of the most exquisite works of art made 

in the service of the Buddhist faith. They 

are extraordinary in their beauty and 

timeless simplicity. 


2008, Shackleford & Maloon, 228pp, fb 

& hb, 140 colour and black-and-white 

images 

This book aims to recreate the artistic 

milieu of Monet and show his rapport 

with the unconventional non-academic 

currents of French art including the 

preceding generation of landscapists 

of the Fontainebleau School and the 

succeeding generation including Paul 

Gauguin. Paintings by Claude Monet, 

approximately 20 in all, are grouped with 

the works of other artists connected 

to Monet to suggest the range of his 

experience, his influences, and the 

influence of his art, from his beginnings 

in the 1860s to the years after 1900. 

The artists used for comparison include 

greats such as Renoir, Sisley, Pissarro, 

Degas and Cézanne. 

Double take: Anne Landa Award for 

video and new media arts 2009 

2009, Lynn, 56pp, pb, 36 colour images. 

The Anne Landa Award has become 

integral to the Gallery’s exhibition 

programs, presenting the latest and 

most innovative developments in video 

and the new media arts. This year’s 

exhibition was the third in a series of 

biennial exhibitions begun in 2004. For 

the first time, the exhibition included 

artists from China, New Zealand and the 

United Kingdom as well as Australia. 

This publication of the 2009 exhibition 

demonstrates how this expanded 

framework reflects the globalisation 

of the digital age and acknowledges 

the undeniable impact artworks 

incorporating new technologies now 

have on the contemporary art scene 

worldwide. 


2008, Trinh, 48pp, 32 colour images 

2008 marked the 1000th anniversary of 

Japan’s oldest novel, The tale of Genji. 

Featuring 32 beautiful reproductions of 

works in the collection, this small but 

beautifully designed book shows the 

imaginative power of Japanese artists 

to adapt and translate this timeless and 

popular tale. This publication sold out 

and is now out of print. 

56 


Education kits and online resources 

The Gallery produced 12 new education 

resources in 2008–09. The strategic 

mix of hardcopy and online formats of 

education kits, education notes and 

room brochures continued to prove 

popular and valuable to the education 

audiences, with 10 095 copies of these 

kits taken up by kindergarten to tertiary 

students. 

This year a new Aboriginal and Torres 

Strait Islander art education kit, Country, 

culture, community, was published. This 

education kit has been developed to 

help students understand and appreciate 

the richness and diversity of Aboriginal 

and Torres Strait Islander art through 

key works in the Gallery’s collection. 

In focusing on significant artists or 

groups of artists and their work, this kit 

provides an introduction to the many 

forms of Indigenous art practices and 

related issues and ideas. Each of the 16 

artist sheets focuses on two significant 

artists or groups of artists. The student 

activities and questions are grouped 

into two main areas: kindergarten–year 6 

student activities and framing questions 

for years 7–12 students. Both have been 

prepared with reference to a variety 

of the NSW Education Department’s 

syllabus documents and in accordance 

with the principles outlined in the 

‘Working with Aboriginal and Torres Strait 

Islander art’ section of the framing essay. 

The kit is designed to complement a visit 

to the Gallery to view the original works 

and provides pre- and post-visit resource 

material and strategies for engaging with 

the artworks during a visit. 

New education kit Country, culture, community, designed around key works in the Gallery’s collection. 


Kaldor image tk 

58 


Building and environmental 

management 

With significant support from the 

NSW government the Gallery last year 

embarked on a major three-year building 

program. The impetus for the building 

program is two fold: firstly, to safely and 

more efficiently store the collection offsite 

and secondly, to create a major 

new display gallery for contemporary 

art in the space that was previously 

used for the collection store. This project 

will release 1400 square metres of public 

space within our Domain site building. 

This government project is generously 

aided by private support with the 

significant gift from John Kaldor and his 

family of some 260 works of contemporary 

art and a major financial contribution 

from the Belgiorno-Nettis family. 

Collection store 

The collection store is a purposedesigned 

5000-square-metre building 

by Johnson Pilton Walker. The building 

construction uses tilt-up concrete 

panels that are then insulated and 

metal clad thus providing a thermally 

robust building. The design incorporates 

recycled water for the plant with three 

water tanks on-site to collect roof water. 

The two-storey building has stateof-the-art 

storage systems including 

large sliding screens for the painting 

collections and compactus units for 

the objects and textiles. The building 

will have a large, multifunctional digital 

photography studio and workshops for 

preparation and conservation work. 

The development application for the 

collection store was approved in 

July 2008, tenders were submitted in 

October 2008 and the contract was let 

in December of that year. Construction 

commenced on site in January 2009 

and is due to be completed by early 

November 2009. 

There has been a large team conserving 

and packing the collection for safe 

relocation to the new off-site storage 

facility. The major relocation of the 

collection will occur over a four-month 

period from November 2009 through 

to February 2010. Once the collection 

is safely moved the construction of the 

new display gallery, to be known as the 

John Kaldor Family Collection Space, will 

commence in March 2010. 

Loading dock 

In tandem with the collection store 

project, the Gallery has upgraded the 

existing dock. This design incorporates 

two dock levellers to provide multiple 

goods handling facilities at the Domain 

site, particularly needed with the 

collection off-site, and improved disabled 

and visitor access with a separate 

entrance from the car park. 

A dual roadway with a dedicated 

pedestrian path has been incorporated in 

the loading plan upgrade. Development 

approval and construction for this stage 

of the project will be undertaken in 

early 2009. 

The building work has created some 

temporary disruption to Gallery services 

with a substantially reduced dock facility 

and limited car parking. 

Security upgrade 

Following a major review of security 

at the Gallery, a security technology 

equipment contract was let in February 

2009. The scope of work includes 

electronic security surveillance 

throughout the Gallery, the Brett Whiteley 

studio and at the new collection store. 

Leading generation technology has 

been scoped for the project which 

will include analytic technology. Radio 

frequency identification will be used for 

high-risk works. 

The security control room has been 

upgraded in tandem with the security 

equipment improvements. This includes 

total refurbishment of the control room 

to accommodate the new technologies 

and incorporates an electronic kiosk for 

visitors and an electronic key safe. 

The early warning information system 

has been replaced throughout the 

Gallery with an excellent public address 

speaker system. 

Capital maintenance projects 

The Gallery has completed a suite of 

major maintenance projects this year 

including replacement of the escalators. 

This was a huge task for our Building 

Services team who, together with the 

contractors, removed and replaced 

six escalators over a three-month 

period. The new escalators are slow 

starting, conserving energy as they are 

people activated rather than running 

continuously. As well, the operational 

noise level of the escalators throughout 

the building has been substantially 

reduced. 

There has been critical work done 

throughout the year on aging equipment, 

including replacement of equipment 

and more efficient operation of the 

existing equipment by undertaking major 

maintenance of the plant. The Gallery 

has installed a new cooling tower and 

variable speed drives to the chillers. 

New fans have been installed replacing 

the original equipment from the 1972 

building extension. 

The entrance court is the venue for 

the majority of functions in the Gallery 

and now has a new speaker system 

to manage the diversity of events, 

functions and performances that are 

all part of Gallery activity, from Indian 

music concerts to celebrity lectures, 

from exhibition openings to concerts 

for families. 

The Domain Theatre has been upgraded 

with a new stage, newly designed entry, 

new paint scheme and improvements to 

the air conditioning. New film projection 

equipment has been installed to improve 

clarity and increase the 35mm projection 

options. 

The cafe operation has been improved 

to better manage the large number of 

visitors. Visitors now order direct from 

an electronic board at a central hub 

rather than queuing to see the food prior 

to ordering. A limited hot food selection 

has been added to the menu. The 

revamped cafe opened to coincide with 

the 2009 Archibald, Wynne and Sulman 

Prizes exhibition and greatly improved 

operations. 

Jeff Koons 

Puppy from the Kaldor collection gifted to the 

Gallery which will be featured in the new John 

Kaldor Family Collection Space due for completion 

in early 2011. ©the artist. 


Energy management 

Over the last five years the Gallery’s 

consumption of energy has steadily 

decreased each year to a total reduction 

of 13%. This has been due to a number 

of contributing factors, the most 

significant being improved monitoring 

and control of utilities by the Building 

Services department. 

During 2008–09, the Gallery’s Domain 

site building services were running at 

close to capacity for long peak periods 

due to our extensive programs which 

attracted over 1.3 million visits, an 

increase of more than 163 000 visits over 

the previous year. In the past, the use 

of energy, especially water, very much 

reflected the changing number of visitors 

active in the building throughout the 

year. However, as the building reaches 

capacity, our active management of 

utilities has meant that this year the 

Gallery has achieved reductions in 

consumption of water and electricity with 

gas consumption remaining the same. 

In view of the increased visitor numbers 

during the year, this has delivered 

excellent cost controls. 

The Gallery again committed to Earth 

Hour held in March 2009 and one of 

our most effective and visible initiatives 

was to turn off the lights to the white 

glass and steel cube pavilion that houses 

our Asian art galleries. Usually when 

lit at night, this architecture-awardwinning 

structure glows like a paper 

lantern over Sydney Harbour and can 

be seen for miles. 

Electricity 

To ensure the Gallery’s environmental 

conditions meet international museum 

standards for temperature and humidity, 

electricity usage is monitored very 

closely to achieve minimum consumption 

while maintaining the required conditions. 

Our electricity usage currently comprises 

a 6% green energy component. 

The average daily electricity consumption 

has been reduced from 22 840 kilowatt 

hours in 2007–08 to 22 637 kilowatt 

hours in 2008–09. This equated to a 

reduction in the Gallery’s carbon footprint 

of over 78 tonnes of greenhouse gas 

emissions – equivalent to eliminating the 

emissions created by taking four first 

class return flights to the Bahamas. 

As a new initiative, our computer 

network has been configured to 

automatically switch off any computers 

left on by employees at 9.30pm every 

night, potentially saving hours of wasted 

electricity usage. 

Gas 

The average daily consumption of gas 

remained steady with the previous 

year at 103 gigajoules. The gas usage 

mainly relates to powering chillers used 

to manage humidity and temperature 

controls to stay within specific 

environmental standards required for 

art museums. 

Water 

The average daily use of water, 

measured in kilolitres per day (kL/d), fell 

from 93.7 kL/d in 2007–08 to 92.3 kL/d in 

2008–09. This represents a total volume 

of 531 kilolitres of water saved during the 

year – enough to supply a large family 

household with a pool for one year. 

Motor vehicle fleet 

The Gallery has a small fleet of six motor 

vehicles – three sedans, one station 

wagon, a utility truck and a two-tonne 

truck. Maintenance of the motor vehicle 

fleet is undertaken in accordance with 

the NSW government fleet management 

policy, including the purchasing of fuelefficient 

cars. 

The Gallery’s motor vehicle procedures 

provide guidelines for environmentally 

sound driving. All employees driving 

our fleet vehicles are directed to use 

E10 unleaded petrol when refuelling. 

Efficiency savings are applied against 

the constantly increasing cost of petrol. 

There was a slight increase in fuel usage 

during 2008–09, which was expected 

due to an additional vehicle being added 

to our fleet; however, the overall average 

usage per vehicle declined. 

Reduction of waste generation 

The development of the Gallery’s intranet 

to replace previously paper-based 

systems continued in 2008–09. ‘Log a 

job’ features allow staff to book work 

by, or report problems to, our Building 

Services, Graphics and AV Services 

departments. The information available 

in the intranet’s policy and procedures 

section was also increased during the 

year, giving staff easy online access to 

information relevant to their work. 

The Gallery’s e-newletter, artmail, 

currently has more than 160 000 

subscribers, up from 110 000 in 

2007–08, mainly due to the near record 

number of visitors to the Monet and 

the Impressionists exhibition. This 

cost-effective electronic news system 

provides information to the general 

public and professional media entities. 

The main Gallery printer/photocopier 

was set to default to double-sided 

printing. This printer also functions as 

a scanner and staff are increasingly 

scanning documents such as plans 

and contracts rather than photocopying 

them and sending them via the post. In 

June, the Gallery purchased another two 

more similar machines, and card-reader 

control systems will be put in place to 

ensure even further reduction in the 

generation of waste paper. 

Increasing public use of the Gallery’s 

website has reduced the reliance on 

having a detailed hard-copy brochure. 

As well as reducing the frequency of 

publication, a new smaller format, 

concertina brochure printed by Avant 

Card called Highlights replaced the 

Exhibitions & Events brochure. This 

constitutes a reduction from 12 to six 

pages and the new-style brochure is 

available free at the information desk. 

Resource recovery initiatives 

A designated recycling mini-skip is 

located on the loading dock for recycling 

all paper products, including flattened 

cardboard boxes. Every employee’s 

workstation is issued with a recycling 

bin, which is collected regularly by the 

cleaners. 

In 2008–09, the Gallery presented 

43 temporary exhibitions. Wherever 

possible, construction and display 

materials are reused for exhibitions. All 

excess steel, wire, and workshop and 

building materials are sent to an external 

recycler. The Conservation department 

recycles its paper and cardboard off-cuts 

internally. 

Used toner cartridges are sent for 

recycling, with approximately 120 

cartridges recycled in 2008–09. The 

research library and Gallery Shop 

continue to reuse cardboard boxes for 

packaging interlibrary loans and filling 

visitor and e-commerce merchandise 

orders. All food and beverage services 

are handled by our contract caterer, 

Trippas White, who ensures that all 

glass bottles from the food outlets and 

60 


functions are appropriately recycled. 

Glass and plastics recycling bins have 

been installed in the staff kitchens. 

The IT department participates in the 

ReConnect.nsw Computer program, 

a whole-of-government initiative that 

enables the donation of redundant 

computers to not-for-profit organisations 

and disadvantaged individuals. This 

year the Gallery donated more than 

35 superseded but working IT items 

including computers, faxes and scanners 

to the Wesley Mission. 

Recycled content 

Environmentally friendly take-away 

cardboard cups are used within the 

Gallery instead of styrofoam cups. We 

continue to use other recycled paper 

products, including toilet rolls. We also 

continue to use plain A4 paper with 50% 

recycled content, while all envelopes 

purchased are recycled stock. Toner 

cartridges purchased for printers have 

recycled components. Our catering 

contractor ensures that soft drinks and 

juices are purchased in recyclable glass 

containers (approximately 10 tonnes), and 

a number of suppliers are already using 

refillable containers to deliver products 

such as surface cleaners and detergents. 

The Gallery’s new Collection store in various stages of construction from January 2009. 


Support 

Art Gallery of NSW Foundation 

The Art Gallery of NSW Foundation 

continues to raise funds to support 

the Gallery’s acquisition program. Its 

policy is to invest its capital (donations 

and bequests) and use the income to 

purchase works of art for the Gallery’s 

permanent collection. 

Since its inception, the foundation has 

contributed over $26 million to the 

Gallery’s collection (which has increased 

in value to over $56 million) and has 

accumulated over $22 million in funds 

under investment. This is an astounding 

$84 million in value brought to the 

Gallery as a result of the tireless efforts 

of foundation donors and benefactors, 

in particular the foundation trustees, 

past and present. 

The Gallery’s acquisition in late 2008 

of Paul Cézanne’s Bords de la Marne 

c1888, the largest single acquisition 

by the Gallery to date, was only made 

possible by the fantastic support of 

the foundation. The Foundation Board 

drove the fundraising campaign and 

immediately the target acquisition was 

identified, agreed to commit $5 million 

of the Foundation’s future income. 

The individual trustees personally 

contributed over $2 million, with 

foundation supporters further contributing 

just under $5 million. The Foundation’s 

capital base itself provided the shortterm 

funding for the duration of the 

campaign, and this has now been 

repaid in full. 

The Foundation publishes its own 

biannual newsletter, where details of 

its arts-based activities can be found. 

It also publishes its own annual report. 

A copy of this report is available on 

the Gallery’s website in the ‘About us’ 

section (www.artgallery.nsw.gov.au/ 

aboutus/annual_reports). 

Collection benefactor and 

other support groups 

Many departments within the Gallery 

have their own support groups to 

help raise funds either for their collection 

or, in the case of the Library and 

Conservation department, for special 

projects. Members of all groups who 

pledge a minimum commitment of 

$1500 per year for four years are listed 

within the Art Gallery of NSW Foundation 

and are deemed to be members of 

the Foundation. For a full list of 

members, please see the Foundation’s 

annual report. 

Examples of recent acquisition highlights 

purchased by the support groups 

include: 

• Aboriginal Collection Benefactors 

(ACB): Paddy Japaljarri Sims, Yanjirlpirri 

Jukurrpa (Star dreaming) 2007 

• Contemporary Collection Benefactors 

(CCB): Narelle Jubelin, Ungrammatical 

landscape.3 2003–09 

• Australian Prints, Drawings and 

Watercolours Benefactors (PDW): 

John Philippides, Portrait study of the 

artist’s mother 2008 

• Photography Collection Benefactors 

(PCB): Edward Ruscha, Every building 

on the sunset strip 1966. 

The newest support group under the 

Foundation umbrella is for Curatorial 

Support. This has been led by Gallery 

trustee Anne Fulwood and her Women’s 

Art Group (WAG). In the last 18 months, 

WAG has funded the position of 

assistant curator of photography and 

the acquisition of a collection of artists’ 

books for the Gallery’s research library 

and archives. 

Acquisitions made, or projects 

undertaken by, these groups are reported 

in detail in the biannual Foundation 

newsletter, which is available on request 

from the Foundation office. 

The Masterpiece Fund 

The Masterpiece Fund was established 

in 2007 and its patrons have each 

pledged a minimum of $100 000. The 

first acquisition to be supported by 

the Masterpiece Fund was Paul 

Cézanne’s Bords de la Marne c1888, 

which was acquired in 2008. 

A list of the Masterpiece Fund patrons 

as at 30 June 2009 can be found in 

the Sponsorship and philanthropy 

appendix of this report (page 74). 

For information about acknowledgement 

and opportunities for involvement 

with the Gallery, please contact the 

benefaction manager. Donations to 

the Gallery and Foundation are tax 

deductible. 

Jane Wynter BA LLB 

Benefaction manager 

Email: janew@ag.nsw.gov.au 

Telephone: (02) 9225 1818 

62 


Art Gallery Society 

The Art Gallery Society of NSW 

contributed $1.1 million towards the 

purchase of Paul Cézanne’s Bords 

de la Marne in this financial year. The 

Society is proud of its contribution and 

grateful to the general membership 

and Collection Circle members for their 

enthusiasm in donating to the work. 

2009 was the 50th anniversary of 

society acquisitions for the Gallery, with 

its first purchase in 1959 of Godfrey 

Miller’s Nude and the moon. In the past 

50 years, the Society has purchased 

outright or contributed to more than 200 

works across all curatorial areas. 

The Society remains Australia’s largest 

arts support organisation, with 30 020 

membership card holders. Research 

has shown that 45% of the current 

membership have been members for 

more than ten years, a striking indication 

of members’ loyalty. Contempo, the 

younger members group, has 1339 

members, and the student member 

category, 822 members. 

The Society’s monthly magazine, Look, 

restyled in September 2009, continued to 

keep members informed about all areas 

of Gallery activity, including exhibitions. 

Look is the only audited Australian 

monthly art magazine, with a circulation 

of 21 250 copies. 

The Society’s events program continued 

to provide a mix of engaging, informative 

and social events, bringing members 

and non-members into the Gallery. In 

the financial year, the Society held more 

than 450 events, issuing 45 200 tickets. 

The Society’s Resonate concert series 

celebrated its 10th anniversary in 2009, 

the concerts having become a notable 

feature of Sydney’s classical music 

scene. Resonate is generously supported 

by the Trust Foundation. 

The Society’s governing Council, under 

president Professor Michael Feneley, 

continues to work closely with the 

Gallery’s management to develop 

and grow membership and help build 

the Gallery’s collections through its 

Collection Circle acquisition programme. 

Business development 

Despite the economic downturn, 

the past year has been the Gallery’s 

most successful to date in terms of 

sponsorship. We put this success 

down to the strength of the exhibition 

program, as well as the Gallery’s ability 

to tailor sponsorship benefits to suit the 

marketplace. We are extremely grateful 

to all our partners for their loyalty and 

their generous support of the Gallery. 

In the past financial year, the Gallery’s 

ongoing principal sponsors were: Ernst 

& Young, for their sponsorship of Monet 

and the Impressionists; J.P. Morgan, for 

their third year as sponsors of the Brett 

Whiteley Studio; Macquarie Capital, who 

moved their sponsorship from the Focus 

Room to the Art After Hours program; 

Myer, for their fourth year as principal 

sponsors of the Archibald, Wynne and 

Sulman Prizes; Qantas, who completed 

their 14th year as official airline and 

principal sponsor of the Yiribana Gallery; 

and UBS, for their third year as program 

partner for the Level 2 Contemporary 

Galleries. Two sponsors increased their 

support significantly: Delta Electricity 

with support for Harold Cazneaux 

and Monet and the Impressionists; 

and Optimal Fund Management, who 

were the principal sponsor of The lost 

Buddhas exhibition. ING and ING Direct 

also provided generous support to the 

Intensely Dutch exhibition. 

In addition, we thank our generous and 

loyal supporters: City of Sydney, Clayton 

Utz, Freehills, Host, JCDecaux, Johnson 

Pilton Walker, Porter’s Original Paints, 

Sofitel Sydney Wentworth and The 

Sydney Morning Herald. 

The Art Gallery of NSW offers unique 

opportunities to align the corporate 

community with a national icon, with its 

extensive exhibition and events program 

and its magnificent permanent collection. 

Sponsorship provides an imaginative and 

creative way for businesses to build their 

brand identity and to engage with their 

staff and clients in a style that sets them 

apart from their competitors. The Gallery 

prides itself on its ability to create true 

partnerships. Our Business Development 

team works with its corporate partners 

to develop and deliver a tailored program 

of benefits that fulfil specific entertaining 

and corporate relations requirements. 

Throughout the sponsorship, the 

Gallery’s Business Development team 

continues to evaluate the benefits 

provided to ensure that sponsors are 

receiving maximum value for their 

investment. 

With all the amazing changes to the 

building and the exciting program of 

upcoming exhibitions, there has never 

been a better time to be involved with 


For more information please contact: 

Leith Brooke 

Head of business development 

Email: leithb@ag.nsw.gov.au 

Telephone: (02) 9225 1829 


Corporate governance 

Steven Lowy 

President 

Sandra McPhee 

vice President 

David Baffsky 

Members 

Guido Belgiorno-Nettis Anne Fulwood Lindy Lee 

Board of Trustees 

The Board of Trustees of the Art Gallery 

of NSW is constituted under Part 2 

(sections 5–10) of the Art Gallery of 

New South Wales Act 1980. Section 

6 stipulates that: ‘the Trust shall 

consist of 11 trustees who shall be 

appointed by the NSW Governor on 

the recommendation of the Minister for 

the Arts and at least two of whom shall 

be knowledgeable and experienced 

in the visual arts’. The two trustees 

that currently fulfil this requirement are 

Australian artists Lindy Lee and Imants 

Tillers. 

Trustees are appointed for a term not 

exceeding three years and may be 

re-appointed following the expiry of the 

appointed term, but no trustee shall 

hold office for four consecutive terms. 

Trustees do not receive any remuneration 

for their board activities. 

PRESIDENT 

Mr Steven M Lowy 

B Comm (Hons) 

Steven Lowy was appointed managing 

director of Westfield Holdings in 1997 and 

currently serves as group managing director 

of the Westfield Group. Prior to joining 

Westfield in 1987, he worked in investment 

banking in the USA. Mr Lowy is chairman 

of the Victor Chang Cardiac Research 

Institute; a director of the Lowy Institute 

for International Policy; a member of the 

Prime Minister’s Business–Government 

Advisory Group on National Security; and 

chairman of the Board of Management for 

the Associate Degree of Policing Practice in 

New South Wales. 

Initial date of appointment 1 January 2006; 

expiry of current term 31 December 2011. 

VICE PRESIDENT 

Ms Sandra McPhee 

Dip Ed, FAICD 

Sandra McPhee has extensive experience 

as a non-executive director and senior 

executive in a range of consumer-oriented 

industries, including utilities, retail, tourism 

and aviation, most recently with Qantas 

Airways Limited. Ms McPhee is a director 

of AGL Energy Limited, Tourism Australian 

and St Vincents and Mater Health; a 

member of the Advisory Council of J.P. 

Morgan and the Advisory Board of Marsh 

McLennan Companies; a former deputy 

chairman of South Australian Water; and 

a former director of Coles Group Limited, 

Australia Post, Perpetual Limited, Primelife 

Corporation and CARE Australia. 



MEMBERS 

Mr David Baffsky AO 

David Baffsky is honorary chairman of 

Accor Asia Pacific, which is the largest 

hotel management company in the Asia 

Pacific; chairman and a director of Ariadne 

Australia Ltd; a director and life member 

of the Tourism Task Force; and a director 

of Tourism Asset Holdings, the Indigenous 

Land Corporation and Singapore Airport 

Terminal Services P/L. In 2004, Mr Baffsky 

was appointed to the federal government’s 

National Tourism Infrastructure Investment 

Consultative Group and the Business 

Government Advisory Group on National 

Security. In 2007, he was appointed to the 

federal government’s Northern Australia 

Land and Water Taskforce and the Prime 

Minister’s Community Business Partnership. 

In June 2001, he was made an Officer 

in the General Division of the Order of 

Australia. Mr Baffsky was awarded the 

Centenary Medal in 2003 and was the 2004 

Asia Pacific Hotelier of the Year. 



Mr Guido Belgiorno-Nettis AM 

B Eng (Civil), MBA 

Guido Belgiorno-Nettis is the joint 

managing director of Transfield Holdings 

Pty Ltd; a director of Transfield Services 

Limited and Middle Harbour Yacht Club; 

chairman of the Australian Chamber 

Orchestra; and a member UNSW Faculty 

of Business and interstate member of 

the Brisbane Club. In 2005, he was 

awarded the Australian Graduate School of 

Management’s Distinguished Alumni Award 

for leadership and innovation in business 

services. Mr Belgiorno-Nettis was made 

a Member of the Order of Australia in the 

General Division on Australia Day 2007 for 

service both to the construction industry, 

particularly through the management of 

large infrastructure projects, and to the arts 

in executive and philanthropic roles. He 

is also the recipient of the UNSW Alumni 

Association Award 2008. 



64 


Janice Reid John Schaeffer Imants Tillers Eleonora Triguboff Peter Young 

Ms Anne Fulwood 

Anne Fulwood established her career in 

television journalism before moving into 

corporate and media consultancy. She 

has previously served on the Council 

for Australian Honours, the Film and 

Literature Board of Review, the National 

Film and Sound Archive (ScreenSound 

Australia) and the Luna Park Reserve 

Trust. Ms Fulwood is a current board 

member of The Eye Foundation, a research 

funding initiative within the Royal College 

of Ophthalmologists. Her most recent 

appointment was by the prime minister to 

the role of Commonwealth spokesperson 

for the APEC 2007 Taskforce in July 2007. 



Dr Lindy Lee 

Dip Ed (Art, Secondary School), 

BA (Visual Arts), Post Grad Dip (Painting), 

PhD (Art Theory) 

Lindy Lee is a senior lecturer at Sydney 

College of the Arts, University of Sydney. 

She is also an artist whose works are held 

in the collections of the National Gallery of 

Australia and the state galleries of New South 

Wales, South Australia and Western Australia, 

as well as major corporate collections. 

Dr Lee has been featured in many solo 

exhibitions since 1985, including in Adelaide, 

Brisbane, Melbourne, Sydney and Singapore. 

Since 1992 she has participated in group 

exhibitions in Canada, China, Hong Kong, 

Japan, Malaysia and Australia. She is a 

former board member of Artspace and the 

Australian Centre of Photography; former 

president of Asian Australian Artists; and 

former deputy chair of the Visual Arts and 

Craft Fund, Australia Council. 



Professor Janice Reid AM 

FASSA, B Sc, MA, MA, PhD 

Janice Reid is vice-chancellor of the 

University of Western Sydney. She is a 

member of the board of UniSuper Ltd, the 

Salvation Army Greater Western Sydney 

Advisory Board, the NSW Health Clinical 

Excellence Commission and the Kedumba 

Drawing Award Trust. She is a former 

member of the board of Integral Energy 

and the Federal Council on Australia–Latin 

American Relations; a former vice-chair of 

the governing board of the OECD program 

on Institutional Health and Welfare; a former 

trustee of the Queensland Museum; a former 

deputy chair of the Queensland Institute of 

Medical Research; and a former chair of the 

National Review of Nursing Education. Ms 

Reid is a recipient of the Wellcome Medal 

and Centenary Medal, and a fellow of the 

Australian Academy of Social Sciences. 



Mr John Schaeffer AO 

John Schaeffer was made an Officer in the 

General Division of the Order of Australia 

in 2003. He is a member of the National 

Gallery of Australia Foundation Board; a Life 

Governor of the AGNSW; a former board 

member of the National Portrait Gallery; 

and a former president of the Australian 

Building Services Association and the World 

Federation of Building Service Contractors. 

Initial date of appointment 13 August 2001; 


Mr Imants Tillers 

B Sc (Arch), D Litt (honoris causa) 

Imants Tillers is a visual artist, writer 

and curator. Since 1973 he has had solo 

exhibitions in Australia, Germany, Finland, 

Italy, Latvia, Mexico, New Zealand, Spain, 

Switzerland, the UK and the USA. In 2006, 

a major survey of his work, Imants Tillers: 

one world many visions, was held at the 

National Gallery of Australia. His public 

commissions include the dome of the 

Federation Pavilion in Centennial Park, 

Sydney; the Founding Donors commission 

at the Museum of Contemporary Art, 

Sydney; and The attractor and Eight women 

sculptures at Overflow Park, Sydney 

Olympic Park. Awards and international 

prizes include the Gold Prize at the Osaka 

Painting Triennale in 1993 and a Doctor of 

Letters honoris causa from the University 

of New South Wales in 2005 for ‘his long 

and distinguished contribution to the 

field of arts’. His work is featured in such 

significant publications as The 20th century 

art book, Phaidon, London 1996 and more 

recently in Tony Godfrey, Painting today, 

Phaidon, London 2009. 



Ms Eleonora Triguboff 

BA (Art History), AAS 

Eleonora Triguboff established a career 

as a sculptor in the 1980s, exhibiting in 

New York, Europe and Japan. In 2003, she 

became publisher and editor-in-chief of 

the quarterly publication Art & Australia. 

In this role, she has developed initiatives 

such as the ANZ Private Bank and Art & 

Australia Contemporary Art Award, the 

Gertrude Contemporary Art Spaces and 

Art & Australia Emerging Writers Program, 

an annual 25/25 mini-magazine with 

Noise, and the New Word Order writing 

competition for secondary school students 

with the Art Gallery of NSW. Recently 

she set up the Dot Publishing imprint to 

produce art and design titles, the first of 

which – Current: contemporary art from 

Australia and New Zealand – was launched 

in November 2008. 

Initial date of appointment 16 July 2008; 


Mr Peter Francis Young 

B Sc, MBA 

Peter Young is senior advisor RBS Group 

(Australia) Pty Ltd; chairman of Delta 

Electricity, Transfield Services Infrastructure 

Fund and AIDA Fund Ltd (London); and a 

director of Fairfax Media, the Australian 

Business Arts Foundation, the Sydney 

Theatre Company and the Great Barrier 

Reef Research Foundation. He is a former 

chairman of National Rail Corporation and 

Export Finance & Insurance Corporation; 

a former director of the New South Wales 

State Transit Authority and the New South 

Wales Maritime Services Board; and a 

former member of the Takeovers Panel. 

Initial date of appointment 13 August 2001; 



Trustee meetings 

ATTENDANCES AT BOARD OF 

TRUSTEE MEETINGS 

There were six meetings of the Trust during 

the period July 2008 to June 2009. Trustee 

attendance was as follows: Steven Lowy, 

chair (6/6); Sandra McPhee (5/6); David 

Baffsky (5/6); Guido Belgiorno-Nettis (5/6); 

Anne Fulwood (5/6); Lindy Lee (4/6); Janice 

Reid (5/6); John Schaeffer (4/6); Imants 

Tillers (6/6); Eleonora Triguboff (6/6); Peter 

Young (5/6). Apologies were submitted for 

all trustee absences and authorised leave 

was granted. 

TRUST SUB-COMMITTEES 

The sub-committees generally comprise a 

subset of board members based on their 

respective areas of interest and expertise. 

Relevant senior staff members and other 

experts are included as appropriate. 

The sub-committees are responsible for 

monitoring their respective areas and 

making recommendations to the full board 

for approval or otherwise. They usually 

meet within the week before the main board 

meeting, at which the minutes of their 

meetings are tabled. 

ACQUISITIONS AND LOANS 

SUB-COMMITTEE 

The Acquisitions and Loans Sub-Committee 

plays an important role in overseeing 

the collections policy. It considers curatorial 

proposals on acquisitions, gifts, inward 

and outward loans and (if applicable) deaccessions. 

Based on these considerations, 

recommendations are made to the board 

for approval. 

Trust members: Janice Reid (chair); Anne 

Fulwood; Lindy Lee; John Schaeffer; 

Imants Tillers; Eleonora Triguboff (from 

October 2008). External member: John 

Yu, former Art Gallery of NSW Trust vice 

president. Staff: Edmund Capon, director; 

Anthony Bond, assistant director, curatorial 

services; Donna Brett, project officer, 

curatorial services. 

There were six meetings of the Acquisitions 

and Loans Sub-Committee during 2008–09. 

Attendance was as follows: Janice Reid 

(5/6); Anne Fulwood (3/6); Lindy Lee (4/6); 

John Schaeffer (4/6); Imants Tillers (2/6); 

Eleonora Triguboff (5/5); John Yu (4/6); 

Edmund Capon (4/6); Anthony Bond (6/6); 

Donna Brett (6/6). 

FINANCE AND AUDIT SUB-COMMITTEE 

The Finance and Audit Sub-Committee 

oversees all financial aspects of the 

Gallery, including budgeting, monitoring 

performance and ensuring stewardship of 

the assets. All audit matters are also tabled 

with the sub-committee. 

Trust members: Peter Young (chair); 

Steven Lowy. External members: Bruce 

Cutler, partner, Freehills; Dr Mark Nelson, 

Art Gallery of NSW Foundation Finance 

Committee. Staff: Edmund Capon, director; 

Rosemary Senn, assistant director, Finance 

and Resources (until October 2008); John 

Wicks, assistant director, Finance and 

Resources (from October 2008). 

There were six meetings of the Finance 

and Audit Sub-Committee during 2008–09. 

Attendance was as follows: Peter Young 

(6/6); Steven Lowy (5/6); Bruce Cutler 

(3/6); Mark Nelson (4/6); Edmund Capon 

(5/6); Anne Flanagan, acting director (1/1); 

Rosemary Senn (2/2); John Wicks (4/4). 

RISK MANAGEMENT SUB-COMMITTEE 

The Risk Management Sub-Committee is 

responsible for overseeing and providing 

guidance on both strategic and operational 

risk management matters and submitting 

reports and recommendations to the 

main board to enable it to discharge its 

responsibilities in this regard. 

Trust members: David Baffsky (chair); 

Guido Belgiorno-Nettis. External member: 

Bruce Cutler, partner, Freehills. Staff: 

Edmund Capon, director; Anne Flanagan, 

deputy director; Rosemary Senn, assistant 

director, Finance and Resources (until 

October 2008); John Wicks, assistant 

director, Finance and Resources (from 

October 2008); Trish Kernahan, manager, 

Administration and Strategy; Tony Morris, 

Head of Security (ex-officio). 

There were four meetings of the Risk 

Management Sub-Committee during 

2008–09. Attendance was as follows: David 

Baffsky (3/4); Guido Belgiorno-Nettis (3/4); 

Bruce Cutler (2/4); Edmund Capon (4/4); 

Anne Flanagan (4/4); Rosemary Senn (1/1); 

John Wicks (3/3); Trish Kernahan (4/4); Tony 

Morris (4/4). Invited guests: Jenny Capdor, 

human resources manager (February 2009); 

Erica Drew, senior exhibitions manager 

(April 2009). 

SPONSORSHIP SUB-COMMITTEE 

The Sponsorship Sub-Committee is 

responsible for supporting the Gallery’s 

efforts in raising corporate funding for its 

various activities. 

Trust Members: David Baffsky; Sandra 

McPhee; Peter Young. External members: 

David Gonski (chair), partner, Freehills and 

former Art Gallery of NSW Trust president. 

Staff: Edmund Capon, director; Anne 

Flanagan, acting director; Leith Douglas, 

Head of Business Development. 

There were three meetings of the 

Sponsorship Sub-Committee held during 

2008–09. Attendance was as follows: David 

Baffsky (3/3); Sandra McPhee (3/3); Peter 

Young (1/3); David Gonski (3/3); Edmund 

Capon (1/2); Anne Flanagan, acting director 

(1/1); Leith Brooke (3/3); Penny Cooper 

(minute secretary). 

STRATEGY AND DEVELOPMENT 

SUB-COMMITTEE 

The Strategy and Development Sub- 

Committee considers strategies for the 

long-term objectives of the Gallery as a 

major New South Wales cultural institution 

into the 21st century. 

Trust members: Guido Belgiorno-Nettis 

(chair); Steven Lowy; David Baffsky. Staff: 

Edmund Capon, director; Anne Flanagan, 

deputy director. 

There were two meetings of the Strategy 

and Development Sub-Committee in 

2008–09. Attendance was as follows: Guido 

Belgiorno-Nettis (2/2); Steven Lowy (2/2); 

David Baffsky (2/2); Edmund Capon (2/2); 

Anne Flanagan (2/2). 

BUILDING PROJECT CONTROL GROUP 

This year due to the extent of the major 

capital works projects being undertaken 

by the Gallery a temporary committee was 

established to provide an additional level of 

assurance to the Trust that these projects 

were being managed effectively, on time 

and on budget. The committee will continue 

during the 2009–10 financial year. 

Trust member: Guido Belgiorno-Nettis 

(chair). External members: John Morschel, 

former trustee and chairman Leighton 

Holdings Limited; Jason de Bruin, project 

manager, De Bruin Project; Chris Bylett, 

cost planner, Chris Bylett & Associates. 

Staff: Anne Flanagan, deputy director. Other 

Gallery building services and project staff 

attended as required. 

There were five meetings of the Building 

Project Control Group in 2008–09. 

Attendance was as follows: Guido 

Belgiorno-Nettis (5/5); John Morschel (5/5); 

Jason de Bruin (5/5); Chris Bylett (5/5); 

Anne Flanagan (5/5). 

66 


Other Gallery entities 

The Gallery is responsible for providing 

administrative support to three other entities, 

namely the Art Gallery of NSW Foundation, 

the Brett Whiteley Foundation and the 

VisAsia Council. Each of these entities 

has a separate legal structure established 

by a Trust Deed or incorporated with a 

Memorandum and Articles of Association. 

Each has a board of trustees/directors, 

as determined by its enabling legislation. 

The board meetings are generally held 

on a quarterly basis. The Art Gallery of 

NSW Foundation also has a Finance Sub- 

Committee, which monitors the funds 

invested. The support provided by the Gallery 

includes management, finance, corporate 

secretariat and general administrative 

services. 

Art Gallery of NSW Trust 

President: Steven Lowy 

Director: Edmund Capon 

Staff: 236 (FTE) 

Net assets: $1.026 billion as at 30 June 2009 

Art Gallery Society 

of NSW 

President: Michael Feneley 

Executive director: Barbara 

Penson 

Value: $1.5 million as at end 

December 2008 

Established in 1953 


Chair: Rowena Danziger 

Value: $22 million as at 30 June 2009 


6 AGNSW representatives 

on the board 

Non-controlled entity. 

Enabling legislation: Art Gallery of NSW 

Foundation Deed 1983 with subsequent 

amendments. 

ABN/gift deductible status. 

Purpose: To raise funds through donations 

and bequests, invest funds and use the 

income to acquire major artworks for the 

Gallery. Since inception, the foundation has 

contributed over $26 million to the Gallery’s 

collection and has accumulated over $22 

million in funds under investment. 

Board of trustees comprises: 

Art Gallery of NSW representatives: 

Rowena Danziger (chair); Jillian Broadbent 

(deputy chair); Michael Feneley; Julien 

Playoust; Denyse Spice; one vacant position. 

NSW government representatives: 

Mark Nelson; Ray Wilson. 

Donor representatives: Geoff Ainsworth; 

Vickie Ainsworth; Brian France; Fraser 

Hopkins; Catriona Mordant; Reg Richardson; 

Susan Rothwell; John Sharpe. 

Finance Sub-Committee: Jillian Broadbent 

(chair); Geoff Ainsworth; Brian France; 

Mark Nelson; Julien Playoust. 

The Art Gallery of NSW Foundation has 

its own published annual report, which is 

available free on the Gallery’s website. 

VisAsia Council 

Chair: John Yu 

Value: $1.1 million as at 

30 June 2009 



on the board 

VisAsia controlled entity. 

Enabling legislation: VisAsia 

Constitution 1999; incorporated 

entity. 


Purpose: To promote Asian arts 

and culture. 

Board of directors comprises: 


representatives: John Yu 

(chair), former Art Gallery of 

NSW trustee; Edmund Capon, 

director; Jackie Menzies, head 

curator, Asian art; Sabrina 

Snow (to December 2008); 

three vacant positions. 

Director/member 

representatives: Steve 

Burdon; Philip Cox; Stephen 

Menzies; Judith Rutherford; 

Vicki Liberman (to March 

2009); Warwick Johnson (from 

December 2008); Sandra 

Forbes (from December 2008). 

VisAsia has its own audited 

financial statements, which 

are lodged with the Australian 

Securities and Investments 

Commission (ASIC). In 

December 2008, the VisAsia 

Board resolved to change 

its constitution and removed 

control of the VisAsia Board 

by the Art Gallery of NSW. 

As the operating mandate of 

VisAsia remains unchanged 

and benefits are still directed 

to the Art Gallery of NSW, the 

financial statements of VisAsia 

will continue to be consolidated 

into the financial statements of 

the Art Gallery of NSW. 

Brett Whiteley 

Foundation 

Chair: John Meacock 

Value: $0.1 million as at 

30 June 2009 



on the board 

Non-controlled entity. 

Enabling legislation: Brett 

Whiteley Agreements 1994; 

incorporated entity. 


Purpose: To promote and 

encourage knowledge and 

appreciation of the work of the 

late Brett Whiteley. 

Board of directors comprises: 

Independent representative: 

John Meacock (chair). 


representatives: Brian Ladd, 

head, Public Programs; Jane 

Wynter, benefaction manager. 

Brett Whiteley Estate members: 

Wendy Whiteley; Anna 

Schwartz. 

The Brett Whiteley Foundation 

has its own audited financial 

statements, which are lodged 

with the Australian Securities 

and Investments Commission 

(ASIC). 

A separate legal entity 

controlled and operated by 

the society’s council and 

members. 

The Art Gallery Society of 

NSW produces it own annual 

report. Edmund Capon and 

Janice Reid are Art Gallery of 

NSW Trust representatives on 

the society’s council. 


Executive 

as at 30th June 2009 

Edmund Capon Anne Flanagan Anthony Bond John Wicks 

Edmund Capon AM, OBE 

M Phil 

Director and Chief curator 

Edmund Capon took up his appointment 

as director of the Art Gallery of NSW in 

November 1978 following his arrival from 

London, where, for the previous five years, 

he held the position of assistant keeper, 

Far Eastern Section, Victoria & Albert 

Museum. Mr Capon attained a Master 

of Philosophy degree in Chinese art and 

archaeology (including language) from the 

London University (Department of Oriental 

and African Studies) with his thesis ‘The 

interdependence of Chinese Buddhist 

sculpture in bronze and stone from AD 386 

to 581’. He is a recognised world expert in 

his particular field. 

In 1994 Mr Capon was made a Member 

of the Order of Australia and in 2000 he 

was awarded a Doctor of Letters honoris 

causa from the University of New South 

Wales and a Chevalier of Arts and Letters 

from the French government. In 2004 he 

was appointed adjunct professor in the 

Department of Chinese and Indonesian 

Studies at the University of New South 

Wales. He is a member of the Council of 

Australian Art Museum Directors (CAAMD). 

Anne Flanagan 

Dip Int Design, Dip Ed, Dip Vis Arts 

Deputy director 

Anne Flanagan joined the Gallery in 1992. 

Her academic background includes visual 

arts, interior design and education. For the 

last 24 years she has worked within arts 

organisations, including the Crafts Council 

of NSW, Powerhouse Museum, Biennale of 

Sydney, Australian Bicentennial Authority and 

Historic Houses Trust of New South Wales. 

Ms Flanagan is responsible for three key 

areas: building and facility management 

including major capital projects such as 

the off-site collection storage facility and 

dock upgrade, building maintenance and 

mechanical services; exhibitions, including 

exhibition management, exhibitions 

registration, installation, audio visual, 

workshop, stores, graphics and multimedia 

design, information and ticketing; and 

security and gallery services. 

Anthony Bond OAM 

B Ed (Hons) 

Assistant director, curatorial services 

Anthony Bond joined the Gallery in 

1984 as curator of contemporary art. In 

January 1995 he was appointed to the 

executive management team. Mr Bond 

is responsible for curatorial services. He 

currently oversees the Gallery’s curatorial 

departments: conservation, registration, 

public programs, research library and 

archive, photography studio/digitisation 

and copyright. He is also the Gallery’s 

head curator, Western art, with special 

responsibility for 20th-century and 

contemporary international collections. He 

was formerly director of Wollongong City 

Gallery and assistant director of the Art 

Gallery of Western Australia. 

Mr Bond’s curatorial specialisation 

is in 20th-century and contemporary 

international art. His recent major projects 

include curating Aperiatur Terra, on the 

work of Anselm Kiefer in conjunction with 

White Cube in London (2007); the Self 

portrait exhibition in conjunction with the 

London Portrait Gallery (2006); Trace, the 

inaugural Liverpool Biennial in England 

(1999); and Body, an exhibition tracing 

aspects of realism in art from the mid 19th 

century (1997). 

Summary of senior officer positions 

no. of Positions held 

Position level senior positions by women 

2007–08 

Senior executive service 4 1 0 


Senior officer 3 2 1 


2008–09 

John Wicks 

B Bus, FCPA 

Assistant director, finance and resources 

(from October 2008) 

John Wicks joined the Gallery in 2008. 

He is a fellow of the Australian Society of 

Certified Practising Accountants and holds 

a Bachelor of Business with an accounting 

major from Charles Sturt University. He has 

over 18 years’ experience in the arts sector, 

including as executive director, finance 

and services, at the Australia Council for 

the Arts in Sydney and thereafter as chief 

financial officer at the Cultural Facilities 

Corporation in Canberra. His last position 

was chief financial officer at the Hurstville 

City Council. 

Mr Wicks is the chief financial officer 

and company secretary for the Art 

Gallery of NSW Trust, the Art Gallery of 

NSW Foundation and the Brett Whiteley 

Foundation. He is also responsible for 

human resources, strategic planning, legal 

services, government relations and records 

management, information communication 

technology, and visitor services, which 

include the Gallery Shop, venue hire and 

the management of the catering tender. 





68 


Organisation structure 

Director and Chief curator 

The Gallery’s executive management team 

comprises the director, deputy director 

and two assistant directors. Each division 

of the Gallery reports to a member of the 

executive. The executive management team 

meet every fortnight. 

Executive and 

curatorial support 

Marketing director 

Marketing 

Tourism 

Media relations 

Head of business 

development 

Benefaction 

manager 


Building and facilities 

management 

Building 

Mechanical 

Off-site storage planning 

group 

Exhibitions 

Exhibition management 

Exhibitions registration 

Installation 

Audio visual 

Workshop and stores 

Graphics and multimedia 

design 

Information and ticketing 

Security and 

Gallery services 

Security 

Gallery services 

Assistant director, curatorial services 

Australian art 

Asian art 

Western art 

Curator special 

exhibitions 

Public programs 

Painting and 

sculpture 

Prints, drawings 


Aboriginal and 

Torres Strait 

Islander art 

China 

India 

Japan 

Southeast Asia 

Pre 1900 

Modern and 

contemporary 

Photography 

Prints, drawings 


Research library and 

archive 

Registration 

Conservation 

Photography studio 

Brett Whiteley Studio 

Copyright 

Assistant director, finance and resources 

Information communication 

technology 

Finance 

Human resources 

Venue management 

Gallery Shop 

Strategic planning 

Government relations 

including records 

management 

Corporate secretariat 

and legal 


Management committees 

General Gallery Management 

Committee 

The General Gallery Management 

Committee oversees the operations of 

the Gallery and is charged with ensuring 

all gallery responsibilities and activities 

are properly fulfilled. Members of this 

committee are to ensure that information 

from the committee’s deliberations is 

delivered to all staff. This committee 

meets six times per year. 

Members: director; deputy director; 

assistant director curatorial; assistant 

director finance and resources; 

representatives of the 3 curatorial 

departments (as nominated by the head 

curators); director, marketing; head 

of public programs; head of security; 

head of conservation; senior manager, 

exhibitions; Art Gallery Society executive 

director; manager, retailing and publishing; 

senior registrar, collections; benefaction 

manager; and a minute secretary. 

Curatorial Committee 

The Curatorial Committee is a broad-based 

forum for more general discussion and 

debates covering all curatorial matters, with 

special reference to exhibition performance 

and priorities; also acquisitions, 

programming and conservation. This 

committee meets four times per year. 

Members: director; deputy director; 

assistant director, curatorial services; 

head curator, Australian art; senior 

curator, Australian prints, drawings and 

watercolours; senior curator, Aboriginal and 

Torres Strait Islander art; senior curator, 

Australian art; curator, Australian prints; 

senior curator, European art; senior curator, 

photography; senior curator, contemporary 

art; curator, European prints, drawings 

and watercolours; head curator, Asian art; 

curator, Chinese art; curator, South and 

Southeast Asian art; curator, Japanese art; 

head of public programs; curator, special 

exhibitions; and a minute secretary. 

Risk management 

During 2008–09 the board’s Risk 

Management Sub-Committee reviewed 

risk analysis on collection management, 

exhibition management and human 

resource management and the Gallery’s 

business continuity plan for IT&C backup 

and recovery systems. The committee 

also reviewed the tender processes for 

the Gallery’s major capital works projects 

including the construction tender for the 

new fine arts collection storage facility and 

the related painting screens construction 

tender, as well as the security technology 

upgrade project for both our Domain site 

and the off-site storage facility. It also 

approved the Acquisition and Loans 

Sub-Committee’s charter. 

Audits 

Internal audit reviews were conducted 

during the year on occupational health 

and safety; collection: acquisitions and 

disposals; business continuity planning; 

and financial management. The audit 

findings were presented to the board’s 

Risk Management Sub-Committee with 

the exception of the financial management 

audit findings, which were presented to the 

board’s Finance and Audit Sub-Committee. 

The above reviews were conducted by 

Deloitte, with the cost of the program being 

borne by Communities NSW (formerly 

the Department of the Arts, Sport and 

Recreation). 

Insurance 

As a NSW statutory authority, the Gallery 

is covered under the Treasury Managed 

Fund (TMF), a government self-insurance 

scheme. There were no new major claims 

during the 2008–09 year. 

Legal 

There were no legal matters or legislative 

changes during 2008–09 which impacted 

the Gallery’s operations. In June 2008 

the NSW Premier announced plans, to 

be implemented in the 2008–09 financial 

year, to create the super-department 

Communities NSW and as from July 2009 

the Gallery has been attached to this new 

department. This new entity has replaced 

the former Department of the Arts, Sport 

and Recreation. 

VisAsia was as a controlled entity of the 

Trust until December 2008. The financial 

statements of the Gallery and VisAsia 

continued to be consolidated in 2008–09. 

Policy development 

In 2008–09 the Gallery developed a 

Disability Action Plan (DAP) and, in 

accordance with NSW government 

requirements, a copy of our DAP was 

submitted to the Department of Ageing, 

Disability and Home Care. 

Industrial relations 

There were no industrial disputes during 

2008–09. The Gallery’s Joint Consultative 

Committee comprising management and 

staff representatives continued to meet 

on a regular basis to address staff-related 

issues. 

Occupational health and safety 

The Gallery’s injury management process 

is effective in returning workers to preinjury 

duties as quickly as possible. This 

is reflected in reduced time lost and the 

capacity of the Gallery to provide suitable 

duties and gradual return to work programs, 

thereby minimising time lost. Preventative 

measures such as flu injections and 

exercise classes are made available to 

all staff. The Gallery actively implements 

injury management by maintaining contact 

with injured workers, treating doctors 

and insurers. The Gallery’s Occupational 

Health and Safety (OH&S) Committee is 

an internal advisory body that undertakes 

workplace inspections, reviews procedures 

and practices, and, where appropriate, 

makes recommendations to management 

for improvements to minimise OH&S 

workplace risks. Six times a year reports 

on the incidence of accidents and workers 

compensation claims are reviewed by the 

OH&S Committee and the Trust’s Risk 

Management Sub-committee. 

70 


Four-year Occupational health and safety comparative data 

Staff profile 

30 June 30 June 30 June 30 June 30 June 

FTEs average over 12 months 2005 2006 2007 2008 2009 

Building services, security 

and Gallery officers 59 60 60 63 63 

Curatorial services 59 60 60 63 63 

Curatorial 24 27 32 32 30 

Exhibition/display 23 25 23 25 36 

Finance and 

management services 18 18 18 18 19 

Commercial services 15 16 14 15 18 

Marketing and business 

development 14 16 13 11 7 

Total 203 210 208 220 236 

The increase in FTE staff numbers for 

2008–09 relates mainly to casual employees 

– firstly, for the temporary exhibition 

shop for Monet and the Impressionists 

(commercial funding) and secondly, for 

the casual staff engaged in packing the 

2005–06 2006–07 2007–08 2008–09 

Number of work-related injuries resulting 

in workers compensation claims 8 6 9 9 

Number of work-related illnesses 0 0 0 0 

Prosecutions under the Occupational 

Health and Safety Act 2000 0 0 0 0 

collection for relocation off-site next year 

(capital funded). There were also some key 

positions which needed to be filled during 

maternity leave absences, thereby accruing 

additional staff numbers and costs for the 

paid leave period (recurrent funded). 

Staff training 

The Gallery is an active supporter of 

professional development of its employees. 

Staff are supported through the provision 

of study leave to enhance their academic 

qualifications. 

The Gallery Services department have 

embarked on a broad training plan involving 

sessions held every week. These training 

sessions cover areas including customer 

interaction skills, conflict resolution skills, 

emergency procedures and fire awareness. 

In 2008–09 Access awareness training 

was delivered to teacher-lecturers, 

Gallery officers, information desk staff, 

bookshop staff, volunteer children’s guides 

and Community Ambassadors through 

seven sessions presented with Accessible 

Arts NSW. 

Employee remuneration and 

staff benefits 

A new Public Sector Salaries Award was 

implemented in July 2008 delivering a 

12% pay increase to Gallery staff with 

instalments of 4% to be paid over the 

following three years – 2008, 2009 and 

2010. 

The Gallery continues to provide a range of 

staff benefits to employees. These include 

salary sacrifice for personal contributions 

to superannuation and cash advances 

to purchase transport tickets. In the 

2009–10 financial year, the Gallery intends 

introducing salary packaging for motor 

vehicles. 

Other staff benefits include staff discounts 

at the Gallery Shop, the Art Gallery Society, 

the restaurant and cafe. The Gallery has 

also negotiated arrangements for staff to 

access discounted parking at the Domain 

Car Park. 

Employee assistance program 

For many years the Gallery has offered 

employees a confidential counselling 

service, external to the Gallery. The 

counselling service is available to all 

staff and their immediate family and 

provides counselling on a range of issues 

including interpersonal relationships, 

financial planning, stress and critical 

incident debriefing. The current provider 

of counselling services to the Gallery is 

PPC Worldwide. 


Phil Collins 

dunia tak akan mendengar 2007, from the series the world won’t listen 2004-07, production stills, colour video projection 

with sound, approx 60 min duration, courtesy the artist and Victoria Miro Gallery, London. © the artist, from the exhibition 

Double take: Anne Landa Award for video and new media arts 2009 (7 May – 19 July 2009) 

72 


Principal sponsors 

Exhibition program partners 

ART 

GALLERY 

NSW 

PRESIDENT’S 

COUNCIL 

VisAsia 

Ongoing support sponsors 

Media partners 

Government partners 

Project and support sponsors 

Consulate General 

of the Kingdom of the Netherlands 

French Tourist Bureau 

Hulsbosch Strategy and Design 

Hyundai Motors 

Korean Chamber of Commerce 

Korea Foundation 

LG Electronic 

Orient Express Travel 

Top Media Group


Art Gallery Road 

The Domain NSW 2000 

Administration switchboard (02) 9225 1700 

Information desk (02) 9225 1744 

Recorded ‘What’s on’ information (02) 9225 1790 

TTY (02) 9225 1808 

General facsimile (02) 9225 1701 

Email: artmail@ag.nsw.gov.au 

www.artgallery.nsw.gov.au


Financial statements 08–09 

Financial commentary 110 

Financial summary 112 

Independent auditor’s report 113 

Statutory financial statements for the year ended 30 June 2009: 

Trustees statement 115 

Income statement 116 

Statement of recognised income and expense 116 

Balance sheet 117 

Cash flow statement 118 

Notes to and forming part of the financial statements: 

Note 1: Summary of significant accounting policies 119 

Note 2: Income 126 

Note 3: Expenses 127 

Note 4: Current assets – cash and cash equivalents 128 

Note 5: Current assets – trade and other receivables 128 

Note 6: Current assets – inventories 128 

Note 7: Non-current assets – financial assets at fair value through profit and loss 128 

Note 8: Restricted assets 129 

Note 9: Current/non-current liabilities – trade and other payables 129 

Note 10: Non-current assets – property, plant and equipment 130 

Note 11: Changes in equity 131 

Note 12: Controlled entities 132 

Note 13: Reconciliation of the surplus for the year to net cash flows from operating activities 132 

Note 14: Non-cash financing and investing activities 133 

Note 15: Financial instruments 133 

Note 16: Post balance date events 134 

Note 17: Contingent liabilities 134 

Note 18: Commitments for expenditure 135 

Note 19: Results of fundraising appeals 135 

Note 20: Accounting standards issued but not yet effective 136 

ART GALLERY OF NSW FINANCIAL STATEMENTS 08–09 109

Financial commentary 

Financial performance 

The Gallery had an excellent year, with 

most of its programs yielding very good 

results. The financial surplus for the 

year was $27.5 million. The net surplus 

includes capital grants and donations 

which are committed to acquire works 

of art and/or for capital projects and 

reported in the Balance Sheet in 

accordance with accounting standards. 

Thus the net surplus does not represent 

surplus cash available to the Gallery for 

operational requirements. The following 

factors contributed to this result: 

• Donations received from individuals, 

the Art Gallery Foundation of NSW, 

the Art Gallery Society of NSW and 

corporate contributors for the major 

acquisition of Paul Cézanne’s Bords de 

la Marne ($16.2 million). This resulted in 

a one-off material increase in income. 

Donations are recorded as income for 

accounting purposes. 

• Improved net earnings ($4.3 million) 

overall for exhibitions, Gallery Shop 

and venue hire. The exhibitions that 

generated most income were Monet and 

the Impressionists and The lost Buddhas. 

This assisted in offsetting the core 

business deficit, which was mainly due to 

the impact of pay increases and left a net 

operating surplus that will be preserved 

for operational expenses. 

•The Gallery holds some of its 

bequests and special funds in the 

NSW government TCorp medium- and 

long-term investment facilities. The 

performance of this portfolio improved 

this year on the previous year. 

• In July this year, the first instalment of 

the agreed pay increase under the salary 

award of 4% per annum for the next 

three years was paid to Gallery staff. 

Government contribution 

The NSW government’s recurrent 

contribution comprised 37% of our 

operating revenues in 2008–09. However, 

the inclusion of the government’s 

capital contribution for the off-site 

storage facility and other building works 

increases the government contribution to 

43% of total revenues. 

Donations and bequests/taxation 

incentives 

During the year, the Gallery acquired 

over $18.6 million of artworks, of which 

$1.4 million was gifts of artworks. This 

was made possible by the substantial 

contribution this year from donors and 

benefactors, particularly for the Cézanne 

painting. Donations were also received 

in support of various initiatives, such as 

scholarships, prizes and research. The 

Australian government’s Cultural Gifts 

scheme has created a major incentive 

for artists and donors to provide gifts 

of artworks to the Gallery. These 

contributions are a significant resource 

for the acquisition of artworks and for 

special projects that would not otherwise 

have been feasible. 

Subject to the conditions of individual 

bequests, a component of the donations 

may be preserved as a capital base. At 

the end of June 2009, the total amount 

of bequests and special funds amounted 

to $23.8 million, much of which was 

given to the Gallery for specific purposes 

(primarily art acquisitions and other 

projects, such as art prizes and awards). 

These consist of more than 90 bequests 

and special funds. 

Financial stewardship 

The Gallery applies rigorous budgetary 

and expenditure control to ensure 

stewardship of assets, cash flow 

management and revenue enhancement. 

The Gallery’s accounting and 

management reporting system enables 

us to produce timely reports on a cost 

centre and business activity level, so 

that management, the Board of Trustees 

and the NSW government can monitor 

financial aspects of the Gallery and 

direct resources in a timely and effective 

manner. The Gallery prides itself in 

providing its monthly results within five 

working days after the end of the month. 

An upgraded Sun-Vision management 

reporting software was installed this year 

and has enhanced this process. 

Fixed assets 

The Gallery has $1.026 billion in net 

assets, comprising $813.2 million in 

artworks and the library collection, 

$175.5 million in land and building and 

$44.4 million in other minor assets, 

offset by $7.2 million of liabilities. The 

significant addition during the year was 

the Cézanne painting to the Gallery’s 

collection of artworks. 

Investments 

The Gallery’s policy is to invest its 

bequests and special funds in a portfolio 

comprising term deposits and TCorp’s 

Hour Glass facilities – in particular, 

the medium- and long-term growth 

facilities. These investments are in 

accordance with New South Wales 

Treasury requirements under the Public 

Authorities (Financial Arrangements) Act 

1987, which confines investments to 

term deposits with approved banks and 

financial institutions and TCorp, the NSW 

government investment facility. 

110 

ART GALLERY OF NSW FINANCIAL STATEMENTS 08–09

A large proportion of funds ($30.2 

million, 77% as at 30 June 2009) is held 

in cash, which enabled us to achieve 

6.1% pa (weighted average) on bank 

deposits (compared with the benchmark 

of 5.48%). The equity investment returns 

during 2008–09 improved compared to 

the previous year, producing a positive 

return of 0.73% on TCorp’s medium-term 

facility (compared with the benchmark 

of 0.15%) but a decline of -10.33% on 

TCorp’s long-term facility (compared 

with the benchmark of -10.88%). The 

benchmarks quoted are sourced from the 

TCorp Hour Glass Facility Performance 

Summary for June 2009. 

Commercial services 

Our visitors continue to enjoy the 

visitor facilities of the Gallery, including 

the Gallery Shop, food and beverage 

services in the cafe and restaurant, and 

venue hire functions, which complement 

their experience at the Gallery. 

The shop provides high-quality art books, 

catalogues and art-inspired merchandise, 

such as prints and posters, relating to 

the Gallery’s collection and temporary 

exhibitions. The largest art museum book 

store in Australia, the shop made around 

$5 million in sales this year including 

a very successful Monet shop, which 

generated sales of $1.7 million. 

The food and beverage services provided 

for visitors include a cafe, a restaurant 

and a kiosk in the Art Gallery Society’s 

members lounge. The Gallery also makes 

its function spaces available for hire by 

corporate guests, with more than 411 

events held in 2008–09. We are pleased 

to advise Trippas White Catering Ltd 

won the competitive market tender to 

continue to provide catering contract 

services which commenced on 1 August 

2008 for a five-year term, with an option 

for a further three years. 

Looking forward 

In 2009–10 the Gallery will have a busy 

building program as explained in other 

sections of this report – see the Building 

and Environmental Management section. 

The Gallery will continue to work around 

these activities to operate its annual 

program. 

The Gallery has estimated the 2009–10 

core business budget to be in deficit, 

mainly due to the partially funded pay 

increase of 4% per annum. The Gallery 

will continue to monitor its expenditure 

and implement more cost-saving 

strategies to address this matter. The 

building works and a smaller exhibition 

program are also expected to restrict 

the Gallery’s capacity to earn revenue 

from our commercial visitor services in 

2009–10. Nevertheless, the Gallery is 

committed to maintaining a high level 

of performance and will work towards 

improving the delivery of cultural services 

to the New South Wales community and 

beyond. 

The budget summary below is in 

accordance with the NSW government’s 

2009–10 budget. This differs slightly from 

the internal budgets, which have more 

stringent targets. 

Budget summary for 2009–10 

Revenue $m 

NSW government funding – 

recurrent 19.7 

NSW government funding – 

capital 15.5 

Other revenue 15.7 

50.9 

Expenditure 

Personnel 19.8 

Insurance 0.5 

Depreciation 2.3 

Other operating 14.8 

37.4 

Surplus 13.5 

Note: The figures quoted in the financial 

commentary have not been subject to audit. 


Financial summary 

Five-year Average 

UNIT 2004–05 2005–06 2006–07 2007–08 2008–09 total p.a. 

Total visitors - incl touring/studio million 1.35 1.69 1.30 1.35 1.71 7.40 1.48 

Artworks purchased $’m $9.0 $7.7 $4.7 $12.4 $17.2 $51.0 $10.2 

Donations of artworks $’m $2.2 $2.2 $2.7 $1.7 $1.4 $10.2 $2.0 

Total works of art acquired $’m $11.2 $9.9 $7.4 $14.1 $18.6 $61.2 $12.2 

Exhibition admission revenue $’m $1.6 $3.8 $1.9 $2.6 $4.8 $14.7 $2.9 

Merchandise, books and publications sales $’m $3.6 $5.2 $4.0 $4.5 $5.0 $22.3 $4.5 

Other services/activities $’m $1.6 $2.7 $1.9 $2.4 $4.4 $13.0 $2.6 

Bequests & special funds $’m $12.4 $11.3 $16.0 $10.1 $19.0 $68.8 $13.8 

Other grants & contributions/other misc $’m $3.2 $4.6 $5.7 $3.4 $3.7 $20.7 $4.1 

Total revenue from exhibitions, 

visitor services and benefaction $’m $22.4 $27.5 $29.5 $23.1 $36.9 $139.4 $27.9 

Personnel expenses $16.8 $17.9 $17.3 $19.1 $20.0 $91.1 $18.2 

Depreciation $2.3 $2.2 $2.1 $2.1 $2.1 $10.8 $2.2 

Insurance $1.1 $1.7 $3.3 $0.5 $0.6 $7.1 $1.4 

Other operating expenses $10.1 $12.5 $14.2 $17.8 $14.3 $68.9 $13.8 

Total operating expenses $’m $30.2 $34.3 $36.9 $39.5 $37.0 $177.9 $35.6 

Recurrent appropriation $’m $15.8 $18.3 $21.4 $19.6 $20.5 $95.6 $19.1 

Liabilities assumed by government $’m $2.1 $0.8 $1.1 $1.0 $1.3 $6.2 $1.2 

Capital appropriation/other $’m $2.8 $1.8 $5.4 $13.6 $5.8 $29.3 $5.9 

Total govt grants $’m $20.7 $20.8 $27.9 $34.2 $27.6 $131.1 $26.2 

Total revenue $’m $43.1 $48.4 $57.4 $57.3 $64.5 $270.6 $54.1 

Govt’s recurrent contribution 44% 41% 43% 47% 37% 42% 42% 

as a % of operating revenues 

Govt contribution as % of total revenue 48% 43% 49% 60% 43% 48% 48% 

Net surplus $’m $12.8 $14.1 $20.5 $17.7 $27.5 $92.7 $18.5 

Employees – effective full time (EFT) number 203 210 208 220 236 

Average salary per head (EFT) $’000 $83 $85 $83 $87 $85 

Net cash flows $’m -$0.9 $5.5 $4.6 $13.8 -$5.1 

Net assets $’m $768.2 $786.4 $953.8 $998.2 $1,025.7 

Data in this table has not been subject to audit 

112 



114 


ART GALLERY OF NEW SOUTH WALES TRUST 

Statutory financial statements 

For the year ended 30 June 2009 

START OF AUDITED FINANCIAL STATEMENTS 

STATEMENT IN ACCORDANCE WITH SECTION 41C(1C) OF THE PUBLIC FINANCE AND AUDIT ACT 

1983 AND THE CHARITABLE FUNDRAISING ACT 1991 

Pursuant to Section 41C (1C) of the Public Finance and Audit Act 1983, and the Charitable Fundraising Act 1991, 

and in accordance with a resolution of the Board of Trustees of the Art Gallery of New South Wales Trust, we 

state that: 

(a) The accompanying financial statements have been prepared in accordance with the provisions of the Public 

Finance and Audit Act 1983, the Public Finance and Audit Regulation 2005, applicable Australian Accounting 

Standards and the Treasurer’s Directions; 

(b) In our opinion, the financial statements and notes thereto exhibit a true and fair view of the financial position 

as at 30 June 2009 and the financial performance for the year then ended; 

(c) The provisions of the Charitable Fundraising Act 1991, the regulations under the Act and the conditions 

attached to the Trust have been complied with; 

(d) In our opinion, the financial statements gives a true and fair view of all income and expenditure with respect 

to fundraising appeals; 

(e) The balance sheet gives a true and fair view of the state of affairs of the Trust with respect to fundraising 

appeals; and 

(f) The internal controls exercised by the Trust are appropriate and effective in accounting for all income received 

and applied by the Trust from any of its fundraising appeals. 

Further, we are not aware of any circumstances which would render any particulars included in the financial 

statements misleading or inaccurate. 

S Lowy 

President 

E G Capon 

Director 

P Young 

Chairman 

Finance and Audit Committee 

J Wicks 

Assistant Director 

Finance & Resources 

Dated: 14 October 2009 

START OF AUDITED FINANCIAL STATEMENTS 



Income statement 


2009 2008 

$’000 $’000 

Notes Group Group 

Income 

Sale of goods and services 2(a) 11,515 9,168 

Grants and contributions 2(b) 51,043 47,708 

Investment and other income 2(c) 1,996 379 

Total income 64,554 57,255 

Expenses 

Operating expenses 

Personnel services costs 3(a) 20,036 19,136 

Other operating expenses 3(b) 14,832 18,268 

Depreciation 3(c) 2,141 2,115 

Total expenses 37,009 39,519 

SURPLUS FOR THE YEAR 27,545 17,736 

Statement of recognised income and expense 


Net increase in property, plant and equipment asset revaluation reserve 11 – 26,608 

TOTAL INCOME AND EXPENSE RECOGNISED DIRECTLY IN EQUITY – 26,608 

Surplus for the year 27,545 17,736 

TOTAL INCOME AND EXPENSE RECOGNISED FOR THE YEAR 11 27,545 44,344 

The accompanying notes form part of these financial statements 

116 



Balance sheet 

As at 30 June 2009 

2009 2008 

$’000 $’000 


ASSETS 

Current assets 

Cash and cash equivalents 4 30,216 35,383 

Trade and other receivables 5 2,097 1,537 

Inventories 6 967 1,243 

Total current assets 33,280 38,163 

Non-current assets 

Financial assets at fair value through profit or loss 7 9,107 9,617 

Property plant and equipment 10 

Land 17,250 17,250 

Buildings 158,260 143,355 

Plant and equipment 1,801 1,501 

Collection assets 813,208 795,023 

Total property, plant and equipment 990,519 957,129 

Total non-current assets 999,626 966,746 

Total assets 1,032,906 1,004,909 

LIABILITIES 

Current liabilities 

Trade and other payables 9 7,154 6,707 

Total current liabilities 7,154 6,707 

Non-current liabilities 

Trade and other payables 9 19 14 

Total non-current liabilities 19 14 

Total liabilities 7,173 6,721 

Net assets 1,025,733 998,188 

EQUITY 

Reserves 11 325,780 326,067 

Accumulated funds 11 699,953 672,121 

Total equity 1,025,733 998,188 




Cash flow statement 


2009 2008 

$’000 $’000 


CASH FLOWS FROM OPERATING ACTIVITIES 

Payments 

Personnel services (18,588) (17,954) 

Other (16,837) (19,094) 

Total payments (35,425) (37,048) 

Receipts 

Sale of goods and services 11,459 9,363 

Interest received 2,617 2,479 

Grants and contributions 46,057 43,106 

Other 3,428 5,031 

Total receipts 63,561 59,979 

NET CASH FLOWS FROM OPERATING ACTIVITIES 13 28,136 22,931 

CASH FLOWS FROM INVESTING ACTIVITIES 

Proceeds from sale of property, plant and equipment 1,054 4,893 

Purchases of property, plant and equipment (33,854) (13,308) 

Purchases of investments (503) (680) 

NET CASH FLOWS FROM INVESTING ACTIVITIES (33,303) (9,095) 

NET INCREASE/(DECREASE) IN CASH AND CASH EQUIVALENTS (5,167) 13,836 

Opening cash and cash equivalents 35,383 21,547 

CLOSING CASH AND CASH EQUIVALENTS 4 30,216 35,383 


118 



Notes to and forming part of the financial statements 

for the year ended 30 June 2009 

1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES 

(a) Reporting entity 

The Art Gallery of NSW Trust (the Gallery) and its controlled entity, as a reporting entity, (together, the Group), 

comprises all the activities under the Gallery’s control including the Gallery’s exhibitions, merchandising, venue 

hire, and catering as well as the activities of its controlled entity the Australian Institute of Asian Culture and 

Visual Arts (VisAsia). 

Other entities associated with the Gallery but not controlled by the Gallery and hence not consolidated include 

the Art Gallery of NSW Foundation and the Brett Whiteley Foundation. 

In the process of preparing the consolidated financial statements for the economic entity consisting of 

the controlling and controlled entities, all inter-entity transactions and balances have been eliminated. The 

presentation adopted does not include a separate column for the parent entity in view of the immateriality of 

the controlled entity. The financial statements of VisAsia are disclosed separately under Note 12. 

The Art Gallery of NSW Trust is a statutory body of the NSW State government. The Gallery is a not-for-profit 

entity (as profit is not its principal objective) and it has no cash generating units. The Group is consolidated as 

part of the NSW Total State Sector Accounts. 

These consolidated financial statements have been authorised for issue by the Board of Trustees on 

14 October 2009. 

(b) Basis of preparation 

The Gallery’s financial report is a general purpose financial report, which has been prepared in accordance with: 

• applicable Australian Accounting Standards and interpretation 

• the requirements for the Public Finance and Audit Act 1983, the Public Finance and Audit Regulation 2005; and 

• the Treasurer’s Directions. 

Property, plant and equipment, collection assets, and financial assets at ‘fair value through profit or loss’ 

are measured at fair value. Other financial statements items are prepared in accordance with historical cost 

convention. 

Judgements, key assumptions and estimates that management have made are disclosed in the relevant notes 

to the financial statements. 

All amounts are rounded to the nearest one thousand dollars and are expressed in Australian currency. 

(c) Changes to accounting policy 

There were no changes to accounting policy this year. 

(d) Statement of compliance 

The consolidated financial statements and notes comply with Australian Accounting Standards and 

interpretation. 

The Group has adopted all of the new and revised standards and interpretations issued by the Australian 

Accounting Standards Board (AASB) that are relevant to its operations and effective from the current annual 

reporting period. 

(e) Income recognition 

Income is measured at the fair value of the consideration or contribution received or receivable. Additional 

comments regarding the accounting policies for the recognition of income are discussed below: 

(i) Grants and contributions 

Grants and contributions include donations and grants from Department of Arts, Sports and Recreation. Grants 

and contributions from other bodies (including donations) are generally recognised as income when the Gallery 

obtains control over the assets comprising the grants/contributions. Control over grants and contributions is 

normally obtained when the obligations relating to the receipt have been met and, in the case of donations, 

upon receipt of cash. 





(ii) Sale of goods 

Revenue from the sale of goods is recognised as revenue when the Gallery transfers the significant risks and 

rewards of ownership of the assets. 

(iii) Rendering of services 

Revenue is recognised when the service is provided. Royalty revenue is recognised in accordance with AASB 

118 Revenue on an accrual basis in accordance with the substance of the relevant agreement. 

(iv) Investment income 

Interest income is recognised using the effective interest method as set out in AASB 139 Financial Instruments: 

Recognition and Measurement. TCorp Hour Glass distributions are recognised in accordance with AASB 118 

Revenue when the Gallery’s right to receive payment is established. The movement in the fair value of the 

Hour Glass Investment facilities incorporates distributions receivable as well as unrealised movements in fair 

value and is reported as ‘Investment Income’. 

(f) 

Personnel services and other provisions 

(i) Personnel services arrangements 

The Gallery and Department of Arts, Sports and Recreation (DASR) entered into a memorandum of 

understanding effective from 1 July 2006 which sets out the arrangements for employment and payment 

of staff working at the Art Gallery of NSW who are considered employees of the DASR. All payments to 

personnel and related obligations are done in the DASR name and ABN and are classified as ‘Personnel 

Services’ costs in these financial statements. 

(ii) Personnel services – salaries and wages, annual leave, sick leave and on-costs 

Based on the memorandum of understanding with DASR, liabilities for personnel services are stated as 

liabilities to the service provider DASR. Salaries and wages (including non-monetary benefits), annual leave 

and paid sick leave that fall due wholly within 12 months of the reporting date are recognised and measured 

in respect of employees’ services up to the reporting date at undiscounted amounts based on the amounts 

expected to be paid when the liabilities are settled. 

If applicable, long-term annual leave that is not expected to be taken within twelve months is measured at 

present value in accordance with AASB 119 Employee Benefits. Market yields on government bonds are used 

to discount long-term annual leave. 

Unused non-vesting sick leave does not give rise to a liability, as it is not considered probable that sick leave 

taken in the future will be greater than the benefits accrued in the future. 

The outstanding amounts of payroll tax, workers compensation insurance premiums and fringe benefits tax, 

which are consequential to the provision of personnel services by DASR, are recognised as liabilities and 

expenses where the personnel services to which they relate have been recognised. 

(iii) Long service leave and superannuation 

In the financial statements of DASR, the liabilities for long service leave and defined benefit superannuation are 

assumed by the Crown Entity. Consequently the Gallery accounts for the equivalent expense and income in its 

financial statements to reflect this provision of personnel services. 

Long service leave is measured at present value in accordance with AASB 119 Employee Benefits. This is 

based on the application of certain factors, specified by NSW Treasury, to employees with five or more years of 

service, using current rates of pay. These factors were determined based on an actuarial review to approximate 

present value. 

The superannuation expense for the financial year is determined by using the formulae specified in the NSW 

Treasury circular TC 09-1. The expense for certain superannuation schemes (i.e. Basic Benefit and First State 

Super) is calculated as a percentage of the employees’ salary. For other superannuation schemes (i.e. State 

Superannuation Scheme and State Authorities Superannuation Scheme), the expense is calculated as a 

multiple of the employees’ superannuation contributions. 

(g) Insurance 

The Gallery’s insurance activities are conducted through the NSW Treasury Managed Fund Scheme of self 

insurance for Government agencies. The expense (premium) is determined by the Fund Manager based on 

past claim experience, asset values and risk. 

120 





(h) Accounting for the Goods and Services Tax (GST) 

Revenues, expenses and assets are recognised net of the amount of GST, except where: 

• the amount of GST incurred by the Gallery as a purchaser that is not recoverable from the Australian Taxation 

Office is recognised as part of the cost of acquisition of an asset or as part of an item of expense: and 

• receivables and payables are stated with the amount of GST included. 

GST is included on a gross basis in the cash flow statement as operating cash flows. The GST component of 

cash flows arising from investing and financing activities are also classified as operating cash flows. 

(i) 

(j) 

Acquisitions of assets 

The cost method of accounting is used for the initial recording of all acquisitions of assets controlled by the 

Gallery. Cost is the amount of cash or cash equivalents paid or the fair value of the other consideration given 

to acquire the asset at the time of its acquisition or construction or where applicable the amount attributed to 

that asset when initially recognised in accordance with the specific requirements of other Australian Accounting 

Standards. 

Gifts of artworks or works acquired at no cost, or for nominal consideration, are initially recognised at their fair 

value at the date of acquisition and brought to account as assets and revenues for the period. 

Fair value is the amount for which an asset could be exchanged between knowledgeable, willing parties in an 

arm’s length transaction. 

Where payment for an asset is deferred beyond normal credit terms, its cost is the cash price equivalent, i.e. 

the deferred payment amount is effectively discounted at an asset-specific rate. 

Capitalisation thresholds 

Property, plant and equipment, and intangible assets costing $5,000 and above individually (or forming part of 

a network costing more than $5,000) are capitalised. 

(k) Revalutaion of property, plant and equipment 

Physical non-current assets are valued in accordance with the ‘Valuation of Physical Non-Current Assets at 

Fair Value’ Policy and Guidelines Paper (TPP07-1). This policy adopts fair value in accordance with AASB 116 

Property, Plant and Equipment and AASB 140 Investment Property. 

Property, plant and equipment is measured on an existing use basis, where there are no feasible alternative 

uses in the existing natural, legal, financial and socio-political environment. However, in the limited 

circumstances where there are feasible alternative uses, assets are valued at their highest and best use. 

Fair value of property, plant and equipment is determined based on the best available market evidence, 

including current market selling prices for the same or similar assets. Where there is no available market 

evidence, the asset’s fair value is measured at its market buying price, the best indicator of which is 

depreciated replacement cost. The Gallery revalues each class of property, plant and equipment at least every 

five years or with sufficient regularity to ensure that the carrying amount of each asset in the class does not 

differ materially from its fair value at reporting date. Details of the last revaluations are shown at note 11 and 

were based on independent assessments. 

Non-specialised assets with short useful lives are measured at depreciated historical cost, as a surrogate 

for fair value. When revaluing non-current assets by reference to current prices for assets newer than those 

being revalued (adjusted to reflect the present condition of the assets), the gross amount and the related 

accumulated depreciation are separately restated. For other assets, any balances of accumulated depreciation 

at the revaluation date in respect of those assets are credited to the asset accounts to which they relate. The 

net asset accounts are then increased or decreased by the revaluation increments or decrements. 

Revaluation increments are credited directly to the asset revaluation reserve, except that, to the extent that 

an increment reverses a revaluation decrement in respect of that class of asset previously recognised as 

an expense in the surplus/deficit, the increment is recognised immediately as revenue in the surplus/deficit. 

Revaluation decrements are recognised immediately as expenses in the surplus/deficit, except that, to the 

extent that a credit balance exists in the asset revaluation reserve in respect of the same class of assets, 

they are debited directly to the asset revaluation reserve. As a not-for-profit entity, revaluation increments and 

decrements are offset against one another within a class of non-current assets, but not otherwise. Where an 

asset that has previously been revalued is disposed of, any balance remaining in the asset revaluation reserve 

in respect of that asset is transferred to accumulated funds. 





(l) 

Impairment of property, plant and equipment 

As a not-for-profit entity with no cash generating units, the Gallery is effectively exempted from AASB 136 

Impairment of Assets and Impairment Testing. This is because AASB 136 modifies the recoverable amount 

test to the higher of fair value less costs to sell and depreciated replacement cost. This means that, for an 

asset already measured at fair value, impairment can only arise if selling costs are material. Selling costs are 

regarded as immaterial. 

(m) Assets not able to be reliably measured 

The Gallery does not hold any assets other than those recognised in the Balance Sheet. 

(n) Depreciation of property, plant and equipment 

Except for certain heritage assets, depreciation is provided for on a straight-line basis for all depreciable assets 

so as to write off the depreciable amount of each asset as it is consumed over its useful life to the Gallery. 

All material separately identifiable component assets are depreciated over their shorter useful lives. 

Land is not a depreciable asset. Certain heritage assets have an extremely long useful life, including original 

artworks and collections and heritage buildings because of appropriate curatorial and preservation policies 

that have been adopted. Depreciation for those items cannot be reliably measured because the useful life 

and the net amount to be recovered at the end of the useful life cannot be reliably measured. In these cases, 

depreciation is not recognised. The decision not to recognise depreciation for these assets is reviewed 

annually. 

Depreciation rates for each category of depreciable assets are as follows: 

Plant and Equipment 7-20% 

Motor Vehicles 20% 

Furniture and Fittings 20% 

Office Equipment 33% 

Computer Equipment 33% 

Catering Equipment 20% 

Other Equipment 20% 

Building Infrastructure 3-7% 

These rates are reviewed annually to ensure they reflect the assets’ current useful life and residual values. 

(o) Maintenance 

Day-to-day servicing costs or maintenance are charged as expenses as incurred, except where they relate to 

the replacement of a part or component of an asset, in which case the costs are capitalised and depreciated. 

(p) Leased assets 

The Gallery does not have any assets subject to finance leases. Operating lease payments are charged to the 

Income Statement in the periods in which they are incurred. 

(q) Inventories 

The Gallery’s inventories are held for sale and are stated at the lower of cost and net realisable value. Cost is 

calculated using the weighted average cost method. 

The Gallery does not have any inventories acquired at no cost or for nominal consideration. Net realisable 

value is the estimated selling price in the ordinary course of business less the estimated costs of completion 

and the estimated costs necessary to make the sale. 

(r) 

Financial instruments policies 

The Gallery’s principal financial instruments policies and the main risks arising from financial instruments are 

outlined below, together with the Gallery’s objectives, policies and processes for measuring and managing risk. 

Further quantitative and qualitative disclosures are included throughout this financial report. 

These financial instruments arise directly from the Gallery’s operations or are required to finance its operations. 

The Gallery does not enter into or trade financial instruments for speculative purposes and does not use 

financial derivatives. 

122 





(i) Financial instruments 

(a) Cash & term deposits 

Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances and received 

monthly at the normal commercial rate. 

The Gallery has placed funds in bank deposits ‘at call’ or for a fixed term. The interest rate payable is 

negotiated initially and is fixed for the term of the deposits. These term deposits are usually held to maturity. 

The fair value includes the interest accrued as at 30 June each year. 

(b) Trade and other receivables 

Trade and other receivables are non-derivative financial assets with fixed or determinable payments that are 

not quoted in an active market. These financial assets are recognised initially at fair value, usually based on 

the transaction cost or face value. Subsequent measurement is at amortised cost using the effective interest 

method, less an allowance for any impairment of receivables. 

All trade debtors are recognised as amounts receivable at balance date. Collectability of trade debtors is 

reviewed on an ongoing basis. Procedures as established in the NSW Treasurer’s Directions are followed to 

recover outstanding amounts, including letters of demand. Debts which are known to be uncollectible are 

written off. An allowance for impairment is raised when there is objective evidence that the entity will not 

be able to collect all amounts due. Any changes are accounted for in the income statement when impaired, 

derecognised or through the amortisation process. The evidence included past experience and current and 

expected changes in economic conditions and debtors credit ratings. No interest is earned on trade debtors. 

The carrying amount approximates fair value. Sales are made on 30-day terms. 

Short-term receivables with no stated interest rate are measured at the original invoice amount where the 

effect of discounting is immaterial. 

(c) Investments 

In accordance with the Investment Policy and in line with NSW Treasurer’s Direction, the only equity-based 

investments permitted are in TCorp, a government-approved investment fund. The Gallery determines the 

classification of its investments after initial recognition and when allowed and appropriate, re-evaluates this at 

each financial year end. 

Fair value through profit or loss – The Gallery investments in TCorp Hour Glass medium- and long-term 

facilities are classified as ‘at fair value through profit or loss’ based on its investment strategy. The Gallery’s 

investments are represented by a number of units in managed investments within the facilities. Each facility 

has different investment horizons and comprises a mix of asset classes appropriate to the investment horizon. 

The fair value of these investments is determined by reference to quoted current bid prices at the close of 

business on the balance sheet date. Any change in unit price impacts directly on profit (rather than equity). The 

movement in the fair value of the Hour Glass Investment facilities incorporates distributions receivable as well 

as unrealised movements in fair value and is reported in the line item ‘Investment Income’. 

These investments are generally able to be redeemed with 24 hours notice. The value of the investments 

represents the Gallery’s share of the value of the underlying assets of the funds and is stated at fair value, 

based on the market value. 

TCorp appoints and monitors fund managers and establishes and monitors the application of appropriate 

investment guidelines. 

(d) Held to maturity investments and available for sale investments 

The Gallery does not have any financial assets in these categories. 

(e) Payables 

These amounts represent liabilities for goods and services provided to the Gallery and other amounts, 

including interest. Trade and other payables are recognised initially at fair value usually based on the 

transaction cost or face value. Subsequent measurement is at amortised cost using the effective interest 

method. Short-term payables with no stated interest rate are measured at the original invoice amount where 

the effect of discounting is immaterial. 

(f) Financial guarantees 

A financial guarantee contract is a contract that requires the issuer to make specified payments to reimburse 

the holder for a loss it incurs because a specified debtor fails to make payment when due in accordance with 

the original or modified terms of a debt instrument. Financial guarantee contracts are recognised as a 





liability at the time the guarantee is issued and initially measured at fair value, where material. After initial 

recognition, the liability is measured at the higher of the amount determined in accordance with AASB 137 

Provisions, Contingent Liabilities and Contingent Assets and the amount initially recognised, less accumulated 

amortisation, where appropriate. 

The Gallery has not granted any financial guarantees. However, refer to note 17 regarding disclosures on 

contingent liabilities. 

(ii) Risk management 

The Gallery’s Risk Management Committee has overall responsibility on behalf of the Board for the establishment 

and oversight of risk management and reviews and recommends policies for managing each of these risks. Risk 

management policies are established to identify and analyse the risks faced by the Gallery, to set risk limits and 

controls and to monitor risks. Compliance with policies relating to financial matters is managed by the Finance 

and Audit Committee and reviewed by the Risk Management Committee on a periodic basis. 

The Gallery’s Investment Policy and its financial management risk analysis were endorsed by the Finance and 

Audit Committee, the Risk Management Committee and the Board of Trustees during 2007 and 2008. The policy 

is reviewed annually by the Risk Management Committee. 

The risk analysis reviewed the major risks associated with the financial instruments i.e. credit, liquidity, market, 

interest rate, currency and other risks. Risk impact area and implications arising from each risk factor is analysed 

and a risk rating has been assigned. The likelihood and the consequences of each risk were analysed and the 

controls and risk mitigation strategies confirmed. 

(a) Credit risk 

Credit risk arises when there is the possibility of the Gallery’s debtors defaulting on their contractual 

obligations, resulting in a financial loss to the Gallery. The maximum exposure to credit risk is generally 

represented by the carrying amount of the financial assets (net of any allowance for impairment). 

The Gallery is not materially exposed to concentrations of credit risk to a single trade debtor or group of 

debtors. NSW Treasurer’s Directions are followed to recover outstanding amounts, including letters of demand. 

The credit risk for trade debtors is the carrying amount (net of any allowance for impairment). 

No collateral is held by the Gallery. 

Credit risk associated with the Gallery’s financial assets, other than receivables, is managed through the 

selection of counterparties and establishment of minimum credit rating standards. In accordance with the 

Gallery’s Investment Policy cash and term deposits will only be made in those banks and building societies 

approved by the Reserve Bank/Australian Prudential Regulatory Authority (APRA) and included in the ‘AGNSW 

Approved List’ all of which have A ratings or better and no more than 20% of the Gallery’s funds or $6 million 

(whichever is the smaller) to be invested in any one institution. The Finance Committee during 2007–08 

resolved to confine the deposits to the major banks as an added precaution in the current economic climate. 

Gallery deposits held with NSW TCorp are guaranteed by the State. The value that best represents the 

maximum credit risk exposure is the fair value. 

(b) Liquidity risk 

Liquidity risk is the risk that the Gallery will be unable to meet its payment obligations when they fall due. 

The Gallery continuously manages risk through monitoring future cash flows and maturities planning to ensure 

adequate holding of high-quality liquid assets. 

The Gallery has no loans or overdrafts and no assets have been pledged as collateral. An overdraft facility is 

not considered necessary as arrangements have been put in place to call in term deposits at short notice if 

needed. A penalty of reduced interest rate may sometimes be incurred. 

The liabilities are recognised for amounts due to be paid in the future for goods or services received, whether 

or not invoiced. Amounts due to suppliers (which are unsecured) are settled in accordance with the policy set 

out in NSW Treasurer’s Direction 219.01. If trade terms are not specified, payment is made no later than the 

end of the month following the month in which an invoice or a statement is received. 

(c) Market risk 

Market risk is the risk that the fair value or future cash flows of a financial instrument will fluctuate because of 

changes in market prices. 

The Gallery endeavours to limit the market risk by investing in NSW TCorp funds which provide diversification 

through asset allocation over a spread of financial assets (cash, bonds, fixed interest securities and equities) 

124 





over medium- and long-term investment horizons. NSW TCorp is required to act in the best interest of the unit 

holders and to administer the investments accordingly. Notwithstanding these controls, market risk is inevitable 

in the equity markets, which is subject to global volatility. 

(d) Currency risk 

Currency risk is managed by taking out forward cover on foreign currency contracts as soon as the liability arises. 

(e) Interest rate risk 

Interest rate risk is limited as the Gallery only enters into fixed interest terms on its term deposits. The Gallery 

has no interest-bearing liabilities and therefore is not exposed to interest rate risk on borrowings. 

(iii) Fair value 

Financial instruments are measured at amortised cost, with the exception of TCorp Hour Glass facilities, which 

are carried at fair value. As discussed, the value of the Hour Glass investment is based on the Gallery’s share 

of the value underlying assets of the facility, based on the market value. However, the fair value of the other 

classes of financial instruments approximates their carrying value. 

(iv) Impairment of financial assets 

All financial assets, except those measured at fair value through profit and loss, are subject to an annual review 

for impairment. An allowance for impairment is established when there is objective evidence that the Gallery 

will not be able to collect all amounts due. 

Any reversals of impairment losses are reversed through the Income Statement, where there is objective 

evidence. 

(v) De-recognition of financial assets and liabilities 

A financial asset is de-recognised when the contractual rights to the cash flows from the financial assets 

expire; or if the Gallery transfers the financial asset: 

• where substantially all the risks and rewards have been transferred; or 

• where the Gallery has not transferred substantially all the risks and rewards, if the entity has not retained 

control. 

Where the Gallery has neither transferred nor retained substantially all the risks and rewards or transferred 

control, the asset is recognised to the extent of the Gallery’s continuing involvement in the asset. 

A financial liability is de-recognised when the obligation specified in the contract is discharged or cancelled or 

expired. 

(s) Current assets held for resale 

Current assets held for sale are recognised at lower of carrying amount and fair value less costs to sell. These 

assets are not depreciated while they are held for sale 

(t) 

Bequests and special funds 

The Gallery receives monies and gifts of works of art. The aggregate of these contributions received for the 

year has been stated as revenue in the ‘Bequest and Special Purpose Funds’ Income Statement in note 11(b). 

These revenues provide for expenditure in the current year and in future years. Any revenues unspent in the 

current year have been carried forward for appropriate expenditure in future years. 

(u) Trustee benefits 

No Trustee of the Gallery has entered into a material contract with the Gallery or the consolidated entity since 

the end of the previous financial period and there are not material contracts involving Trustees’ interests 

existing at 30 June 2009. 

(v) Taxation status 

The activities of the Gallery are exempt of income tax. The Gallery is registered for GST purposes and has gift 

deductible recipient status. 

(w) Services provided at no cost 

Where material contributions are made to the Gallery at no charge an expense is recorded in the accounts to 

reflect activities at the Gallery and is offset by an equivalent revenue entry. Services provided by volunteers are 

calculated using the actual hours worked at an average museum guide salary rate – refer to note 14. 





2 INCOME 

(a) Sale of goods and services 

2009 2008 

$’000 $’000 

Group Group 

Sale of goods 

Merchandise, book and publication sales 4,955 4,510 

Rendering of services 

Admission fees 4,809 2,634 

Venue hire and catering 1,216 1,182 

Other 535 842 

6,560 4,658 

11,515 9,168 

(b) Grants and contributions 

From DASR: 

Recurrent grants 20,555 19,632 

Capital grants 5,770 13,570 

Personnel services benefits and liabilities provided free of charge by DASR 1,297 967 

27,622 34,169 

From other institutions and individuals: 

Donations – cash 17,415 8,521 

Sponsorship – cash 1,636 1,161 

Grants – other 681 222 

Sponsorship – in kind 674 353 

Donations – works of art 1,419 1,666 

Value of services provided by volunteers – note 3(b) 1,596 1,616 

(c) Investment and other income 

23,421 13,539 

51,043 47,708 

Investment income 

TCorp Hour Glass investment facilities (507) (592) 

Interest 1,960 1,763 

1,453 1,171 

Workers compensation recovery 13 40 

13 40 

Gain/(loss) on disposal of non-current assets 

Proceeds from disposal 1,054 4,893 

Written down value of assets disposed (524) (5,725) 

530 (832) 

1,996 379 

126 





3 EXPENSES 

(a) Personnel services costs 

2009 2008 

$’000 $’000 

Group Group 

Salaries and wages (including recreation leave) 16,026 15,637 

Superannuation – defined benefit plans * 442 452 

Superannuation – defined contribution plans 1,247 1,107 

Long service leave * 829 488 

Workers compensation insurance 326 386 

Payroll tax on superannuation * 26 27 

Other payroll tax and fringe benefit tax 1,140 1,039 

* These are provided free of charge by DASR and a corresponding amount is also shown 

as grants and contributions. 

There were $601,735 personnel services costs capitalised and excluded from above. 

(b) Other operating expenses 

20,036 19,136 

Auditor’s remuneration – audit of the financial statements 62 67 

Cost of sales 2,671 2,756 

Travel and accommodation 813 771 

Operating lease rental expense – minimum lease payments 191 188 

Maintenance (refer reconciliation below) 444 552 

Insurance 638 506 

Consumables 677 758 

Exhibition fees and related costs 1,610 927 

Fees – general professional 520 670 

Freight, packing and storage 1,073 960 

Marketing and promotion 1,179 860 

Printing/graphics 466 361 

Property expenses 1,627 1,542 

Value of services provided by volunteers – note 2(b) 1,596 1,616 

Donation to AGNSW Foundation * – 4,343 

Other 1,265 1,391 

* This is the proceeds from the sale of the block of units bequeathed by the late 

Ms Yvonne Diana Buchanan May. 

14,832 18,268 

Reconciliation – total maintenance 

Maintenance expense as above 444 552 

Employee-related maintenance expense included in note 3(a) 388 374 

Total maintenance expenses included in note 3(a) & 3(b) 832 926 

(c) Depreciation expense 

Buildings 1,510 1,545 

Plant and equipment 631 570 

2,141 2,115 





4 CURRENT ASSETS – CASH AND CASH EQUIVALENTS 

2009 2008 

$’000 $’000 

Group Group 

Cash at bank and on hand 2,486 619 

Short-term deposits 27,730 34,764 

30,216 35,383 

For the purpose of the cash flow statement, cash includes cash at bank, cash on hand 

and short-term deposits. Cash and cash equivalent assets recognised in the balance 

sheet are reconciled at end of the financial year to the cash flow statement as follows: 

Cash and cash equivalents (as per Balance Sheet) 30,216 35,383 

Closing cash and cash equivalents (as per Cash Flow Statement) 30,216 35,383 

Refer to note 1(r) for details regarding credit risk, liquidity risk and market risk arising from 

financial instrument. 

5 CURRENT ASSETS – TRADE AND OTHER RECEIVABLES 

Trade debtors (sale of goods and services) 227 173 

Less: allowance for impairment – – 

Accrued income 263 412 

Other debtors 1,061 281 

Prepayments 546 671 

Total trade and other receivables 2,097 1,537 

Trade Debtors Trade Debtors 

Movement in the allowance for impairment 

Balance at 1 July – (10) 

(Increase) / decrease in allowance recognised in income statement – 10 

Balance at 30 June – – 

6 CURRENT ASSETS – INVENTORIES 

Held for resale 

Stock on hand – at cost 967 1,243 

7 NON-CURRENT ASSETS – FINANCIAL ASSETS AT FAIR VALUE 

THROUGH PROFIT AND LOSS 

TCorp Hour-Glass investment – medium-term and long-term facilities 9,107 9,617 

128 





8 RESTRICTED ASSETS 

Investments in the following are restricted use assets to the extent that they represent 

bequests and donations held by the Gallery to be used in accordance with the deed 

of trust or other documents governing these funds – refer also to note 11(b): 

2009 2008 

$’000 $’000 

Group Group 

Bequest and special fund 

Short-term deposits 14,743 13,571 

TCorp Hour Glass investment – medium-term and long-term facilities 9,107 9,617 

23,850 23,188 

9 CURRENT / NON-CURRENT LIABILITIES – TRADE AND OTHER PAYABLES 

Trade creditors 2,134 2,884 

Capital creditors 2,953 1,903 

Creditors personnel services: 

Accrued personnel services costs 236 308 

Recreation leave 1,463 1,335 

Long service leave on-costs 387 291 

7,173 6,721 

Current 7,154 6,707 

Non-current 19 14 

7,173 6,721 





10 NON-CURRENT ASSETS – PROPERTY, PLANT AND EQUIPMENT 

Plant and Collection 

Land Buildings equipment assets Total 

$’000 $’000 $’000 $’000 $’000 

At 1 July 2007 

Gross carrying amount 17,250 138,983 8,408 781,740 946,381 

Accumulated depreciation and impairment – 22,775 7,054 – 29,829 

At fair value 17,250 116,208 1,354 781,740 916,552 

At 30 June 2008 

Gross carrying amount 17,250 168,785 9,005 795,023 990,063 


At fair value 17,250 143,355 1,501 795,023 957,1292 

At 30 June 2009 

Gross carrying amount 17,250 184,189 9,137 813,208 1,023,784 


At fair value 17,250 158,260 1,801 813,208 990,519 

Reconciliation 

A reconciliation of the carrying amount of each class of property, plant and equipment at the beginning 

and end of the each reporting period are set out below: 

Year ended 30 June 2008 

Fair value at 1 July 2007 17,250 116,208 1,354 781,740 916,552 

Additions/transfers – 2,084 735 14,057 16,876 

Disposals – – (18) (774) (792) 

Depreciation expense – (1,545) (570) – (2,115) 

Net revaluation increments less 

revaluation decrements 26,608 – – 26,608 

Fair value at 30 June 2008 17,250 143,355 1,501 795,023 957,129 

Year ended 30 June 2009 

Fair value at 1 July 2008 17,250 143,355 1,501 795,023 957,129 

Additions/transfers – 16,479 952 18,624 36,055 

Disposals – (64) (21) (439) (524) 

Depreciation expense – (1,510) (631) – (2,141) 

Fair value at 30 June 2009 17,250 158,260 1,801 813,208 990,519 

Land was revalued in 2005 at fair value by a registered valuer from the NSW Department of Commerce. 

The Gallery’s building was revalued in December 2007 at fair value by a senior quantity surveyor from the 

NSW Department of Commerce. 

Library collection was valued in 2006 at fair value by Mr Simon Taaffe, accredited valuer for the Taxation 

Incentives for the Arts Scheme for Australian books, including artists’ books, manuscripts after 1900. Other 

art works in the collection were valued in 2007 at fair value by Mr Simon Storey MAVA. The increase in value is 

recorded in the asset revaluation reserve. 

These values do not differ materially from their fair values at reporting date. 

130 





11 CHANGES IN EQUITY 

(a) 

Asset 

Accumulated revaluation 

funds total reserve Total equity 

$’000 $’000 $’000 

Balance as at 1 July 2007 654,129 299,715 953,844 

Changes in equity – other than transactions with owners as owners 

Surplus for the year 17,736 – 17,736 

Increment on revaluation of non-current assets – 26,608 26,608 

Total 17,736 26,608 44,344 

Transfers within equity 256 (256) – 

Balance as at 30 June 2008 672,121 326,067 998,188 

Changes in equity – other than transactions with owners as owners 

Surplus for the year* 27,545 – 27,545 

Total 27,545 – 27,545 

Transfers within equity 287 (287) – 

Balance as at 30 June 2009 699,953 325,780 1,025,733 

Asset Revaluation Reserve 

The asset revaluation reserve is used to record increments and decrements on the revaluation of non-current 

assets. This accords with the Gallery’s policy on the ‘Revaluation of Property, Plant and Equipment’ as 

discussed in note 1(k). 

* Includes capital grants and donations received for capital expenditure and acquisitions. 

2009 2008 

$’000 $’000 

Trust Trust 

(b) Bequests and special purpose funds 

Included in the total accumulated funds is an amount attributed to the bequests 

and special purpose funds as follows: 

Revenue 

Sale of goods and services 18 6 

Investment income 230 229 

Grants and contributions 18,871 9,732 

Other income 1,010 139 

20,129 10,106 

Expenditure 

Personnel services costs 296 214 

Other 368 4,863 

664 5,077 


Equity 

Opening balance 23,188 27,423 

Transfers 166 1 

Art acquisitions (18,969) (9,265) 


Closing balance 23,850 23,188 





12 CONTROLLED ENTITIES 

The Australian Institute of Asian Culture and Visual Arts Ltd (VisAsia) 

The principal activities of VisAsia is the raising of funds for the promotion of an understanding and appreciation 

of Asian culture through the arts. 

As a controlled entity of the Art Gallery of New South Wales Trust, the opening result, assets and liabilities have 

been incorporated into the financial statements. 

2009 2008 

$’000 $’000 

VisAsia VisAsia 

Income statement 

Income 

Interest income 63 74 

Donations & sponsorships 182 261 

245 335 

Expenses 

Other 215 315 

SURPLUS FOR THE YEAR 30 20 

Balance sheet 

Cash and cash equivalents 1,198 1,161 

Trade and other receivables 6 12 

Trade and other payables (6) (5) 

Net assets 1,198 1,168 

Accumulated funds 1,198 1,168 

Total equity 1,198 1,168 

These amounts, net of inter-entity transactions and balances, have been included within the financial 

statements of the Group under the corresponding classifications. 

2009 2008 

$’000 $’000 

Group Group 

13 RECONCILIATION OF THE SURPLUS FOR THE YEAR TO 

NET CASH FLOWS FROM OPERATING ACTIVITIES 


Net (gain)/loss on sale of non-current assets (530) 832 

Depreciation 2,141 2,115 

(Increase)/decrease – other financial assets 1,013 1,305 

Gifts of works of art (1,419) (1,666) 

Increase/(decrease) in trade and other payables (598) 1,054 

(Increase)/decrease in trade and other receivables (292) 1,306 

(Increase)/decrease in inventories 276 249 

Net cash flows from operating activities 28,136 22,931 

132 





14 NON-CASH FINANCING AND INVESTING ACTIVITIES 

The following non-cash transactions are included in the financial statements for the year: 

2009 2008 

$’000 $’000 

Group Group 

Donations of assets – brought to account by creating an asset and crediting non-cash 

donations 

Works of art 1,419 1,666 

The following items are brought to account as expenses in the income statement and 

are credited as income in the form of non-cash sponsorships, non-cash donations or 

services provided free of charge: 

Services provided by volunteers 1,596 1,616 

Advertising, freight, accommodation, travel, legal fees and similar expenses 674 353 

15 FINANCIAL INSTRUMENTS 

The Gallery’s principal financial instruments are outlined below. 

(a) Financial instrument categories 

Carrying Carrying 

Financial assets Note Category amount amount 

Trade debtors Not past due 221 165 

Past due < 3 months 6 8 

5 Trade debtors – total 227 173 

The Gallery is not materially exposed to concentrations of credit risk to a single trade 

debtor or group of debtors. There are no impaired debtors as at 30 June 2009. 

Financial assets 

At fair value through profit or loss 

at fair value 7 designated as such upon initial recognition 9,107 9,617 

Term deposits 

The securities at balance date were earning an average interest rate of 3.4% (2008 7.8%) and over the year the 

weighted average interest rate was 6.1% (2008 7.4%) on a weighted average balance of $32,395,000 (2008 

$23,758,000) 

TCorp Hour Glass Investment facilities 

The Gallery has investments in the following TCorp Hour Glass Investment facilities. The Gallery’s investments 

are represented by a number of units in managed investments within the facilities. 

Investment 

Investment 

Facility sectors horizon 

Medium term growth facility cash 4 years to 7 years 4,405 4,374 

Long term growth facility cash 7 years and over 4,702 5,243 

Total 9,107 9,617 

The unit price of each facility is equal to the total fair value of net assets held by the facility divided by the total 

number of units on issue for that facility. Unit prices are calculated and published daily. 





(b) Sensitivity analysis 

Change in unit price % 

2009 2008 

$’000 $’000 

Group Group 

Impact on profit/loss 

Medium-term growth facility +/- 7.50 330 328 

Long-term growth facility +/- 15.00 705 786 

Returns 

Medium-term growth facility Achieved 0.73% -0.57% 

Benchmark 0.15% -0.79% 

Long-term growth facility Achieved -10.33% -10.27% 

Benchmark -10.88% -10.51% 

Payables 

Financial liabilities 

Trade and other payables – non-interest bearing 7,173 6,721 

The table below summarises the maturity profile of the Gallery’s financial liabilities. 

Maturity dates 

< 1 yr 1–5 yr > 5 yrs 

2009 payables 

Accrued salaries 236 – – 

Creditors 3,741 – – 

3,977 – – 

2008 payables 

Accrued salaries 308 – – 

Creditors 3,340 – – 

3,648 – – 

16 POST BALANCE DATE EVENTS 

There are no significant post balance events that will impact the financial statements. 

17 CONTINGENT LIABILITIES 

The Treasury Managed Fund normally calculates hindsight premiums each year. There are no other contingent 

liabilities. (2008 Nil) 

134 





18 COMMITMENTS FOR EXPENDITURE 

(a) Capital commitments 

There are $9,898,261 (incl GST) capital commitments outstanding as at 30 June 2009. (2008 Nil). 

(b) Other expenditure commitments 

There are no material other expenditure commitments outstanding as at 30 June 2009. (2008 Nil) 

(c) Operating lease commitments 

2009 2008 

$’000 $’000 

Group Group 

Future non-cancellable operating lease rentals not provided for and payable: 

Not later than one year 160 166 

Later than one year and not later than five years 85 394 

Total (including GST) 245 560 

The total operating lease commitments above include input tax credits of $22,270 

(2008 $50,900) that are expected to be recovered from the Australian Taxation Office. 

There were no other contingents assets as at 30 June 2009. 

The Gallery leases a number of industrial units for off-site storage. Lease rentals 

(including GST) are payable to the lessors monthly in advance. Bank guarantees have 

been given in lieu of security deposits. 

The lease commitments also include the lease payments of a motor vehicle from State Fleet. 

19 RESULTS OF FUNDRAISING APPEALS 

The Gallery receives many donations of cash and artworks as a result of its day to day 

activities. In addition, fundraising dinners and other special fundraising events were 

conducted during the year and the results are as follows: 

Donation – in cash 3,885 280 

Sponsorship – in cash 211 25 

Other fundraising 147 198 

Gross income from fundraising A 4,243 503 

Cost of fundraising B 359 166 

Net surplus from fundraising C 3,884 337 

Cost of services provided D 2,760 130 

Transferred accumulated funds 1,124 207 

The following ratios are provided: 

3,884 337 

Cost of fundraising to gross income from fundraising B/A 8% 33% 

Net surplus from fundraising to gross income from fundraising C/A 92% 67% 

Cost of services provided to total expenditure D/(B+D) 88% 44% 

Cost of services provided to gross income from fundraising D/A 65% 26% 





20 ACCOUNTING STANDARDS ISSUED BUT NOT YET EFFECTIVE 

The Gallery did not early adopt any new accounting standards and interpretations that are not yet effective. At 

the date of authorisation of the financial statements, the following Standards and Interpretations were on issue 

and applicable to the Gallery, but not yet effective: 

AASB 3 ‘Business Combinations’ that is operative for 30 June 2010 and 31 December 2010 year ends 

AASB 8 ‘Operating Segments’ that is operative for 31 December 2009 and 30 June 2010 year ends 

AASB 101‘Presentation of Financial Statements’, that is operative for 31 December 2009 and 30 June 2010 

year ends 

AASB 123 ‘Borrowing Costs’ that is operative for 31 December 2009 and 30 June 2010 year ends 

AASB 127 ‘Consolidate and Separate Financial Statements’ (Revised), that is operative for 31 December 2009 

and 30 June 2010 year ends 

AASB 1039 ‘Concise Financial Reports’ that is operative for 31 December 2009 and 30 June 2010 year ends 

The Gallery has assessed the impact of these new standards and interpretations and considers the impact to 

be insignificant. 

END OF AUDITED FINANCIAL STATEMENTS 

136 



General access 

information 

Access 

The Gallery is open every day 

except Easter Friday and Christmas 

Day between the hours of 10am 

and 5pm. The Gallery is open late 

each Wednesday night until 9pm. 

General admission is free. Entry fees 

may apply to a limited number of 

major temporary exhibitions. 

Guided tours 

Volunteer guides offer a range of 

free guided tours of the collection 

and major exhibitions. 

General tours: daily one-hour tours 

revealing highlights of the collection 

and the Gallery. Mondays, 1pm and 

2pm; Tuesdays to Sundays, 11am, 

1pm and 2pm. 

Yiribana tours: of the Aboriginal 

and Torres Strait Islander gallery. 

Daily, 1pm. 

Asian galleries tours: daily, 

12 noon. 

Community ambassador tours: 

Asian-language tours of the 

permanent collection: 

Japanese – Fridays, 11am; 

Cantonese – Tuesdays, 11am; 

Mandarin – Thursdays, 11am. 

Signing Art: Auslan-interpreted 

tours. Last Sunday of each month 

(excluding December/January), 

1.30pm. 

In Touch at the Gallery: sensory 

exploration tours for the blind and 

vision impaired. Available for booked 

groups or individuals at any time 

during Gallery opening hours. Two 

weeks’ notice required. 

Private groups: tours tailored to 

the needs of groups. During 

Gallery hours or with private 

evening functions. Inquiries phone 

(02) 9225 1703. 

Exhibitions and 

events information 

A free regular publication Highlights, 

which details current exhibitions, 

public programs, including 

guided tours, films, lectures and 

performances, visitor facilities, 

access information and opening 

hours, is available from the Gallery. 

An email newsletter covering 

exhibitions, courses, lectures, 

special events, films and 

workshops is published monthly. 

You can register for this electronic 

information service on our website 

(www.artgallery.nsw.gov.au/ 

aboutus/artmail) or email us at 

artmail@ag.nsw.gov.au and let 

us know you want to subscribe. 

Research library 

and archive 

The Gallery’s research library 

and archive is open to the public 

Tuesdays to Fridays between 10am 

and 4pm (excluding public holidays) 

and until 7.30pm each Wednesday 

night. The library is located on 

lower level 1 and has the most 

comprehensive collection of fine art 

books in NSW. Inquiries phone 

(02) 9225 1785. 

The library provides a free opinion, 

conservation and identification 

service (excluding valuations) every 

Thursday, 10am to 12 noon. 

Study room for 

prints, drawings and 

photography 

The study room for prints, drawings 

and photography, located on 

lower level 2, is open to the 

public weekdays, 10am to 4pm, 

excluding public holidays. The study 

room assistant will attend to and 

supervise visitors. Appointments are 

advisable but not essential. School 

groups are welcome. Inquiries 

phone (02) 9225 1758. 


Located at 2 Raper Street, Surry 

Hills, the Brett Whiteley Studio is 

open Saturdays and Sundays, 

10am to 5pm, except Christmas 

Day. On Thursdays the studio is 

open by appointment for education 

groups. Admission is free. Inquiries 

phone (02) 9225 1740. 

Photography 

Photography of the permanent 

collection is allowed by members 

of the public providing no flash or 

tripods are used. Photos are not 

to be taken of special exhibitions 

or photography works. Quality 

photographs of the collection can 

be obtained from the Gallery’s 

image reproduction officer. 

Photography for publication or 

other commercial purposes is 

allowed only after written application 

to the Gallery. Inquiries phone 

(02) 9225 1798. 

Gallery shop 

Open daily, 10am to 5pm, 

Wednesday night until 8.45pm, 

the Gallery Shop offers the finest 

range of art books in Australia 

and also specialises in school and 

library supply. The shop stocks 

an extensive range of art posters, 

cards, replicas and giftware. 

Inquiries phone (02) 9255 1718. 

A selected range of Gallery Shop 

merchandise is also available online 

(www.artgallery.nsw.gov.au/shop). 

Cafe and restaurant 

The cafe is situated on lower level 1 

and is open daily, 10am to 4.30pm, 

Wednesday night until 8.45pm 

operating as the ArtBar. The 

restaurant is situated on the ground 

floor and is open daily, 11am to 

4.30pm. For restaurant bookings 

phone (02) 9225 1819. 

The Gallery is also available for 

private exhibition viewings and 

functions in the evenings. For venue 

hire inquiries phone the Gallery’s 

venue manager on (02) 9225 1836. 

Visitors with 

special needs 

Wheelchairs are available at the 

Gallery’s rear entrance, where 

there is a ramp and an elevator 

giving access to most parts of the 

Gallery. The Gallery’s rear carpark 

has two designated spaces for 

the disabled, but it is advisable to 

confirm availability by phoning 

(02) 9225 1775. The Domain 

Theatre and Centenary Auditorium 

are fitted with audio induction-loop 

systems and an FM-transmitter 

system is used for guided tours 

if requested. Signing Art tours 

conducted for deaf people, using 

Auslan, are held on the last 

Sunday of every month at 1.30pm 

(excluding December/January). 

The service is free apart from 

exhibition entry fees, if applicable. 

Membership 

You are invited to join the Art Gallery 

Society of New South Wales and 

share in the many pleasures of 

membership. Stay informed about 

what’s on in the Gallery, choose 

from over 200 special events and 

enjoy membership privileges and 

priorities all year long. Inquiries 

phone (02) 9225 1878. 

2008-09 annual report 

production 

The total external costs incurred 

in the production of the Gallery’s 

2008-09 Annual Report are 

approximately $32 000 (this 

includes design, text editing, print 

management and print production). 

The report, in hard copy, is provided 

free to key stakeholders and other 

interested parties. It is printed on 

paper certified by the FSC (Forest 

Stewardship Council): the main text 

is on 55% recycled paper, and the 

appendices and financial pages 

on 100% recycled post consumer 

waste. It is also available as free 

downloadable pdf files, divided 

into three key segments (main text, 

appendices, financial statements), 

in the About Us section of our 

website (www.artgallery.nsw.gov.au/ 

aboutus). The annual report team 

this year was: report coordinator: 

Trish Kernahan; editor: Margaret 

Malone; designer: Vivien Sung; 

photographers: Jenni Carter, Felicity 

Jenkins, Johan Palsson, Diana 

Panuccio, Maya Kanamori; Andrew 

Quilty; copyright clearance: 

Donna Brett. 

138 


Contact information 

Physical and postal address: 

Art Gallery of New South Wales 


The Domain 

SYDNEY NSW 2000 

MARTIN 

PLACE 

STATION 

Sydney 

Tower 

ST JAMES 

STATION 

P 

Domain 

Parking 

Station 

Electronic communications: 

Administration switchboard 

(02) 9225 1700 

Information desk (02) 9225 1744 

Recorded ‘What’s on’ information 

(02) 9225 1790 

TTY (02) 9225 1808 

Australia-wide toll-free number 

1800-NSW-ART (1800-679-278) 

General facsimile (02) 9225 1701 

Website: www.artgallery.nsw.gov.au 

Email: artmail@ag.nsw.gov.au 

Social networking: 

Join us on Facebook: 

www.facebook.com/artgalleryofnsw 

See photographs on Flickr: 

www.flickr.com/photos/31243265 

@n02/ 

Follow us on Twitter: 

twitter.com/artgalleryofnsw 

Watch us on YouTube: 

www.youtube.com/user/ 

artgallerynsw 

Getting here 

Buses: Bus 441 stops at the 

Gallery en route to the Queen 

Victoria Building. The service runs 

every 20 minutes on weekdays 

and every 30 minutes on 

weekends. Call the STA on 131 

500 or visit www.131500.info for 

more details. The Gallery is on 

the Sydney Explorer bus route 

– stop 6. A free courtesy minibus 

operates 7pm to 9.30pm every 

Wednesday night. It makes its final 

run from the Gallery at 9.15pm. 

The bus loops down past Mrs 

Macquarie’s Chair, then on to the 

Domain Parking Station, Wilson 

Parking Station (Sydney Hospital) 

and Martin Place train station. 

Trains: closest train stations are 

St James and Martin Place. Both 

are a ten-minute walk. 

Bike racks: are situated on either 

side of the front entrance. 

Parking: There is limited metered 

parking outside the Gallery and 

additional metered parking in Mrs 

Macquarie’s Road. The Domain 

Parking Station is open daily with 

a special discount rate of $12 

for 3 hours (weekdays only) for 

visitors to major exhibitions with 

admission charges. Just have your 

parking ticket stamped by our staff 

at the information desk on the 

ground floor. 


Index 

A 

A bumper year 16 

Aboriginal and Torres Strait Islanders 

art 22, 84, 88 

Aboriginal and Torres Strait Islanders 

programs 45, 57, 80 

Access programs 49, 79 

Acquisitions and philanthropy 14 

AGNSW publications listing 76 

Aged and disability access programs 

and services 79 

Amor, Rick 21 

Angela Ferreira and Narelle Jubelin: 

the great divide 42 

Annual total visitor numbers 2000 

to 2009 77 

Appendices 73 

Archibald, Wynne and Sulman Prizes 

2009 34 

Archive of Gallery A 31 

Art books published in 2008–09 

17, 56 

Art from the Pacific 84 


62, 67 

Art Gallery Society of NSW 63, 67 

Art prizes, grants and scholarships 

75 

ARTtside-In! outreach programs 46 

Asian art 25, 84, 88 

Atyeo, Sam 22 

Audits 70 

Audiences by program 2008-09 45 

Australian art 84, 86 

Australian artists’ gifts 24 

Australian contemporary art 28 

Australian paintings 21 

Australian prints, drawings and 

watercolours 28 

B 

Bequests 74 

Biennale of Sydney 2008 37 

Biljabu, Jakaya 23 

Birch, Stephen 31 

Bishop, Mervyn 24 

Building and environmental 

management 59 

Building and security 14 

Bush, Stephen 28 

Business development 63 

C 

Capital maintenance projects 59 

Centenary Fund 74 

Cézanne painting 6, 9, 14,16, 21 

Children’s trails 50 

Collection benefactors and other 

support groups 62 

Collection character tours 49 

Collection – gifts 86 

Collection – loans 90 

Collection – purchases 84 

Collection store 7, 9, 14, 18, 59 

Collections 20 

Community activities 49 

Community ambassador’s 

outreach 51 

Compliance reporting 107 

Consultants 107 

Contact information 139 

Corporate governance 64 

Corporate plan and outcomes 9 

Country, culture, community 42, 45 

Credit card usage 107 

Customer response 106 

D 

Dattilo-Rubbo, Anthony 21 

Dion, Mark 27 

Director’s statement 16 

Dobell Prize for Drawing 37 

Double take: Anne Landa Award 

2009 39, 

Dupain photographs of the Art 

Gallery of NSW 31 

E 

Education audience management 7 

Educational, community and regional 

activities 44 

Education kits and online resources 

57 

Education programs 45 

Edward and Goldie Sternberg funds 

27 

EEO statistics 108 

Electricity 60 

Electronic service delivery 82 

Employee assistance program 71 

Employee remuneration and staff 

benefits 71 

Energy management 60 

Ethnic affairs priorities statement 80 

European art pre-1900 85, 89 

European prints drawings and 

watercolours 28 

Executive 68 

Exhibition listing 78 

Exhibitions and audiences 32 

F 

Financial commentary 110 

Financial summary 112 

Financial statements 115 

Francis J Mortimer 39 

Freedom of information 107, 108 

Furnishing loans 97 

Future planning 18 

G 

GalleryKids 49 

Gas 60 


36 

Gifts of Australian works on paper 28 

Gifts of Asian art 27 

Gough, Julie 24 

Grants 74 

Grants and scholarships 75 

H 

Half light: portraits from black 

Australia 6, 34 

Hatoum, Mona 28 

Heritage management 107 

Highlights 6 

I 

Independent auditor’s opinion 113 

Industrial relations 70 

Insurance 70 

International modern and 

contemporary art 27 

Intensely Dutch: image, abstraction 

and the word 39 

Ipod tours and audio guides 7, 50 

J 

John Kaldor Family Collection Space 

9, 15, 59 

Jubelin, Narelle 28 

Justene Williams: bighead 


sonata 43 

K 

Kate Beynon: auspicious charms for 

transcultural living 39 

Korean Culture Day 6 

Korean dreams: paintings and 

screens of the Joseon dynasty 37 

L 

Land disposals 107 

Language education kits 55 

Larrakitj 23 

Legal 70, 107 

Letter of transmission 4 

Lewis, Niningka 24 

Life governors 74 

Living black 34 

Loading dock 59 

M 

McKenzie, Peter Yanada 24 

Major assets 107 

Major capital works 107 

Management committee 70 

Masterpiece Fund 62, 74 

Modern and contemporary art 85, 90 

Monet and the Impressionists 33 

Motor vehicle fleet 60 

Mountford gifts 43 

N 

9 shades of Whiteley 33, 53 

Nicholas Mnagan: between a rock 

and a hard place 43 

Ninuku Arts 24 

O 

Occupation health and safety 70, 71 

Organisational structure 69 

Oscar Muñoz: biografias 43 

Other Gallery entities 67 

Other regional NSW outreach 

activities 53 

Overseas travel 83 

P 

Paid exhibition program 77 

Paperbark sculptures 24 

Papunya Tula Artists 22 

Payments performance 107 

Peer2peer: student video interview 

project 6, 46 

Performance summary 8 

Photography 31, 86, 90 

Pledge of service 4 

Policy development 70 

President’s Council 74 

President’s foreword 14 

Preston, Margaret 21 

Privacy management 107 

Publication awards 55 

Publications 54 

Purpose 4 

R 

Recycled content 61 

Reduction of waste generation 60 

Regional activities 51 

Regional activities map 52 

Regional collection loans 51 

Regional exhibition tours 53 

Research library and archive 31 

Resource recovery initiatives 60 

Retirement of key employees 18 

Risk management 70 

S 

Sati marker 27 

Sponsors 74 

Sponsorship and corporate 

support 14 

Sponsorship and philanthropy 74 

Staff 98 

Staff profile 71 

Staff publications, presentations and 

related activities 101 

Staff training 71 

Staff, volunteers and interns listing 98 

Sydney Long’s Pan 43 

Summary of land holdings 107 

Summary of senior officer positions 

69 

T 

Taishō chic: Japanese modernity, 

nostalgia and deco 33 

Task Force 51 

Teachers; professional development 

46 

Tertiary groups’ professional 

development 47 

Tertiary internships 100 

Thanks 15, 18 

The dreamers 43 


sculpture from Qingzhou 6, 33 

The late landscape paintings of 

Horace Trenerry 42 

The tale of Genji 25 

The year ahead 15 

Tim Johnson: painting ideas 38 

Titles published in 2008–09 56 

Tom Arthur: the fertilization of Drako 

Vülen’s cheese pizza 39 

Tomescu, Aida 21 

Touring exhibitions 78 

Trustee meetings 66 

Trustees 64 

Tsuchiya Kimio 28 

U 

UNRYÛAN Kitamura Tatsuo 25 

V 

VisAsia Council 74 

Vision 4 

Visitor numbers 77 

Volunteer guides 51 

Volunteers 100 

W 

Walker, John R 21 

Water 60 

Works lent to the Gallery 91 

Workshops with the Royal Botanic 

Gardens 47 

Y 

Year in brief – corporate plan and 

outcomes 9 

Year in brief – highlights 6 

Year in brief – performance summary 

8 

Yunupingu, Nyapanyapa 23 

140 



Appendices 08–09 

Sponsorship and philanthropy 74 

Art prizes, grants and scholarships 75 

AGNSW publications for sale 76 

Visitor numbers 77 

Exhibitions listing 78 

Aged and disability access programs and services 79 

Aboriginal and Torres Strait Islander programs and services 80 

Ethnic affairs priorities statement 80 

Electronic service delivery 82 

Overseas travel 83 

Collection – purchases 84 

Collection – gifts 86 

Collection – loans 90 

Staff, volunteers and interns listing 98 

Staff publications, presentation and related activities 101 

Customer response 106 

Compliance reporting 107 

ART GALLERY OF NSW appendices 08–09 73

SPONSORSHIP 

AND 

PHILANTHROPY 

Sponsors 

at 30 June 2009 

Avant Card: Support sponsor: 

general 

City of Sydney: Support sponsor: 

Archibald Prize 08, Monet and the 

Impressionists 

Clayton Utz: Disability access 

programs partner 

Consulate-General of the 

Netherlands: Cultural program 

partner: Intensely Dutch 

Delta Electricity: Support sponsor: 

Harold Cazneaux, Monet and the 


Ernst & Young: Principal sponsor: 


Freehills: Legal services 

Events NSW: Government partner: 


French Tourist Bureau: 

Competition sponsor: Monet and 

the Impressionists 

JCDecaux: Media sponsor: The 

lost Buddhas, Monet and the 

Impressionists, Korean dreams 

Johnson Pilton Walker: Exhibition 

design partner: The lost Buddhas 

J.P. Morgan: Principal sponsor: 


Hulsbosch Strategy and Design: 

Film series supporter: Intensely 

Dutch 

Hyundai: Associate sponsor: 

Korean dreams 

ING and ING Direct: Principal 

sponsors: Intensely Dutch 

Korea Foundation: Principal 

financial supporter: Korean dreams 

Korean Chamber of Commerce: 

Support sponsor: Korean dreams 

LG Electronics: Associate sponsor: 

Korean dreams 

Macquarie Capital: Principal 

sponsor: Focus Room (to end of 

2008) and Art After Hours (from 

2009) 

Myer: Principal sponsor: Archibald, 

Wynne and Sulman Prizes 2009 

exhibitions 

Optimal Fund Management: 

Principal sponsor: The lost 

Buddhas 

Orient Express Travel: Associate 

sponsor: Korean dreams 

Porter’s Original Paints: Official 

paint supplier 

President’s Council of the Art 

Gallery of NSW: Major exhibitions 

program partner 

Qantas: Principal sponsor: 

Yiribana Gallery; Official airline: 

The lost Buddhas, Monet and the 


Sofitel Sydney Wentworth: Official 

hotel partner and support sponsor: 

Archibald, Wynne and Sulman 

Prizes 2009, Monet and the 


The Sydney Morning Herald: 

Media sponsor: The lost Buddhas, 


Top Media Group: Media partner: 

Korean dreams 

Tourism NSW: Government 

partner: Monet and the 


UBS: Contemporary galleries 


VisAsia Council: Asian exhibition 


Life Governors 

The Gallery has acknowledged the 

significant support of the following 

individuals by appointing them as 

Life Governors: 

Franco Belgiorno-Nettis AC 

CBE; Joseph Brender AO; Jillian 

Broadbent AO; Ken Cowley AO; 

James Fairfax AO; Brian France 

AM; James Gleeson AO & Frank 

O’Keefe; Michael Gleeson-White 

AO; David Gonski AC; Mollie 

Gowing; Shosuke Idemitsu; James 

Leslie AC, MC; Frank Lowy AC; 

John Morschel; Rupert Murdoch 

AC; Kenneth Myer AC, DSC; J 

Hepburn Myrtle CBE; Margaret 

Olley AC; Max Sandow AM; John 

Schaeffer AO; Julie Schaeffer; 

Edward Sternberg AM and Goldie 

Sternberg; Fred Street AM; Diana 

Walder OAM; Peter Weiss AM; 

Neville Wran AC, QC; and John 

Yu AC. 

Centenary Fund 

Patrons of the Centenary Fund as 

at 30 June 2009: 

Claire Armstrong; Alex & Vera 

Boyarsky; Jillian Broadbent AO & 

Olev Rahn; Joanna Capon OAM; 

Judy Cassab AO, CBE; David & 

Michelle Coe; Kenneth Coles AM 

& Rowena Danziger AM; Jenny 

Ferguson; David Gonski AC & 

Orli Wargon; In memory of Aida 

Gordon; Yvonne & Christopher 

Gorman; Alex Holland; Peter 

& Sharon Ivany; Nettie & Peter 

Joseph OAM; Anne Landa; Michelle 

& John Landerer CBE, AM; 

Geoffrey & Deborah Levy; Elizabeth 

Longes; David Lowy; John & Jane 

Morschel; Roslyn Packer AO; 

Bridget Pirrie & Stephen Grant; 

Steven & Lisa Pongrass; John L 

Sharpe; Brian Sherman AM; 

Dr Gene Sherman; Geoffrey 

Susskind; Michael & Eleonora 

Triguboff; Malcolm & Lucy Turnbull; 

and Phillip Wolanski AM. 

Masterpiece Fund 

Patrons of the Masterpiece Fund as 

at 30 June 2009: 

Art Gallery of NSW Foundation; 

Art Gallery Society of NSW; and 

Margaret Olley AC. 

Geoff & Vicki Ainsworth; the late 

Adrian Claude Lette; and Susan & 

Garry Rothwell. 

The Lowy family; and John 

Schaeffer AO. 

Antoinette Albert; Bell Potter 

Securities Ltd; Richard A Blair; 

Jillian Broadbent AO; Sam & 

Sue Chisholm; The Clitheroe 

Foundation; Rowena Danziger AM 

& Ken Coles AM; Brian France AM 

& Philippa France; Chris & Judy 

Fullerton; The Gonski Foundation; 

The Greatorex Foundation; Geoffrey 

Hassall & Virginia Milson; Fraser 

& Victoria Hopkins; Wal & Denise 

King; Mark & Louise Nelson; Guy 

& Marian Paynter; The Playoust 

Family Foundation; the late Michael 

Patrick Sheehan; Denyse Spice; 

John Symond AM; Dr & Mrs Hugh 

Taylor; Max & Nola Tegel; Eleonora 

& Michael Triguboff; Peter Weiss 

AM & Doris Weiss; Ray Wilson 

OAM & the late James Agapitos 

OAM; and Peter Young AM. 

President’s Council 

Members of the President’s Council 

as at 30 June 2009: 

Steven Lowy, president. 

Peter Young, ABN AMRO; David 

Baffsky AO, Accor Asia Pacific; 

Roger Allen, Allen & Buckeridge; 

Nigel Williams, ANZ Banking 

Group; John Symond AM, 

Aussie Home Loans; Bruce Fink, 

Bickham Court Group; Michael 

Ihlein, Brambles; Giam Swiegers, 

Deloitte Touche Tohmatsu; Chum 

Darvall, Deutsche Bank AG; 

Glenn Poswell, Ellerston Capital 

Limited; James Millar, Ernst & 

Young; Brian McCarthy, Fairfax 

Media Limited; Bruce K Cutler, 

Freehills; Clark Perkins, Goldman 

Sachs JBWere; Emmanuel Pohl, 

Hyperion Asset Management; 

David Gonski AC, Investec; 

Stephen O’Connor, JCDecaux 

Australia; Damian Roche, J.P. 

Morgan; Chris Jordan AO, 

KPMG; John C Conde AO, MBF 

Australia; Bill Wavish, Myer; Paul 

O’Sullivan, Optus; Mark Johnson, 

PricewaterhouseCoopers; Alan 

Joyce, Qantas; Greg Bartlet, 

St.George Bank; Justin Miller, 

Sotheby’s; Luca Belgiorno- 

Nettis, Transfield Holdings; Philip 

Coleman, UBS AG Australia; and 

Sally Herman, Westpac Banking 

Corporation. 

VisAsia Council 

Members of the VisAsia Council as 

at 30 June 2009: 

Dr John Yu AC, chairman. 

Mark Warren, Australia Post; Bill 

Ferris AC, CHAMP Private Equity; 

Philip Cox AO, Cox Richardson; 

Matthew Banks, Macquarie 

Bank; Seng-Huang Lee, Mulpha 

Australia; Stephen Knight, NSW 

TCorp; Warwick Johnson, Optimal 

Fund Management; Terry Fern, 

Petsec Energy; Robyn Norton & 

Stephen MacMahon, The George 

Institute; John Saunders, The 

Linden Group; Jeffrey Riegel, 

The University of Sydney; 

William Purcell, The University 

of Technology, Sydney; Michael 

Sternberg, Valiant Hire; and 

William Clark. 

Grants 

During the year, a $5000 grant was 

received from the City of Sydney 

Council to support Indigenous art 

education programs. 

Bequests 

The following bequests were 

received during the 2008–09 

financial year: 

$1.585 million was received from 

the Susan Chandler Bequest to 

be directed towards the Australian 

Collection Focus Room; $51 116 

from Jocelyn Anne Milne’s bequest 

was directed to the Gallery’s major 

acquisition of Paul Cézanne’s 

Bords de la Marne c1888; the sale 

of shares held by the Myer Family 

Bequest valued at $318 000 was 

realised; and the Barbara Tribe 

Bequest of $952 317 will be 

preserved, with the income from 

the capital investment to be applied 

to enhancing and developing 

sculptural arts in Australia. 

74 

ART GALLERY OF NSW appendices 08–09

ART PRIZES, 

GRANTS AND 

SCHOLARSHIPS 

Art prizes 

The 2009 Archibald, Wynne 

and Sulman Prize competitions, 

sponsored by Myer, were held in 

February 2009. A total of 1981 

entries were received, of which 

108 were selected for display. 

The Dobell Prize for Drawing, 

sponsored by the Sir William 

Dobell Art Foundation, was held 

in September 2008. Of the 586 

entries received, 49 were selected 

for display. 

ARCHIBALD PRIZE 

The prize of $50 000 for portraiture 

was awarded to Guy Maestri for his 

work Geoffrey Gurrumul Yunupingu. 

The Archibald Prize: People’s 

Choice competition, which asks 

the viewing public to vote for their 

favourite entry, was won by Vincent 

Fantauzzo for his work Brandon. 

Fantauzzo received $2500 and a 

$1000 Myer gift card, as did the 

Gallery patron whose vote for the 

winning entry was drawn from all 

votes cast for the winning artist. 

The Archibald Prize: Packing Room 

Prize gives the Gallery employees 

who receive the entries the chance 

to vote for their favourite portrait. 

The 2009 prize was awarded to 

Paul Jackson for his work Flacco. 

Jackson receives $500 and a $500 

Myer gift card. 

WYNNE PRIZE 

The prize of $25 000 for an 

Australian landscape or figure 

sculpture was awarded to 

Lionel Bawden for his work The 

amorphous ones (the vast colony 

of our being). 

THE TRUSTEES’ WATERCOLOUR 

PRIZE 

The prize of $2000 was awarded 

to Graham Fransella for his work 

Shoreline. 

SIR JOHN SULMAN PRIZE 

The prize of $20 000 was judged 

by artist Jon Cattapan and 

awarded to Ivan Durrant for his 

work ANZAC match, MCG. 

DOBELL PRIZE FOR DRAWING 

The $20 000 prize, judged by 

Anne Kirker, was awarded to 

Virginia Grayson for her work No 

conclusions drawn – self portrait. 

ANNE LANDA AWARD 

This award has been established 

in honour of Anne Landa, a trustee 

of the Art Gallery of NSW, who 

died in 2002. This is the third in 

a biennial series of exhibitions for 

moving image and new media 

work, each with an acquisitive 

award of $25 000. The exhibition 

is by invitation only and is not 

open to applications. This year’s 

themed exhibition was guestcurated 

by Victoria Lyn. The award 

was selected by a committee 

comprising the Gallery’s director, 

Edmund Capon, and our senior 

curator of contemporary art, Wayne 

Tunnicliffe. The 2009 recipient was 

TV Moore for his video installation 

titled Nina, me and Ricky Jay 2009, 

which has now become part of the 

Gallery’s collection. 

Grants and scholarships 

THE BASIL AND MURIEL HOOPER 

SCHOLARSHIP 

These scholarships, valued at 

$4000 each, are available each 

year to fine art students attending 

recognised schools in New South 

Wales to assist with the costs of 

fees, materials and general living 

expenses. This year a scholarship 

was awarded to Perran Costi. 

THE ELIOTH GRUNER PRIZE 

The 2008 prize of $1000 for the 

best landscape in oil by an art 

student was awarded to Nicole 

Kelly. 

THE ROBERT LE GAY BRERETON 

MEMORIAL PRIZE 

This prize, which aims to promote 

and encourage the art of 

draughtsmanship, is available each 

year to art students. The 2008 

prize of $800 was awarded to 

Simon Cowell. 

DYASON BEQUEST 

Administered under the terms of 

the will of the late Miss Anthea 

Dyason, the bequest provides 

grants of $5000 to Australian art 

students who have already won 

travelling scholarships. The grants 

enable recipients to better study 

architecture, sculpture or painting in 

countries other than Australia and 

New Zealand. In 2008, an award 

was made to Maria Ionico. 

BRETT WHITELEY TRAVELLING 

ART SCHOLARSHIP 

This scholarship provides young 

artists with an opportunity to travel 

to Europe and further their artistic 

interests. It includes a financial 

award and access to the Gallery’s 

Paris studio for a period of three 

months. The scholarship is a 

memorial to the late Brett Whiteley, 

who in his youth was encouraged 

in his artistic endeavours by 

winning a similar scholarship. 

Special thanks are given to Beryl 

Whiteley, Brett’s mother, for 

providing the generous donation 

to fund the scholarship. The 

2008 scholarship of $25 000 was 

awarded to Amber Wallis. 

STUDIOS IN PARIS 

The Gallery allocates tenancy to 

two art studios, the Moya Dyring 

Studio and the Dr Denise Hickey 

Memorial Studio, which it leases 

at the Cité Internationale des 

Art in Paris. The studios were 

occupied during the year by Wayne 

Tunnicliffe, Nathan Hawkes, Owen 

Leong, Wendy Wilkins and Wesley 

Hill, Hayley West, Lily Hibberd, 

Jessica Mais Wright, Gemma 

Smith, Anna Kristensen and 

Natasha Bullock. 


AGNSW 

PUBLICATIONS 

FOR SALE 

• Adventures with form in space: 

the fourth Balnaves Foundation 

Sculpture Prize, Tunnicliffe, pb $35 

• An incomplete world: works from 

the UBS Art Collection, Tunncliffe, 

pb $45 

• Anne Landa Award 2006, 

Tunnicliffe, pb $25 

• Archibald 05, pb $16 





• Asian collections, Menzies, pb 

$45 

• Australian drawings, Kolenberg, 

pb $40 

• Belle Ile: Monet, Russell and 

Matisse in Brittany, Prunster, hb 

$25 

• Bertram Mackennal, Edwards, hb 

$80 

• Brett Whiteley: studio, Pellow, pb 

$45 

• Celestial silks: Chinese religious 

and court textiles, Rutherford & 

Menzies, pb $35 

• Contemporary: Art Gallery of 

New South Wales contemporary 

collection, Tunnicliffe, hb $45 

• Crossing country: the alchemy 

of western Arnhem Land art, 

Perkins, pb $50 

• Crossing country: the alchemy of 

western Arnhem Land art, DVD 

$30 

• Dancing to the flute, Menzies, pb 

$44 

• Dobell Drawing Prize, 2nd edition, 

Kolenberg, pb $22 

• Double take: Anne Landa 

award for video and new 

media arts 2009, Lynn, pb $30 

• Giacometti: sculptures, prints and 

drawings, Capon, pb $45 

• Gifted: Mollie Gowing collection, 

Perkins, pb $12 

• Half light: portraits from black 

Australia, Perkins, pb $45 

• Harold Cazneaux: artist in 

photography, Bullock, pb $45 

• Highlights from the collection, 

Capon, pb $40 

• Intensely Dutch: image, 

abstraction and the word postwar 

and beyond, Kolenberg, pb 

$40 

• Jan Senbergs: complete screen 

prints 1960–1980, Kolenberg, pb 

$25 

• Jeffrey Smart, Capon & Pearce, 

pb $45, hb $66 

• Korean dreams: paintings and 

screens of the Joseon dynasty, 

U-Fan, pb $30 

• Let’s face it: history of the 

Archibald Prize, Ross, pb $50 

• Lewis Morely, Annear, pb $40 

• Lost Buddhas: Chinese 

Buddhist sculptures from 

Qingzhou, Capon, pb $35 

• Man Ray, Annear, pb $30 

• Margaret Olley, revised edition, 

Pearce, hb $60 

• Monet and the Impressionists, 

Shackleford, pb $40, hb $65 

• Nineteenth-century Australian 

watercolours, drawings & pastels, 

Kolenberg, hb $45 

• One sun one moon: Aboriginal art 

in Australia, Perkins, hb $120 

• Orientalism: Delacroix to Klee, 

Benjamin (ed), pb $45 

• Photography collection, Annear, 

pb $45 

• Pre-Raphaelites and Olympians, 

Beresford, pb $20 

• Rayner Hoff: this vital flesh, 

Edwards, pb $30.80 

• Robert Klippel, Edwards, pb $50 

• Self portrait: Renaissance to 

contemporary, Bond, pb $45 

• Sidney Nolan retrospective, 

Pearce, pb $50, hb $80 

• Still life, Tunnicliffe, pb $25 

• Tradition today: Indigenous art in 

Australia, Perkins, pb $40 

• Translucent world: Chinese jade 

from the Forbidden City, Liu, pb 

$45 

• True stories: artists of the East 

Kimberley, DVD $30 

• What colour is that?, Keeler- 

Milne, pb $18.95 

• What number is that?, Keeler- 

Milne, pb $18.95 

Bold denotes new titles in 

2008–09. 

76 


VISITOR NUMBERS 

Monthly visitors 

Total visitors Domain BW Studio Touring Average daily 

Month 2004–05 2005–06 2006–07 2007–08 2008–09 2008–09 2008–09 2008–09 Domain 08–09 

July 115 194 95 690 113 979 121 745 175 816 86 577 583 88 656 2 793 

August 102 579 112 172 115 769 98 682 160 732 71 412 897 88 423 2 304 

September 100 238 91 764 93 398 85 902 140 283 79 482 962 59 839 2 649 

October 111 954 97 960 96 840 70 786 130 563 124 276 587 5 700 4 009 

November 93 854 130 102 82 506 81 415 142 874 131 596 838 10 440 4 387 

December 144 923 189 628 84 514 86 642 109 878 101 683 287 7 908 3 280 

January 123 277 231 202 105 646 121 333 221 202 200 922 486 19 794 6 481 

February 96 651 126 184 88 781 114 862 88 483 63 563 884 24 036 2 192 

March 101 521 145 393 166 828 165 731 173 406 148 523 859 24 024 4 791 

April 88 190 196 936 126 471 146 874 143 698 135 085 760 7 853 4 503 

May 151 085 157 541 94 058 113 014 113 193 107 649 938 4 606 3 473 

June 121 988 116 295 132 804 148 560 105 405 61 994 879 42 532 2 066 

YTD TOTAL 1 351 454 1 690 867 1 301 594 1 355 546 1 705 533 1 312 762 8 960 383 811 

Paid exhibition program 

Exhibition Months Visitors 

Taisho - chic July–Aug 12 047 

The lost Buddhas Aug– Nov 50 816 

Monet and the Impressionists Oct–Jan 225 745 

Archibald, Wynne & Sulman Prizes March–May 148 336 

TOTAL 436 944 

Annual total visitor numbers 

1999–2000 to 2008–2009 

1.7 

1.6 

1.5 million 

1.4 

1.3 

1.2 

1.1 

1 million 

0.9 

0.8 

99–00 

00–01 

01–02 

02–03 

03–04 

04–05 

05–06 

06–07 

07–08 

08–09 


EXHIBITIONS LISTING 

AGNSW AGNSW 

Dates Department Exhibition Ticketed Tour Publication 

01.12.07–20.07.08 Australian: Whiteley Studio Poetic eye 

20.12.07–16.11.08 Australian: Indigenous Living black 

10.04.08–16.07.08 Western: Photography Ghosts in the machine: anonymous photographs 

10.04.08–26.10.08 Western: Contemporary Focus on contemporary • 

10.04.08–27.07.08 Western: Contemporary Bill Viola: The Tristan Project • 

15.05.08–27.07.08 Western: Contemporary Adam Cullen: let’s get lost • 

22.05.08–03.08.08 Asian Taishō chic: Japanese modernity, nostalgia and deco • 

29.05.08–31.08.08 Australian Judy Cassab: landscapes from the collection 

05.06.08–10.08.08 Western: Photography Harold Cazneaux: artist in photography 

18.06.08–07.09.08 Western: Contemporary Biennale of Sydney 2008: Revolutions – forms that turn 

18.06.08–03.10.08 Library Australian bookbinders exhibition 

26.07.08–09.11.08 Western: Photography Francis J Mortimer • 

26.07.08–15.03.09 Australian: Whiteley Studio Whiteley and the third dimension 

07.08.08–26.10.08 Western: Contemporary Kate Beynon: auspicious charms for transcultural living • 

22.08.08–26.10.08 Western: European War: the prints of Otto Dix 

29.08.08–23.11.08 Asian The lost Buddhas: Chinese Buddhist sculpture from Qingzhou • • • 

05.09.08–09.11.08 Australian Dobell Prize for Drawing 2008 

06.09.08–23.11.08 Australian Tom Arthur: the fertilization of Drako Vülen’s cheese pizza • 

23.09.08–06.10.08 Public Programs Operation art 2008 

11.10.08–26.01.09 Western: European Monet and the Impressionists • • 

12.11.08–19.04.09 Australian: Indigenous Country, culture, community 

21.11.08–22.02.09 Australian: Indigenous Half light: portraits from black Australia • 

29.11.08–15.03.09 Australian The late landscape paintings of Horace Trenerry • 

01.12.08–12.12.08 Library Contemporary Australian artists’ books 

12.12.08–15.02.09 Asian Genji: the world of the Shining Prince • 

14.02.09–19.04.09 Public programs Artexpress 09 

19.02.09–14.06.09 Western: Contemporary Justene Williams: bighead garbageface guards ghost derr sonata • 

19.02.09–14.06.09 Western: Contemporary Óscar Muñoz: biografías 

19.02.09–14.06.09 Western: Contemporary Ângela Ferreira and Narelle Jubelin: the great divide • 

05.03.09–08.06.09 Asian Korean dreams: paintings and screens of the Joseon dynasty • 

07.03.09–24.05.09 Australian Archibald, Wynne and Sulman Prizes 2009 (three exhibitions) • • • 

13.03.09–17.05.09 Western: Contemporary Tim Johnson: painting ideas • • 

21.03.09–03.06.09 Australian: Indigenous Mountford gifts: works from the American Australian • 

Scientific Expedition to Arnhem Land 1948 

21.03.09–06.09.09 Australian: Whiteley Studio Floating world: landscape, the figure and calligraphy in the art 

of Brett Whiteley 

07.05.09–19.07.09 Western: Contemporary Double take: Anne Landa Award for video and new media arts 2009 • 

09.05.09–18.12.09 Australian: Indigenous The dreamers 

18.05.09–30.06.09 Western: Contemporary Joseph Kosuth: light 

05.06.09–23.08.09 Australian Intensely Dutch: image, abstraction and the word post-war and beyond • 

06.06.09–30.08.06 Australian Sydney Long’s Pan • 

25.06.09–13.09.09 Western: Contemporary Nicholas Mangan: between a rock and a hard place • 

25.06.09–13.09.09 Western: Contemporary Et al: maintenance of social solidarity 

Touring exhibitions 

Dates Venue Location Exhibition Attendance 

06.05.08–14.09.08* J Paul Getty Museum Los Angeles, USA August Sander 220 096 

16.06.08–31.08.08 State Library of Queensland Brisbane, QLD Indigenous connections 6 794 

01.07.08–28.09.08 Queensland Art Gallery Brisbane, QLD Sidney Nolan retrospective 78 961 

12.07.08–16.08.08# Goulburn Regional Art Gallery Goulburn, NSW Archibald Prize 08 4 961 

12.07.08–07.09.08 Gold Coast City Art Gallery Gold Coast, QLD 9 shades of Whiteley 10 327 

29.08.08–12.10.08# Bathurst Regional Art Gallery Bathurst, NSW Archibald Prize 08 10 429 

13.09.08–15.11.08 Lismore Regional Gallery Lismore, NSW 9 shades of Whiteley 5 377 

31.10.08–07.12.08# Lake Macquarie City Art Gallery Lake Macquarie, NSW Archibald Prize 08 11 022 

22.11.08–08.02.09 New England Regional Art Museum Armidale, NSW 9 shades of Whiteley 4 148 

15.12.08–18.01.09# Port Macquarie Hastings Regional Art Gallery Port Macquarie, NSW Archibald Prize 08 9 145 

16.01.09–26.04.09 Peranakan Museum Singapore The lost Buddhas 41 918 

23.01.09–28.02.09# Lismore Regional Gallery Lismore, NSW Archibald Prize 08 7 638 

14.02.09–19.04.09 Newcastle Region Art Gallery Newcastle, NSW 9 shades of Whiteley 19 104 

01.05.09–14.06.09 Bathurst Regional Art Gallery Bathurst, NSW 9 shades of Whiteley 5 000 

30.05.09–12.07.09 Bendigo Art Gallery Bendigo, VIC Archibald Prize 09 38 500 

20.06.09–30.06.09 Queensland Art Gallery Brisbane, QLD Tim Johnson: painting ideas 3 747 

* Attendance figure for 2008–09 was 126 710. # Tour organised in association with the Museums & Galleries NSW. 

78 


AGED AND 

DISABILITY 

ACCESS 

PROGRAMS 

AND SERVICES 

The Art Gallery of NSW recognises 

and supports the right of people 

with disabilities to be involved in 

the life of the community generally 

and the cultural life of Sydney in 

particular. Accordingly, the Gallery 

commits to providing people with 

disabilities with equitable access 

to our services, the building, 

information and opportunities. 

The Gallery submitted its Disability 

Action Plan 2009 to the NSW 

Department of Ageing, Disability 

and Home Care. 

Major initiatives 

The Gallery, in partnership with 

Clayton Utz, presents a series 

of access programs specially 

designed for people with 

disabilities. These programs allow 

visitors with disabilities to enjoy 

their art experience at the Gallery 

through ‘touch’ and ‘sensory’ 

tours. 

In 2008–09, access awareness 

training was delivered to teacherlecturers, 

Gallery officers, 

information desk staff, shop staff, 

volunteer children’s guides and 

community ambassadors (Asianlanguages 

tour guides) through 

seven sessions presented with 

Accessible Arts NSW. These 

sessions focused on increasing 

understanding of issues affecting 

people with disabilities and 

developing strategies for removing 

social barriers. Plans are in place 

for the continued delivery of 

access training to Gallery staff and 

volunteers. 

Visitors with physical 

disabilities 

The Gallery commenced a major 

upgrade of the dock area. This 

involves the erection of a wall to 

separate the disabled ramp from 

the docking area, making access 

safer and less chaotic. 

There are four dedicated disabled 

parking spaces available in front 

of the Gallery and two at the rear. 

Special arrangements are also 

made for bus parking. Access to 

the spaces at the rear of the Gallery 

is via the service road on the 

southern side of the building. From 

the rear of the Gallery, access to 

all exhibitions and displays, as well 

as public and administrative areas, 

is by way of ramps and lifts and is 

signposted. 

A wheelchair-accessible bus 

(route 441) runs from the Queen 

Victoria Building to the Gallery. 

Timetable details are available by 

telephoning 13 15 00 or visiting 

www.131500.info. 

The Gallery provides wheelchairs, 

which, are available by contacting 

the security office on 9225 1775. 

All exhibition spaces are accessible 

by lift. 

The Domain Theatre and Centenary 

Auditorium have access space 

designed for wheelchair users. 

Toilets for visitors with disabilities 

are located throughout the building 

on the upper level, lower level 1 

and lower level 3. 

Visitors who are deaf 

and hearing impaired 

Signing Art, which offers Auslaninterpreted 

tours and events for 

deaf and hearing-impaired people, 

is the Gallery’s longest-running 

access program. Held at 1.30pm 

on the last Sunday of every 

month (except December), these 

free performances incorporate 

mime, puppetry and improvisation 

to create vibrant and diverse 

educational entertainment. On 

the last Sunday of the month, 

GalleryKids performances are 

Auslan interpreted. 

Auslan interpretation of selected Art 

After Hours celebrity talks is also 

offered. 

Groups of visitors who are deaf and 

who make bookings are provided 

with sign language interpreters free 

of charge. 

The TTY number, (02) 9225 1711, 

is listed in the Telstra TTY directory. 

The Domain Theatre is equipped 

with audio-induction loop facilities 

for all lectures and films. 

An FM microphone system for 

hearing aid users is available on 

request for guided tours. 

Visitors who are visually 

impaired 

The Gallery’s In Touch program 

provides people who are visually 

impaired with an opportunity to 

explore works through touch. 

Specially trained volunteer guides 

help visitors experience the tactile 

qualities of marble, bronze and 

stone and discover the stories and 

ideas surrounding these objects. 

The In Touch tour program includes 

a component of audio description, 

to be used in conjunction with 

existing tours and to complement 

selected temporary exhibitions. 

These tours can incorporate artmaking 

workshops to expand 

the experience of enjoying art. 

The Gallery has developed a 

sensory trolley, which includes 

tactile materials and props that 

complement the In Touch tours of 


In the past year, the Gallery has 

responded to requests from the 

community to develop audiodescribed 

tours of two-dimensional 

works to complement the In Touch 

tours. 

The main visitors’ elevator, servicing 

lower level 1, the ground floor 

and the upper level, has voice 

notification of floor and access 

information, as well as Braille floor 

buttons. 

Children with an 

intellectually disability 

The Gallery’s Da Vinci Project is 

an initiative involving a specially 

designed program for students 

with mild to moderate intellectual 

disabilities. This program provides 

students with the opportunity to 

experience art through stimulating 

and fun-filled workshops which 

include discussion, role-play and 

the use of sensory materials. 

General 

COMMUNICATIONS 

The Gallery’s official website (www. 

artgallery.nsw.gov.au) can display 

large-print screen versions of all 

information. 

The website incorporates 

myVirtualGallery, which enables 

online visitors to create their own 

virtual exhibition using works 

from the Gallery’s collections. The 

program offers an interactive arts 

experience for people with limited 

mobility. 

The availability of the collections 

online means anyone can search 

or browse the artworks and video 

talks without physically being at 


STAFF TRAINING 

Information and awareness 

sessions are held for staff and 

volunteer guides, with particular 

reference to serving visitors with 

special needs. Some volunteer 

guides and staff have undertaken 

introductory courses in sign 

language. 

A designated education officer 

manages the Gallery’s accessible 

arts programs and facilities for 

people with disabilities. 

HELPERS 

General entry to the Gallery is free 

for all visitors. However, where 

entry fees are charged for major 

temporary exhibitions, helpers 

accompanying visitors with 

disabilities are admitted free of 

charge. 

INFORMATION AND PUBLICITY 

The biannual Highlights brochure 

is available free at the ground floor 

information desk. This publication 

contains information for visitors with 

special needs. 

Free brochures on the accessible 

arts programs are also available at 

the information desk. 

The Gallery website also contains 

information regarding all the 

programs and services outlined 

here. 

EMPLOYMENT PRACTICES 

The Gallery is committed to 

equal opportunity principles 

for recruitment and general 

employment practice. Of staff 

working at the Gallery, 2.1% have 

a disability and 0.4% require 

some form of adjustment to the 

workplace. 


ABORIGINAL 

AND TORRES 

STRAIT ISLANDER 

PROGRAMS 

AND SERVICES 

The Gallery organises many 

activities which are designed to 

introduce Aboriginal and Torres 

Strait Islander visitors and others 

to the history and culture of the 

Indigenous peoples of Australia. 

These offerings include temporary 

exhibitions, public program events 

and the permanent collection on 

view in the lower level 3 Yiribana 

Gallery. 

This year the Gallery mounted a 

significant number of exhibitions 

which celebrated the work and 

influence of Aboriginal and Torres 

Strait Islander artists in Australia. 

Living black (20 December 2007 

– 16 November 2008): taking 

its title from the award-winning 

book of the same name by the 

late artist, playwright, poet and 

curator Kevin Gilbert, this exhibition 

explored the different experiences 

of ‘living black’ in contemporary 

Australia and featured new 

major acquisitions. The Gallery 

conducted free daily guided tours 

in conjunction with the exhibition. 

Mountford gifts (21 March 

– 3 June 2009): this Focus Room 

exhibition highlighted the eight 

bark paintings and 16 works 

on paper that were gifted from 

works collected by the American 

Australian Scientific Expedition to 

Arnhem Land in 1948. 

Half light (21 November 2008 – 

22 February 2009): this exhibition 

was the first major survey of 

the work of Australian Indigenous 

artists engaging with the 

photographic medium and the 

portrait. 


(12 November 2008 – 19 April 

2009): presented in conjunction 

with the launch of the Gallery’s new 


art education kit, this exhibition 

illustrated Indigenous Australia’s 

cultural heritage and its many 

contemporary expressions. 

The dreamers (9 May – 

18 December 2009): drawing 

from the Gallery’s collection, this 

exhibition celebrated the lives 

and works of eight distinguished 

Aboriginal artists who have 

contributed significantly to 

Australia’s cultural landscape. 

It featured major works by 

Kutuwulumi Purawarrumpatu (Kitty 

Kantilla), Ronnie Tjampitjinpa, 

Rusty Peters, Dr David Malangi, 

John Mawurndjul, Ginger Riley 

Munduwalawala, Judy Watson and 

Munggurrawuy Yunupingu, along 

with key works by other artists 

with whom they share a synergy. 

These artists are the dreamers of 

the future. 

Resources 

This year the Gallery launched its 

major collection-based education 

kit, Country, culture, community, 

featuring the work of 32 significant 


artists or groups of artists. 

A new children’s art trail was 

designed in conjunction with the 

Living black exhibition. Art trails 

are an innovative and interactive 

education resource, combining 

viewing and interpreting specific 

artworks with drawing and writing 

activities. 

Three Indigenous teacher-lecturers 

successfully completed the 

educators’ course at the Gallery, 

adding an important dimension 

to the Education Department’s 

delivery of services related to the 

Yiribana Gallery and Aboriginal 

and Torres Strait Islander art. They 

are the first Indigenous teacherlecturers 

to complete the course. 

Volunteer guides received ongoing 

training that specifically focused 

on the Aboriginal and Torres Strait 

Islander art collection. These 

important training sessions go 

beyond the artworks, introducing 

guides to the many social and 

political issues surrounding the 

production of Indigenous art in 

Australia and aiming to ensure they 

are up to date with the dynamic 

nature of Indigenous art and 

culture. 

Throughout the year, guided tours 

were conducted for Aboriginal 

audiences and groups to assist in 

strengthening their appreciation of 

Aboriginal art and artists. 

Several years ago, as part of 

the collection character tours, 

the character of Ngununy, the 

cheeky fruit bat, was created to 

take visitors on a lively tour of 

Aboriginal art, promoting a greater 

understanding of key artworks from 

the collection. Unfortunately, due 

to a lack of sponsorship funding 

for family programs, the collection 

character tours felt the pinch and 

have been pared back until a 

new funding source can be made 

available. However, Ngununy was 

revised and refreshed for NAIDOC 

week in July 2008. 

Hour-long educational tours of 

the Yiribana Gallery, designed for 

school children, tertiary students 

and special needs groups, continue 

to be conducted regularly. During 

2009, the focus of these tours will 

be on the exhibition The dreamers. 

The Gallery also continues to 

conduct Manioo workshops, 

named for the Eora word 

meaning ‘to pick up anything’. 

These free workshops were 

designed to support and 

encourage underachieving gifted 

primary students in meeting 

their intellectual, artistic, social 

and emotional needs. Using 

the permanent collection as a 

key resource within this special 

environment, the workshop 

serves disadvantaged children 

from differing backgrounds, with 

a focus on Indigenous children. 

Indigenous artists with works in the 

Gallery’s permanent collection talk 

to students about their work and 

assist them with art-making. 

Selected highlights of staff 

and public activities 

Aboriginal and Torres Strait 

Islanders represent 1.5% of the 

Gallery’s workforce, which is just 

under the NSW government’s 

Two Ways Together public sector 

employment target of 2%. 

Strengthening our archive of 

Indigenous art, the Aboriginal and 

Torres Strait Islander art department 

continued to film interviews with 

Indigenous artists, as well as 

collect documentary materials on 

Indigenous art. 

The Aboriginal Collection 

Benefactors continued to raise 

funds specifically for the acquisition 

of Indigenous art. 

ETHNIC AFFAIRS 

PRIORITIES 

STATEMENT 

The Gallery is committed to the 

principles of multiculturalism, 

as outlined in section 3 of the 

Community Relations Commission 

and Principles of Multiculturalism 

Act 2000. 

The NSW government has 

identified four key objectives for 

respectful intercultural community 

relations: leadership, community 

harmony, access and equity, 

and economic and cultural 

opportunities. 

In working to achieve these 

objectives, the Gallery presents 

exhibitions, public and education 

programs, and other initiatives 

developed during the year which 

are listed in the outcomes below. 

Ethnic affairs priority 

outcomes 2008–09 

Exhibitions 

The Gallery continued to grow its 

commitment to the promotion and 

celebration of cultural diversity in 

2008–09. This was reflected in the 

exhibition program, which included: 

Taishō chic (22 May – 3 August 

2008): captured the balance 

between modernity and nostalgia, 

the clash and the embrace. The 

exhibition featured paintings, prints, 

textiles and decorative arts from 

the period, ranging from prints 

of coolly sophisticated young 

women, to bold kimonos with 

abstract patterns that reinterpreted 

traditional motifs, to sleek 

glassware that represented the 

latest in art deco chic. 

War: the prints of Otto Dix 

(22 August – 26 October 2008) 

showcased Dix’s war portfolio Des 

Krieg 1924 which is regarded as 

one of the great masterpieces of 

20th-century printmaking. 

The lost Buddhas (29 August 

– 23 November 2008) featured 

6th-century stone Buddhist 

sculptures that are considered an 

archaeological find on par with the 

First Emperor’s terracotta soldiers. 

Genji: the world of the Shining 

Prince (12 December 2008 – 15 

February 2009) celebrated the 

1000th anniversary of Japan’s 

oldest novel, The tale of Genji, and 

featured 70 works. 

80 


Korean dreams (5 March – 8 

June 2009) was the Gallery’s first 

exhibition of Korean painting, and 

featured Korean screens, hanging 

scrolls and album leaves dating 

from the 17th–19th centuries. 

Óscar Muñoz: biografías (19 

February – 14 June 2008) 

presented the five-channel video 

installation Biografías, one of a 

series of works in which portraits 

slowly vanish, reflecting the 

disappearance of people occurring 

on a regular basis in Colombia. 

Ângela Ferreira and Narelle 

Jubelin (19 February – 14 June 

2008) was a collaborative exhibition 

that united the artists’ interests in 

post-colonial experiences: Ferreira’s 

in Mozambique and South Africa; 

and Jubelin’s in Australia. 

Educational and 

entertaining public 

programs 

The ongoing presentation of a 

dynamic and culturally varied series 

of public and education programs 

reflects the Gallery’s commitment 

to making the collection and 

temporary exhibitions readily 

accessible to the public. 

• Art After Hours: special programs 

held every Wednesday night 

include performances, talks, films 

and music, with many of these 

events highlighting and exploring 

cultural diversity. 

• Arts of Asia (Decoding dress): this 

lunchtime lecture series looked at 

the stories behind the many forms 

of Asian dress throughout history. 

• Decoding the baroque II: this 

sold-out lecture series continued 

to explore the development 

of Western culture, tracing 

developments across Europe up to 

the time rococo emerged. 

• Education kits and language 

worksheets: the rapidly expanding 

collection of online education 

kits has enabled wider access 

to a culturally diverse range of 

educational resources. There are 

now 41 online education kits freely 

available for download from the 

Gallery’s website (www.artgallery. 

nsw.gov.au/ed/resources/ed_kits). 

Education kits included Adventures 

in Asia and the language worksheet 

series Art speaks: Japanese and 

Art speaks: Italian. 

• Film program: significant feature 

films and documentaries are 

screened in conjunction with 

major exhibitions. Exploring the 

art of cinema within a gallery 

context, the films expand on ideas 

and themes present in major 

exhibitions. Appealing to a diverse, 

and often multicultural audience, 

the program is dedicated to 

presenting fascinating moments 

in world cinema. In 2008–09 the 

film program presented screenings 

in conjunction with exhibitions 

including The lost Buddhas, 

Gengi and Korean dreams. The 

lost Buddhas film series explored 

the complex spiritual beliefs and 

practices of Buddhism – political 

histories, everyday stories, lifealtering 

events and artistic pursuits. 

The series included The cup by 

Bhutanese filmmaker (and Buddhist 

monk) Khyentse Norbu, The story 

of the weeping camel by Mongolian 

filmmaker Byambasuren Davaa and 

Martin Scorsese’s drama detailing 

the life of the Dalai Lama, Kundun. 

A series of contemporary Korean 

cinema was generously sponsored 

by the Consulate-General of the 

Republic of Korea in conjunction 

with the Korean dreams exhibition. 

Screening from March to June 

2009, the series presented a 

survey of one of the most vital film 

industries currently on the world 

stage, with a selection of popular 

and art cinema from directors such 

as Kim Ki-duk, Lee Chang-dong, 

Im Sang-soo, Park Chan-wook, 

Bong Joon-ho and Kim Dae-seung. 

The screenings attracted a large 

contingent of Korean Australians as 

well as regular viewers fascinated 

by the output of this robust film 

industry. 

Promotion and resources 

Selected exhibitions and special 

events were advertised in various 

multicultural publications. 

Taishō chic was advertised in 

Nichigo Press and Japaralia 

and was also promoted to the 

Japanese community through 

The Japan Foundation. The lost 

Buddhas was promoted to the 

Chinese community through 

advertising in Sing Tao. A Chinese 

language brochure was also 

produced, which was distributed 

extensively to the Chinese 

community. Korean dreams was 

advertised widely to the Korean 

community through five Korean 

publications and also TV Korea. 

Brochures and posters were 

distributed extensively to the 

Korean community through the 

Korean consulate and other key 

Korean organisations. Intensely 

Dutch was promoted widely to the 

Dutch community with brochures 

and information distributed through 

the Dutch consulate and other key 

Dutch community organisations. 

Throughout the year the Gallery 

has received significant coverage 

for exhibitions in the Japanese, 

French, Chinese, German, Korean, 

Indian and Dutch language media. 

The coverage includes articles, 

listings and reviews in newspapers, 

magazines, TV and radio. There 

is ongoing coverage with ABC’s 

Asia Pacific TV network, which 

is available in 34 countries to 

approximately 8.7 million homes. 

Regular coverage also appears in 

other international media. 

The Gallery’s maps are available 

in Japanese, Mandarin, Korean, 

Arabic, Italian, French, Spanish and 

German. 

Gallery employees 

This year, 19.7% of the Gallery’s 

employees were indentified as 

coming from non-English-speaking 

backgrounds, which is in line with 

the NSW government’s target of 

20%. A number of employees who 

speak community languages assist 

other staff and visitors, earning a 

Community Language Allowance. 

As at 30 June 2009, the Gallery 

had staff officially designated as 

able to offer assistance in Hindi, 

Cantonese, Polish, German, 

Italian, Mandarin, Spanish and 

Indonesian. An annual calendar of 

significant religious and holy days 

was circulated to all supervisors to 

enable scheduling of employees’ 

commitments to meet their religious 

obligations. 

Ethnic affairs priority 

goals for 2009–10 

The Gallery’s 2009–10 program of 

major exhibitions and associated 

educational programs will continue 

to reflect and promote cultural 

diversity and harmony. Exhibitions 

will include Garden and cosmos: 

the royal paintings of Jodhpur, 

which will provide a rare chance 

to see paintings from the royal 

collection of the Mehrangarh 

Museum Trust, Jodhpur, India, 

and to experience the unique art 

tradition that flourished in the royal 

courts between the 17th and 19th 

centuries. 

The Gallery will present public and 

educational programs supporting 

both exhibitions and associated 

events in 2009–10, including 

the lecture series Arts of Asia 

(Decoding dress), Gardens of Eden 

and Decoding the baroque II as 

individual lunchtime and evening 

lectures. Art adventure tours will 

be conducted in conjunction with 

various exhibitions focusing on 

people and their cultural beliefs. 

The Gallery will continue to present 

a culturally diverse range of films. 

The Gallery will also continue to 

encourage staff to participate in the 

Community Language Allowance 

scheme and to extend the range of 

languages currently represented 


ELECTRONIC 

SERVICE DELIVERY 

Overall visitation of the 

websites 

In addition to the main website, 

the Gallery operates a number 

of subsites. The total number of 

actual visits (to all websites) for the 

year was 1 903 521 or 5215 visits 

per day on average, peaking at 

7497 per day in March 2009, which 

coincided with the opening of the 

Archibald Prize and the associated 

media coverage of this popular 

annual exhibition. 

The main Art Gallery of NSW 

website accounted for 75% of 

visits, followed by the Archibald 

Prize (10%), the Brett Whiteley 

Studio (5%), Inside ARTEXPRESS 

and Art After Hours (3% each) 

and the last three sub-sites (2% 

or less). ‘Exhibitions’ was the 

most visited section of the website 

(29%), followed by ‘About us’ 

(13%) ‘Press office’ (12%), ‘Events’ 

and ‘What’s on’ (11% each) and 

‘Education’ (8%). 

Messaging via the websites 

The ‘Contact us’ form on the 

main website was used for 728 

messages by the general public. 

General enquiries accounted for 

27% of these, followed by 23% for 

curators, 16% for the Art Gallery 

Society and 15% for human 

resources. The education section’s 

‘Send a message’ form was used 

for 516 messages. The research 

library enquiry form was used for 

187 messages: 52% for ‘general 

interest’, 32% for ‘professional 

research’ and the rest by students. 

The ‘Frequently asked questions’ 

form for submitting new questions 

was used for 75 messages and 

the ‘Website feedback’ form for 

54 messages. 

Online transactions 

A total of 991 purchases 

(representing a turnover of over 

$66 000) were made through the 

Gallery’s Shop online. In November 

2008, the online purchase of 

exhibition tickets was handed 

over to the Gallery’s new ticketing 

system, Centaman. This has 

enabled the public to print their 

own barcoded admission tickets. 

Teachers used the education online 

booking form for 810 booking 

requests, and downloaded 411 

copies of the printable booking 

form (PDF). Art prize application 

forms (Archibald, Wynne and 

Sulman, and Dobell) were 

downloaded 9017 times. 

Additionally, a total of 29 207 free 

education kits or room brochures 

and 1187 free online catalogues 

were downloaded. 

Website upgrade 

In January 2009, a consultant 

from Ether Multimedia was hired to 

review, and recommend steps to 

improve: 

• the performance of the current 

website and the current website 

performance-monitoring process 

• the website under construction (in 

MySource Matrix), in terms of web 

standards, accessibility, usability 

and (potential) performance 

• the website upgrade process 

(both in terms of technology and 

staff resources) 

Some useful recommendations 

were made that were acted 

upon almost immediately. A 

recommendation and proposal 

were also made to rebuild the 

website as a customised ‘web 

application framework’, with the 

aim of providing a unified interface 

for a number of separate data 

sources, such as the collection and 

research library catalogues. 

myVirtualGallery 

myVirtualGallery is an interactive, 

educational tool that allows 

anyone to create their own virtual 

exhibitions using works from the 

collection. There are now 3209 

people who have registered as 

exhibition creators and 1796 

exhibitions (453 created during 

2008–09). Over half of the 151 525 

page-views in 2008–09 were from 

people logging in to edit their own 

exhibitions. It has been used as a 

resource and/or assessment tool 

by many educational institutions, 

from primary school to university. 

New content 

Apart from regular updates to the 

main website (particularly in the 

‘Events’, ‘Exhibitions’ and ‘Press 

office’ sections), the following 

significant developments have 

occurred: 

• Videos of key events, mostly 

Art After Hours celebrity talks and 

performances, and some specially 

made videos, have been posted to 

the ‘Videos and podcasts’ area of 

the website, as well as to the Art 

After Hours sub-site. These and 

previous videos have been viewed 

online over 15 500 times. 

• Two new ‘encapsulated miniwebsites’ 

have been created for 

the exhibitions The lost Buddhas: 

Chinese Buddhist sculpture from 

Qingzhou and The late landscape 

paintings of Horace Trenerry. These 

are located within the ‘Exhibitions’ 

section of the main website but 

also have their own, internal 

navigation menus. 

• The new website for the 

exhibition Monet and the 

Impressionists (www.monet.org. 

au) was launched in November 

2008 and featured images of 

the exhibition and interactive 

educational content on the 

life and art of Claude Monet. It 

had 106 912 page-views during 

2008–09, from an estimated 

24 500 visitors. 

• Inside ARTEXPRESS 09 

(www.insideartexpress.com.au) 

was launched in February 2009. 

In addition to the usual features 

(including an interactive, virtual 

walkthrough, downloadable 

process diaries and connections 

with the Gallery’s collection for 

six works), it also launched the 

Gallery’s peer2peer project, with 

video interviews by secondary 

students of selected ARTEXPRESS 

09 artists. This and its predecessor, 

Inside ARTEXPRESS 08, were 

visited 57 598 times during 

2008–09. 

Social media 

The Gallery now has a presence in 

the following social media sites: 

• Facebook (social networking): 

www.facebook.com/ArtGalleryofNSW 

The Brett Whiteley Studio also has 

its own Facebook pages: www. 

facebook.com/BrettWhiteleyStudio 

• Flickr (photographs): www.flickr. 

com/photos/31243265@N02 and 

the AGNSW Flickr Group: www. 

flickr.com/groups/artgallery_nsw/ 

• YouTube (videos): www.youtube. 

com/user/ArtGalleryNSW 

• Twitter (instant, brief updates): 

twitter.com/ArtGalleryNSW 

• Delicious (web bookmarks): www. 

delicious.com/art_gallery_of_nsw 

The Gallery’s Facebook pages 

had 2875 fans at the end of June 

2009 and had been visited 22 160 

times. The Brett Whiteley Studio’s 

Facebook pages had 327 fans 

at the end of June 2009 and had 

been visited 7858 times. Videos 

on the Gallery’s YouTube channel 

(selections from those available 

on the Gallery website) had been 

viewed over 31 000 times. The 

Gallery’s Twitter feed had 915 

followers. 

Website access replaces 

publications 

In December 2008, the Gallery 

published its final issue of 

Exhibitions & Events, and, in 

March 2009, a final issue of the 

separate Events insert. Increasing 

public use of the Gallery’s website 

has reduced our reliance on a 

detailed, printed brochure. A new 

twice-yearly publication, Highlights, 

available from the information 

desk, was launched in June 2009. 

This takes the form of a six-fold 

postcard-sized brochure, with 

exhibition highlights on one side 

and a complete exhibition listing, 

general information and event 

highlights on the other. Readers 

are directed to the Gallery website 

for more detailed information. 

Highlights also complements 

individual temporary exhibition 

brochures, which include 

information about related programs. 

This initiative also contributes to 

the Gallery’s WRAPP target for 

reducing paper waste. 

82 


OVERSEAS TRAVEL 

Sun Yu, conservator, Asian art 

China, 18–31 July 2008 

Courier Buddhist sculpture from 

Qingzhou. 

Alan Lloyd, head, conservation 

Switzerland, 18–22 July 2008 

Courier major potential acquisition. 

Analiese Cairis, senior graphic 

designer 

Hong Kong and China, 

24–30 August 2008 

Supervise printing of Monet 

exhibition catalogue. 

Emma Smith, senior registrar, 

collections 

Italy, 25 August – 1 September 

2008 

Courier Francis Bacon’s Study for 

self portrait from Palazzo Reale and 

Skira Editore. 

Judy Annear, senior curator, 

photography 

USA, 14 September – 10 October 

2008 

Finalise loans for major 2010 

exhibition of Alfred Stieglitz 

photography. 

Jackie Menzies, head curator, 

Asian art 

Korea, 20 September – 6 October 

2008 

Attend international curator’s 

workshop. 

Mark Boxshall, senior graphic 

designer 

Hong Kong and China, 

21–28 September 2008 

Supervise printing of Half light 

exhibition catalogue. 

Charlotte Davy, senior registrar, 

exhibitions 

Japan and Singapore, 

27 September – 4 October 2008 

Courier accompanying shipment 

of Monet and the Impressionists 

exhibition to Sydney. 

Charlotte Cox, registrar, exhibitions 

Netherlands and UK, 4–13 October 

2008 

Courier works from Sidney Nolan 

exhibition and meeting with freight 

agents for works in Intensely Dutch 

exhibition. 

Khanh Trinh, curator, Japanese art 

Germany, 15–27 October 2008 

Finalise loans for major exhibition in 

2010 Utamaro: the golden age of 

ukiyo-e prints. 

Jackie Menzies, head curator, 

Asian art 

Philippines, 19–25 October 2008 

Research and develop an exhibition 

of art from the Philippines in 

conjunction with Asialink, at the 

University of Melbourne. 

Amanda Green, acting registrar, 

collections 

Netherlands and UK, 26 November 

– 6 December 2008 

Courier The modern pre-Raphaelite 

by J W Waterhouse to Amsterdam 

and meet with registration staff 

to discuss off-site storage and 

security issues of works on display. 

Sun Yu, conservator, Asian art 

Singapore, 1–5 December 2008 

Courier Buddhist sculpture to 

Singapore. 

Edmund Capon, director 

UK and France, 10–24 January 

2009 

Discuss building proposals and 

negotiate loans for forthcoming 

major exhibitions. 

Paul Solly, registration assistant, 

collections 

USA, 13–17 January 2009 

Courier Pierre Bonnard’s Self 

portrait to the Metropolitan 

Museum of Art. 

Liu Yang, curator, Chinese art 

Singapore and China, 14–24 

January 2009 

Invited to give lectures in Singapore 

on The lost Buddhas exhibition 

and to negotiate loans for future 

Chinese art exhibitions. 


exhibitions 

New Zealand, 30 January – 

14 February 2009 



exhibition to Wellington. 

Stewart Laidler, senior painting 

conservator 

New Zealand, 2–4 February 2009 



exhibition to Wellington. 

Peter Raissis, curator, European 

prints, drawings and watercolours 

Spain, 3–10 March 2009 

Courier delivery of two works by 

Maurice de Vlaminck to Sylvestre 

Verger Art Organisation. 

Tony Morris, head, security 

USA, 29 March – 7 April 2009 

Attend ISC West 2009 security 

convention and trade show. 

Khanh Trinh, curator, Japanese art 

Japan, 3–17 April 2009 

Courier delivery of La belle captive 

to Tokyo and conduct research on 

forthcoming exhibitions. 

Edmund Capon, director 

China, 7–21 April 2009 

Negotiate and research exhibition 

of terracotta warriors, Tibetan 

bronze sculpture and an exhibition 

on Dunhuang and the religions of 

the Silk Road. 

Liu Yang, curator, Chinese art 

China, 7–21 April 2009 

Negotiate and research exhibition 

of terracotta warriors, Tibetan 

bronze sculpture and an exhibition 

on Dunhuang and the religions of 

the Silk Road. 

Brent Willison, assistant registrar, 

collections 

USA, 20–25 April 2009 

Courier return of Pierre Bonnard’s 

Self portrait from the Metropolitan 

Museum of Art. 

Rebecca Allport, retail operations 

manager and merchandise buyer, 


USA, 2–7 May 2009 

Attend Museum Stores Association 

of America Annual Trade Fair. 


exhibitions 

New Zealand, 18–21 May 2009 

Courier return of Gallery works from 

Te Papa Museum, Wellington. 

Analiese Treacy, paper conservator 

Italy, 21–27 May 2009 

Courier Francesco Clemente loan 

to the Museum of Contemporary 

Art Donna Regina, Naples. 

Denise Faulkner, book buyer, 


USA, 26 May – 3 June 2009 

Attend Book Expo America. 


COLLECTION – 

PURCHASES 


Tony Ameneiro (Australia, b1959), 

Big night skull 2006, colour linocut, 

black and blue ink on eight sheets 

of Japanese kozo paper. Thea 

Proctor Memorial Fund 2008 

Rick Amor (Australia, b1948), 

Journey 2007, oil on canvas. 

Patrick White Bequest Fund 2008 

Anthony Dattilo-Rubbo (Australia, 

1870–1955), Poverty makes 

strange bedfellows 1905, oil on 

canvas on hardboard. Edward 

Stinson Bequest Fund 2009 

John Philippides (Egypt; Australia, 

b1945), Portrait study of the artist’s 

mother 2008, pencil on white 

Canson paper. Purchased with 

funds provided by the Australian 

Prints, Drawings and Watercolours 

Benefactors Fund 2009 

Carl Plate (Australia, 1909–77), 

2 drawings: False rococo 1974, 

magazine paper collage on 

white wove paper; Wig 74 1975, 

magazine paper collage on white 

wove paper. Patrick White Bequest 

Fund 2009 

Peter Powditch (Australia, b1942), 

2 paintings: Coastal IX 2008, oil 

and wood on hardboard; Coastal X 

2008, oil and wood on hardboard. 

Patrick White Bequest Fund 2008 

Aida Tomescu (Romania; Australia, 

b1955), Aqua alta 2008, oil on 

canvas. Patrick White Bequest 

Fund 2008 

John R Walker (Australia, b1957), 

A road, a gate, and a forest 2008, 

oil on polyester canvas. Patrick 

White Bequest Fund 2009 

SUB TOTAL 10 WORKS 

Aboriginal and Torres 

Strait Islander art 

Jakayu Biljabu (Australia, b1937), 

Minyi Puru 2008, synthetic polymer 

paint on canvas. D G Wilson 

Bequest Fund 2008 

Mervyn Bishop (Australia, b1945), 

15 gelatin silver photographs: 

Alan Judd, ABC trainee radio 

announcer, Sydney 1968, printed 

2008, gelatin silver photograph; 

The bus stop, Yalambie Reserve, 

Mt Isa 1974, printed 2008, gelatin 

silver photograph; Couple on 

veranda, Coffs Harbour 1988, 

printed 2008, gelatin silver 

photograph; Cousins, Ralph and 

Jim, Brewarrina 1966, printed 


Far west children’s health clinic, 

Manly 1968, printed 2008, gelatin 

silver photograph; Fisherman 

Charlie Ardler, Wreck Bay 1975, 

printed 2008, gelatin silver 

photograph; Lois O’Donoghue 

CBA, AM, and Oodgeroo 

Noonuccal 1974, printed 2008, 

gelatin silver photograph; Pool 

game, Burnt Bridge 1988, printed 


Roslyn Watson 1973, printed 2008, 

gelatin silver photograph; Save the 

Children Pre-school, Nambucca 

Heads 1974, printed 2008, gelatin 

silver photograph; School bus, 

Yarrabah 1974, printed 2008, 

gelatin silver photograph; Town 

picnic, Brewarrina 1966, printed 


Woman attend home management 

course at Yuendumu 1974, printed 


Woman standing near electric 

power cord in water, Burnt Bridge 

1988, printed 2008, gelatin silver 

photograph; Womenfolk, Bowraville 

1974, printed 2008, gelatin silver 

photograph. Purchased under the 

terms of the Florence Turner Blake 

Bequest 2008 

Julie Gough (Australia, b1965), 2 

sculptures: Bind 2008, black crow 

shells, twined Lomandra longifolia, 

Northern Midlands dropped antlers, 

Tasmanian oak; Dark valley, Van 

Diemen’s land 2008, Tasmanian 

Fingal Valley coal, nylon, Northern 

Midlands Tasmania dropped 

antlers, Tasmanian oak. Purchased 

with funds provided by the Patricia 

Lucille Bernard Bequest Fund 2008 

Malaluba Gumana (Australia, 

b1952), 3 sculptures: Garrimala 

2007, hollow pole; natural earth 

pigments on wood; Garrimala 


pigments on wood; Garrimala 


pigments on wood. Purchased with 

funds provided by the Aboriginal 

Collection Benefactors 2008 

Niningka Lewis (Australia, born 

c1946), Tjanpi truckpa 2007, 

wire, raffia. Purchased with 


Collection Benefactor 2008 


(Australia, b1944), 13 gelatin silver 

photographs from the series It’s 

a man’s game 1991: A moment 

of inexplicable serenity 1991, 

gelatin silver photograph; Aw ... 

come on fair go sir 1991, gelatin 

silver photograph; Big rat #1 


Big rat #2 1991, gelatin silver 

photograph; …Blackout 1991, 

gelatin silver photograph; “Come 

on boys, nikhedonia’s the go!” 


“Come on Cleo, I’m bloody 

dying here!” 1991, gelatin silver 

photograph; Here you go bones, 

while I got’em rounded up 1991, 

gelatin silver photograph; “La per.! 

la per.! la per.!” 1991, gelatin silver 

photograph; Moodgie,… says it 

all 1991, gelatin silver photograph; 

The huddle 1991, gelatin silver 

photograph; The rabbit and the big 

rat 1991, gelatin silver photograph; 

Well I’m glad that game is over 

1991, gelatin silver photograph. 

Purchased with funds provided 

by the Aboriginal Collection 

Benefactors 2008 


(Australia, b1944), 5 gelatin silver 

photographs from the series Inner 

sanctum 1991: The inner sanctum 

#2 1991, gelatin silver photograph; 

The inner sanctum #5 1991, 

gelatin silver photograph; The inner 

sanctum #6 1991, gelatin silver 

photograph; The inner sanctum #8 


The inner sanctum #9 1991, gelatin 

silver photograph. Purchased with 



Milyika Paddy (Australia), Walpa 

2008, etching on paper. Mollie 

Gowing Acquisition Fund for 

Contemporary Aboriginal Art 2009 

Anatjari Tjakamarra (Australia), 

2 drawings: untitled 1971, pencil 

on paper; untitled 1971, pencil on 

paper. Purchased 2008 

Joseph Zimran Tjangala 

(Australia, b1981), untitled 2008, 

synthetic polymer paint on linen. 

Jonathan Philips Fund 2008 

Timmy Payungka Tjapangati 

(Australia, c1940–2000), Bush 

tucker dreaming 1971, pencil and 

watercolour on paper. Purchased 

2008 

Yarta Tjapangati (Australia, active 

1971), untitled 1971, pencil on 


Harry Tjutjana (Australia, born 

c1930), 2 prints: Wanka (spider) 

2008, etching on paper; Wati 

Nyira 2008, etching on paper. 

Mollie Gowing Acquisition Fund for 

Contemporary Aboriginal Art 2009 

Unknown (Australia), 7 drawings: 

untitled 1971, pencil on paper; 



untitled 1971, pencil and 

watercolour on paper; untitled 

1971, pencil and watercolour on 

paper; untitled 1971, pencil and 

watercolour on paper; untitled 

1971, pencil and watercolour on 


Puntjina Monica Watson 

(Australia), Pukara Tjukurpa 2008, 

etching on paper. Mollie Gowing 

Acquisition Fund for Contemporary 

Aboriginal Art 2009 

Mulkun Wirrpanda (Australia, 

b1947), 3 sculptures: Dhudi Djapu 

miny’tji 2007, hollow pole; natural 

pigments on wood; Dhudi Djapu 


pigments on wood; Dhudi Djapu 


pigments on wood. Purchased with 



Djirrirra Wununmarra (Australia, 

b1968), 3 sculptures: Buyku 2008, 

hollow pole; natural pigments on 

wood; Buyku 2008, hollow pole; 

natural pigments on wood; Buyku 

2008, hollow pole; natural pigments 

on wood. Don Mitchell Bequest 

Fund 2008 

Nyayati Stanley Young (Australia), 

Kampurapa: bush tomato 2008, 

etching on paper. Mollie Gowing 

Acquisition Fund for Contemporary 

Aboriginal Art 2009 

Nyapanyapa Yunupingu (Australia, 

b1945), 3 bark paintings: Airlift 

to Darwin Hospital 2008, natural 

pigments on bark; Hunting stingray 

at Biranybirany 2008, natural 

pigments on bark; Wild apple 

orchard 2008, natural pigments 

on bark. Annette Margaret Dupree 



Art from the Pacific 

Unknown (Papua New Guinea), 

Mudman’s mask collected 1965, 

mud, netting, leaves, cane, teeth, 

Job’s Tears (Coix lacryma-jobi) 

seeds. Purchased with grateful 

acknowledgement to Cynthia Nolan 

2008 

SUB TOTAL 1 WORK 

TOTAL AUSTRALIAN ART 

DEPARTMENT 77 WORKS 

Asian art 

CHINA 

Dharani sutra quilt c1875, Qing 

dynasty 1644–1911, red silk 

brocade woven with silk thread. 

Edward and Goldie Sternberg 

Chinese Art Purchase Fund 2009 


JAPAN 

Sumiyoshi GUKEI (Japan, 1631– 

1705), Episode from ‘The pink’ 

with accompanying calligraphy, 

Chapter 26 from ‘The tale of Genji’ 

1650–1700, Edo (Tokugawa) 

period 1615–1868, 2 album leaves 

84 


mounted in frame, illustration: ink, 

colour and gold on silk; calligraphy: 

ink on decorated paper. Asian 

Collection Benefactors Fund 2008 

Sumiyoshi GUKEI (Japan, 1631– 

1705), Episode from ‘Thoroughwort 

flowers’ with accompanying 

calligraphy, Chapter 30 of ‘The 

tale of Genji’ 1650–1700, Edo 

(Tokugawa) period 1615–1868, 2 

album leaves mounted in frame, 

illustration: ink, colour and gold on 

silk; calligraphy: ink on decorated 

paper. Purchased with funds 

provided by Joanna R Coghlan 

2008 

Nishikawa School (Japan), Beauty 

with a cat (parody of the Third 

Princess) 1750s, hanging scroll; 

ink, colour and mica on paper. 

D G Wilson Bequest Fund 2009 


(Japan, b1952), Suzuribako with 

design of dragonfly 2008 wood, 

lacquer. Purchased with funds 

donated by Joanna R Coghlan, 

Karma Abraham, Ros and Alex 

Hunyor, Sabrina Snow, Mary Jane 

Brodribb, Lesley Heath and Andrew 

and Ann Proctor 2008 


INDIA 

Sati marker 1600s–1700s, marble. 

Margaret Hannah Olley Art Trust 

2009 


MALAYSIA 

Peranakan wedding bed valance 

early 1900s, silk and gold thread 

embroidery. Accessioned 2008 


VIETNAM 

It is as if Uncle Ho shares our great 

victory 1975, collage, gouache and 

ink on paper 

The north strives hard to work and 

fight well c1968, gouache on paper 

Ph-t Phuong (Vietnam), Grow the 

forest, enrich the country 1975, 

gouache on paper 

Truong Singh (Vietnam), 2 

drawings: At present against the 

Americans save the country the 

priority of everyone 1966, gouche 

on paper; untitled (two children) 

1964, gouache on paper 

Tuyan To (Vietnam), Towards 

unification the north strives hard in 

production and in combat c1968, 

gouache on paper 

Trang (Vietnam), Unification of 

Vietnam. The north competes by 

producing well and combating 

well c1970s, gouache on paper. 

Edward and Goldie Sternberg 

Southeast Asian Art Fund 2008 


TOTAL ASIAN ART DEPARTMENT 

14 WORKS 

European art pre-1900 

Michele Benedetti (Italy; England, 

1745–1810) after Henry Fuseli 

(England, 1741–1825), The 

apotheosis of Penelope Boothby 

1796, stipple engraving. Purchased 

under the terms of the Florence 

Turner Blake Bequest 2009 

Richard Parkes Bonington 

(England, 1802–28), Rue du Gros 

Horloge, Rouen 1824, lithograph. 

Purchased under the terms of the 

Florence Turner Blake Bequest 

2009 

James Caldwall (England, 1739–?) 

after Henry Fuseli (England, 

1741–1825), Macbeth, Banquo 

and three witches 1798, stipple 

engraving. Purchased 2008 

Paul Cézanne (France, 1839– 

1906), Bords de la Marne c1888, 

oil on canvas. Purchased 2008 

with funds provided by the Art 

Gallery of NSW Foundation, the 

Art Gallery Society of NSW and 

donors to the Masterpiece Fund in 

joint celebration of the Foundation’s 

25th anniversary and the 30th 

anniversary of Edmund Capon AM, 

OBE as director of the Gallery 

Jean-Baptiste-Camille Corot 

(France, 1796–1875), 12 prints 

from Douze croquis et dessins 

originaux sur papier autographique 

par Corot 1872: The belfry of Saint- 

Nicolas-lez-Arras 1872, transfer 

lithograph; The isolated tower 

1872, transfer lithograph; The 

meeting in the grove 1872, transfer 

lithograph; The rider in the reeds 

1872, transfer lithograph; The gust 

of wind 1872, transfer lithograph; 

Sappho 1872, transfer lithograph; 

The philosophers’ retreat 1872, 

transfer lithograph; The cows’ 

resting place 1872, transfer 

lithograph; Memory of Italy 1872, 

transfer lithograph; The mill at 

Cuincy, near Douai 1872, transfer 

lithograph; A family at Terracina 

1872, transfer lithograph; Willows 

and white poplars 1872, transfer 

lithograph. Purchased 2008 

Samuel Cousins (England, 1801– 

87), after Sir Edwin Landseer 

(England, 1802–73), Titania and 

Bottom, engraving. Accessioned 

2009 

Eugène Delacroix (France, 

1798–1863), Macbeth consulting 

the witches 1825, lithograth. 

Purchased 2008 

Théodore Géricault (France, 

1791–1824), The Flemish farrier 

1821, lithograph. Don Mitchell 


Moses Haughton (England, 

c1772–1848) after Henry Fuseli 

(England, 1741–1825), The 

dismission of Adam and Eve from 

paradise 1805, stipple engraving. 

Purchased with funds provided by 

J S Watkins Memorial Fund 2009 

F Noel, after Horace Vernet 

(France, 1789–1863), Portrait of 

Gericault, lithograph. Don Mitchell 


after Lord Frederic Leighton 

(England, 1830–96), The 

Daphnephoria, photogravure. 

Accessioned 2009 

Thomas Ryder (England, 1746– 

1810) after Henry Fuseli (England, 

1741–1825), Titania’s awakening. 

A midsummer night’s dream 1803, 

stipple engraving. Purchased 2008 

Jean-Pierre Simon (France, 

1750?–1810?) after Henry 

Fuseli (England, 1741– 1825), 

The Tempest. Prospero, Miranda, 

Caliban and Ariel 1797, stipple 

engraving. Don Mitchell Bequest 

Fund 2009 

Anker Smith (England, 1759–1819) 

after Henry Fuseli (England, 1741– 

1825), Flora attired by the elements 

1791, engraving. Purchased under 

the terms of the Florence Turner 

Blake Bequest 2009 

John Raphael Smith (England, 

1752–1812) after Henry Fuseli 

(England, 1741–1825), Ezzelin 

musing over the body of his wife 

Meduna, slain by him for her 

infidelity during his absence in the 

crusades 1781, mezzotint. 

Purchased under the terms of the 

Florence Turner Blake Bequest 2009 


Modern and 


Stephen Bush (Australia, b1958), 

I am still what I meant to be 2009, 

oil on linen. Purchased with funds 

provided by the Art Gallery Society 

of NSW Contempo Group 2009 

Christo (Bulgaria; United States of 

America, b1935), Jeanne-Claude 

(United States of America, b1935), 

Wrapped vestibule project for the 

Art Gallery of New South Wales, 

Sydney 1990, offset print, collage. 


Mark Dion (United States of 

America, b1961), The return 

(a cosmological cabinet for 

New South Wales) 2008, jarrah 

bookcase, unopened posted 

packages. Mervyn Horton Bequest 

Fund 2008 

Tim Johnson (Australia, b1947), 

10 books: Alienation 1976, book 

of 17 printed leaves on paper, ed 

of 100; Be an artist 1973, book of 

70 printed leaves on paper, ed of 

100; Be an artist 1976, book of 

70 printed leaves on paper, ed of 

30; Coincidence 1974, book of 40 

leaves on paper, black and white 

printing on glossy paper, ed of 

200; Disclosure 1973, book of 131 

pages, black and white printing 

on glossy paper, ed of 300; ESP 

(examples of 5 spaces in 1 place) 

1976, book of 7 printed leaves on 

paper, ed of 100; Fittings 1971, 

book of 28 photocopied leaves 

on paper ed of 90; Public fitting 

1972, book of 43 printed leaves on 

paper, ed of 200; Schooltime 1974, 

book of 14 printed leaves on paper, 

ed of 30; You 1976, book of 12 

printed leaves on paper, ed of 100. 


Narelle Jubelin (Australia, b1960), 

Ungrammatical landscape.3 2003– 

09, fold-down display in two parts. 

Form ply with piano hinges; paint: 

Dulux Vinyl Matt and Acquatech 

gloss, black and red. Colour and 

distribution adapted from Ian Burn, 

Left to right painting 1965. Polymer 

paint on canvas, 38.5 x 64cm. A 

landscape is not something you 

look at but something you look 

through 2004–06, Madrid, 13-part 

sewn essay, 2003–06, petit point 

cotton thread over silk ground, 

perspex, each 15 x 20 x 2.5 cm, 

white lettering. Title and structure 

of elements adapted from Ian 

Burn, Homage to Albert (south 

through Heavitree Gap 1952) 1989. 

Watercolour on bromide, plexiglas, 

wood, 30 x 23 x 10 cm, exhibited 

Artworkers Union Benefit, Tin 

Sheds, Sydney, 1989. Ian Burn 

is an Australian artist who formed 

part of the New York wing of Art 

& Language. Purchased in 2009 

with funds from the Contemporary 

Collection Benefactors with 

the assistance of Andrew and 

Cathy Cameron and the support 

of Claire Armstrong and John 

Sharpe, Bambi Blumberg, Joe 

Catanzariti, Kemsley Brennan and 

Stephen Buzacott, Edmund and 

Joanna Capon, Ginny, Leslie and 

Donna Green, Jan McCulloch, 

Reg Richardson, Garry and 

Susan Rothwell, Sheryl Ryan, 

John Schaeffer and Tina Dalton, 

Penelope Seidler, Vivienne Sharpe 



Photography 

Miles Coolidge (Canada; United 

States of America, b1963), Stool 

2006, printed 2008, type C 

photograph. Gift of Geoff and Vicki 

Ainsworth 2009 

Christina Fernandez (United 

States of America, b1965), 2 

type C photographs: Lavanderia 

#1 2002, printed 2009, type C 

photograph; Lavanderia #4 2002, 

printed 2009, type C photograph. 

Gift of Geoff and Vicki Ainsworth 

2009 

John Fuller (Australia, active 

1980s), Woolshed paddock 

– Cambalong 1982, gelatin silver 

photograph. Accessioned 2009 

Bill Henson (Australia, b1955), 

2 type C photographs: Untitled 

2007.08 2007–08, type C 

photograph; Untitled 2007/08 

2007–08, type C photograph. 


by the Photography Collection 


Anthony Hernandez (United States 

of America, b1947), Landscapes 

for the homeless #16 1989–2008, 

cibachrome photograph on endura 

paper. Gift of Geoff and Vicki 

Ainsworth 2009 

Tracey Moffatt (Australia; United 

States of America, b1960), 

1 DVD and 1 type C photograph: 

Love 2003, colour and black and 

white DVD, sound, 21 mins; The 

movie star: David Gulpilil on Bondi 

Beach 1985, printer 2002, type 

C photograph. Purchased with 

funds provided by the Photography 


Raquel Ormella (Australia, b1969), 

Going back/volver 2006–08, printed 

2008, 44 digital prints. Purchased 

with funds provided by the 

Photography Collection Benefactors 

Program 2009 

Edward Ruscha (United States 

of America, b1937), 7 books: 

Every building on the Sunset Strip 

1966, 54 pages (folded), black and 

white photographic illustrations, 

accordion fold; original slipcase, 

silver paper over boards; white 

paper belly band; Nine swimming 

pools and a broken glass 1968, 

printed 1976, 64 pages, 10 

colour photographic illustrations; 

Real estate opportunities 1970, 

48 pages, 25 black and white 

photographic illustrations, glassine 

dust jacket; Royal road test 1967, 

printed 1971, 60 pages, 36 black 

and white photographic illustrations, 

spiral bound; Thirtyfour parking 

lots in Los Angeles 1967, printed 

1974, 48 pages, 31 black and 

white photographic illustrations; 

Twentysix gasoline stations 1963, 

printed 1969, 48 pages, 26 black 

and white photographic illustrations, 

glassine dust jacket; Various small 

fires and milk 1964, printed 1970, 

48 pages, 16 black and white 

photographic illustrations, glassine 

dust jacket. Purchased with funds 

provided by the Photography 


Alfred Stieglitz (United States of 

America, 1864–1946), Camera 

Work no 46 1914, a photographic 

quarterly edited and published by 

Alfred Stieglitz New York, 13 hand 

pulled photogravures, tipped in 

(2 plates by Paul Haviland, 1 by 

Frederick H Pratt, 10 caricatures 

by Marius de Zayas); texts and 

poetry by John Weischal, Katharine 

Rhoades, Mina Loy, Marius de 

Zayas, Paul Haviland, SSS, Horace 

Traubel; printed gray wrappers. 


by the Photography Collection 


Justene Williams (Australia, 

b1970), Derr sonata 2008, video 

transferred to DVD, black and 

white, 30 mins. Purchased with 

funds provided by the Photography 


Wols (Alfred Otto Wolfgang 

Schulze) (Germany, 1913–51), 

Jean Sendy (Abelson) with monocle 

c1930, gelatin silver photograph. 

Alistair McAlpine Photography Fund 

2008 


TOTAL WESTERN ART 


TOTAL ALL DEPARTMENTS 

151 WORKS PURCHASED 


GIFTS 


MADAME ANNE ATYEO 

Sam Atyeo (Australia; France, 

1910–90), 4 watercolours and 

2 paintings: Aix c1970s–c80s, 

watercolour on ivory wove paper; 

Candy c1970s, watercolour and 

gouache on ivory wove paper; 

Gate c1970s–c80s, watercolour 

on ivory wove paper; Gippsland 

c1932, watercolour on ivory wove 

paper; Rondo no 17 c1970s–c80s, 

synthetic polymer paint on canvas; 

Shamash 22 c1970s–c80s, 

synthetic polymer paint on canvas 

CHRISTOPHER DAY 

Sir William Dobell (Australia, 

1899–1970), Dobell in his dressing 

gown, pen and ink on paper 

TRUSTEES OF THE SIR WILLIAM 

DOBELL ART FOUNDATION 

Virginia Grayson (Australia; New 

Zealand, b1967), No conclusions 

drawn – self portrait 2008, 

charcoal, watercolour, pencil and 

gesso on Lana paper 

ANDREW DOUGLAS 

Allan Mitelman (Australia, b1946), 

13 drawings: untitled 1978, pastel, 

gouache on ivory wove paper; 

untitled 1981, oil with scratching 

out on cream wove watercolour 

paper; untitled 1987, pencil, pastel 

on pale grey wove paper; untitled 

1988, pencil with scratching out on 

thick ivory wove watercolour paper; 

untitled 2001, watercolour, pastel 

on white wove paper; untitled 

1988, pencil, pastel on white wove 

paper; untitled 1988, watercolour, 

pastel on thick white wove 

watercolour paper; untitled 1990, 

watercolour on white wove card; 

untitled 1998, pencil, watercolour 

on ivory wove card; untitled 1999, 

watercolour, pencil on grey laid 

paper; untitled 2000, pencil, 

watercolour on white wove card; 

untitled 2002, pencil, watercolour 

on thick white wove card; untitled 

2004, watercolour, pen and ink on 

white wove card 

VINCENT FANTAUZZO AND 

SALLY LEDGER 

Vincent Fantauzzo (United 

Kingdom; Australia, b1979), Heath 

2008, oil on canvas 

BETTY AND BRIAN KELLY 

Aleks Danko (Australia, b1950), 

2 sculptures: ‘just a pile of tricks’, 

handmade ceramic brick; ideas, 

words, processes, ceramic plaque 

Clement Meadmore (United 

States of America; Australia, 

1929–2005), untitled c1961, steel 

and steel rod wall sculpture 

VICTORIA LYNN 

Elwyn Lynn (Australia, 1917–97), 

2 drawings: Table and plan 1987, 

watercolour, synthetic polymer paint, 

pastel and collage on paper; Tables 

1979, mixed media on paper 

MISS PM McKEE. In Memory 

Of Robert ‘Bruce’ 

Ferguson Oam (1916–2008) 

In Recognition Of His Many 

Years Of Service To The 

Community Of Camden And 

The State Of New South 

Wales 

Margaret Preston (Australia, 

1875–1963), Flowers 1922, oil on 

cardboard 

BEQUEST OF KEN MYER 

George Baldessin (Italy; 

Australia, 1939–78), Triptych from 

‘Occasional images from a city 

chamber’ 1975, etching, soft 

ground, aquatint; black ink on 

silver JAC laminate paper on three 

sheets of white wove paper 

Sidney Nolan (Australia; United 

Kingdom, 1917–92), Ned Kelly 

1964, colour screenprint on paper 

MARGARET OLLEY 

Michel Le Goff (France, b1940), 

J Wolfgang Cardamatis 1991, oil 

on canvas 

MARGARET HANNAH OLLEY ART 

TRUST 

Robert Barnes (Australia, b1947), 

The Massey hammer 2006, oil on 

canvas 

JOHN OLSEN 

John Olsen (Australia, b1928), 

Loopy rivers, Cape York 2007, oil 

on canvas 

PANCONTINENTAL MINING LTD 

Robert Klippel (Australia, 1920– 

2001), No 728 King of Kings Well 

1988, 18 carat gold 

JOCELYN AND CASSI PLATE 

Carl Plate (Australia, 1909–77), 

11 collages: (15 Franco pig) 1945, 

magazine paper collage and ink 

on thin card; (17 James Cagney) 

1945, magazine paper collage and 

ink on thin card; (32 ain’t that sad) 

1945, magazine paper collage 

and ink on thin card; (34 fishing) 

1945, magazine paper collage on 

thin card; (37 ‘home sweet home’) 


on thin card; (38 pig and hole) 


on thin ivory card; (39 pink snail) 


86 


on thin card; (43 ‘they won’t run 

to seed’) 1946, magazine paper 

collage and ink on thin card; 48 

(‘one pair gants’) 1948, magazine 

paper collage on thin grey card; 

(‘I dreamt’) 1945, magazine paper 

collage on postcard; (washing 

machine) 1947, magazine and 

newspaper collage on thin card 

JULIEN PLAYOUST 

James Gleeson (Australia, 1915– 

2008), storm rods (2007), etching, 

aquatint; dark brown ink on cream 

wove paper 

ANA POLLAK 

Ana Pollak (Australia, b1958), 

Study for ‘Mullet creek’ 2007, 

graphite on white wove paper 

ALAN AND JAN REES 

Lloyd Rees (Australia, 1895–1988), 

130 drawings: Approaching Scots 

Church, drawing; Argyle Cut, The 

Rocks, Sydney 1916, drawing; The 


1917, drawing; A building with 

three arches, Sydney Harbour and 

sketch of a tower c1918, drawing; 

Burdekin House, Macquarie Street, 

Sydney and details, drawing; Cab 

horse and cab with horse, drawing; 

Cab horse beside raised garden, 

drawing; Cab horse in traces, 

drawing; Cart horse feeding, 

drawing; Cart horse waiting, 

drawing; City building, drawing; 

City building, drawing; City 

buildings, drawing; Clouds from 

Bond Street, drawing; Clydesdale 

and dray in Macquarie Place 1921, 

drawing; Clydesdale in harness 

1921, drawing; Clydesdales with a 

dray, drawing; Clydesdales with a 

dray, drawing; Clydesdales with a 

dray, drawing; Corner tower of a 

house 1916, drawing; Edgecliff 

Road, Sydney 1917, drawing; Gas 

tank, Waverton and 2 gas tank 

compositions 1918, drawing; 

Hamilton Street, Sydney 1920s, 

drawing; Harnessed horse with 

nosebag, drawing; Horse and cart 

waiting in a goods yard, drawing; 

Horse study, drawing; Horse 

waiting for work, drawing; Horse 

with man in dray, drawing; House 

by the harbour and hat (two), 

drawing; House by the water and 

house on a hill 1918, drawing; 

House with a tree and Landscape 

with cloudy sky, drawing; House 

with tree and fence, drawing; 

House with turret and chimney, 

drawing; The Lands Department 

building, Sydney 1926, drawing; 

Landscape with houses, drawing; 

Landscape with houses from 

Woollahra IV 1918, drawing; 

Landscape with pointed hill, 

drawing; Landscape with pointy hill, 

drawing; Large house with trees, 

drawing; Macquarie Place, drawing; 

Men on benches, drawing; Mitchell 

Library 1926, drawing; Pair of 

clydesdales, drawing; Prize merino 

ram 1918–20, drawing; recto: A 

gathering in Hyde Park verso: The 

Trust Building 1914 and arch of a 

bridge 1917, drawing; recto: Argyle 

Cut, The Rocks verso: Entrance to 

the GPO, Brisbane 1916, drawing; 

recto: Arms pressing down and 

work horse with nosebag verso: 

Two work horses, drawing; recto: 


verso: Obelisk in Macquarie Place 

and study for Art Gallery of New 

South Wales 1917, drawing; recto: 

Backs of clydesdales verso: Male 

profile (twice), drawing; recto: 

Building details verso: Scene with 

figures and building details 1916, 

drawing; recto: Cabby waiting 

beside raised garden and back legs 

of a horse verso: Cab horse, 

drawing; recto: Cart horse verso: 

Horse and dray, drawing; recto: 

Chair and house plan verso: 

Composition sketches late 1920s, 

drawing; recto: City building (St 

Andrews Cathedral to the left) 

verso: Figure sketches, drawing; 

recto: City view with workshops 

verso: Landscape with pointed hill 

and sketch of landscape with 

pointed hill 1918, drawing; recto: 

Clydesdale with a nosebag verso: 

Men on benches in Macquarie 

Place, drawing; recto: Colonnade 

of Central Station verso: Three 

portraits, drawing; recto: Comrie 

fountain and tree in front of St 

James and street scene [upside 

down] verso: Along George Street 

to Queen Victoria Building [twice] 

and St James with fountain [faint, 

upside down], drawing; recto: 

Corner of the Lands Department 

building verso: Rocky landscape 

with figures 1926, drawing; recto: 

Edgecliff Road, Woollahra and 4 

Edgecliff Road compositions verso: 

Houses on hillside and hillside with 

sand 1917, drawing; recto: 

Eucalypts and summer evening (2 

studies) verso: Harbour sketch and 

three arched building, Sydney 

Harbour, drawing; recto: Furniture 

verso: Shop fittings and dummies, 

drawing; recto: Garden sketch and 

tree with paling fence verso: 

Dressing table, drawing; recto: Gas 

tank, Waverton and sketch of gas 

tank verso: 3 compositional 

sketches 1918, drawing; recto: 

Hillside landscape verso: Spring 

Street, Sydney, drawing; recto: Hilly 

landscape and landscape with 

houses verso: Two composition 

sketches for ‘hilly landscape’, 

drawing; recto: Home, Baulkham 

Hills verso: Gas tank, Wollstonecraft 

Bay and Baulkham Hills, early 

morning 1919, drawing; recto: 

Horse studies verso: Horses with 

dray, drawing; recto: Horse with 

nosebag and horse (head 

unfinished) verso: Three horse 

studies, drawing; recto: House and 

tree and building in landscape 

verso: House on hill, drawing; 

recto: House behind a fence and 

rounded hillside landscape verso: 

House and the hillside, drawing; 

recto: House in the landscape and 

sandy landscape verso: Bellevue 

Hill landscape 1918, drawing; 

recto: House with gabled roof 

verso: Chimneys and tree (twice), 

drawing; recto: Houses and trees 

and houses on a slope verso: 

Suburban buildings and houses 

and trees, drawing; recto: Houses 

and trees verso: Harbour sketch, 

drawing; recto: Houses with 

chimneys verso: Urn and 

balustrade, drawing; recto: In the 

city (GPO in the background) verso: 

Composition sketch of hill with 

houses, drawing; recto: Landscape 

and houses verso: Landscape and 

houses, drawing; recto: Landscape 

with houses from Woollahra I verso: 

Self portraits 1918, drawing; recto: 

Landscape with houses from 

Woollahra II verso: Vase 1918, 

drawing; recto: Landscape with 

houses from Woollahra III verso: 

Landscape and clouds 1918, 

drawing; recto: Landscape with 

road verso: Landscape with water 

1917, drawing; recto: Lunch break 

in Macquarie Place verso: Sketch 

of a man and square, drawing; 

recto: Macquarie Place with obelisk 

and man sitting verso: Trees and 

the obelisk, drawing; recto: Men 

relaxing on the grass verso: 

Relaxing man, drawing; recto: Road 

to house verso: Young model and 

city building, drawing; recto: Scots 

Kirk on Church Hill verso: A gabled 

house, drawing; recto: Shop 

furniture and interior verso: Man 

sketching, the harbour and the 

same figure and upside down, 

drawing; recto: Shop interior and 

fittings verso: Shop interior and 

fittings and two self portraits, 

drawing; recto: Shop interiors with 

furniture verso: Boots and shoes, 

people, furniture, drawing; recto: 

Shop restaurant interior with grand 

piano and table setting verso: Shop 

restaurant with details, drawing; 

recto: Side portico of St James’ 

Church verso: The house with an 

attic and two men in a boat 1917, 

drawing; recto: St James’ Church 

verso: Small study of the Comrie 

fountain 1917, drawing; recto: St 

Mary’s Cathedral doorway with 

bosses verso: Cathedral arches, 

drawing; recto: St Mary’s Cathedral 

interior verso: Cathedral interior 

details including the altar, drawing; 

recto: St Mary’s Cathedral, Sydney 

verso: Semi-circular porch of the 


(1917), drawing; recto: Street of 

houses and trees verso: Landscape 

with water and road under railway 

line, drawing; recto: Study of 

horse’s leg verso: Study of horse’s 

legs, drawing; recto: The Comrie 

fountain in front of St James’ 

Church verso: The tree beside St 

James’ Church 1917, drawing; 

recto: The Liverpool, London & 

Globe Insurance Co. building verso: 

Tonal note, drawing; recto: The 

recruiting booth, Martin Place, 

Sydney verso: House in front of St 

Andrews Cathedral, recruiting 

booth and two sketches 1918, 

drawing; recto: The Trust Building 

and the GPO clock tower verso: 

Three small studies of houses in 

the landscape, drawing; recto: The 

Trust Building from King Street 

verso: Old Supreme Court, St 

James Road façade and two men 

on a park bench, drawing; recto: 

Tree in front of a house verso: 

Terrace houses and house 1918, 

drawing; recto: Tree with house 

with turret and chimney verso: Tree 

with house turret and chimney, 

drawing; recto: Trees and columns 

of the Art Gallery’s porch verso: 

Trees 1917, drawing; recto: Trees 

verso: House with an attic, 

drawing; recto: Two clydesdales 

with dray verso: House front, 

drawing; recto: Two horses verso: 

Horse and dray and two men, 

drawing; recto: Two storey home 

with hill behind verso: The two 

storey home with other houses and 

a large house and composition 

sketch 1918, drawing; recto: Two 

work horses verso: Work horse, 

drawing; Scots Kirk, drawing; Six 

drawings on a folded sheet (a. 

Harbour boathouse and 

harbourside building with trees; b. 

Statue of Dr John Dunmore Lang in 

Wynyard ParkTree; c. Portion of the 

roof of Sydney Town Hall; d. Tree 

on a bank and water with 

footbridge), drawing on paper; 

Small hilly landscape and houses 

and harbour and houses 1918, 

drawing; Smoking chimneys by the 

water and funnels of a ship, 

drawing; St Mary’s Cathedral, 

College Street, Sydney 1917, 

drawing; Steel works 1919, pen 

and ink, pencil on paper; Stone 

buildings with shadows and group 

of buildings 1916, drawing; Street 

produce stall and horse, drawing; 

Street with trees behind a fence, 

drawing; Sydney building, drawing; 

Sydney horse, drawing; Terrace 

house and large house and garden 

and tree, drawing; Terrace house 

with trees, drawing; Trees and wall, 

drawing; Trees behind a stone 

fence, drawing; The Trust Building 


from Hyde Park, drawing; Two cart 

horses, drawing; Two clydesdales 

with dray in Macquarie Place, 

drawing; University of Sydney’s 

Central Tower 1922, drawing 

JAN SENBERGS 

Jan Senbergs (Australia, b1939), 

31 prints: (untitled) 1966, colour 

screenprint on cartridge paper; 

Architecture 1963, colour 


The chief engineer 1965, colour 


Collapsing structure 1968, colour 

screenprint on catridge paper; 

Dream home 1969, colour 

screenprint on offset lithographic 

paper; Figure 1965–66, colour 


The flyer 1975, colour screenprint 

on Torinoko paper; Gateway 1975, 

colour screenprint on Torinoko 

paper; The good looking print 

or Harry was right 1975, colour 

screenprint on Fabriano paper; 

Hill 1970, colour screenprint on 

offset lithographic paper; It’s not 

easy 1969, colour screenprint on 

offset lithographic paper; Love the 

stage 1970, colour screenprint 

on smooth white paper; Modern 

monument in colour 1975, colour 

screenprint on BFK Rives paper; 

Mound 1973, colour screenprint 

on BFK Rives paper; Moundhouse 

1975, colour screenprint on 

Torinoko paper; Observatory 

I 1968, colour screenprint on 

cartridge paper; Performance, three 

pieces 1975, colour screenprint 

on BFK Rives paper; Structure 

on legs 1975, colour screenprint 

on BFK Rives paper; Structure, 

cloud 1975, colour screenprint 

on BFK Rives paper; Structure, 

red roof 1971, colour screenprint 

on BFK Rives paper; Study for 

‘inside a machine’ (1) 1963, colour 


paper; Suspended frame 1968, 

colour screenprint on cartridge 

paper; Three (one doubtful) 

1969, colour screenprint on 

offset lithographic paper; Untitled 

1969, colour screenprint on offset 

lithographic paper; Untitled 1977, 

colour screenprint on Arches Satine 

paper; A vision for builders 1975, 

colour screenprint on Fabriano 

paper; We’re moving 1971, colour 

screenprint on smooth white 

paper; Window 1974, colour 

screenprint on BFK Rives paper; 

Women’s buildings, University of 

Oregon 1973, colour screenprint 

on BFK Rives paper; Detail for 

‘Artificial garden’ 1968, colour 


paper; Objects and accessories 

1969, colour screenprint on offset 

lithographic paper 

MARGARET SPRATT 

Robert Klippel (Australia, 1920– 

2001), untitled (abstract) 1977, 

linocut on white wove paper 

Jörg Schmeisser (Australia; 

Germany, b1942), Trees and shells 

1979, etching and aquatint on ivory 

Hahnemühle paper 

MARY FRANCES STEPHENS 

BEQUEST 

Donald Friend (Australia, 

1915–89), untitled (lyrebird) 1960s, 

pen and black ink, wash, white 

gouache, blue watercolour on paper 

PATRICK WHITE 

James Clifford (Australia, 1936– 

87), Adventures of the mind 1986, 


SUB TOTAL 212 

Aboriginal and Torres Strait 

Islander art 

TONY ALBERT 

Tony Albert (Australia, b1981), Hey 

ya! (Shake it like a polaroid picture) 

2007, 5 panels: type C photograph 

GENEVIEVE GRIEVES 

Genevieve Grieves (Australia, 

b1976), Picturing the old people 

2005, five channel video installation 

and single channel audio, 12:55 

mins, colour, sound 

PAPUNYA TULA ARTISTS 

Martin Tjampitjinpa (Australia, 

mid 1960s–2007), Untitled 2007, 


MARGARET TUCKSON 

Unknown (Australia), 2 ceremonial 

objects: untitled (a lily totem) 

c1950s, paperbark, string, feathers, 

resin and natural pigments; untitled 

(bird) c1960s, paperbark, wood, 

string, feathers, resin and natural 

pigments 


TOTAL AUSTRALIAN ART 


Asian art 

CHINA 

PETER ELLIOTT 

Henan Blackware, Bowl Song 

dynasty 960–1279, stoneware with 

dark brown glaze 

W R GEDDES 

ZHANG Xiong (China, 1803–86), 

Picture of a cat and a butterfly 

after Jiang Nansha Qing dynasty 

1644–1911, hanging scroll, ink and 

colour on paper 

JAMES HAYES 

ZHANG Bailing (China, d1815), 

Couplet in running script Qing 

dynasty 1644–1911, pair of 

hanging scrolls; ink on paper 

DAI Xi (China, 1801–post 1860), 

Landscape after the brush method 

of juran 1856, fan; ink on paper 

HUANG Danshu (China, 1757– 

1808), Couplet in running script 

Qing dynasty 1644–1911, pair of 


BAO Jun (China, 1797–1891), 

Poem in running script Qing 

dynasty 1644–1911, set of six 


LU Runxiang (China, 1841–1915), 




RU Shan (China, 1815–post 

1885), Couplet in running script 



ZHAO Shouquan (China, 1858– 

early 1900s), Couplet in seal script, 

pair of hanging scrolls; ink on paper 

PAN Silian (China, 1820–80), 




QIU Songkang (China, active 

1860–70), Couplet in running script 



YANG Sukan (China, 1880–1942), 

Poem in running script, hanging 

scroll; ink on paper 

DENG Tao (China, active 1860– 

70), Landscape, hanging scroll; ink 

and colour on paper 

SHANG Yanliu (China, 1875– 

1963), Couplet of Lu You’s poem in 

semi cursive script c1955, pair of 


Yongxing (China, 1752–1823), 

Couplet in regular-running script 



SHEN Yuhuan (China, died post 

1950), Lotus and a poem in 

running script, fan; ink and colour 

on paper 

ZHU Ruzhen (China, 1870–1942), 

Couplet in regular script (named 

side only), hanging scroll; ink on 

paper 

PETER MULLER 

Yangshao, Storage jar Neolithic 

period 10,000–c2100 BCE, 

earthenware with mineral pigments 

BEQUEST OF KENNETH MYER 

1 bronze, 1 lacquer, 2 ceramics: 

China: Mirror with TLV design, 

c200 BCE, bronze; Qingbai ware 

bowl Song dynasty 960–1279; Yue 

ware jar, Song dynasty 960–1279; 

Japan: Tea caddy with peony 

design 1800s, lacquer 

DAISY L PANG 

Unknown (China), Vase Ming 

dynasty 1368–1644, amber 

decorated with carved vine and ivy 

leaves 

BEQUEST OF JAMES PLIMSOLL 

Saucer with embossed pair of fish 

1100s, Song dynasty 960–1279, 

celadon 

SHU CHUANXI 

SHU Chuanxi (China, b1923), 

2 paintings: Lotus 1986, hanging 

scroll; ink and colour on paper; 

Mist upon the lotus pond 1984, 

hanging scroll; ink and colour on 

paper 

WU JIYUAN 

Gansu Province, Amphora with 

saddle-shaped mouth 1300s– 

1000s BCE, earthenware 

JASON YEAP 

Kim Hoa TRAM (Australia; 

Vietnam, b1959), Returning to 

original nature 2004, hanging scroll; 

ink on paper 


INDIA 

MICHAEL HOBBS 

Rajasthan, Portrait of Sikh prince 

1700s, opaque watercolour on 

paper 

SHEILA PALMER 

Thanjavur (Tanjore), Tamil Nadu, 

Company school (India, established 

late 1700s, closed late 1800s), 

3 watercolours: Fish vendor 

1800s, opaque watercolour on 

paper; Goldsmith 1800s, opaque 

watercolour on paper; Gujarati 

man 1800s, opaque watercolour 

on paper 


INDONESIA 

PETER COURT AND FAMILY IN 

MEMORY OF DEE COURT 

Borneo, Ba’ (baby carrier) 1900s, 

fibre, wood, cotton, beads, bone, 

shell and other material 


JAPAN 

SHONA BARKER 

Adachi/Shôsai GINKÔ (Japan, 

active 1870–1900), 5 prints: 

untitled from the series Manners 

and customs of the five seasonal 

festivals 1891, Meiji period 1868– 

1912, concertina album, triptych, 

colour woodblock print; untitled 

88 


from the series Pictures of ladies’ 

etiquette 1891, Meiji period 1868– 


colour woodblock print; Sewing 

lesson 1887, Meiji period 1868– 


colour woodblock print; Short 

biography of Murasaki Shikibu 

1891, Meiji period 1868–1912, 

concertina album, triptych, colour 

woodblock print; Tea ceremony 

from the series Pictures of ladies’ 

etiquette 1890, Meiji period 1868– 


colour woodblock print 

Toyohara (Yôshû) CHIKANOBU 

(Japan, 1838–1912), 3 prints: 

untitled from the series Pictures of 

ladies’ etiquette c1893, Meiji period 

1868–1912, concertina album, 

triptych, colour woodblock print; 

untitled from the series Pictures of 

ladies’ etiquette 1891, Meiji period 

1868–1912, concertina album, 

triptych, colour woodblock print; 

Spring amusements for noble 

daughters 1891, Meiji period 1868– 



JAMES HAYES 

Utagawa KUNISADA I / 

TOYOKUNI III (Japan, 1786– 

1864), 5 prints: Actor Iwai Shijaku 

as a maid c1805–10, colour 

woodblock print; Actor Sawamura 

Toyosuke in the role of Seigen 

Ama 1863, colour woodblock 

print; Courtesan Matsushima of 

Sano Matsubaya with 2 kamuro 

c1811–15, colour woodblock print; 

Courtesan Yūgiri of Ogiya c1847– 

50, colour woodblock print; Lady 

Toda and Oboshi Yūranosuke from 

the series Stories about individuals 

in the history of Chūshingura (Ch 

shingura meimei den) 1855, colour 

woodblock print 

Utagawa TOYOKUNI II (Japan, 

1777–1835), Courtesan Masuharu 

of the Matsubaya compared to Mt 

Matsuchi of ‘Ten famous views of 

Edo’ from the series A comparison 

of beauty (bijin awase) c1820, 


Utagawa school (Japan), 2 

prints: Courtesan Nagao of 

Owariya (in Edomachi 10-chome, 

Shin-Yoshiwara) 1850s, colour 

woodblock print; Courtesan 

Shigeoka of Okamotorō 

(in Kyōmachi 1-chome, Shin- 

Yoshiwara) 1850s, colour 


MASA HIRAOKA IN MEMORY OF 

HIS WIFE SETSUKO HIRAOKA 

5 textiles: Baeiju (rice age) 88th 

birthday celebration costume, 

red hood with rice plant design; 

Kanreki 60th birthday celebration 

costume, red hood and coat; Aged 

lady’s formal beige coloured visiting 

kimono with arabesque pattern 

with obi and obijime, cotton; Aged 

lady’s formal dark blue visiting 

kimono with hollyhock leaf pattern 

with obi, cotton; Young boys formal 

cotton haori (coat), cotton 

LESLEY KEHOE 

5 textiles: Comb with plant design 

early 1900s, black, red and green 

lacquer on wood; Incense burner 

with design of chrysanthemum and 

open work silver lid late 1800s, 

Meiji period 1868–1912, wood, 

gold maki-e, silver; Miniature 

armour box (karabitsu) with design 

of cranes on a fan-shape reserve 

late 1800s–early 1900s, Meiji 

period 1868–1912, wood, gold 

lacquer, aogai and metal inlay; Set 

of comb and hair pin with design 

of crows and herons 1800s, Edo 

(Tokugawa) period 1615–1868, 

wood, gold and black lacquer; 

Set of comb and hair pin with 

designs of manservants (yakkosan) 

and bamboo late 1800s, Edo 


Meiji period 1868–1912, wood, 

gold, black and red lacquer 

Tanaka Hyo’ami (Japan, active 

1900–50), Kashiki (tray for tea 

sweets) early 1900s, Taishō period 

1912–26, kanshitsu (dry lacquer), 

silver lacquer finish 

Tosa School (Japan), Six scenes 

from ‘The tale of Genji’ 1700–50, 

pair of six-fold screens; ink, colour, 

gold and gofun on paper 

LESLEY KEHOE GALLERIES 


(Japan, b1952), Lotus leaf 2006, 

kanshitsu (dry lacquer), gold, green 

and yellow lacquer and gold on 

wood, quartz crystal drops 

REV MUNEHARU KUROZUMI 

SARAGAYA Hisako (Japan, 

b1926), Flower vase 2008, 

earthenware with grey glaze and 

abstract decor 

ALAN LLOYD 

Tomioka EISEN (Japan, 1864– 

1905), Hidden in deep mountains 

1900, kuchi-e woodblock print; ink 

and colour on paper 

HELEN MOON 

Utagawa KUNISADA I / 

TOYOKUNI III (Japan, 1786– 

1864), Chapter 25, Fireflies from 

the series Faithful depictions of the 

figure of the Shining Prince c1851, 


PETER MULLER 

2 hanging scrolls: Seated Dainichi 

Nyorai of the Matrix realm 1700s– 

1800s, Edo (Tokugawa) period 

1615–1868, hanging scroll; ink, 

colour and gold on silk; Yakushi 

Nyorai triad 1600s–1700s, Edo 


hanging scroll; ink, colour and gold 

on silk 

BEQUEST OF KENNETH MYER 

Red lacquer box 1900s, lacquer 

Reika IWAMI (Japan, b1927), Mizu 

no kage 1976, woodcut 

MUNAKATA Shikô (Japan, 1903– 

75), Girl, woodcut 

OGATA Gekkô (Japan, 1859– 

1920), Beauty with a fan 1800s, 

woodcut 

ONO Tadashige (Japan, 1909–90), 

2 woodcuts: untitled 1970s, 

woodcut; untitled 1970s, woodcut 

SEKINO Jun’ichiro (Japan, 1914– 

88), 3 woodcuts: Geisha with ace 

of hearts, woodcut; Mitsuke on the 

Tokkaido 1970s, woodcut; untitled 

(village scene) 1970s, woodcut 

SHINODA Tôkô (Japan, b1913), 

Arrived wind 1970s, woodcut 

BEQUEST OF JAMES PLIMSOLL 

Meiping vase in Korean style 1900– 

50, porcelain 

HARADA Minoru (Japan, b1941), 

Vase 1950–2000, earthenware; 

Kiyomizu-style 

Andô/Utagawa HIROSHIGE 

(Japan, 1797–1858), Fullmoon at 

Takanawa from the series Famous 

places of the eastern capital 1831– 

32, colour woodblock print 

Clifton KARHU (Japan, b1927), 

Winter trees, Katsura 1982, colour 


KAWADA Kan (Japan, 1927–99), 

Path in Takahata village 1980, 


Gerd Knäpper (Germany, b1943), 

Vase 1980s, earthenware 

NAKAJIMA Masao (Japan), 

E-Shino vase with design of flying 

geese, earthenware 

ÔHARA Shôson (1877–1945), 

Flying geese 1930s, colour 


OHI Toshiro (Japan, b1926), Tea 

cup 1950–2000, earthenware with 

ohi amber glaze 

Rozan (Japan), Vase with design of 

ivy 1900–50, porcelain 

SAITÔ Kiyoshi (Japan, 1907–97), 

Persimmon tree in Ezu 1981, colour 


TAKEKAWA Akihiko (Japan, 

b1943), Buddhist hall 1981, colour 


BARBARA WHITE 

Toyohara KUNICHIKA (Japan, 

1835–1900), Chapter 19, Usugumo 

from the series Genji gojūyon jō 

(54 modern feelings matched with 

the 54 chapters of Genji) c1884, 

Meiji period 1868–1912, colour 



KOREA 

CHOSUN GALLERY 

Tray table (soban) with 

dodecagonal top and ‘tiger’ legs 

late 1800s, white cedar 


NEPAL 

J A AND H D SPERLING 

Garuda 1800s, gilt copper alloy 


THAILAND 

PETER SKILLING 

Thap Than district, Uthai Thani 

province, Pha yan (talismanic cloth) 

2007, cotton 


TIBET 

J A AND H D SPERLING 

1 piece of metalwork, 2 sculptures 

and 11 ceremonial objects: A two 

part belt buckle or harness fitting 

depicting a pair of snow lions, 

silver(?); Image of Tzongkhapa early 

1700s, partial gilt bronze; 

Vajrasattva c1200s–1300s, bronze 

with silver and copper inlay; Amulet 

box (gau) c1700s–1800s, carved 

amber plaque, outer edge studded 

with sky-blue turquoises; wrapped 

terracotta piece inside box; Amulet 

box early 1900s, low-grade silver 

decorated with 5 bullet casings, 

coral bead; Apron 1700s–1800s, 

bone; Butter lamp early 1900s, 

copper inlaid with silver; Censer 

1800s–1900s, beaten silver; 

Circular amulet box 1800s, box 

of silver and copper(?) decorated 

with a turquoise bead, wrapped 

terracotta medallion inside box, 

paper prayers; Flint case 1800s– 

1900s, leather with a metal striker, 

copper repousse; Human bone 

collar c1500s–1700s, human bone; 

Set of four miniature enthronement 

implements, silver; Skull crown 

1800s, bone; Skull crown 1800s, 

bone 


TOTAL ASIAN ART DEPARTMENT 

107 WORKS 

European art pre-1900 

MARGARET SPRATT 

Blair Hughes-Stanton (England, 

1902–81), The model 1926, wood 

engraving 



Modern and 


GEOFF AND VICKI AINSWORTH 

Mona Hatoum (Lebanon; England, 

b1952), Bukhara (red) 2007, wool 

and cotton 

JOHN BEARD 

John Beard (Wales; Australia, 

b1943), Sphinx 2007, oil and wax 

on linen 

ADAM CULLEN 

Adam Cullen (Australia, b1965), 

Residual paroxysm of unspoken 

and extended closures interrogated 

by a malady of necrogenic 

subterfuge with a nice exit 1993, 

2008, television, air-conditioning 

filters, rubber, fiberglass bath, 

disposable nappies, various 

adhesives, glass-filament adhesive 

tape, pharmaceutical apparatus, 

wood, plastic/paper, sheeting, 

timber, varnish, mucus, ink 

MICHAEL HOBBS 

Imants Tillers (Australia, b1950), 

52 displacements (no 2) 1979–80, 

gouache on canvas, framed text 

panel 

JOHN KALDOR 

Antoni Miralda (Spain; France, 

b1942), Coloured bread 1973, 

colour photo screenprint 

BRIAN AND BETTY KELLY 

Alan Davie (Scotland, b1920), 

Zurich improvisations XII 1968, 

colour lithograph 

TUSCHIYA KIMIO 

TUSCHIYA Kimio (Japan, b1955), 

untitled (sleeper installation) 1998, 

railway sleepers 


Photography 

CHRISTINE CORNISH 

Christine Cornish (Australia, 

1946), Threshold 2004, 10 pigment 

prints mounted on aluminium 

BONITA ELY 

Bonita Ely (Australia, b1946), 9 

photographs from the series The 

Murray’s edge 2007–8 2007–08: 

1. Murray headwaters 2008, 

14 unique ink jet prints; 2. Near 

Corryong 2007, 8 unique ink jet 

prints; 3. Barmah Forest 2007, 9 

unique ink jet prints; 4. Lake Boga 

2008, 5 unique ink jet prints; 5. 

Near the Murrumbidgee Murray 

junction 2007–2008, 12 unique 

ink jet prints; 6. Robinvale, Euston 

2007–2008, 4 unique ink jet prints; 

7. Bottle Bend near Mildura 2008, 

11 unique ink jet prints; 8. Near 

Swan Reach, South Australia 2007, 

12 unique ink jet prints; 9. The 

Murray’s Estuary: Lake Alexandrina, 

Lake Albert, the Coorong 2007, 10 

unique ink jet prints 

JACKY REDGATE 

Jacky Redgate (England; Australia, 

b1955), 4 photographs from the 

series Naar het Schilder-boeck 

1984–85 1984–85: The world turns 

on his thumb 1984, gelatin silver 

photograph, matt with ink stamp, 

sandblasted glass; He swims 

against the stream 1985, gelatin 

silver photograph, matt with ink 

stamp, sandblasted glass; The 

hen feeler #2 1985, printed 2004, 

gelatin silver photograph, matt 

with ink stamp, sandblasted glass; 

He fills in the ditch after the calf 

has drowned 1985, gelatin silver 

photograph, matt with ink stamp, 

sandblasted glass 

JUAN ROBERSON 

Francis J Mortimer (England, 

1874–1944), 6 photographs: 

Britannia’s realm 1910, relief 

halftone print; untitled (portrait 

of F J Mortimer) 1921–34, relief 

halftone print; untitled (study for 

Shipwrecked / lest we forget - an 

eye for an eye; a tooth for a tooth – 

family in boat) 1917–19, composite 

collage: gelatin silver photographs, 

oil paint, gouache; untitled (study 

for untitled [little girls with buckets 

& spades]) 1911–12, composite 


gouache; untitled (study for All’s 

well – ship’s crew and battleship 

destroyer) 1917, composite 


oil paint, gouache; untitled (study 

for The wreck / the trail of the Huns 

– lifeboat crew attending shipwreck) 

1916, composite collage: gelatin 

silver photographs, gouache 

FRANCES TURNER 

attrib J Craig Annan (Scotland, 

1864–1946), untitled (portrait of 

F J Mortimer) 1913, carbon print 

photograph 


TOTAL WESTERN ART 


TOTAL ALL DEPARTMENTS 

353 WORKS GIFTED 

TOTAL WORKS PURCHASED 

AND GIFTED IN 2008–09: 504 


LOANS 

* Renewed loans 

Works lent to the Gallery 

*PRIVATE COLLECTION 

George W Lambert, Archibald A 

Rankin 1925, oil on canvas 


Oskar Kokoschka, Landscape at 

Ullapool 1945, oil on canvas 

MAXIMILLIAN HUGHES 

Standing Buddha 8th century CE, 

bronze 

ANONYMOUS LOAN 

Kannon Bosatsu and Seishi 

Bosatsu 15th century, pair of 

gilt-lacquered wood figures with 

openwork mandorla and loose 

metal jewellery 

PRIVATE COLLECTION 

Pierre-Auguste Renoir, Jeune 

femme se baignant 1888, oil on 

canvas 

GIUSEPPE PENONE 

Giuseppe Penone, Idee di pietra 

2004, bronze and natural river 

stone 


William Kentridge, Walking man 

turning into a tree 2000, linocut 


Judy Cassab, Landscape 1961, 

oil on hardboard 

*NELSON MEERS FOUNDATION 

Sidney Nolan, Giggle Palace 1945, 

ripolin enamel and oil on hardboard 

*MRS J FINDLAY 

Horse and rider, earthenware 

Lady polo player, earthenware 

Male polo player, earthenware 

*SATIS ARNOLD 

ZHANG Daqian, Homeward 

passing through the stone gate at 

dusk 1974, colour lithograph 

ZHANG Daqian, Mountain 

monastery by the waterfall 1974, 


ZHANG Daqian, Peonies 1974, 


ZHANG Daqian, Shrike amidst 

the autumn leaves 1974, colour 

lithograph 

ZHANG Daqian, Hanging gibbon 

over the autumn stream 1974, 


ZHANG Daqian, Cinnabar lotus 

1974, colour lithograph 

ZHANG Daqian, Lotus 1973, 


ZHANG Daqian, Persimmons 

1973, colour lithograph 

ZHANG Daqian, Village in the 

mountains 1973, colour lithograph 

ZHANG Daqian, Village in the 


ZHANG Daqian, Temple in the 


ZHANG Daqian, Lotus 1973, 


MR AND MRS SCOTT REID 

Ritual vessel ding, bronze 

Sir Thomas Lawrence, Richard 

Meade, 3rd Earl of Clanwilliam, 

oil on canvas 


Lord Frederic Leighton, 

An athlete wrestling with a python, 

white marble 


Athlete struggling with a python, 

bronze 


The sluggard, bronze 

*VICTORIA BRIEN AND DEREK 

SICKLEN 

Unknown, Confucius and his 

seventy-two disciples 15th–17th 

century, handscroll; ink and colour 

on silk 

JAMES OSWALD FAIRFAX 

Three scenes from ‘The tale of 

Genji’ late 19th century, single sixfold 

screen; ink, colour and gold 

on paper 


Justin O’Brien, Portrait of a young 

man (Martin Sharp) (1959), oil on 

paper on hardboard 


Ritual vessel ‘you’ 13th–11th 

century BCE, bronze 

Ritual vessel ‘bu’ 13th–11th century 

BCE, bronze 

Ritual vessel ‘he’ 770–476 BCE, 

bronze 

Ritual vessel ‘dun’ 475–221 BCE, 

bronze 


Tracey Moffatt, Something more 7 

1989, Cibachrome photograph 

*JOHN KILEY AND EUGENE 

SILBERT 

Bill Henson, Untitled 1997/2000 

1997–2000, type C photograph 

90 


COLIN MCDONALD 

Sword: Daisho Koshirae 

Sword: Taikei Naotane Ko 

Wakizashi 1845 

Kuniyasu, Sword: Horikawa 

Kuniyasu Katana 1596 

Sword: Bizen Sukesada Katana 

1578 

attrib Naohide, Sword: Soji 

Naohide Tanto (plus koshirae) 1861 

Suô Muratoshi, Sword: Suo 

Moritoshi Katana (plus koshirae) 

1849 

Akasaka Senjuin, Sword: Akasaka 

Senjuin Katana 1450 

Sword: Michitatsu Tanto 

(plus koshirae)1680 

Sword furniture: Goto Ichijo Kozuka 

Gotô Mitsukuni, Sword guard: 

Goto Mitsukuni (Goto school) 

17th–19th century 

Sword guard: Iron Masachika 

(Ito school) 

Sword guard: Iron Masayoshi 

(Ito school) 

Hamano Noriyuki, Sword furniture: 

Shakudo Menuki (shells) (Hamano 

school) 

Suruga Takaoki, Sword guard: Iron 

Suruga Takaoki (goose and grass) 

17th–19th century 

Ishiguro Teruaki, Sword guard: 

Shakudo Ishiguro Teruaki (gold rim) 

Sword furniture: Shakudo Kogai 

(Ko-Goto) (Dragon and Ken) 

Masatsune III, Sword furniture: 

Shakudo Masatsune III (Ishiguro 

school) 

Sword furniture: Shakudo Ichiju 

(Ishiguro school) 

Sword furniture: Guri-bori fuchikashira 

c1780 


Anselm Kiefer, Wege 

Der Weltweisheit: Die 

Hermannsschlacht 1978, mixed 

media (woodblock print, synthetic 

polymer paint, varnish) 

SUGITO Hiroshi, Elephant & 

buckle 1999, diptych: acrylic, 

pigment and graphite on paper on 

canvas 

Neo Rauch, Marznacht 2000, oil 

on paper 

Anish Kapoor, Untitled 2002, 

stainless steel and lacquer 

Tony Oursler, Mo 2003, fiberglass, 

DVD projection, sound 

Tracey Emin, I do not expect 

2002, mixed media: appliqué 

blanket 

Neo Rauch, Gebot 2002, oil on 

canvas 

Dieter Roth, Insel 

(Schokoladenpyramide) c1971, 

chocolate, iron and plaster on 

wooden board in plexiglass box, 

mounted to wooden board 

*POWERHOUSE MUSEUM 

Jingdezhen ware, Armorial plate 

bearing the arms of Booth impaling 

Irvine of Drum c1723, porcelain 

with ‘rouge de fer’ enamel; gilt 

Altar vase (‘zun’) 1796–1820, 

porcelain; monochrome blue 

enamel glaze 

YOSHINORI, Pair of stirrups, iron 

with gold and silver inlay 

Cup 700–750, earthenware with 

sancai (three colour) glaze 

Neolithic jar 3000–1700 BCE, 

earthenware decorated in iron rich 

pigments of red-brown and black 

Seto ware tea caddy 18th century, 

stoneware 


stoneware 


stoneware 

MICHAEL RILEY FOUNDATION 

Michael Riley, Avril 1986, gelatin 

silver photograph 

*AUSTRALIAN MUSEUM 

Quiver 18th century, lacquer and 

mother-of-pearl inlay on wood 

NEWCASTLE REGION ART 

GALLERY 

YAGI Kazuo, Applause space 

1974, black-fired earthenware 

YAGI Kazuo, Design plan (Face) 

1977, black-fired earthenware 


James Gleeson, The Peregian 

Codex 1983, bound book of 22 

decalcomanias with collage 

Works lent by the Gallery 

NATIONAL GALLERY OF 

AUSTRALIA, ACT 

Richard Larter: a retrospective 

03.07.08 to 17.09.08 

Richard Larter, Dithyrambic 

painting no 6 1965, synthetic 

polymer paint on hardboard 

Richard Larter, Mr No, the rat fink 

censor 1965, synthetic polymer 

paint on hardboard 

Richard Larter, Prompt Careb and 

how we never learn 1975, synthetic 

polymer paint on canvas 

NATIONAL LIBRARY OF 


A modern vision: Charles Bayliss 

photographer 1850–1897 

11.07.08 to 26.10.08 

Charles Bayliss, Macquarie Chair 

c1885, albumen photograph 

Charles Bayliss, Bourke 1886, 

albumen photograph 

Charles Bayliss, A reach on the 

Darling 1886, albumen photograph 

Charles Bayliss, Wool-washing at 

Gundabooka Station, Darling River 

1886, albumen photograph 

Charles Bayliss, Junction of 

Darling and Warrego Rivers (first 

view)1886, albumen photograph 

Charles Bayliss, View from Dunlop 

Range, near Louth, Darling River 

(looking south) 1886, albumen 

photograph 

Charles Bayliss, Homestead, 

Dunlop Station, Darling River 1886, 

albumen photograph 

Charles Bayliss, Group of local 

Aboriginal people, Dunlop Station 


Charles Bayliss, Bullock teams 

at Wilcannia 1886, albumen 

photograph 

Charles Bayliss, Mob of 1000 

bullocks crossing Darling River, near 

Wilcannia (first view) 1886, albumen 

photograph 

Charles Bayliss, Waterworks, 

Wilcannia 1886, albumen 

photograph 

Charles Bayliss, Group of local 

Aboriginal people, Chowilla Station, 

Lower Murray River, South Australia 


Charles Bayliss, Overland Corner, 

Lower Murray, South Australia 




Picture paradise: Asia-Pacific 

photography 1840 –1940s 

11.07.08 to 09.11.08 

YAMAWAKI Iwao, Untitled (glass 

abstraction) 1930–1932, gelatin 


F R Ratnagar, Evening in the hills 

1937, gelatin silver photograph 

Dorothea Lange, White angel 

breadline, San Francisco 1932 

{printed 1940s}, gelatin silver 

photograph. 

POWERHOUSE MUSEUM, NSW 

Modern times 

Powerhouse Museum, NSW 

01.08.08 to 08.02.09 

Heide Museum of Modern Art, VIC 

23.03.09 to 12.07.09 

State Library of Queensland, QLD 

31.07.09 to 25.10.09 

Grace Cossington Smith, 

Rushing c1922, oil on canvas on 

paperboard 

Ludwig Hirschfeld-Mack, Dark red 

abstract lines 1937, oil on canvas 

on plywood 

Weaver Hawkins, Jitterbugs 1945, 

oil on canvas 

Rayner Hoff, Decorative portrait 

– Len Lye 1925, marble 

Frank Hinder, Subway, Wynyard 

1948, tempera on hardboard 

Margaret Preston, Implement blue 

1927, oil on canvas on hardboard 

Margaret Preston, Adina c1946, 

colour screenprint on wool 

Peter Purves Smith, New York 


Weaver Hawkins, Atomic power 

1947, oil on hardboard 

Stanislaus Ostoja-Kotkowski, 

Sunrise c1965, collage and 

synthetic polymer paint on 

aluminium 

Frank Hinder, Dark image 1967, 

luminal kinetic: electric motors, 

coloured lights, tinted perspex, 

glass 

Roy de Maistre, Rainbow scale. 

D# Minor – F# Minor, coloured 

crayon, pencil 


E & A, coloured crayon, pencil 


E – G, coloured crayon, pencil 


E & F, coloured crayon, pencil 


G Major & A Minor, coloured 

crayon, pencil 


C# – Eb, coloured crayon, pencil 

Ludwig Hirschfeld-Mack, Abstract 

composition 1921, colour woodcut, 

black, blue, red, yellow and beige 

on ivory laid paper 

Ludwig Hirschfeld-Mack, 

Reaching the stars 1922, colour 

lithograph, black, dark blue, light 

blue, fawn and yellow on thin 

cream mulberry paper 

Ludwig Hirschfeld-Mack, 

The world to come 1940, pencil, 

watercolour on ivory wove paper, 

varnish 

Frank Hinder, Abstract 1933, 

pencil and watercolour on paper 

Frank Hinder, Carnival 1944, 

pencil, tempera on white wove 

paper 

Frank Hinder, Space perspective 

1961, ink and wash on graph paper 


Frank Hinder, Space lab 1967, 

watercolour 

Margel Hinder, Six studies for 

abstract sculptures, pencil (one 

with coloured chalk) 

Margel Hinder, Two studies for 

abstract sculptures, pencil (one 

with coloured chalk), on tracing 

paper 


abstract sculptures, pencil on 

tracing paper 

Margel Hinder, Eight studies for 

abstract sculptures 1966, pencil, 

pastel on tracing paper 

Margel Hinder, Eight studies for 


tracing paper 



tracing paper 

Margel Hinder, Four studies for 


tracing paper 

Irene Bayer, Portrait of Grit Kallin, 

Bauhaus Dessau 1928, gelatin 


Grit Kallin-Fischer, Eduard Fischer 

on Mart Stam chairs, Bauhaus 

Dessau 1928, gelatin silver 

photograph, vintage 

Max Dupain, Sunbaker 1937 

{printed later}, gelatin silver 

photograph 

Max Dupain, Untitled (nude with 

pole), gelatin silver photograph 

Max Dupain, Illustration for 

Kelvinator advertisment 1936 

{printed later}, gelatin silver 

photograph 

Stanislaus Ostoja-Kotkowski, 

Nymphex 1970s {printed later}, 

gelatin silver photograph from 

electronic image 

SCOTTISH NATIONAL GALLERY 

OF MODERN ART, SCOTLAND 

Tracey Emin 

Scottish National Gallery of Modern 

Art, SCOTLAND 

02.08.08 to 09.11.08 

Centro de Arte Contemporáneo de 

Málaga, SPAIN 

28.11.08 to 22.02.09 

Kunstmuseum Bern, 

SWITZERLAND 

10.03.09 to 21.06.09 

Tracey Emin, I do not expect 

2002, mixed media: appliqué 

blanket 

S H ERVIN GALLERY, NSW 

Yin-Yang: China in Australia 

08.08.08 to 28.09.08 

Ian Fairweather, Tea garden, 

Peking c1936, oil on cardboard 

Ian Fairweather, Chinese 

mountain 1933, oil and gouache on 

cardboard 

Ian Fairweather, West Lake, 

Hangchow 1933, oil and gouache 

on paper on canvas on cardboard 

Ian Fairweather, Landscape near 

Peking 1935, oil on cardboard 

Margaret Preston, I lived at 

Berowra 1941, oil on canvas 

Margaret Preston, Grey day in the 

ranges 1942, oil on hardboard 

Margaret Preston, Begonia c1935, 

woodcut, black ink on thin ivory laid 

Japanese paper 

HISTORIC HOUSES TRUST OF 

NEW SOUTH WALES, NSW 

Lost gardens of Sydney 

Museum of Sydney, NSW 

09.08.08 to 30.11.08 

Maurice Felton, Portrait of Mrs 

Alexander Spark 1840, oil on 

canvas 

ART GALLERY OF SOUTH 

AUSTRALIA, SA 

Misty moderns: Australian 

tonalism 1915–1950 

Art Gallery of South Australia, SA 

14.08.08 to 19.10.08 

McClelland Gallery, SA 

16.11.08 to 01.02.09 

National Gallery of Australia, ACT 

20.02.09 to 26.04.09 

Hazelhurst Regional Gallery and 

Arts Centre, NSW 

09.05.09 to 21.06.09 

University Art Museum, QLD 

17.07.09 to 13.09.09 

Newcastle Region Art Gallery, NSW 

09.10.09 to 29.11.09 

Percy Leason, Flowers 1922, 

oil on paperboard 

Percy Leason, Self portrait 1922, 

oil on cardboard 

A M E Bale, Last of the season 


Roland Wakelin, Self portrait 1920, 


Roy de Maistre, Still life c1922, 

oil on paper on paperboard 

Arnold Shore, The park 1941, 

oil on cardboard 

IVAN DOUGHERTY GALLERY, 

NSW 

Colour in art – revisiting 1919 

Ivan Dougherty Gallery, NSW 

21.08.08 to 27.09.08 

Heide Museum of Modern Art, VIC 

23.03.09 to 12.07.09 

State Library of Queensland, QLD 

25.07.09 to 20.11.09 

Roland Wakelin, Synchromy 

in orange major 1919, oil on 

cardboard 

Roland Wakelin, Causeway, 

Tuggerah 1919, oil on paper on 

paperboard 

Roland Wakelin, Berry’s Bay 1919, 


Roy de Maistre, Colour keyboard 

c1919, oil, pencil on cardboard 

Roy de Maistre, (Colour chart) 

c1919, oil on cardboard 

Roy de Maistre, (A set of colour 

discs, scales, wheels) c1919, 


Roy de Maistre, Rhythmic 

composition in yellow green minor 

1919, oil on paperboard 

Roy de Maistre, Colour music 

c1934, gouache, music roll 

Roy de Maistre, Indigo F, 

gouache, pencil on paper 

Roy de Maistre, Green D, 

watercolour, gouache and pencil 

on paper 

Roy de Maistre, Yellow green 

(C# Minor), oil and pencil on paper 

Roy de Maistre, Violet blue F#, 

watercolour and pencil on paper 

Roy de Maistre, Rainbow scale 

(Exhibit I), coloured crayon, pencil 

on cream card 


(Exhibit II), coloured crayon, pencil 

on cream card 


(Exhibit III), coloured crayon, pencil 

on cream card 


(Rainbow again), coloured crayon, 

pencil on cream card 

Roy de Maistre, Rainbow scale. A 

– C Majors, coloured crayon, pencil 


E – D#, c1930s, coloured crayon, 

pencil 


E – G#, coloured crayon, pencil 


E – B, coloured crayon, pencil 


E & C, coloured crayon, pencil 


E & A#, coloured crayon, pencil 

IVAN DOUGHERTY GALLERY, 

NSW 

Ralph Balson – Anthony Hordern 

Gallery 1941 

21.08.08 to 07.09.08 

Ralph Balson, Painting 1941, 


ANNE AND GORDON SAMSTAG 

MUSEUM OF ART, SA 

William Kentridge: tide table 

29.08.08 to 17.10.08 

William Kentridge, Tide table 

2003, animated 35mm film, 

video and DVD transfer, sound 

8 mins 53 secs 

BALLARAT FINE ART 

GALLERY, VIC 

The naked and the nude 

13.09.08 to 07.12.08 

Arthur Fleischmann, Kneeling girl 

1937, wood 

Rayner Hoff, Australian Venus 

c1927, Angaston marble 

Sir William Dobell, The duchess 

disrobes 1936, oil on plywood 

Arthur Boyd, The expulsion 

1947–48, oil on hardboard 

Frank Hodgkinson, Sensuality 

1971, charcoal 

Nora Heysen, Male nude in 

moonlight, charcoal, white chalk 

on blue paper 

Janet Cumbrae Stewart, 

The model disrobing 1917, 

pastel on paper 

Charles Meere, Cartoon for 

‘Australian beach pattern’ 1939, 

pencil, pen and black ink, squared 

on ivory wove paper 

Eric Wilson, Seated female nude, 

front view c1938, crayon 

Justin O’Brien, Venus no 1 1988, 

oil on canvas 

ALBURY REGIONAL ART 

GALLERY, NSW 

Step right up 

Albury Regional Art Gallery, NSW 

10.10.08 to 04.01.09 

Wollongong City Gallery, NSW 

12.12.08 to 25.01.09 

David Strachan, Sketchbook 

(thirty-four sketches of circus 

figures, female figures, abstract 

landscapes), bound sketchbook: 

31 leaves, 34 drawings, mixed 

media on cream wove paper 

David Strachan, Clown and 

magician 1947, pen and black ink, 

wash 

Dorrit Black, The acrobats 1927– 

1928, colour linocut, yellow, green 

and black ink on ivory mulberry 

paper 

BATHURST REGIONAL ART 

GALLERY, NSW 

Themes and variations: Australian 

drawings from the collection of 

the Art Gallery of NSW 

17.10.08 to 30.11.08 

George Coates, Head study of a 

bearded man c1895, pencil, pen 

and sepia ink 

George W Lambert, H Desbrowe 

Annear 1921, pencil on off-white 

wove paper 

92 


Nora Heysen, Self portrait 1926, 

pencil on white paper 

Nora Heysen, Native of New 

Guinea c1945, pen and red ink, 

carbon pencil 

Thea Proctor, Girl with gloves 

c1928, pencil on cream wove 

paper 

Donald Friend, African boy 1939, 

pen and ink, wash 

Donald Friend, (Study of a 

landscape) 1932, pencil 

Donald Friend, Casuarinas 1948, 

pen and ink, wash 

Donald Friend, Youth, death 

and the maiden c1965, pen and 

brown, black and red ink, wash, 

watercolour, white gouache on buff 

wove paper 

Donald Friend, Boy 1972, ballpoint 

pen 

Douglas Dundas, Portrait of 

Joshua Smith 1940, pencil 

Joshua Smith, Self portrait c1950, 

pencil on paper 

Eric Wilson, Head study c1942, 

pencil on ivory wove paper 

Albert Tucker, Self portrait 1992, 

black felt pen 

Albert Tucker, Self portrait 1986, 

crayon, watercolour 

Albert Tucker, Self portrait as a 

mask 1940s, pencil 

Albert Tucker, Female nude 

1940s, pencil on paper 

Albert Tucker, Desiccated horse 

1956, black ink, gouache on glossy 

thin white cardboard 

Louis Kahan, Albert Tucker c1961– 

c1962, pen and black ink 

Brett Whiteley, Face of an old 

man, charcoal 

John Olsen, Kenneth Slessor 

1970, pencil 

John Olsen, Seated female nude, 

back view 1993, charcoal, pastel 

Kevin Connor, Self portrait III 

1992, brush and black ink, white 

gouache 

Jon Molvig, Hal Missingham 

(portrait sketch), conté crayon, 

pencil 

Kevin Lincoln, Self portrait 1984, 

charcoal, wash on white wove 

paper 

Louis Buvelot, Bacchus Marsh, 

Werribee Creek 1876, pencil, grey 

wash 

Sydney Long, Study for etching 

‘The land of the lavender’ c1923, 

pencil, white gouache, black pastel, 

grey wash 

John Glover, Derwent Water, 

Lake District c1831, pen and greybrown 

ink, wash on sheet from 

sketchbook 

Hans Heysen, Arkaba landscape, 

far north c1930, charcoal, pen and 

ink, wash, pencil 

Lloyd Rees, Study for ‘A tribute to 

France’ 1967, pen, ink, watercolour 

Lloyd Rees, The fields of Béziers 

1967, pen and black ink, wash and 

watercolour on white wove paper 

Lloyd Rees, Sketchbook no 13: 

Europe 1966 –1967 1966–67, 

bound sketchbook: pencil, 

watercolour, pen and black ink, 

black fibre-tipped pen, purple fibretipped 

pen, black ball-point pen 

and charcoal 

Frank Hodgkinson, Fiume Arno 

1947, brush and brown ink, wash 

on cream wove paper from a 

sketchbook 

Sir William Dobell, (Landscape) 

(Gouaches), wash, gouache on 

grey paper 

Sir William Dobell, Joshua Smith 

1943, silverpoint on paper 

Sir William Dobell, Self portrait 

1937, pencil, brush and brown ink 

Fred Williams, Lysterfield Hills 

series XVI 1969, brush and black, 

brown and grey ink on wove paper 

James Gleeson, Study for ‘The 

prepared grove’ 1990, charcoal, 

collage, pencil, squared with pencil 

on white wove paper 

Grace Crowley, Fizelle (?) at 

drawing board, head and shoulders 

(Crowley-Fizelle school), pencil on 

brown paper 

Grace Crowley, Seated female 

nude, eyes downcast (Academie 

Lhote), pencil on tan paper 

Grace Crowley, Horse study, 

pencil on cream paper 

Russell Drysdale, Woman 

lounging c1941, pen and black ink, 

dry brush and brown ink on paper 

Wendy Sharpe, Seated and 

reclining male nudes 1993, pastel 

Eric Wilson, Seated female nude, 

back view, London c1939, black 

conté 

Douglas Fry, Study of a dead(?) 

horse, pencil 

Sir Lionel Lindsay, (Studies of a 

horse), pencil 

Francis Lymburner, Horse c1940, 

pen and black ink, wash 

Sidney Nolan, Horse and dray 

1949, carbon transfer drawing on 

white wove paper 

Jon Molvig, Carcase no 2 1958, 

reed pen and red ink on paper 

Jan Senbergs, Horse carcass 

1989, black pastel on white wove 

paper 

Godfrey Miller, Study-horse 

c1966, pencil on off-white wove 

paper 

QUEENSLAND ART GALLERY, 

QLD 

Someone’s universe: the art of 

Eugene Carchesio 

25.10.08 to 01.02.09 

Eugene Carchesio, European 

Ghosts 1991, watercolour 

Eugene Carchesio, European 

Ghosts 1991, watercolour 

Eugene Carchesio, Matchbox 

constructions 1994–95, 12 

matchbox constructions 

Eugene Carchesio, Berlin baroque 

1995, cardboard construction 

Eugene Carchesio, Silence 

is golden 1994–95, cardboard 

construction 

STATE LIBRARY OF TASMANIA, 

TAS 

Hobart Town rivulet: artists’ 

impressions 

31.10.08 to 28.02.09 

John Skinner Prout, Valley of 

the ferns 1844–48, watercolour, 

opaque white gum, scraping out 

on paper 

John Skinner Prout, The artist’s 

wife and children, Hobart 1844, 

watercolour, white gouache, gum, 

scraping out on paper 

*GOLD COAST CITY ART 

GALLERY, QLD 

31.10.08 to 30.10.13 

William Tucker, Beulah III 1972, 

steel unique 

Paul Selwood, Kembla 1985–86, 

rusted steel 

Phillip King, Blue between 1971, 

painted and welded steel 

GEELONG ART GALLERY, VIC 

True crime: murder and 

misdemeanour in Australian Art 

01.11.08 to 01.02.09 

Timmy Timms, Bedford Downs 

Massacre 2000, natural pigments 

on linen canvas 

BLACKTOWN ARTS CENTRE, 

NSW 

Dream merchant 

06.11.08 to 31.01.09 

Norman Lindsay, The dream 

merchant 1920, etching, black ink 

on paper 

Norman Lindsay, The Amazons, 

etching 

Norman Lindsay, The curtain 

1919, etching, black ink on paper 

Norman Lindsay, Whispers 1921, 

etching, black ink on paper 

Norman Lindsay, Lydia, etching, 

black ink on paper 

Norman Lindsay, The black hat 

1924, etching, black ink on paper 

THE DRILL HALL GALLERY, ACT 

Seventh Canberra Drawing 

Biennale 

06.11.08 to 14.12.08 

Kevin Connor, Four at a table, Bill 

and Toni’s, Stanley Street, Sydney 

1999, pen and black ink on paper 

Kevin Connor, Four figures, Bill 

and Toni’s, Stanley Street, East 

Sydney 1999, pen and black ink 

on paper 

Kevin Connor, (Five by the door, 

The Arch, Stanley Street, East 

Sydney) 1999, pen and black ink 

on paper 

Kevin Connor, (Airline bus) 1999, 

pen and black ink on paper 

Kevin Connor, (Bill and Toni’s and 

imaginary model) 1999, pen and 


Kevin Connor, (Bill and Toni’s, 

Stanley Street, East Sydney) 1999, 


























Kevin Connor, (Both sides of the 

iron fence, Bill and Toni’s, Stanley 

Street, East Sydney) 1999, pen and 


Kevin Connor, (Café) 1999, pen 

and black ink on paper 

Kevin Connor, (Café, Melbourne) 


Kevin Connor, (Café, Melbourne) 


Kevin Connor, (Dark figures, Bill 



on paper 


Kevin Connor, (Figure and railway 

tunnel) 1999, pen and black ink on 

paper 

Kevin Connor, (Figure in the street) 


Kevin Connor, (Figure running 

amok in the street) 1999, pen and 


Kevin Connor, (Figures in park) 


Kevin Connor, (Fingers on the 

chin, Bill and Toni’s, Stanley Street, 

East Sydney) 1999, pen and black 

ink on paper 

Kevin Connor, (Lone figure in 

archway, Bill and Toni’s Stanley 



Kevin Connor, (Man and woman 

in profile, Bill and Toni’s, Stanley 



Kevin Connor, (Next to the door, 

Bill and Toni’s, Stanley Street, East 


on paper 

Kevin Connor, (On the bus) 1999, 


Kevin Connor, (Outside at The 

Arch, Stanley Street, East Sydney) 


Kevin Connor, (Prostitute and 

mattress, East Sydney) 1999, pen 


Kevin Connor, (Reader on a park 

bench) 1999, pen and black ink 

on paper 

Kevin Connor, (Restaurant, 

Melbourne) 1999, pen and black 

ink on paper 

Kevin Connor, (Roof menders from 

the studio window, East Sydney) 


Kevin Connor, (Sitting outside, 



Kevin Connor, (Steve Hoffman) 


Kevin Connor, (Sydney Street) 


Kevin Connor, (The Arch, Stanley 



Kevin Connor, (The Arch, Stanley 



Kevin Connor, (Three figures on 

the street, Sydney) 1999, pen and 


Kevin Connor, (Three figures, Bill 

and Toni’s Stanley Street, East 


on paper 

Kevin Connor, (Three figures, one 

reading, Bill and Toni’s, Stanley 



Kevin Connor, (Through the door, 



on paper 

Kevin Connor, (Town Hall Station) 


Kevin Connor, (Two figures, one 

smoking, Bill and Toni’s, Stanley 



Kevin Connor, (Two heads, Bill and 

Toni’s, Stanley Street, East Sydney) 


Kevin Connor, (Two men standing, 

The Arch, Stanley Street, East 


on paper 

Kevin Connor, (Two talking, Bill 



on paper 

Kevin Connor, (With hand on 

mouth, Bill and Toni’s, Stanley 



Kevin Connor, Airport café, 

Melbourne 1999, pen and black ink 

on paper 

Kevin Connor, The Arch, Stanley 

Street, East Sydney 1999, pen and 


Kevin Connor, Back’s turned, Bill 



on paper 

Kevin Connor, Bill and Toni’s 

– evening, Stanley Street, East 


on paper 

Kevin Connor, Bill and Toni’s, 

Stanley Street, East Sydney 1999, 
























Stanley Street, Sydney 1999, pen 



Stanley Street, Sydney 1999, pen 


Kevin Connor, Bloom’s Deli, 


on paper 

Kevin Connor, Café, Kings Cross 


Kevin Connor, Coffee bar, 


on paper 

Kevin Connor, Corner of Riley and 

Stanley Street, Sydney (with the 

light in Watters Gallery) 1999, pen 


Kevin Connor, Court 13A, 1999, 


Kevin Connor, A cup of coffee, 



on paper 

Kevin Connor, Dark figure, Bill and 

Toni’s, Stanley Street, East Sydney 


Kevin Connor, Drug addict, 

Francis Street, East Sydney 1999, 


Kevin Connor, The explosives 

expert, Bill and Toni’s, Stanley 



Kevin Connor, Glass doors, Bill 



on paper 

Kevin Connor, Hand before face, 



on paper 

Kevin Connor, Hyatt, Melbourne 


Kevin Connor, Man and machine, 



on paper 

Kevin Connor, Man and woman, 



on paper 

Kevin Connor, Man wearing a hat, 



on paper 

Kevin Connor, Margaret’s birthday, 



on paper 

Kevin Connor, The morning queue, 



on paper 

Kevin Connor, Morning, Bill and 



Kevin Connor, The newspaper 

rack, Bill and Toni’s, Stanley Street, 

East Sydney 1999, pen and black 

ink on paper 

Kevin Connor, Night, Bill and 



Kevin Connor, North Melbourne, 

near Jan and Helen’s (Senbergs) 


Kevin Connor, The old Eye 

Hospital (memory drawing) 1999, 


Kevin Connor, On the tram, 


on paper 

Kevin Connor, Outside Bill and 



Kevin Connor, Outside Victoria 

Barracks, Sydney 1999, pen and 


Kevin Connor, Politics, Bill and 



Kevin Connor, Reading a 

newspaper, Bill and Toni’s, Stanley 

Street, Sydney 1999, pen and 


Kevin Connor, Reading, morning, 



on paper 

Kevin Connor, Seated figures, Bill 



Kevin Connor, Sitting outside, Bill 



on paper 

Kevin Connor, Standing figure, Bill 



Kevin Connor, Street bonk 1999, 


Kevin Connor, The talkative Italian, 



on paper 

Kevin Connor, Thoughts of a 

Spanish village, Bill and Toni’s, 



Kevin Connor, Three figures and 

Campari ad, Bill and Toni’s, Stanley 



Kevin Connor, Two archways, Bill 



on paper 

Kevin Connor, Two figures at a 

table, Bill and Toni’s, Stanley Street, 

East Sydney 1999, pen and black 

ink on paper 

94 


Kevin Connor, Victoria Road, 

North Melbourne 1999, pen and 


LEWERS BEQUEST AND PENRITH 

REGIONAL ART GALLERY, NSW 

Sydney Ball: the colour paintings 

Lewers Bequest and Penrith 

Regional Art Gallery, NSW 

08.11.08 to 25.01.09 

McClelland Gallery + Sculpture 

Park, VIC 

15.02.09 to 26.04.09 

Sydney Ball, Canto no XXX 1966, 



AUSTRALIA, SA 

Hans Heysen retrospective 


14.11.08 to 15.02.09 

Mornington Peninsula Regional 

Gallery, VIC 

23.04.09 to 21.06.09 

Ballarat Fine Art Gallery, VIC 

11.07.09 to 02.10.09 

Tasmanian Museum and Art Gallery, 

TAS 

27.11.09 to 14.02.10 

National Gallery of Australia, ACT 

30.04.10 to 04.07.10 

Queensland Art Gallery, QLD 

31.07.10 to 24.10.10 


19.11.10 to 30.01.11 

Hans Heysen, Hauling timber 


Hans Heysen, The track to the 

farm 1926, oil on canvas 

Hans Heysen, The hill of the 

creeping shadow 1929, oil on 

canvas 

Hans Heysen, Summer 1909, 

pencil, watercolour on ivory wove 

paper 

Hans Heysen, Drought sheep 

1916–21, pencil, watercolour on 

paper 

Hans Heysen, The quarry 1922, 

pencil, watercolour on paper 

Hans Heysen, Red gums of the far 

north 1931, watercolour on paper 

Hans Heysen, The farmyard gum 

1936, pencil, watercolour on white 

wove paper 

TASMANIAN MUSEUM AND ART 

GALLERY, TAS 

Mike Parr 

21.11.08 to 21.02.09 

Mike Parr, Bronze liars (minus 1 

to minus 16) 1996, bronze and 

beeswax sculpture 














































Mike Parr, The wax bride 1998, 

mixed media 

NIAGARA GALLERIES, VIC 

Ravel 

2.12.08 to 20.12.08 

Aida Tomescu, Aqua alta 2008, 

oil on canvas 

NATIONAL PORTRAIT GALLERY, 

ACT 

Open air: portraits in the 

landscape 

04.12.08 to 01.03.09 

Russell Drysdale, Picture of 

Donald Friend 1948, oil on 

hardboard 

Clifford Possum Tjapaltjarri, Tim 

Leura Tjapaltjarri, Warlugulong 

1976, synthetic polymer paint on 

canvas 

Mawalan Marika, Figure of 

Djan’kawu, ancestral being of the 

Dhuwa moiety 1960 {collected}, 

wood, human hair, bark fibre, 

parakeet feathers, white feathers, 

natural pigments 

Mawalan Marika, Figure of 

Djan’kawu, ancestral being of the 

Dhuwa moiety 1960 {collected}, 

wood, human hair, bark fibre, 

parakeet feathers, white feathers, 

natural pigments 

Mawalan Marika, Djan’kawu 

creation story 1959, natural 

pigments on bark 

Wandjuk Marika, Mathaman 

Marika, Woreimo, Mawalan 

Marika, Djan’kawu creation story 

1959, natural pigments on bark 

HAZELHURST REGIONAL 

GALLERY AND ARTS CENTRE, 

NSW 

Flora: still life moving fast 

06.12.08 to 01.02.09 

Nora Heysen, Spring flowers 1938, 

oil on canvas on hardboard 

Jean Bellette, Coastal still life 


Frank Medworth, Autumn flowers 

1945, oil on plywood 

Charles Blackman, Angry young 

girl 1958, oil on canvas 

Arthur Murch, Flower piece 1937, 

oil on canvas on paperboard 

Jean Appleton, Red Cannas 1948, 


John Passmore, Poppies, fruit 

and skull 1953, oil and charcoal on 

canvas on hardboard 

Adrian Feint, (Flowers) 1949, 

oil on canvas 

Tom Roberts, Roses 1911, 


Grace Cossington Smith, 

Wildflowers 1940, oil on 

paperboard 

Joshua Smith, Flower piece 1954, 

oil on plywood 

Tim Maguire, Untitled 94U39 

1994, diptych: oil on canvas 

Rupert Bunny, Flowers c1927– 

c1930, oil on canvas 

Mark Titmarsh, Face to face 1987, 

collage, synthetic polymer paint on 

paper 

John Young, Cloud and generic 

flower study #2 summer–autumn 

1998, NECO scan and oil on canvas 

Elwyn Lynn, A green table and 

swallows 1955, oil on hardboard 

Arthur Streeton, Cupid c1890s, 

oil on wood panel 

John Coburn, Tree of life 1964–65, 


William Delafield Cook, Waterlilies 

1972–73, synthetic polymer paint 

on canvas 

A E Aldis, Cootamundra wattle 

c1916, oil on paperboard 

George Finey, Banksias 1940, 

synthetic polymer paint on plywood 

Elioth Gruner, Daffodils 1927, oil 

on wood 

Trevor Nickolls, Homage to 

Margaret Preston 1988, synthetic 


MUSEUMS & GALLERIES NSW, 

NSW 

Great collections 

Campbelltown Arts Centre, NSW 

12.12.08 to 18.01.09 

Tweed River Art Gallery, NSW 

06.02.09 to 15.03.09 

Western Plains Cultural Centre, 

NSW 

03.04.09 to 10.05.09 

Albury Regional Gallery, NSW 

29.05.09 to 05.07.09 

Ballarat Fine Art Gallery, NSW 

24.07.09 to 30.08.09 

Albrecht Dürer, St Eustace, 

c1501, engraving 

Rembrandt Harmensz van Rijn, 

The three trees 1643, etching with 

drypoint and burin 

Albrecht Dürer, St Jerome in 

penitence c1496, engraving 

Pablo Picasso, The frugal repast 

1904, etching 

Pablo Picasso, Head of a woman 

1948, lithograph 

Paul Cézanne, Large bathers 

1896–97, colour lithograph 

Maitreya (Buddha of the Future) 

14th century, gilt bronze 

Olive Cotton, Tea cup ballet 

c1935, gelatin silver photograph 

Max Dupain, At Newport 1952, 

gelatin silver photograph 

David Moore, Migrants arriving in 

Sydney 1966 {printed later}, gelatin 


Tim Leura Tjapaltjarri, Kooralia 


canvas 

Eubena Nampitjin, Pinyu 1991, 

synthetic polymer paint on linen 

canvas 

Ron Mueck, Untitled (old woman 

in bed) 2000–02, mixed media 

Arthur Streeton, ‘Still glides the 

stream, and shall for ever glide’ 


Brett Whiteley, Art, life and the 

other thing 1978, oil, photograph 

and mixed media on board 

Russell Drysdale, Sofala (1947), 



GRONINGER MUSEUM, 

THE NETHERLANDS 

J W Waterhouse: the modern 

pre-Raphaelite 

Groninger Museum, 

THE NETHERLANDS 

13.12.08 to 03.05.09 

Royal Academy of Arts, ENGLAND 

27.07.09 to 13.09.09 

John Waterhouse, Diogenes, 


NATIONAL MUSEUM OF 


Australian journeys 

17.12.08 to 16.12.10 

Adelaide Ironside, St Catherine 

1859, oil and gold leaf on canvas 

IAN POTTER CENTRE: NGV 

AUSTRALIA, VIC 

Rosalie Gascoigne 

19.12.08 to 15.03.09 

Rosalie Gascoigne, Enamel ware 

1976, wood, kitchen utensils 

Rosalie Gascoigne, Clouds I 

1992, hardboard on plywood 

Rosalie Gascoigne, Metropolis 

1999, retro-reflective road signs 

S H ERVIN GALLERY, NSW 

Cressida Campbell 

S H Ervin Gallery, NSW 

10.01.09 to 22.02.09 

Queensland University of 

Technology Art Museum, QLD 

05.03.09 to 19.04.09 

Cressida Campbell, Kitchen 

utensils 1993, colour woodcut 

on cream wove paper, unique 

impression 

Cressida Campbell, White 

waratah 2000, carved woodblock, 

hand painted in watercolour 

pigment 

Cressida Campbell, Nasturtiums 

(2002), colour woodblock 

METROPOLITAN MUSEUM 

OF ART, USA 

Pierre Bonnard: the late interiors 

26.01.09 to 19.04.09 

Pierre Bonnard, Self portrait 

c1938–c1940, oil on canvas 

UNIVERSITY ART MUSEUM, QLD 

Margaret Olley: life’s journey 


06.02.09 to 19.04.09 

S H Ervin Gallery, NSW 01.05.09 to 

21.06.09 


15.08.09 to 25.10.09 

Margaret Olley, Nazaré 1952, 

monotype, dark green/brown ink, 

watercolour wash, scraping out on 

grey laid paper 

*INVERELL ART GALLERY, NSW 

09.02.09 to 09.02.14 

Ben Quilty, Golden soil, wealth for 

toil 2004, oil on canvas 

TE PAPA – MUSEUM OF NEW 

ZEALAND, TE PAPA TONGAREWA, 

NEW ZEALAND 


14.02.09 to 17.05.09 

Gustave Courbet, Landscape with 

stag 1873, oil on canvas 

Eugene Boudin, The beach 1864, 

oil on panel 

Claude Monet, Port-Goulphar, 

Belle-Île 1887, oil on canvas 

Edgar Degas, After the bath 

c1900, charcoal 

Edgar Degas, Dancer looking at 

the sole of her right foot 1900–10, 

(cast 1919–21), bronze, cire perdu 

(lost wax) 

IPSWICH ART GALLERY, QLD 

Curious cars and miniature movers 

14.02.09 to 10.05.09 

Simryn Gill, Roadkill 2000, found 

run-over objects, toy wheels 

MUSEUM OF CONTEMPORARY 

ART, NSW 

Yayoi Kusama: mirrored years 

Museum of Contemporary Art, 

NSW 

25.02.09 to 07.06.09 

City Gallery Wellington, 

NEW ZEALAND 

27.09.09 to 07.02.10 

KUSAMA Yayoi, Stars infinity 

(ABC) 2003, synthetic polymer 

paint on canvas, 4 panels 

MORNINGTON PENINSULA 

REGIONAL GALLERY, VIC 

Jeffery Smart: the question of 

portraiture 

04.03.09 to 13.04.09 

Jeffrey Smart, Margaret Olley in 

the Louvre Museum, 1994–1995, 

oil on canvas 

Jeffrey Smart, Portrait of Clive 

James 1991–92, oil on canvas 

Jeffrey Smart, Figure study for 

Margaret Olley 1994, pencil on 

white wove paper 

Jeffrey Smart, Study I for 

‘Margaret Olley in the Louvre 

Museum’ 1995, pencil on paper 

Jeffrey Smart, Study II for 

‘Margaret Olley in the Louvre 

Museum’ 1995, pencil on paper 

Jeffrey Smart, Attilio 1957, pen 

and brown ink on paper 


AUSTRALIA, SA 

The golden journey: Japanese art 

from Australian collections 

06.03.09 to 13.06.09 

Sakai HÔITSU, Portrait of Abbot 

Zetsugai c1803, hanging scroll: 

colours on silk 

Tani BUNCHÔ, Early summer 

mountains in the rain 1826, 

hanging scroll; ink and colour on 

paper 

Utagawa TOYOHARU, Portrait of a 

standing courtesan 1780s, hanging 

scroll; ink and colour on silk 

Izumisei Company, Figure of 

kangaroo c1900, bronze 

Arita ware, Shaving dish with 

flower design late 17th–early 18th 

century porcelain with underglaze 

blue, overglaze enamel and gold 

Arita ware, Rectangular plate 

decorated with a map of Japan 

and neighbouring islands and 

countries 1830–1843, porcelain 

with underglaze blue 

KANZAN Denshichi, Vase with 

various designs in panels of 

different shapes 19th century, 

porcelain 

Unknown, Images of the Amida 

Buddha 12th century, woodblock 

print 

The peacock king c1903, 

woodblock print; framed 

JIUN Sonja, YUSHO Zakkean, 

Kanzan and Jittoku, hanging scroll; 

ink on paper 



Femme fatale: the female criminal 

Justice and Police Museum, NSW 

07.03.09 to 30.04.10 

Karl Lagerfeld, Sandrine Dumas 

as Medea 1989, gelatin silver 

photograph 

Friedrich Müller after Raphael, 

Adam and Eve 1813, engraving on 

chine collé 

SYLVESTRE VERGER ART 

ORGANISATION, FRANCE 

Vlaminck: un instinct fauve 

Caixa Forum Madrid, SPAIN 

10.03.09 to 07.06.09 

Caixa Forum Barcelona, SPAIN 

02.07.09 to 18.10.09 

Maurice de Vlaminck, The red 

roofs (landscape) 1912, oil on 

canvas 

Maurice de Vlaminck, Sailing 

boats at Chatou 1906, oil on 

canvas 

NEWCASTLE REGION ART 

GALLERY, NSW 

Gallery A Sydney exhibition 

Campbelltown Arts Centre, NSW 

21.03.09 to 03.05.09 


09.05.09 to 19.07.09 

John Olsen, Entrance to the 

seaport of desire 1964, synthetic 


Virginia Cuppaidge, Wakanda 


canvas 

Paul Partos, Vesta II 1968, 


Ralph Balson, Untitled 1961, 

synthetic polymer paint on 

hardboard 

Clement Meadmore, Double up 

1970, steel 

Alan Oldfield, Cubistic Landscape 

(with objects) 1981, pencil 

CARRICK HILL HISTORIC HOUSE, 

SA 

Nora Heysen: light and life 

Carrick Hill Historic House, SA 

01.04.09 to 28.06.09 

Geelong Art Gallery, VIC 

11.07.09 to 06.09.09 

S H Ervin Gallery, NSW 

14.11.09 to 20.12.09 

New England Regional Art 

Museum, NSW 

15.01.10 to 19.03.10 

Riddoch Art Gallery, SA 

28.03.10 to 09.05.10 

Nora Heysen, Self portrait 1932, 

oil on canvas 

Nora Heysen, Moulasi, New 

Guinea 1954, pastel 

Nora Heysen, King Mitakaka, New 

Guinea c1962, sanguine, pastel on 

laid paper 

Nora Heysen, Pines, The Cedars, 

Hahndorf 1932, wood engraving, 

black ink on white wove paper 



Shooting through: Sydney by tram 

Museum of Sydney, NSW 04.04.09 

to 18.10.09 

Eveline Syme, Sydney tram line 

(1936), colour linocut printed from 

three blocks on thin ivory tissue 

Ailsa Lee Brown, Sydney trams 

1927, linocut, black ink on thin 

Japanese tissue 

Louis Kahan, The last tram 1960, 

reed pen and red/brown ink 

Frank Hinder, Tram reflections 

(Study for ‘Tram kaleidoscope’) 

1940, pencil on paper 

Frank Hinder, In the tram (Study 

for ‘Tram kaleidoscope’) 1939, 

pencil, watercolour on paper 

96 


Frank Hinder, Planes in 

and around (Study for ‘Tram 

kaleidoscope’) 1940, pencil on 

paper 

Frank Hinder, Proportion study for 

‘Tram kaleidoscope’ 1940, pencil 

on paper 

Frank Hinder, Tram kaleidoscope 

(1939), pen and ink on paper 

Frank Hinder, Study for ‘Tram 

kaleidoscope’ (1939), pencil on 

paper 

HYOGO PREFECTURE MUSEUM 

OF ART, JAPAN 

Visual deception 

Nagoya City Art Museum, JAPAN 

11.04.09 to 07.06.09 

Bunkamura Museum of Art, JAPAN 

13.06.09 to 16.08.09 

Hyogo Prefecture Museum of Art, 

JAPAN 25.08.09 to 03.11.09 

Rene Magritte, La belle captive 


IAN POTTER CENTRE: NGV 

AUSTRALIA, VIC 

John Brack retrospective 

Ian Potter Centre: NGV Australia, 

VIC 

24.04.09 to 09.08.09 


02.10.09 to 31.01.10 

John Brack, Head and arms 

(Barbara Blackman) 1954, black 

conté on ivory wove paper 

John Brack, Nude with two chairs 


John Brack, Barry Humphries in 

the character of Mrs Everage 1969, 

oil on canvas 

John Brack, Portrait of Fred 

Williams 1979–1980, oil on canvas 



Soft sculpture 

24.04.09 to 19.07.09 

Hans Bellmer, La demie poupée 

1971, wood, paint and assemblage 

Mikala Dwyer, Hanging eyes 

1999, vinyl, canvas, synthetic 

polymer paint 

Ernesto Neto, Sonambulinos 

1999, Lycra tulle, polystyrene 

UNIVERSITY ART MUSEUM, QLD 

Ben Quilty live! 


08.05.09 to 19.07.09 

TarraWarra Museum of Art, NSW 

15.08.09 to 15.11.09 

Ben Quilty, Golden soil, wealth for 

toil 2004, oil on canvas 

MUSEO MADRE, ITALY 

Francesco Clemente: shipwreck 

with the Spectator 1974–2004 

29.05.09 to 12.10.09 

Francesco Clemente, Water and 

wine 1981, gouache on paper 

ART EXHIBITIONS AUSTRALIA LTD 

American Impressionism and 

realism: a landmark exhibition 

from the Met 

Queensland Art Gallery, QLD 

30.05.09 to 20.09.09 

Charles Conder, Departure of the 

Orient – Circular Quay 1888, oil on 

canvas 

Hugh Ramsay, The sisters 1904, 


Tom Roberts, Holiday sketch at 

Coogee 1888, oil on canvas 

Furnishing loans 

*SUPREME COURT 

Jeffrey Smart, Alma Mahler 

feeding the birds 1968, oil on 

canvas 

George Lawrence, Autumn 

morning, Hyde Park 1948, oil on 

paperboard 

Robert Richmond Campbell, 

Avenue du Maine, Paris c1930, oil 

on canvas 

Jean Appleton, Bush landscape 

with rocks 1952, oil on hardboard 

Jean Appleton, Landscape c1955, 


Douglas Dundas, Chianti country 


Lloyd Rees, Dusk at North Ryde 


Seymour Lucas, The Gordon Riots 

1780, 1879, oil on canvas 

Tony Tuckson, Interior with figures 


Sidney Nolan, Kelly and policeman 


Fred Williams, Lal-Lal Falls 1976, 

oil on canvas 

Justin O’Brien, Little boy in 

costume 1957, oil on hardboard 

Justin O’Brien, Supper at Emmaus 

c1953, oil on hardboard 

Sidney Nolan, Ned Kelly at the 

river bank 1964, oil on hardboard 

Sidney Nolan, Policeman floating 

in the river 1964 oil on hardboard 

Will Ashton, Pont Philippe IV, 

Paris, oil on canvas 

Desiderius Orban, Village church 

in Hungary c1925–c1926, oil on 

canvas on paperboard on plywood 

*LOWY INSTITUTE 

Charles Lloyd Jones, Afternoon 

light 1941, oil on canvas on 

paperboard 

Sidney Nolan, Ant hills, Australia 


hardboard 

Paquita Sabrafen, Australian 

wildflowers 1990, oil on canvas 

Will Ashton, The Cornish coast 


Lance Solomon, Country lane 

1947, oil on canvas on hardboard 

John Brack, In the corner 1973, 

oil on canvas 

Howard Ashton, Jamieson Valley 


Will Ashton, Kosciusko oil on 

canvas 

Charles Bush, Landscape 

near Tarquinia, Italy 1952, oil on 

hardboard 

Sali Herman, Lane at the Cross, 

1946 oil on canvas on plywood 

Charles David Jones Bryant, Low 

tide, St Ives oil on canvas 

Charles David Jones Bryant, 

Quayside, St Ives, Cornwall, 

oil on canvas on paperboard 

Kevin Connor, Man on stairs 


Alun Leach-Jones, Monsoon 


canvas 

Albert Rydge, Morning in Neutral 

Bay 1955, oil on hardboard 

Douglas Pratt, The old toll house, 

Rushcutters Bay 1959, oil on 

canvas 

Jeffrey Smart, Parkland 1950, 

oil on canvas 

Lawrence Daws, Poinciana tree I 


Russell Drysdale, Rocky 

landscape early 1960s, oil on 

canvas 

Max Ragless, Second valley 1954, 

oil on canvas 

Eugene Crick Claux, Street scene, 

oil on canvas 

Jan Senbergs, Structure with 

black peaks 1973, oil, screenprint 

on canvas 

Dora Meeson, Thames at Chelsea 

Reach, oil on canvas 

Criss Canning, Waratah in a green 

jug 1999, oil on canvas 

Michael Kmit, Woman and girl 


*PARLIAMENT HOUSE 

Arthur Streeton, Beneath the 

peaks, Grampians 1921, oil on 

canvas 

Dora Toovey, How does your 

garden grow 1939, oil on canvas 

on paperboard 

François Bossuet, La Place de la 

constitution 1880, oil on paper over 

masonite 

George Bell, Lady in black c1923, 

oil on canvas 

J Browne, Landscape with view of 

Salisbury Cathedral 18th century, 

oil on canvas 

Dorothy Thornhill, Morning at 

Cremorne 1939, oil on canvas 

James R Jackson, The old road, 

South Coast, oil on canvas 

James R Jackson, The timber 

schooner, oil on canvas 

Gion Pentelei Molnar, Pears, 

oil on canvas 

Nora Heysen, Petunias, 1930, 

oil on canvas 

James Kerr-Lawson, Refugees 

returning to Cambrai under 

protection of an Australian Trooper, 

oil on canvas 

William Marlow, The Rialto Bridge, 

Venice, oil on canvas 

William Marlow, San Giorgio 

Maggiore, oil on canvas, relined 

John Longstaff, Sir George Reid, 

oil on canvas 

Tom Roberts, Sir Henry Parkes 

c1894 oil on canvas 

George W Lambert, The three 

kimonos 1905, oil on canvas 

Charles Wheeler, The Upper 

Murray, oil on plywood 

John Masquerier, Warren Hastings 

(1732–1818) 1810, oil on canvas 

*GOVERNOR MACQUARIE 

TOWER 

Paul Partos, Untitled (black-grey) 


*HISTORIC HOUSES TRUST OF 


Government House 

Clifton Pugh, Acacia and bush 


Clifton Pugh, The eagle and 

the baobab trees 1957, oil on 

hardboard 

Hans Heysen, A bowl of roses 


Robert Johnson, Macleay River 


Tom Roberts, Harrow Hill c1910– 

c1912, oil on canvas on plywood 

Robert Johnson, Out west, 

oil on canvas 

Elioth Gruner, New England 1921, 

oil on canvas 


*The Hon N Greiner 

Kenneth Green, Fallen tree 1968, 


George Lawrence, River suburb 

1948, oil on cardboard 

H Enslin Du Plessis, Snow in 

Highgate, oil on canvas 

*INDUSTRIAL RELATIONS 

COMMISSION 

Sir Arnesby Brown, August 

morning 1920, oil on canvas 

Michael Shannon, Autumn 

landscape, Heathcote no 1 1985, 

oil on canvas 

Roland Wakelin, Richmond 

landscape, Tasmania 1944, oil on 

paperboard 

Sydney Ball, Sabbath night 1982, 

oil, collage on paper 

* Royal Alexandra Hospital 

for Children, Westmead 

Sidney Nolan, Broome sunset WA 


hardboard 

Sam Fullbrook, Ford on the 

Condamine with jacaranda c1985, 

oil on canvas 

Guy Grey-Smith, Gascoyne River 

country 1958, oil on hardboard 

Sam Byrne, Mt Robe, highest 

peak, Barrier Range, oil on 

hardboard 

In total there were 495 works from 

the Gallery’s collection loaned to 

71 venues, some venues had 

multiple loans. 

STAFF, 

VOLUNTEERS AND 

INTERNS 

Staff 

as at 30 June 2009 

Director and chief curator 

Edmund Capon AM, OBE, M Phil 

Executive personal assistant to the 

director 

Lisa Franey BA (Hons) 

Curators, special exhibitions 

Terence Maloon BA (Hons), Dip Art 

and Design 

Jacqueline Strecker BA (Hons), 

PhD 

Benefaction manager 

Jane Wynter BA LLB 

Development coordinators 

Fiona Barbouttis M Art Admin, BA, 

Dip Ed 

Lesley Anderson BA, Adv Cert 

Head of business development 

Leith Brooke BA (Communications) 

Business development executive 

Penny Cooper BA (Art History) 

Assistant director, curatorial 

services 

Head curator, Western art 

Curator, international modern and 


Anthony Bond OAM, B Ed (Hons) 

Registrar, collections system 

integration 

Jesmond Calleja BA 

Coordinators, study room 

Deborah Jones BA, Grad Dip 

(Museum Studies) 

Matt Cox BA (Indonesian Studies), 

MA (Art History and Theory) 

Project officer, curatorial services 

Donna Brett BA (Visual Arts), MA 

(Art History and Theory) 

Sales coordinator, rights and 

images 

Michelle Andringa BA (Art History), 

MA (Fine Arts) 

Senior curator, European art, 

pre-1900 

Richard Beresford BA (Hons), 

MBA, PhD 

Curator, European prints, drawings 


Peter Raissis BA (Hons) 

Senior curator, contemporary art 

Wayne Tunnicliffe BA (Hons), MA, 

M Art Admin 

Assistant registrar, curatorial, 

Western art 

Judy Peacock BA, Grad Dip App 

Sc, M Art Admin 

Curator, contemporary art 

Natasha Bullock BA (Hons), Grad 

Dip (Art Curatorship and Museum 

Management), MA 

Assistant curator, contemporary art 

Naomi Flatt BA 

Coordinator, Contemporary 

Collection Benefactors and 

Aboriginal Collection Benefactors 

Bambi Blumberg B Econ, Dip Ed, 

Cert Teach English 

Senior curator, photography 

Judy Annear BA 

Assistant curator 

Elizabeth Maloney BFA, Grad Dip 

Mus Studies 

Head curator, Asian art 

Jackie Menzies OAM, BA (Hons), 

MA 

Curator, Chinese art 

Liu Yang, BA, MA, PhD 

Curator, Japanese art 

Khanh Trinh BA, MA, PhD 

Senior coordinator, Asian programs 

Ann MacArthur BA (East Asian 

Studies), M Intl Mgmt 

Assistant registrar (curatorial), 

Asian art 

Natalie Seiz BA (Hons), M Art 

Admin 

Assistant curator, Asian art 

Yingying Mai 

Head curator, Australian art 

Barry Pearce Dip Art Ed 

Senior curator, Australian art 

Deborah Edwards BA (Hons), 

M Phil 

Assistant curators, Australian art 

Helen Campbell BA (Hons), 

Grad Dip (Museum Studies) 

Caroline Geraghty 

Denise Mimmocchi BA (Hons), 


Natalie Wilson BA (Visual Arts), 


Assistant registrar (curatorial), 


Emma Collerton BA (Visual Arts), 

M Mus Studies 

Senior curator, Australian prints, 

drawings and watercolours 

Hendrik Kolenberg 

Curator, Australian prints 

Anne Ryan BA (Hons), M Art Admin 

Senior curator, Aboriginal and 

Torres Strait Islander art 

Hetti Perkins BA 

Curator, Aboriginal and Torres Strait 

Islander art 

Cara Pinchbeck BA (Visual Arts), 

MA (Visual Arts) 

Coordinator, Aboriginal programs 

Jonathan Jones BA (Fine Arts) 

Head librarian/archivist 

Steven Miller BA (Hons), B Theol, 

Grad Dip IM (Arch) 

Senior librarian/technical services 

Kay Truelove BA, Dip Lib 

Librarians 

Vivian Huang B App Sc, LIM Assoc 

Dip Arts 

Robyn Louey BL Arch, Grad Dip 

IM (Lib) 

John Tse 

Archivist 

Eniko Hidas BA (Fine Arts), BVA, 

Dip Lib Tech 

Head of public programs 

Brian Ladd Dip Fine Art, Dip Ed 

Senior coordinator, public and 

tertiary programs and Art After 

Hours 

Sheona White BA, Post Grad Profl 

Art Studies and Visual Arts 

Senior coordinator, education 

programs 

Tristan Sharp BA, MA (Arts Admin), 

Dip Art Ed (Secondary) 

Manager, information 

Jonathan Cooper Dip Art Ed 

Information assistant 

Olivia Shimeld 

Museum educator, contemporary 

art 

George Alexander BA (Hons) 

Public programs coordinator and 

Art After Hours assistant 

Ashlie Pellow BCA (Visual and 

Performing Arts) 

Coordinator, K–6 schools and 

family programs 

Victoria Collings MA, BA (Hons), 

PGCE, Nat Dip 

Museum educator 

Danielle Gullotta 

Coordinator, gifted and talented 

programs 

Sherryl Ryan M Ed (Gifted and 

Talented), PGD, FA B Ed 

Coordinator, access programs 

Amanda Peacock BA (Visual Arts), 

Dip Ed 

Coordinator, secondary school and 

Asian education programs 

Leeanne Carr B Ed (Visual Arts) 

Clerical managers 

Camilla Shanahan 

Liliana Torresan (on leave) 

Bookings officers 

Sienna Brown 

Petra Pattinson 

98 


Image librarian 

Dot Kolentsis Dip Visual Arts, 

Grad Dip Visual Arts 

Coordinator, Brett Whiteley Studio 

Alec George Dip Ed 

Administrative assistant, 


Zoe Cooper 

Visitor services officers 

Catherine Reynolds 

Shelley Thompson 

Manager, AV services 

Laurence Hall BA (Com) 

Coordinator, AV services 

John Harman 

Coordinator, film program 

Robert Herbert 

Senior conservator, paintings 

Paula Dredge B App Sc (Cons), 

BA (Fine Arts) 

Senior conservator, paintings 

Stewart Laidler Dip Cons 

Senior conservator, works on paper 

Carolyn Murphy BA, Grad Dip 

(Museum Studies), B App Sc 

(Cons), MA (Writing) 

Conservator, works on paper 

Analiese Treacy BA (Hons), 

MA (Fine Art Conservation) 

Senior conservator, objects 

Donna Hinton MA Applied Science 

(Cons), Dip Museum Tech 

Conservator, objects 

Kerry Head 

Senior conservator, frames 

Malgorzata (Margaret) Sawicki 

BA (Cons), MA App Sc (Mat Cons), 

PhD 

Conservators, frames 

Barbara (Basia) Dabrowa 

MA (Cons) 

David Butler 

Senior conservator, Asian art 

Sun Yu BA (Art History) 

Conservator, Asian art 

Yang Yan Dong 

Conservators 

Sarah Bunn 

Lisa Charleston 

Tasha Macfarlane 

Assistant conservator 

Thomas Langlands 

Senior registrar, collections 

Emma Smith BA, Grad Dip 

Decorative Arts 

Registrar, collections 

Amanda Green BA, Dip (Prehistoric 

and Historical Archaeology), Grad 

Dip (Museum Studies) 

Assistant registrars 

Clare Germaine BA, MA (Arts 

Admin) 

Paul Solly 

Nick Strike MA (Visual Arts) 

Brent Willison BA (Visual Arts) 

Senior photographer 

Jenni Carter 

Photographers 

Felicity Jenkins 

Johan Palsson BA 

Diana Panuccio (on leave) 

Carley Wright 


Anne Flanagan, Dip Int Design, 

Dip Ed, Dip Ed Vis Arts 

Senior manager, exhibitions 

Erica Drew BA (Hons) 

Exhibitions assistant 

Diarne Wiercinski BA 

(Fine Arts) 

Exhibitions project officer, 

installation 

Stefanie Tarvey 

Ticketing supervisors 

Chris Aronsten 

Carmel Crisp 

Ticketing officer 

Prue Watson 

Supervisor, information desk 

Jeanette Klease 

Receptionist 

Michelle Berriman BA (Hons), 

Dip HE 

Information officers 

Minette Brewin 

Kate Dorrough 

Tracey Keogh 

Senior registrar, exhibitions 

Charlotte Davy BA (Art History), 

Adv Dip (Fashion Design) 

Registrar, exhibitions 

Charlotte Cox BA, Grad Dip 

(Works of Art) 

Print production manager/studio 

coordinator 

Cara Hickman B Sc (Arch) 

Multimedia designer 

Jo Hein 

Senior graphic designers 

Mark Boxshall BA (Visual Arts) 

Analiese Cairis 

Graphic designer 

Karen Hancock 

Manager, building services 

Phil Johnstone 

Manager, engineering services 

Ray Cunico, Adv Dip Mech 

Engineering 

Maintenance officer 

Rob Schumacher 

Plant fitter/operator 

Julio Angulo 

Trade assistant 

Lindsay Drummond 

Senior technician, lighting 

Simm Steel 

Senior technician, installation 

Nikolaus Rieth 

Installation officers 

Mary-Anne Cornford 

Brett Cuthbertson 

John Freckleton 

Peter Tsangarides 

Stores officer 

Steve Peters JP 

Senior display technician, carpentry 

Bill Viola 

Display technicians, carpentry 

Gary Bennett 

Ram Mudaliar 

Luke James 

Senior display technician, painting 

Michael Brown 

Display technicians, painting 

Daniel Green 

Alan Hopkinson 

Assistant director, finance and 

resources 

John Wicks, FCPA, B Bus 

(Accounting) 

Project officer 

Jackie Bullions 

Financial controller 

Surangani Kulasinghe B Bus, 

FCMA, CPA, AIB, IMS Dip 

Accounts payable supervisor 

Graeme Callaghan 

Accounts payable clerk 

Maria Montenegro 

Management accountant 

Bernadine Fong, B Bus (Banking 

and Finance) 

Accounting clerks 

Rita Briguglio 

Viva Chelvadurai 

Manager, information and 

technology 

Maurice Cirnigliaro M Bus 

(Information Technology) 

Manager, network operations 

Theo Papalimperis 

Help desk officers 

Adam Dunn 

Roseann Papalimperis 

Manager, human resources 

Jenny Capdor 

Manager, safety and workforce 

planning 

Donna Grubb 

Coordinators, human resources 

Lee Bamford 

Kimberley Milicevic 

Daniel Shean B App Ec, B Mgt 

(Employment Relations) 

Manager, administration and 

strategy 

Trish Kernahan 

Supervisor, administration services 

Louise Fischer BA, MA 

Administrative support officer 

Deborah Spek 

Manager, retail and publishing 

Richard Harling BA (Hons) 

Manager, retail operations 

Rebecca Allport 

Book buyer and stock control 

Denise Faulkner BA (Fine Arts) 

Product developer 

Maryanne Marsh 

Wholesale and children’s books 

Cassandra Willis 

Stock and sales officers 

Carlotta Arias 

Lynne Barwick BA (Visual Arts), 

MA (Writing) 

Daniel McCready 

Stores officer 

Bevynn Wilkerson 

Venue manager 

Caroline Harvey 

Venue coordinator 

Karen Shapiro-Lee 

Director, marketing 

Belinda Hanrahan B Comm 

Coordinator, tourism and marketing 

Molly Waugh BA (Communications) 

Online producer 

Francesca Ford 

Managers, media relations 

Susanne Briggs Assoc Dip 

B Studies Dip Counselling 

Claire Martin BA (Hons), Dip 

Marketing 

Manager, marketing 

Kylie Wingrave BA (Visual Arts), 

B Comm 

Head of security and Gallery 

services 

Anthony Morris 

Security officers 

David Anderson 

Emilio Cruzt 

Karandeep Gill 

Milorad Linjakovic 

Telly Linakis 

Valita Manu 


David Paine, JP 

Bob Partridge 

Hudson Qureshi 

Bryan Reynolds 

Lorraine Xuereb 

Deputy, Gallery services 

Benjamin Goodwin 

Team leaders, Gallery services 

Rosh Dhillon 

Kuldeep Duhan 

Janak Kadian BA 

Sheila Weir 

Gallery officers 

Freddi Alam 

Samih Baket 

Ian Bolt 

Arthur Boucas 

Alan Boyd 

Kevin Callope 

Anthony Caracoglia 

Murray Castles 

Ana Crespi 

Romeo Domingo 

Thomas Fielding 

Terry Forde 

David Grech 

Brian Hope-Johnstone 

Sheraj Hundal 

Rita Ibrahim 

Peter Karamanis 

John Kavallaris 

Rajesh Kodwani 

Juan Lira 

Ramon Lozada 

Stuart Matheson 

Jamil Mati 

Kevin Nguyen 

Ray Nguyen 

Gregory Petterson 

Dominque Pirrie 

Stephen Ransome 

Peter Rawlins 

Debasish Ray 

Sharat Sharma 

Lisa Siale 

Suzanne Slavec 

Joan Standfield 

Patricia Teece 

Mary Thom 

Steve Triantos 

Russell Ward 

Gisela Weber 

Volunteers 

VOLUNTEER GUIDES 

Gwyneth Morgan, guides 

coordinator 2009 

Dale Aamir; Jan Angus; Margaret 

Anthony; June Armitage; Phillippa 

Baird; Pamela Barr; Robyn 

Bathurst; Annabel Baxter; Janet 

Bell; Carolyn Bethwaite; Dale Bird; 

Jenny Birt; Rosalie Blackshaw; 

Vicki Brown; Cathy Cameron; Lisa 

Campbell; Norma Castaldi; Licia 

Cattani; Bella Church; Susie Clark; 

Anne Cohen; Liz Crenigan; Sally 

Cullen; Adrienne Dan; Lorraine 

Davids; Jackie De Diana; Mary 

De Mestre; Ro Dermody; Sue 

Dominguez; Jill Dunlop; Patricia 

Elliott; Diane Everett; Louise Fennel; 

Gwen Ferguson; Judy Friend; 

Pamela Fuller; Caroline Furniss; 

Jennifer Gardiner; Mary-Lou Gilbert; 

Deirdre Greatorex; Alison Gross; 

Callie Guinness; Jennifer Harrison; 

Annie Herron; Shirley Hillman; 

Helen Holmes; Roslyn Hunyor; 

Marie Huxtable; Margot Johnston; 

Diane Kempson; Jill Kloster; Kay 

Knight; Pat Kreuiter; Dorothea 

Labone; Meri Lane; Jenny Latham; 

Shirley Lilienthal; Sue Lowes; Fiona 

Loxton; Angela Luessi; Susan 

Ma; Juliet McConochie; Frances 

McNally; Cherry McWilliam; Lesley 

Millar; Norma Milne; Janet Morse; 

Les Moseley; Maureen Murphy; 

Diana Northedge; Dianne Ottley; 

Mandy Palmer; Wendy Payne; 

Philippa Penman; Carolyn Penn; 

Keith Potten; Caroline Presland; 

Dilys Renham; Pamela Rex; Pam 

Rogers; Christine Rustamzadeh; 

Louise Samer; Ruth Sams; Pauline 

Sayle; Lilli Scott; Beverley Shea; 

Beatrice Sochan; Denyse Spice; 

Fiona Still; Caroline Storch; Dorinda 

Sullivan; Jennifer Sutton; Susan 

Swan; Jill Thompson; Prue Todd; 

Lee Tredinnick; Jan Tydd; Patricia 

Wilson; Mary Woodburne; Brenda 

Woods; Linda Zurnamer 

VOLUNTEERS – TASK FORCE 

Robin Amm; Task Force 

coordinator 2009 

Betty Allerton; Jan Anderson; Julie 

Apps; Greta Archbold-Lavroff; 

Ruth Attwood; Meredith Aveling; 

Julia Baldo; Alexandra Ballard; 

Linda Barnes; Julia Bate; Philippa 

Beeston; Diana Berlyn; Deborah 

Blay; Anne Blomfield; Georgie 

Blythe; Joyce Botta; Spencer 

Bough; Valda Brook; Madeleine 

Bromley; John Buchanan; Geraldine 

Bull; Petah Burns; Susan Bye; 

Wendy Canning; Jennifer Carey; 

Annette Carlisle; Mary Casey; 

Brenda Chad; Faith Charity; June 

Chatfield; Maria Cicutto; Jill Clapin; 

Annie S Clarke; Lea-Ann Clarke; 

Anne Cole; Gabrielle Cousins; 

Patricia Anne Curtis; Susan 

Dadswell; Beverley Darby; Ann 

Dawson; Gail Dendle; Lynette 

Dening-Franklin; Charlotte Denison; 

Francine De Valence; Diane Devine; 

Ann Dodd; Margaret Doherty 

(Cunningham); Betty Donnelly; 

Ruth Dornan; Jutta Dubiel; Judy 

Duff; Peter Eames; Caroline Eburn; 

Judy Embrey; Daile Falconer; Ingrid 

Farago; Eva Feher; Yvonne Fell; 

Coralie Fergus; Carol Forsythe; 

Christine Frewer; Kitty Gassner; 

Yvette Geczy; Patricia Governor; 

Leonie Grattan; Lyn Gray; Sandy 

Green; Maria Farnes Greene; 

Sheba Greenberg; Mary Grice; 

Beverley Griffiths; Kirsten Gross; 

Janette Habel; Aiko Hagiwara; 

Ben Hall; Simone Hancock; 

Susan Hand; Carmella Harding- 

Farrenberg; Averil Hargreaves; 

Jocelyn Harris; Susan Hartigan; 

Eva Havas; Engelina Heddema; 

Fran Hellier; Ann Henderson; Mary 

Hillier; Margaret Hunt; Madeline 

Hunter; Teresa Jakubowski; Patricia 

James; Heather Jelfs; Jennifer 

Jenkins; Felicita Jennings; Dennis 

Johnson; Patricia Johnson; Karen 

Johnston; Margaret J Johnston; 

Nita Jones; Sandra Jones; Rhonnie 

Joyce; Donna Kelly; Sue Kemp; 

Vere Kenny; Ursula Knight; Egmont 

Lademann; Triny Lademann; 

Caroline Le Plastrier; Penny Levette; 

Narelle Lloyd; Roslyn Luger; Gay 

Lysenko; Laura Lyubomirsky; 

Kristine MacKenzie; Lesley 

Mackintosh; Sue Mandelberg; 

Margaret Marshall; Barbara Martin; 

Jan McClelland; Ray McDonald; 

Robin McIntyre; Margaret McLellan; 

Ann McLeod; Marlene McPherson; 

Heather Mead; Emma Mendelsohn; 

Mary Meppem; Sheilah Milroy; 

Robin Miller; Susan Mitchell; 

Barry Molloy; Peta Moore; Denise 

Morris; Hilary Moxon; Gael Murphy; 

Peter Nicholls; Kate Noble; Brian 

Nugent; Lyn Oliver; Petra O’Neill; 

Elizabeth Oomens; Ruth Osen; Sue 

Pajor; Glenda Paradine; Rebecca 

Pearson; Hetti Penn; Dian Pitson; 

Michael Poole; Penny Porter; Judy 

Preshaw; Cynthia Pretty; Marie 

Puntigam; Margaret Radford; 

Patricia Reed; Astrid Robinson; 

Stana Rogac; Carol Roth; Charles 

Rushton; Kim Sandford; Annette 

Searle; Cassie Sheehan; Margaret 

Sheppard; Judy Sherman; Irene 

Shillington; Dana Skakavac; Anne 

Smith; Joyce Smith; Victoria Smyth; 

Lesley Sommerville; Merrilyn Sowell; 

Joanne Spiteri; Julie Stedman; 

Judith Stefanek; May Steilberg; 

Peter Strand; Marsha Swenson; 

Anne Taylor; Irene Thom; Sue 

Thomas; Fay Thurlow; Susan 

Tompkins; Judith Tribe; Judith 

Twist; Mary Unwin; Ursula Ure; 

Valerie Vogt; Julie Wallace; Melissa 

Ward; Cilla Warre; Gail Watt; 

Carolyn Webb; Rita Weberbauer; 

Maggie Weiley; Peter Whawell; 

Annie Wicks; Clarice Wilkins; 

Michelle Wilkinson; Joanne Wilson; 

Jenni Wood; Lois Woollams; Jill 

Wunderlich. 

VOLUNTEERS – CONTEMPO 

Jacqui Tosi, president 

Allie Townsend, senior vice 

president 

Valerie Marteau, vice president 

Lynleigh McPherson, treasurer/ 

secretary 

Julie Flowers, volunteers 

coordinator 

Nancy Ling, volunteers coordinator 

Marina Bromley; Andrea Brown; 

Julian Edwards; Louise Farrar; 

Jasmine Morris; Yaeli Ohana; Renee 

Siros; Alana Stepanovska; Norma 

Tran; Holly Vale 

VOLUNTEERS – 

CURATORIAL SUPPORT 

Elizabeth Callanan; Anne Gérard; 

Ciara Heidenreich; Patricia James; 

Kelly McDonald; Rhiannon Paget; 

Margalit Monroe; Rebecca Wright; 

Erika Ferriera; Eleanor Webber; 

Trudie Leigo; Victoria Tokarowski; 

Chen Ying 

Tertiary internships 

Gallery internships took place 

across a range of departments, 

including Education and Public 

Programs; Curatorial; Exhibitions; 

Research Library and Archives; 

Registration; Conservation and 

Marketing. A total of 25 internship 

placements for undergraduate 

and post-graduate students 

from Australia and overseas took 

place in 2008–09; from faculties 

such as Museum Studies; Arts 

Administration; Art History and 

Theory; Visual Arts Education 

and Conservation. Participating 

institutions included the University 

of Sydney; University of New South 

Wales; Melbourne University; 

University of Western Sydney; 

Australian Catholic University; 

Design Centre Enmore; University 

of Technology, Sydney; Australian 

National University; University of 

Wollongong; Georgetown University 

(Washington DC) and École 

Polytechnique (France). 

100 


STAFF 

PUBLICATIONS, 

PRESENTATIONS 

AND RELATED 

ACTIVITIES 

Unless otherwise stated all lectures 

and presentations were held at the 

AGNSW 

Abbreviations: 

AAH: Art After Hours 

ACU: Australian Catholic University 

AGNSW: Art Gallery of New South 


AGS: Art Gallery Society of NSW 

BoS: Biennale of Sydney 

Exh: exhibition 

MCA: Museum of Contemporary 

Art 

MGNSW: Museums & Galleries 

NSW 

NAS: National Art School 

NU: Newcastle University 

QAG: Queensland Art Gallery 

UNSW: University of New South 


UMelb: University of Melbourne 

USyd: University of Sydney 

UTS: University of Technology, 

Sydney 

UWS: University of Western Sydney 

VG: Volunteer Guides 

TF: Task Force 

George Alexander (Museum 

educator, contemporary art) 

Editor: Australian desk editor for 

ArtAsiaPacific (Hong Kong/New 

York) 

Chapter: ‘Tristes-Antipodes: a 

personal essay on the complexities 

of culture and place as they shape 

individual identity’, In transition 

Russia 2008, NeMe, Independent 

Museum of Contemporary Art 

(IMCA) Cyprus; and National Centre 

for Contemporary Art (NCCA) 

Ekaterinburg & Moscow branches, 

Russian Federation, Oct 2008 

Article: ‘Preview: Biennale of 

Sydney’, ArtAsiaPacific, no 59, 

2008 

Article: ‘Anniversary book reviews: 

five art books from Australia’, 

ArtAsiaPacific, no 60, May/June 

2008 

Article: ‘Simryn Gill’, ArtAsiaPacific, 

no 64, July/Aug 2008 

Virtual paper: ‘Remaking 

cosmopolitanism’, 14-min video 

presentation, In transition: cultural 

identities in the age of transcultural 

flux, NeMe, NCCA, Ural State 

University 

Moderator: Dr Tamara Galeeva, 

Dean of the Art History & Cultural 

Studies Department, Ural State 

University, 16–18 Oct 2008 

Opening address: ‘Shapes of 

longing: artists returning to the 

Mediterranean’, Charles Hewitt 

Gallery, 25 June 2009 

Author: Slow burn, University of 

Western Australia Press, Perth 

2009 

Judy Annear (Senior curator, 

photography) 

Co-curator: The photographs 

of August Sander, J Paul Getty 

Museum, Los Angeles, until 14 

Sept 2008 

Curator: Ghosts in the machine: 

anonymous photographs, July 

2008 

Chapter: ‘Not careful?’ in H Vivian 

(ed), When you think about art: the 

Ewing & George Paton galleries 

1971–2008, Macmillan, Melbourne 

2008, pp 62–81 

Article (with K A Coleman): 

‘Yasumasa Morimura & Yukio 

Mishima – season of passion’, 

TAASA Review, vol 17, no 3, Sept 

2008, pp 22–23 

Article: ‘Bill Henson: fear of the 

dark’, Art & Australia, vol 46, no 1, 

spring 2008, p 50 

Article: ‘Photography and place’, 

Broadsheet, vol 37, no 3, Sept 

2008, pp 204–07 

Article: ‘Catherine Opie: American 

photographer’, Art World, issue 6, 

Dec 2008/Jan 2009, pp 138–39 

Article: ‘Critics choice’, Art World, 

photography supplement, Dec 

2008/Jan 2009, p 13 

Article: ‘Blank face’, Art & Australia, 

vol 46, no 2, Dec 2008, pp 276–85 

Essay: ‘Judy Annear on Furuhashi 

Teiji’ in S Lida (ed), Trace elements: 

spirit & memory in Japanese & 

Australian photomedia, Tokyo 

Opera City Gallery, Tokyo and 

The Performance Space, Sydney, 

pp 83–84 

Book review: Ricky Maynard: 

portrait of a distant land by K 

Munro and E McDonald (eds), 

Art World, issue 7, Feb/Mar 2009, 

p 140 

Article: ‘Annie Leibovitz at work’, 

Review: The Weekend Australian, 

Jan 10–11 2009, pp 8–9 

Paper: ‘Australian contemporary 

photography, an overview’ & 

portfolio reviews, symposium: Dong 

Gang Photo Festival, South Korea, 

26–27 July 2008 

Paper: ‘Blank face’, AAANZ 

conference, Griffith University, 

Brisbane, 5 Dec 2008 

Paper: ‘Photography & place’, 

Field Trip: Conversations Around 

Landscape & Photography 

symposium, SCA, 21 May 2009 

Opening address: ‘Ideas of 

place in contemporary Australian 

photography’, University Art Gallery, 

USyd, 20 July 2008 

Introduction: Screening of Dumb 

Type’s S/N, The Performance 

Space, Sydney, 22 Feb 2009 

Opening address: Between site 

and space, Artspace, Sydney, 

12 Mar 2009 

Launch: 12 Australian photo artists, 

Piper Press at Roslyn Oxley9 

Gallery, Sydney, 22 May 2009 

Member: Board of Management, 

Artspace, Sydney, until Feb 2009 

Member: Local Promotions 

Committee, USyd, 12 June 2009 

Committee member: Photography 

Collection Benefactors, AGNSW, 

ongoing 

Richard Beresford (Senior curator, 

European art pre-1900) 

Lecture: ‘Jacques Blanchard’s 

Mars and the vestal virgin’, AAH, 

June 2008 

Lecture: ‘Claude’s pastoral 

landscape’, AAH, Sept 2008 

Lecture: ‘Adam Pynacker’s 

Landscape with enraged ox’, 

AAH, Sept 2008 

Lecture: ‘Spanish still life’, 

Decoding the baroque I, AGS, 

Sept 2008 

Lecture: ‘Let there be lightness: 

Simon Vouet, Jacques Blanchard 

and the invention of Parisian style’, 

Decoding the baroque II, AGS, Mar 

2009 

Lecture: ‘Philippe de Champaigne: 

painter of silent prayer’, Decoding 

the baroque II, AGS, Apr 2009 

Lecture: ‘Talking real estate in 17thcentury 

Paris: where to be, what to 

build, how to decorate’, Decoding 

the baroque II, AGS, May 2009 

Anthony Bond (Head curator, 

Western art) 

Curator: Mike Parr: the tilted stage, 

TMAG & Detached, Hobart, Nov 

2008 – Feb 2009 

Curator: Óscar Muñoz: Biografías, 

19 Feb – 14 June 2009 

Essay: ‘Being before and beyond 

the frame’, Face to Face, 

Newcastle Region Gallery, Sept 

2008 

Essay: ‘Claire Healy and Sean 

Cordiero’, Venice Biennale, June 

2009 

Essay: ‘Óscar Muñoz: Biografías’, 

AGNSW Contemporary Projects 

#2, 2009 

Essay (co-author): ‘Phantom clubs’ 

in Nina Fischer & Maroan el Sani, 

Blind spots, JPR/Ringier, SMBA 

Stedelijk Amsterdam, 2009, 

pp 169–186 

Essay: ‘Recording Bob Law’ in 

Bob Law, Ridinghouse Press, 

London (forthcoming) 2009 

Essay: ‘Mike Parr, Cartesian 

corpse’, The Tilted Stage, TMAG & 

Detached, Hobart 2008 

Essay: ‘40 years: Kaldor Public Art 

Projects 1969–2009’, John Kaldor 

Foundation, Sydney 2009 

Article: ‘How recent developments 

in self-portraiture mimic the 

history of the genre’, Exit Express 

Magazine, Madrid, Spain, issue 43, 

Apr 2009, pp 30–33 

Article: ‘Óscar Muñoz: Biografías’, 

Look, AGS, Feb 2009 

Article: ‘John Kaldor projects 

1969–2009’, Art & Australia, May 

2009 

Article: ‘Why art matters’, Art 

Influence e-magazine, 1st edition 

Lecture: ‘Art as physical object: 

conservation and (re)presentation’, 

USyd, 4 Sept 2008 

Lecture: ‘Contemporary 

international collection of AGNSW’, 

NU, 10 Sept 2008 


international collection’, Port 

Macquarie Hastings Regional 

Gallery, 26 Sept 2008 


international collection’, 

Wollongong City Gallery, 27 Aug 

2008 

Lecture: ‘Globalisation in 

contemporary art’, Art History & 

Film Studies, USyd, 25 Aug 2008 

Lecture: ‘Performing bodies’, 

CoFA, UNSW, 25 & 26 Aug 2008 

Lecture: ‘Why art matters’, Probus 

Club, Blackheath, Oct 2008 

Paper: ‘Policies for collecting 

contemporary art’, AAANZ 

conference, Brisbane, Dec 2008 

Presentation: ‘The influences of 

Picasso in contemporary art’, 

GOMA, Brisbane 6 Sept 2008 

Participant: Why Biennales?, 

symposium, Albright Knox 

Museum, Buffalo, Jan 2009 

Session chair and welcome 

speech: Spaces of Art conference, 

Artspace, Sydney & AAANZ, Apr 

2009 

Session chair and welcome 

participants, Australia Council 

Biennale Forum, 9–10 July 2008 

Talk: Discussion participant with 

Mike Parr and Klaus Biesenbach 

from MoMA, NY, and lecture, 

TMAG & University of Tasmania, 

28 Feb 2009 

Book launch: Dark by Paul Carter, 

CoFA, 30 Apr 2009 

Judge and launch: Sculpture in the 

vines, Hunter Valley, 12 Sept 2008 

Judge and launch: St Joseph’s 

annual art exhibition, 28 Aug 2008 

Judge: Breen sculpture 

commission, Mt Tomah, 1 Apr 

2009 

Judge: Imagine award, MGNSW, 

11 Sept 2008 

Judge: John Hunter Hospital 

sculpture commission, Newcastle, 

11 Feb 2009 

Judge: Kings School art prize, 

14 Aug 2008 


Judge: Randwick Council sculpture 

commission, Feb 2009 

Launch: 30th anniversary of 

Wollongong City Gallery, 4 Dec 

2008 

Launch: Ben Quilty, Newcastle 

University Gallery, 22 Aug 2008 

Launch: Face to face, Newcastle 

Regional Gallery, 5 Sept 2008 

Launch: Seed project, Jenolan 

Caves, 19 Sept 2008 

Opening address: Art and the 

Archive conference and exhibition, 

NU, Oct 2008 

Opening address: Blackheath Art 

Gallery, 5 Oct 2008 

Opening address: Presentation/ 

Representation, SCA, 14 May 2009 

Opening address: RMIT gallery, 

Melbourne, 16 Apr 2009 

Speech: Finnisage of Mike Parr’s 

Milk at Anna Schwartz Gallery, 

Sydney, 16 Aug 2008 

Speech and performance: Mike 

Parr project, The tilted stage, 

TMAG, Hobart, 22 Nov 2008 

Presentation: Gosford Regional 

Gallery then cooked guests lunch 

as part of the exhibition Rooms of 

engagement, 23 Aug 2008 

Review: ‘Rodney Pople’, Art World, 

issue 5, Oct/Nov 2008 

International adviser: Echigo 

Tsumari Triennial, Japan 2008–12 

Chair: Biennale of Sydney 

exhibitions & selection subcommittees 

Member: Council for the Power 

Foundation, USyd 

Member: Executive of Art 

Association of Australia and New 

Zealand 

Assessor: Australian Research 

Council Grants in the category of 

Fine Arts 

Donna Brett (Project officer, 

curatorial services) 

Essay: ‘Stefanie Valentin: 

earthbound’, Stills Gallery, Sydney, 

June 2009 

Essay: ‘Regis Lansac: vita breva’, 

Wollongong City Art Gallery, Sept 

2008 

Essay: ‘Yvonne Boag: 

quintessential elements’, Australian 

Galleries, Melbourne, Aug 2008 


photography: the European 

experience’, USyd, Art History 

Dept, June 2009 

Lecture: ‘Collection provenance 

and looting issues’, USyd, Museum 

Studies, Aug 2008 

Paper: ‘The uncanny return: 

documenting place in post-war 

German photography’, Framing 

Time and Place: Repeats and 

Returns in Photography, University 

of Plymouth, UK, 15–17 Apr 2009 

Paper: ‘“Unheimliches sehen”: 

the agoraphobic turn in German 

photography’, AAANZ conference, 

Griffith University, Brisbane, Dec 

2008 

Assessor: SCA Masters Program 

Treasurer: Art Association of 

Australia and New Zealand 

Treasurer: AICA Australia, 

Association International Critique 

d’Art 

Committee member: Museums 

Australia, Art, Craft & Design SIG 

Doctoral research: PhD candidate, 

Uncanny vision: documenting place 

in post-war German photography, 

Art History & Film Studies, USyd 

Natasha Bullock (Curator, 

contemporary art) 

Managing curator: Kate Beynon: 

auspicious charms for transcultural 

living, 7 Aug – 26 Oct 2008 

Managing curator (with Naomi 

Flatt): Justene Williams: bighead 


sonata, 19 Feb – 14 June 2009 

Review: ‘Ricky Swallow: recent 

work’, Art World, issue 4, Aug/Sept 

2008, pp 200–01 

Article: ‘Justene Williams’, Art 

World, issue 5, Oct/Nov 2008, 

pp 126–29 

Member: Curator’s group, AGNSW, 

Sydney 

Award: Cité internationale des arts 

research residency, Paris, France, 

Apr–May 2009 

Jesmond Calleja (Registrar, 

collections systems integration) 

Essay: ‘Accessing the online 

catalogue of the Art Gallery of NSW 

in “real-time”’, ARC, Journal of the 

Australian Registrars Committee, 

vol 58, June 2009, pp 17–20 

Paper: ‘Heading in the right 

direction: documenting our cultural 

heritage globally’, 21st General 

Conference of the International 

Council of Museums, Museums 

and Universal Heritage, CIDOC 

– International Committee for 

Documentation, Managing 

the Global Diversity of Cultural 

Information, Vienna, Austria, 

20–22 Aug 2007 

Article: ‘The Gallery online: new 

ways to view the collection from 

home’, Look, AGS, May 2009, 

pp 34–36 

Helen Campbell (Assistant curator, 

Australian prints, drawings and 

watercolours) 

Opening address: ‘Ginny Grayson: 

recent drawings’, Harrison 

Galleries, Sydney, 18 Mar 2009 

Lecture: ‘Australian prints 1880s 

–1930s in the Gallery’s collection’, 

VG, 25 May 2009 

Leeanne Carr (Coordinator, 

secondary school and Asian 

education programs) 

Paper: ‘Programming the Asian art 

collection’, Leading 21st Century 

Schools in the Studies of Asia, 

Principals conference, Aug 2008 

Paper: ‘Language kits: Art 

speaks…all languages’, A 

Language Day Like No Other, 

Association of Independent 

Schools of NSW conference, 

Aug 2008 

Lecture: ‘Asian programs at the 

AGNSW’, Working Together: HSIE 

2009 Connecting Classrooms, 

HSIE and Asia conference, 

Department of Education & Training 

(DET) and the Asian Education 

Foundation, Nov 2008 

Judge: Art speaks Japanese 

Comes Alive, Japan Foundation, 

Nov 2008 

Victoria Collings (Coordinator, K–6 

schools and family programs) 

Judge: Dymocks Golden Paw 

Award 2008, National Parks and 

Wildlife, Sept 2008 

Advisor: Art & Australia new 

children’s book based on Kaldor 

Public Art Projects 

Lecture: ‘How to teach young 

children about art’, ACU, 2009 

Lectures: Twelve two-hour lectures 

for 50 volunteer children’s guides 

2008–09; core training on the 

Gallery’s permanent collection and 

major temporary exhibitions 

Jonathan Cooper (Manager, 

information) 

Panellist: ‘Maintaining positive 

organisation reputation through 

effective internal web content 

management and external 

monitoring’, 5th Annual Web 

Content Management Forum 

(Marcus Evans), Sydney, 1 Sept 

2008 

Paper: ‘Going beyond web usability 

to user engagement’, 5th Annual 

Web Content Management Forum 

(Marcus Evans), Sydney, 2 Sept 

2008 

Paper: ‘Future trends in the internet 

and their impact for museums’, 

Creative Uses of the Collection, 

Museums & Galleries Services, 

Queensland, seminar, Brisbane, 

11 Sept 2008 

Paper: ‘A difficult labour: a case 

study of the comprehensive 

upgrade of the Art Gallery of NSW 

website’, Managing Your Online 

Content Conference (Ark Group), 

Sydney, 23 Apr 2009 

Matt Cox (Coordinator, study 

room) 

Curator: Littoral drift, UTS Gallery, 

2 June – 3 July 2009 

Article: ‘Indo-Persian kingship and 

Islamic architecture in Malaysia’, 

The Asian Arts Society of Australia 

(TAASA), Mar 2009 

Paper: ‘History of display in the 

National Museum of Cambodia’, 

AAANZ conference, Griffith 

University, Brisbane, Dec 2008 


Indonesian portraiture, Art History & 

Film Studies, USyd 

Charlotte Davy (Senior registrar, 

exhibitions) 

Editor: arc journal no 57, 

Australasian Registrars Committee, 

Dec 2008 

Lecture: ‘Exhibition registration’, 

ACU, May 2009 

Lecture: ‘Loans and touring 

exhibitions’, USyd, May 2009 

Lecture: ‘Couriers: managing 

objects in transit’, facilitated and 

presented four full-day workshops, 

Melbourne and Sydney, Apr 2009 

President: Australasian Registrars 

Committee 

Barbara Dabrowa, (Conservator, 

frames) 

Article: ‘Archibald, Wynne, Sulman 

09’, Puls Polonii (Polish web 

magazine), in English 

Paula Dredge (Senior conservator, 

paintings) 

Paper (with Alan Lloyd): ‘The 

sub-committee and the restorer: 

conservation at the National Art 

Gallery of NSW 1899–1910’, 

Paintings Conservation in Australia 

from the Nineteenth Century to 

the Present: Connecting the Past 

to the Future, Contributions to the 

eleventh AICCM paintings group 

symposium, NGV Melbourne, Oct 

2008, pp 25–37 

Project partner and researcher: 

AGNSW partner, Australian 

Research Council (ARC) Linkage 

Grant, ‘The twentieth century in 

paint’ 

Deborah Edwards (Senior curator, 

Australian art) 

Curator: forthcoming Rupert Bunny: 

artist in Paris, 2009 

Lecture: Robert Klippel, public 

lecture, NGV, 15 Aug 2008 

Lecture: Ralph Balson, ‘A new 

realm of visual experience’, Colour 

in Art symposium, CoFA, 23 Aug 

2008 

Lecture: ‘The new role of the 

curator’, Loretto College, 9 Sept 

2008 

Chair: Sculpture by the Sea 

symposium, 16 Oct 2008 

Judge: 2008 Woollahra Small 

Sculpture Prize, Sept and Oct 2008 

Judge: 2009 Marten Bequest 

Travelling Scholarship for Sculpture, 

Dec 2008 – Jan 2009 

Judge: 2009 Adelaide Perry 

Drawing Prize, Feb 2009 

102 


Judge: 2009 Hobart Art Prize, Mar 

and June 2009 

Interview: Ola Cohn, Hindsight, 

ABC Radio National 702, 

Melbourne, 16 Aug 2008 

Grant: 18 months sculpture 

research, The Balnaves 

Foundation, Dec 2008 

Prize: Bertram Mackennal, shortlist, 

AAANZ Best Large Catalogue 2008 

Host: USyd Fine Arts Alumni 

evening, AGNSW, 29 Oct 2008 

Doctoral research: PhD, Australian 

sculpture, Art History & Film 

Studies, USyd 

Member: USyd Fine Arts Alumni 

Committee 

Member: Dictionary of Australian 

Artists Online 

Member: Art Association of 

Australia and New Zealand 

Naomi Flatt (Assistant curator, 


Coordinating curator: Kate Beynon: 

auspicious charms for transcultural 

living, 7 Aug – 26 Oct 2008 

Assistant curator: Tim Johnson: 

painting ideas¸ AGNSW, 12 Mar 

– 17 May 2009; GoMA, Brisbane, 

20 June – 11 Oct 2009; The Ian 

Potter Museum of Art, Uni Melb, 

11 Nov 2009 – 14 Feb 2010 

Managing curator: Justene 

Williams: bighead garbageface 

guards ghost derr sonata, 19 Feb 

– 14 June 2009 

Coordinating curator: Óscar 

Muñoz: biografías, 19 Feb – 

14 June 2009 

Article: ‘Kate Beynon: auspicious 

charms for transcultural living’, 

Look, AGS, Aug 2008, p 21 

Essay: ‘Be an artist: a biography’, 

Tim Johnson: painting ideas, 

AGNSW & QAG 2009 

Alec George (Coordinator, Brett 

Whiteley Studio) 

Judge: Mosman Youth Art Prize, 

Mosman Gallery, Sydney, May 

2009 

Opening address: 9 shades 

of Whiteley, touring exhibition, 

NERAM, Nov 2008 

Jonathan Jones (Coordinator, 


programs/Acting assistant curator, 


art) 

Curator: Mountford gifts, 21 Mar 

– 3 June 2009 

Curator: Country, culture, 

community, 12 Nov 2008 – 19 Apr 

2009 

Co-curator: The dreamers, 9 May 

– 18 Dec 2009 

Co-curator: Half light: portraits from 

black Australia, 21 Nov 2008 – 22 

Feb 2009 

Co-editor: Half light: portraits from 

black Australia, AGNSW, Sydney 

2008 

Author: Country, culture, 

community, Aboriginal and Torres 

Strait Islander education kit, 

AGNSW, Sydney 2008 

Essay: ‘Half light: portraits from 

black Australia’, AGNSW, Sydney 

2008 

Essay: ‘Mountford gifts’, AGNSW, 

Sydney, 2008 

Entries: ‘Owen Yalandja’, ‘Lena 

Yarinkura’, ‘Marina Murdilnga’ and 

‘Yvonne Koolmatrie’, Menagerie: 

contemporary indigenous 

sculpture, Object Gallery, Sydney 

2009 

Lecture: ‘On Ricky Maynard’, 

UTS gallery, Sydney, June 2009 

Lecture: ‘Papunya Tula’, 

Wollongong University, Wollongong, 

Apr 2009 

Lecture: ‘Country, culture, 

community’, teachers day, Mar 

2009 

Lecture: ‘Aboriginal art and history’, 

USyd, Sept 2008 

Lecture: ‘Aboriginal art for the 

Board of Studies’, Aug 2008 

Hendrik Kolenberg (Senior 

curator, Australian prints, drawings 

and watercolours) 

Exhibitions curator: Intensely 

Dutch: image, abstraction and the 

word post-war and beyond, 5 June 

– 23 Aug 2009 

Author: Intensely Dutch: image, 

abstraction and the word post-war 

and beyond, AGNSW, Sydney 

2009 

Article: ‘Intensely Dutch: a showing 

of modern works from here and 

there, Look, AGS, Sept 2008 

Article: ‘Intensely Dutch: yet they 

tend to be invisible’, Look, AGS, 

May 2009 

Essay: ‘Kevin Connor, new 

work’, Kevin Connor, paintings & 

drawings, Liverpool Street Gallery, 

Sydney 2009 

Interviews: Numerous radio and 

press interviews, lectures and 

floor talks for public and guides in 

connection with Intensely Dutch 

exhibition 

Judge: Jacaranda Acquisitive 

Drawing Award, Grafton Regional 

Art Gallery, 24 Oct 2008 

Opening addresses: Ana Pollak: 

fluvial, Sara Roney Gallery, 

Paddington, 5 Aug 2008; Themes 

and variations: drawings from the 

collection of the Art Gallery of New 

South Wales, Bathurst Regional 

Art Gallery, 17 Oct 2008; Students 

and teachers, Julian Ashton Art 

School, Sydney, 30 Nov 2008; 

Geoff Crispin pottery, Freeland 

Gallery, Paddington, 18 June 2009; 

Geoffrey de Groen, Goulburn 

Regional Art Gallery, 27 June 2009 

Brian Ladd (Head, public 

programs) 

Chair: Intensely Dutch Forum in 

conjunction with the Intensely 

Dutch exhibition, AGNSW, 5 June 

2009 

Tour leader and lecturer: New Year 

in New York tour, AGS, 27 Dec 

2008 – 5 Jan 2009 

Chair: ‘Locating sculptural 

space: what works where!’ panel 

discussion at Sculpture by the Sea 

conference, 16 Oct 2008 

Lecture: ‘Sculpture highlights from 

AGNSW collection’, Queens Club, 

9 July 2008 

Lecture: ‘2009 Archibald Prize’, TF, 

14 Mar 2009 

Talk: ‘2009 Archibald Prize touring 

exhibition’, Bendigo Art Gallery, 2 & 

3 June 2009 

Opening address: Plus minus 

equals, exhibition of sculptures and 

drawings by Brian Kirkby, Sturt 

Gallery, Mittagong, 21 June 2009 

Judge: Operation art, Penrith 

Regional Art Gallery, 3 July 2008 

Director: Brett Whiteley Foundation, 

Sydney 

Member: Editorial Advisory Panel, 

Art & Australia, Sydney 

Art advisor: William Fletcher 

Foundation, Sydney 

Member: Curatorial Panel for 

Headland Sculpture Park, Sydney 

Member: Steering Committee for 

biennial Sites of Communication: 

Art Museums Symposia 

AGNSW representative on the 

National Heads of Education and 

Public Programs (NHEPP) group 

Liu Yang (Curator, Chinese art) 

Curator: The lost Buddhas: 

Chinese Buddhist sculpture from 

Qingzhou, AGNSW, 29 Aug 

– 23 Nov 2008; Asian Civilizations 

Museum, Singapore; Jan–Apr 2009 

Co-author: (with Edmund Capon), 

The lost Buddhas: Chinese 

Buddhist sculpture from Qingzhou, 


Essay: ‘Self portrait and the 

representation of spatial time in 

Wu Zhen’s Fishman handscroll’ 

in Shanghai Museum (ed), Great 

classics of ancient Chinese painting 

and calligraphy – symposium 

proceedings, Shanghai Guji Press, 

Shanghai 2008, pp 204–10 

Essay: ‘A heaven from the 

mundane world: Eremitism in 

Chinese landscape painting’ in 

Aileen Lau (ed), The China Society, 

Singapore 60th anniversary 1949– 

09, 2009, pp 30–39 

Essay: ‘Representing nature in 

Chinese jade’ in Aileen Lau (ed), 

The China Society, Singapore 60th 

anniversary 1949–09, 2009, 

pp 64–71 

Article: ‘Immersed in the beauty of 

serenity: Buddhist sculptures from 

Qingzhou’, BeMUSE, Singapore, 

Jan–Mar 2009, pp 44–49 

Article: ‘The lost Buddhas’, Asian 

Art, London, Sept 2008, pp 29–30 

Article: ‘Stylistic and iconographic 

innovations in sixth-century 

Qingzhou Buddhist sculpture’, 

Arts of Asia, Oct 2008, pp 69–78 

Article: ‘Sculptures from an 

amazing hoard’, Look, AGS, 

Aug 2008, pp 28–33 

Lecture: ‘Stylistic innovations in 

Qingzhou Buddhist sculpture’, 

Asian Civilizations Museum, 

Singapore, 16 Jan 2009 

Paper: ‘Buddhist beliefs and 

iconography in sixth-century 

Shandong’, Chinese Buddhist Art: 

New Directions & Perspectives, 

AGNSW and USyd, 29–30 Aug 

2008 

Alan Lloyd (Head of conservation) 

Paper: ‘The Boustead years 

1946–1977’, Paintings 

Conservation in Australia from 

the Nineteenth Century to the 

Present: Connecting the Past to 

the Future, contributions to the 


symposium, NGV, Melbourne, 

Oct 2008, pp 51–61 

Paper: ‘Invention of the vacuum 

hot table by Bill Boustead, 

Conservator at the Art Gallery 

of New South Wales’, Paintings 

Conservation in Australia from 

the Nineteenth Century to the 

Present: Connecting the Past to 

the Future, contributions to the 


symposium, NGV, Melbourne, 

Oct 2008, pp 63–68 

Jethro Lyne (Coordinator, public 

programs) 

Lecture: ‘Spanish baroque’, AGS, 

2008 

Presenter: ABC Radio National 702 

Article: ‘Art and censorship’, SMH 

Guest lecturer: National Art School 

& the University of Sydney 


French medieval sculpture, Art 

History & Film Studies, USyd 

Ann MacArthur, (Senior 

coordinator, Asian programs) 

Lecture: ‘Japanese art of the 

seasons’, travel talk, AGS, Sept 

2008 

Lecture: Term 2 revision, Arts of 

Asia series: Literature and legend 

2, AGS, Oct 2008 

Lecture: Term 1 revision, Arts of 

Asia series: Decoding dress, AGS, 

June 2009 

Judge: ‘Art speaks Japanese 

comes alive’, Japan Foundation, 

Nov 2008 

Opening address: ‘Journey to the 

last place of happiness’, Bondi 

Pavillion, Dec 2008 


Member: Publications Committee, 

TAASA Review: The Journal of The 

Asian Arts Society of Australia, The 

Asian Arts Society of Australia 

Elizabeth Maloney, (Assistant 

curator, photography) 

Curator: Francis J Mortimer, 

26 July – 14 Nov 2008 

Article: ‘Francis J Mortimer: beacon 

of British pictorialist photography’, 

Look, AGS, July 2008, p 39 

Essay: ‘Francis J Mortimer’, 


Entry: Max Dupain At Newport 

1952; Great collections: treasures 

from Art Gallery of NSW, Australian 

Museum, Botanic Gardens Trust, 

Historic Houses Trust of NSW, 

Museum of Contemporary Art, 

Powerhouse Museum, State 

Library of NSW, State Records 

NSW, MGNSW, Sydney 2008 

Terence Maloon (Curator, special 

exhibitions) 

Curator: Monet and the 

Impressionists, 11 Oct 2008 – 

26 Jan 2009 

Member: Société Paul Cézanne 

Member: Alliance Française of 

Sydney (vice president) 

Member: ICOM 

Jackie Menzies (Head curator, 

Asian art) 

Curator: Korean dreams: paintings 

and screens of the Joseon dynasty, 

5 Mar – 8 June 2009 

Article: ‘Porcelain power, myriad 

wishes for longevity’, Look, AGS, 

Feb 2009, pp 30–31 

Article: ‘Korean dreams: decorative 

yet rich in meaning’, Look, AGS, 

Mar 2009, pp 24–27 

Article: ‘Asian collection: developing 

its distinctive character’, Look, 

AGS, Mar 2009, pp 12–13 

Article: ‘Confucian conceits: Korean 

painting in the Joseon dynasty’, 

TAASA Review, vol 18, no 1, Mar 

2009, pp 18–19 

Lecture: ‘Dress in Joseon dynasty 

Korea’, Arts of Asia lecture series, 

7 Apr 2009 

Lecture: ‘Royal collections of 

the City Palace, Udaipur’ in AGS 

symposium, Distant Horizons: 

from Persepolis to Samarkand and 

Beyond, A Tribute to Dee Court, 

18 Oct 2008 

Opening address: Lesley Kehoe 

exhibition, Deutscher-Menzies, 

Aug 2008 

Commencement speaker: USyd 

Arts Faculty, 7 Nov 2008 

Paper: ‘Programming across 

cultural boundaries’, Import/ 

Export: Asian-Australian Creative 

Exchanges, MGNSW, 7 Nov 2008 

Convenor and chair: 

‘Representations of nature 

across cultures before the 20th 

century’ panel, 32nd Congress 

of International Committee of the 

History of Art (CIHA), Melbourne 

2008 

Honorary associate: School of 

Languages and Cultures, USyd 

Director: VisAsia (The Australian 

Institute of Asian Culture and Visual 

Arts) 

Member: Morrissey Bequest 

Committee, USyd 

Member: Vice-Chancellor’s 

Advisory Committee, Nicholson 

Museum, USyd 

Steven Miller (Archivist) 

Lecture: ‘Primary sources in 

Australian visual arts’, SLNSW, 24 

Aug 2008 

Lecture: ‘Archival resources of the 

AGNSW’, USyd Fine Arts Alumni, 

29 Oct 2008 

Lecture and tour: of the Art Gallery 

Archive to the Sydney branch of 

the Australian Society of Archivists, 

19 Nov 2008 

Interviews: Ken Whisson, AGNSW 

oral history project, 26 Nov 2008 

Talk: ‘Artists’ archives’, Collection 

Circle, 3 Dec 2008 

Denise Mimmocchi (Assistant 

curator, Australian art) 

Curator: Tom Arthur: the fertilization 

of Drako Vülen’s cheese pizza 

1975, 5 Sept – 23 Nov 2008 

Curator: Sydney Long’s Pan, 

6 June – 30 Aug 2009 

Essay: ‘The metamorphoses of 

being: Tom Arthur, The fertilization 

of Drako Vülen’s cheese pizza’, 

Australian Collection Focus, 

AGNSW, 2008 

Essay: ‘Pan’s trespass: mythology 

and the decorative landscape in 

Sydney Long’s Pan’, Australian 

Collection Focus, AGNSW, 2009 

Barry Pearce (Head curator, 


Curator: The late landscapes of 

Horace Trenerry, 27 Nov 2008 – 

15 Mar 2009 

Essay: ‘Winter landscape’, Horace 

Trenerry, Beagle Press, Sydney 

2009 

Article: ‘Horace Trenerry: unsung 

hero of Australian art: memories of 

the artist as a young man’, Look, 

AGS, Nov 2008 

Essay: ‘Ravel’, Aida Tomescu, 

Niagara Galleries, Melbourne, 

2–20 Dec 2008 

Interviews: ‘Perennial icons of 

Australian art’, Pinnacle Magazine, 

29 July 2008; ABC Radio National 

702, ‘The Wynne Prize and its 

history’, 27 Nov 2008; ABC 

television, ‘The Ballet Russes in 

Australia’, 27 Feb 2009; ABC 

television, ‘Proposed Dunningham 

toilets construction on Roberts- 

Conder painting site at Coogee’, 

1 May 2009; The West Australian, 

‘Mask and memory’, 20 May 2009; 

ABC television’s Four corners, 

‘Fakes and forgeries in Australian 

art’, 22 May 2009; ABC Radio 

National 702, Self-Improvement 

with Richard Glover, ‘William 

Dobell’s portrait of Margaret Olley’, 

10 June 2009 

Lecture: ‘Monet and friends: 

Whistler and John Russell’, AGS, 

6 July 2008 

Lecture and book launch: Horace 

Trenerry, 11 Mar 2009 

Judge: Brett Whiteley Travelling Art 

Scholarship, Brett Whiteley Studio, 

8 Sept 2008 

Judge: Portia Geach Art Prize, 

S H Ervin Gallery, 16 Sept 2008 

Judge: Paris cité studio 

residencies, National Art School, 

Sydney, 13 Nov 2008 

Judge: Waterhouse Natural 

History Art Prize, South Australian 

Museum, Adelaide, 27 May 2009 

Judge: Sydney, City of Villages Art 

Prize, 15 June 2009 

Opening address: Nine shades 

of Whiteley, Gold Coast City Art 

Gallery, 11 July 2008 

Opening address: The naked and 

the nude, Ballarat Fine Art Gallery, 

13 Sept 2008 

Member: Acquisitions Committee, 

New England Regional Art 

Museum, Armidale 

Hetti Perkins (Senior curator, 


art) 

Curator: Half light: portraits from 

black Australia, 21 Nov 2008 – 

22 Feb 2009 


– 18 Dec 2009 

Co-editor: Half light: portraits from 

black Australia, AGNSW, Sydney 

2009 

Writer and presenter: Art and soul, 

a three-part documentary series for 

ABC television 

Cara Pinchbeck (Curator, 


art) 


– 25 April 2009 

Article: ‘Mountford gifts’, Look, 

AGS, Mar 2009, p 23 

Entry: Elaine Russell, Culture 

warriors: Australian Indigenous 

Art Triennial, National Gallery of 

Australia, Canberra 2009 (revised 

edition) 

Peter Raissis (Curator, European 

prints, drawings and watercolours) 

Coordinating curator: War: the 

prints of Otto Dix, NGA touring 

exhibition, 22 Aug –26 Oct 2008 

Article: ‘Memories of war: a 

masterpiece of nightmares’, Look, 

AGS, Aug 2008, pp 18–19 

Lecture: ‘English pastoral prints’, 

AAH, Sept 2008 

Lecture: ‘Looking at old master 

prints and drawings’, Art History 

dept, USyd, Sept 2008 

Lecture: ‘Bellange and Callot: 

printmakers at the court of 

Lorraine’, Arts of Asia series: 

Decoding the baroque II, AGS, 

Mar 2009 

Eric Riddler (Researcher, research 

library and archives) 

Paper: ‘A “dashed good afternoon” 

at Mrs Hurst-Seager’s’, AAANZ 

conference, Griffith University, 

Brisbane, 4–6 Dec 2008 

Malgorzata Sawicki (Senior 

conservator/frames) 

Lecture: ‘Framing Pissarro and 

Monet: approach to picture frames 

conservation at the AGNSW’, AGS, 

Jan 2009 

Lecture: ‘Framing Pissarro and 

Monet: approach to picture frames 

conservation at the AGNSW’, VG, 

June 2009 

Paper: ‘Framing Pissarro: tracing 

the framing history for one painting 

from the collection of the AGNSW, 

ICOM-CC 15th Triennial Meeting, 

New Delhi, India, Sept 22–26 2008 

Paper: ‘Framing Pissarro: tracing 

the framing history for one painting 

from the collection of the AGNSW’, 

Frames: Past, Present and Future, 

AICCM Gilded Objects SIG 

Symposium, NGV, Melbourne, 

8 Oct 2008 

Paper: ‘Non-traditional gilding: 

losses compensation in 

conservation of gilded surfaces 

using selected synthetic polymers 

– advantages and disadvantages’, 

Picturing the Frame: Attitudes, 

Context and Treatment from 

Conception to Consolidation, ICON 

Gilding and Decorative Surfaces 

Group, Royal Institute of British 

Architects, London, UK, 22 Apr 

2009 

Interview: AICCM National 

Newsletter, AICCM no 111, June 

2009 

Doctoral research: PhD, School 

of Natural Sciences (Materials 

Conservation) UWS, completed 

2008 

Member and coordinator: Wood, 

Furniture, & Lacquer Working 

Group, ICOM-CC 

Natalie Seiz (Assistant registrar, 

curatorial, Asian art) 


Contemporary women artists in 

Taiwan, Art History & Film Studies, 

USyd 

104 


Tristan Sharp (Senior coordinator, 

education programs) 

Curator and coordinator: 

ARTEXPRESS 09, 14 Feb – 

19 Apr 2009 

Foreword: ‘Why study the visual 

arts?’, Cambridge Visual Arts, 

Stage 4, Cambridge University 

Press, Melbourne, 2009 

Lecture: ‘Curating ARTEXPRESS: a 

conceptual framework crossroads’, 

Education Program, Forty Eight 

Hours of Visual Arts Festival 

(FEHVA), Bangalow, North Coast, 

May 2009 

Lecture: ‘Developing a body 

of work’, Tamworth Visual Arts 

Student Symposium, Tamworth 

Regional Gallery, Oct 2008 

Papers: ‘Interpreting original art 

objects’; ‘The value and role of 

education: AGNSW program 

overview’; ‘Fees, funding and 

philosophy: education program 

strategy and planning’; ‘Volunteers 

as educators’; Education kits: 

designing them, using them, 

making them’. Great Educators: 

Regional Museum & Gallery 

Educators conference (program 

developer, presenter and forum 

participant across multiple 

programs), Museum & Galleries 

NSW, Albury Regional Gallery and 

Museum, June 2009 

Paper: ‘ARTEXPRESS: 

connecting with public galleries 

and the influence on the HSC’, 

Artexpress Regional Teachers 

symposium, Lake Macquarie 

Regional Gallery, May 2009 

Paper: ‘Teenage mentorships: 

Artside-In’, From the Margins to 

the Centre, Education symposium, 

National Portrait Gallery, Dec 2008 

Paper: ‘Art gets you places: 

Artside-In Moree’, Learning in 

Museums conference, Museums 

Australia Education Network 

Victoria, NGV, Sept 2008 

Opening address: Caroline 

Chisholm College, Visual Art 

Exhibition 

Opening address: Loretto Kirribilli, 

Visual Art Exhibition 

Interviews: Andrew Daddo evening 

show, ABC Radio National 702, 

Feb 2009; Artexpress 09, Daily 

Telegraph, Elizabeth Fortescue, 

Feb 2009; ‘Student art making, 

creativity and the syllabus’, The arts 

show, ABC Radio North Coast, 

30 May 2009 

Member: Sydney Art Management 

Advisory Group (SAMAG) 

Committee 

Member: MGNSW, Visual Arts 

Reference Group 

Member: University of Sydney 

Union, Creative Arts Grants 

Committee 

Member: MGNSW, Incoming 

Touring Exhibition Grants Panel 

Dr Jacqueline Strecker (Curator, 

special exhibitions) 

Talk: War: the prints of Otto Dix, 

3 Sept 2008 

Khanh Trinh (Curator, Japanese 

art) 

Curator: Genji: the world of the 

Shining Prince, 12 Dec 2008 – 

22 Feb 2009 

Curator: Innovations through 

continuity: modern Japanese 

ceramics from the collection of the 

AGNSW, 10 July – 12 Dec 2009 

Editor: Genji: the world of the 

Shining Prince, AGNSW, Sydney 

2008 

Essay: ‘Imagining the Shining 

Prince: The tale of Genji from Heian 

period hand-scrolls to Heisei-era 

Manga’ in Genji: the world of the 

Shining Prince, AGNSW, Sydney 

2008 

Article: ‘Genji: the world of the 

Shining Prince’, Look, Nov 2008, 

pp 28–31 

Article: ‘Iwasa Matabei ha – Genji 

monogatari zu byobu’, KOKKA, 

no 1358, Dec 2008, pp 45–7 

Article (with Ibaraki Emi): ‘Akashi 

– Miotsukushi zu byobu’, KOKKA, 

no 1358, Dec 2008, pp 48–50 

Entry: Tani Buncho’s ‘Early summer 

mountains in the rain’, The golden 

journey – Japanese art from 

Australian collections, AGSA, 

Adelaide, 2009, pp 148–9 

Lecture: ‘Virtuous women, gallant 

heroes: depiction of love in The tale 

of Genji’, Arts of Asia series, AGS, 

12 Aug 2008 

Lecture: ‘China in the floating 

world: illustrations of the 108 

heroes of the Suikoden’, Arts of 

Asia series, AGS, 30 Sept 2008 

Lecture: ‘Imagining the “Shining 

Prince”: The tale of Genji from 

Heian-period hand-scrolls to 

Heisei-era Manga’, USyd, Nov 

2008 

Lecture: ‘Imagining the “Shining 

Prince”: The tale of Genji from 

Heian-period hand-scrolls to 

Heisei-era Manga’, AGSA, 

Adelaide, May 2009 

Lecture: ‘The rise of Edo popular 

culture: origins of ukiyo-e’, 

University of Adelaide, Adelaide, 

May 2009 

Paper: ‘Loyalty through rebellion: 

the impact of the Suikoden on 

Japanese 19th - century popular 

culture’, JSAA-ICLJE (Japanese 

Studies Association of Australia), 

Sydney, July 2009 

Josephine Touma (Coordinator, 

public programs) 

Paper: ‘From the playhouse to the 

page: visual sources for Watteau’s 

theatrical universe’, American 

Society for Eighteenth Century 

Studies, Richmond VA, Apr 2009 


Art History & Film Studies, USyd 

Wayne Tunnicliffe (Senior curator, 


Co-curator (with Julie Ewington, 

curatorial manager, Australian art, 

QAG): Tim Johnson: painting ideas¸ 

AGNSW, 12 Mar – 17 May 2009; 

GoMA, Brisbane, 20 June – 11 

Oct 2009; The Ian Potter Museum 

of Art, UMelb, 11 Nov 2009 – 14 

Feb 2010 

Curator: Ângela Ferreira & Narelle 

Jubelin: the great divide, 19 Feb 

– 14 June 2009 

Curator: Nicholas Mangan: 

between a rock and a hard place, 

25 June – 13 Sept 2009 

Co-selector: AGNSW 

Contemporary Projects: Kate 

Beynon, Justene Williams, Óscar 

Muñoz, Nicholas Mangan 

Essay: ‘Pure land painting’, Tim 

Johnson: painting ideas, AGNSW & 

QAG, 2009 

Essay (with Julie Ewington), 

‘Introducing Tim Johnson’ in Tim 

Johnson: painting ideas, AGNSW & 

QAG, 2009 

Essay: ‘No man is an island’ in 

Nicholas Mangan: between a rock 

and a hard place, AGNSW, Sydney 

2009 

Lecture: Tim Johnson Forum, 

interview with Tim Johnson and 

discussion of practice 1970–89, 

AGNSW, 14 Mar 2009 and QAG, 

Brisbane, 20 June 2009 

Lecture: ‘Curating contemporary 

art at the AGNSW’, Master of 

Museum Studies, USyd, 7 Apr 

2009 

Lecture: ‘Contemporary art, new 

directions’, Artists in Conversation 

group, Erskineville, 10 June 2009 

Judge: Redlands Westpac Art 

Prize, Mosman Art Gallery, 14 Nov 

2008 

Judge: Jenny Birt Award, CoFA, 

UNSW, 6 Apr 2009 

Judge: Anne Landa Award, 

AGNSW, 7 May 2009 

Judge: Global Switch public art 

commission, Sydney, 26 May 2009 

Judge: Paris Studios, AGNSW, 

30 June 2009 

Member: Contemporary Collection 

Benefactors, AGNSW 

Interview panel: Curator, Ivan 

Dougherty Gallery, UNSW, 27 Mar 

2009 

Award: Cité internationale des arts 

research residency, Paris, France, 

July–Aug 2008 

Sheona White (Senior coordinator, 

public programs) 

Consultant curator: Pallingjang 

saltwater 2009, Wollongong City 

Gallery, Dec 2009 

Interviews: 2RRR, producer & 

presenter Natalie Smith, 18 Apr 

2009; Voice of Islam, producer & 

presenter Bass Adasi, 23 June 

2009 

Opening address: Monet and 

the Impressionists, Tourism NSW 

industry group, 7 Oct 2008 

Opening address: Monet and the 

Impressionists collection talks; 

Picturing the land; J. Llewellyn 

Jones the dry season, 8 Oct 2008 

Opening address: Archibald, 

Wynne and Sulman Prizes 2009, 

AGS corporate members, 3 Apr, 

27 Apr and 12 May 2009 

Member: Higher Education 

Assessment Panel, Department of 

Education, Sydney 

Consultant curator: Coomaditchie 

United Aboriginal Corporation 

Natalie Wilson (Assistant curator, 


Interviews: ‘Art on Show Award 

09’, Daily Mercury, Mackay; ABC 

Radio, Mackay; Seven Mackay 

Local News, WIN News, WIN 

Television, Mackay, 15–16 June 

2009 

Lecture: ‘Heidelberg and beyond’, 

VG Australian Art Collection series, 

11 May 2009 

Judge: Art on Show Award 09, 

Mackay, Queensland, 13–14 June 

2009 

Opening address: Art on Show 

Award 09, Mackay, Queensland, 

15 June 2009 

Member: S H Ervin Gallery Art 

Advisory Committee, S H Ervin 

Gallery, Sydney 


CUSTOMER 

response 

In accordance with our pledge of 

service, visitors to the Gallery are 

invited to leave praise, criticisms 

and suggestions in the visitors 

suggestion book. 

More than 1.3 million people 

visited the Gallery’s Domain site 

in 2008–09. Despite attendance 

numbers exceeding the previous 

year by more than 300 000, 

comment numbers remained 

similar. The comments book is 

regularly reviewed by the Gallery’s 

executive team for response and 

further action, where appropriate. 

The majority of positive remarks 

were directed toward the volunteer 

guides, who provide free daily tours 

of the permanent collections and 

temporary exhibitions. The breadth 

and quality of the education 

and public programs were also 

highly praised, as were the film 

screenings. These comments are 

in line with positive reviews from 

previous years. 

The majority of complaints 

reflected the highly active nature 

of the Gallery’s business and the 

limitations of operating in a heritage 

building. While all complaints are 

taken seriously and given due 

consideration, relative to overall 

visitor numbers, the level of 

complaints recorded is very low, 

reflecting a high level of overall 

visitor enjoyment and satisfaction 

with their experiences at the 

Gallery. 

Areas of major concern to visitors 

during 2008–09 were: 

Introduction of the new 

ticketing system 

In October 2008 the Gallery 

introduced a new centralised 

ticketing system for admission 

to special exhibitions. This was 

a large cultural and physical 

change for many of the Gallery’s 

regular visitors. The sales point for 

purchasing tickets was relocated to 

the front entrance information desk, 

rather than at the entrance of each 

specific exhibition display gallery. 

The largest number of complaints 

was recorded during the beginning 

weeks of the highly attended Monet 

and the Impressionists exhibition, 

while the public was still adjusting 

to the new arrangements and 

attendance was at record levels. 

Complaints centred on: the location 

of the ticket sales desk having 

been moved; slow eftpos purchase 

times; the length of the queue and 

therefore waiting times and the lack 

of a separate members queue. 

By the following exhibition, 

Archibald, Wynne and Sulman 

Prizes 2009, our audiences had 

familiarised themselves with the 

new arrangements and the level of 

complaints dropped to a negligible 

level. While the queues initially 

appeared extensive, they moved 

quickly, with waiting times only 

exceeding 10 minutes on extremely 

busy weekends. Waiting times 

were further reduced through the 

introduction of internet ticket sales 

via the Gallery’s website. Technical 

issues were addressed and the 

eftpos service was upgraded. An 

online ticket sales capability was 

located in the members lounge to 

ease members’ concerns. 

Mobility-impaired access 

Access for mobility-impaired people 

is via the rear of the building. There 

were a number of complaints 

regarding the ability for people with 

mobility issues, wheelchairs and 

prams to access the building via 

the front door. 

New signage was placed at the 

front of the Gallery and at the 

beginning of the driveway to assist 

with directions. Also a temporary 

pathway was constructed to 

allow easier access to the ramp 

at the rear of the building and 

the education entrance. Future 

improvements to the building will 

be aimed at increasing the ease 

of access for mobility-impaired 

visitors. 

Food service 

There were a number of complaints 

about slow service and high 

prices in the cafe. During popular 

exhibitions such as Monet and the 

Impressionists or the Archibald 

Prize, increased pressure is placed 

on the available food and beverage 

service due to the sheer number 

of customers. 

This year the buffet-style cafe 

service has been redesigned with 

a new coffee and food preparation 

bench. Customers now place 

their order and pay at the register, 

then their food and beverages are 

delivered to their table, increasing 

the ability of cafe staff to process 

orders in a quicker timeframe. The 

restaurant has received favourable 

comments, and good support for 

the exhibition viewing plus lunch 

special offers. Complaints regarding 

prices have been forwarded to our 

contract caterers to assist them in 

planning their future pricing policy. 

A discount on food services is 

already available to members. 

106 


COMPLIANCE 

REPORTING 

Credit card usage 

The director certifies that credit 

card usage in the Gallery has been 

conducted in accordance with 

relevant Premier’s Memorandums 

and NSW Treasury Directions. 

Engagement and use of 

consultants 

There were two consultancies 

in 2008–09, costing a total of 

$31 800. One of the consultancies, 

Ether Pty Ltd, was engaged in the 

information technology category 

and was paid $30 000. The other 

consultancy was engaged in the 

environmental category. 

Legal change 

No changes were made to the Art 

Gallery of New South Wales Act 

1980 during the reporting period 

and there were no significant 

judicial decisions affecting the 

Gallery or visitors to the Gallery. 

Major assets 

The Gallery’s major assets are its 

artwork collections, valued at $813 

million (as at 30 June 2009), and 

the perimeter land and building 

in the Domain, valued at $175.5 

million (as at 30 June 2009). 

Summary of land holdings 

The following is a listing of land 

owned by the Art Gallery of NSW 

as at 30 June 2009: 



The Domain 

Sydney NSW 2000 

Land disposal 

The Gallery did not acquire or 

dispose of any land in 2008–09. 

Heritage management 

The Gallery’s museum building 

located in the Domain Parklands 

of Sydney’s CBD is listed on 

the state government’s heritage 

register. A revised Conservation 

Plan was finalised last year to 

assist in the management of the 

building. The building is maintained 

to serviceable standards via an 

annual capital grant of $2.37 

million from the NSW government. 

The collection assets and works 

of art on loan to the Gallery are 

maintained to international museum 

standards. 

Privacy management 

During 2008–09, there were no 

internal reviews conducted by 

or on behalf of the Gallery under 

Part 5 of the Privacy and Personal 

Information Protection Act 1988 

(PPIP Act). 

The Gallery’s designated privacy 

officer, in accordance with the 

provision of the PPIP Act, can be 

contacted at: 

Human Resources 



The Domain 


Telephone: (02) 9225 1795 

Fax: (02) 9226 1622 

Email: privacy@ag.nsw.gov.au 

Freedom of information 

procedures 

Application for access to Gallery 

documents under the Freedom of 

Information Act 1989 should be 

accompanied by a $30 application 

fee and directed in writing to: 

Human Resources Manager 

(FOI Coordinator) 



The Domain 


Major capital works 

Costs 2008–09 Completion Overrun 

Capital works project $’000 date $ 

Artworks purchased 17 205 ongoing nil 

Building works 14 324 ongoing nil 

Plant & equipment replacement 421 ongoing nil 

Total 31 950 

Payment performance 

Aged creditor analysis at the end of each quarter 2008–09 

Current Less than Less than Less than More than 

(ie within 30 days 60 days 90 days 90 days 

Quarter due date) overdue overdue overdue overdue 

ended $ $ $ $ $ 

Sept 2008 546 065 44 110 10 413 110 –5 322 

Dec 2008 404 703 47 179 –669 –59 –5 212 

Mar 2009 773 461 –961 691 –177 –5 436 

June 2009 424 699 2 619 –1 612 0 –6 617 

Accounts paid on time each quarter 2007–08 

Total accounts paid on time 

Total paid 

Target Actual Amount Amount 

Quarter % % $ $ 

Sept 2008 90.00 99.98 13 163 907 13 166 017 

Dec 2008 90.00 99.93 9 114 597 9 120 770 

Mar 2009 90.00 99.97 8 054 273 8 056 890 

June 2009 90.00 99.96 11 862 558 11 867 489 

Total 90.00 99.96 42 195 335 42 211 166 


Freedom of information 

– statement of affairs 

The following statement of affairs 

is presented in accordance with 

the Freedom of Information Act 

1989, sections 14(1)(b) and (3). 

The Gallery’s statement is correct 

as at 30 June 2009. The Gallery 

(FOI Agency no 376) received three 

formal requests for information 

during 2008–09, two classified 

as ‘other’, and one classified 

as ‘personal’ under the Act. All 

requests were completed. No 

requests were carried over from the 

previous financial year. 

The Gallery regularly receives 

representations from the public 

concerning our operations. We 

endeavour to make the collection 

and associated information as 

accessible as possible to the 

general public and we welcome 

public interest and participation in 

Gallery activities. 

Documents held by the Gallery: 


Act 1980; accounts manual; 

administrative policies and 

procedures; agendas and 

minutes of meetings; collection 

management policies and 

procedures; annual reports; 

EEO annual report; film and 

photography policy; corporate plan 

2009; financial reports; and human 

resources policies and procedures. 

Documents available for purchase 

include a range of catalogues 

and art books published by the 

Gallery (see the appendix: AGNSW 

publications for sale). Publication 

prices are regularly reviewed by the 

Gallery Shop. Selected items are 

available from our main website 

(www.artgallery.nsw.gov.au/shop). 

Details of freedom of information 

(FOI) requests received by the 

Gallery: 

2008–09 2007–08 

FOI requests Personal Other Total Personal Other Total 

New applications 1 2 3 0 3 3 

Completed 1 2 3 0 3 3 

Total processed 1 2 3 0 3 3 

Unfinished (carried forward) – nil 

Results of FOI request 

Granted in full 1 0 1 0 1 1 

Completed 1 2 3 0 3 3 

Request details – nil 

Fees of requests processed 

Fees received $0 $60 $60 $0 $90 $90 

Type of discounts allowed – nil 

Days to process 

0–21 days 1 2 3 0 2 2 

22–35 days 0 0 0 0 1 1 

Processing time 

0–10 hours 1 2 3 0 3 3 

Review of appeals – nil 

Basis of internal review 

grounds on which requested 

access reviewed – nil 

EEO statistics 

Parliamentary annual report tables 

A Trends in the representation of EEO groups 

% of total staff 

EEO group Benchmark or target 2006 2007 2008 2009 

Women 50% 51% 53% 53% 53% 

Aboriginal and Torres Strait Islander people 2% 1.8% 2.2% 1.7% 2.1% 

People whose first language was not English 20% 20% 19% 24% 24% 

People with a disability 12% 2% 3% 2% 2% 

People with a disability requiring work-related adjustment 7% 0.4% 0.4% 0.4% 0.4% 

B Trends in the distribution of EEO groups 

distribution index 

EEO group Benchmark or target 2006 2007 2008 2009 

Women 100 117 117 100 116 

Aboriginal and Torres Strait Islander people 100 na na na na 

People whose first language was not English 100 90 90 98 89 

People with a disability 100 na 114 na na 

People with a disability requiring work-related adjustment 100 na na na na 

Notes: 

1. Staff numbers are as at 30 June. 

2. Excludes casual staff. 

3. A Distribution Index of 100 indicates that the centre of the distribution of the EEO group across salary levels is equivalent to that of other staff. Values less than 

100 mean that the EEO group tends to be more concentrated at lower salary levels than is the case for other staff. The more pronounced this tendency is, the lower 

the index will be. In some cases the index may be more than 100, indicating that the EEO group is less concentrated at lower salary levels. The Distribution Index is 

automatically calculated by the software provided by ODEOPE. 

4. na indicates not applicable. 

108

Art Gallery of New South Wales Annual Report 2008â09

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Art Gallery of New South Wales Annual Report 2008â09