NGV 2010/11 ANNuAl RepoRt - National Gallery of Victoria

NGV2010/11AnnualReportCouncIl of Trustees ofthe NatIonal Gallery ofVIctorIa, AustralIa

2NGV International180 St Kilda RoadThe Ian Potter Centre:NGV AustraliaFederation SquareNational Gallery of VictoriaPO Box 7259St Kilda RoadMelbourne VIC 8004AustraliaPh: +61 3 8620 2222ngv.vic.gov.auCover imageJarinyanu David DownsWangkajunga/Walmajarri c. 1925–95UnknownIndigenous shields(19th century– 20th century) (installation photo)earth pigments on wood, earth pigments and naturalpigments on wood, wood, caneFelton Bequest, 2011 (2011.122 – 2011.184)Purchased, National Cultural Heritage Fund, 2009(2009.579, 2009.580)Purchased with the assistance of a special grant from theGovernment of Victoria, 2008 ( 2008.245)This publication is 100% recyclable.Printed in Victoria with 100% vegetable inks on Australianmade, recycled, carbon neutral paper.

Contents3Overview04 About the National Gallery of Victoria05 Year’s Highlights06 President’s Review08 Director’s ReportStrategy and Plans16 Legislative and Strategic Framework18 NGV Contributions to CreativeCapacity+Outcomes20 Collections and Exhibitions24 Community27 Creative Content28 Education30 Recognition31 Talent32 Funding34 Sustainability36 Exhibitions:• NGV Australia• NGV International• NGV Touring39 PublicationsFinancial50 Independent Audit Report52 Financial StatementsOther Reports85 Other Statutory Reports102 Donors106 NGV Foundation Members111 Felton Society Members112 Sponsors113 Acquisitions120 Scholarly Publications by NGV Staff126 Disclosure IndexOrganisation40 Corporate Governance Structure42 Organisation Chart43 Council Committees and KeyStakeholder Groups46 Five Year Financial Summary

4About theNatIonalGallery ofVIctorIaNGV MISSIONTo illuminate life by collecting, conserving andpresenting great art.VISIONAs Victoria’s cultural flagship and home toAustralia’s finest art collection the NGV isrecognised as one of the leading art museumsof the world.VALUESExcellenceIntegrityAccessORIGINSFounded in 1861, the National Galleryof Victoria is Australia’s oldest publicart gallery. We celebrated our 150thanniversary in May 2011.GOVERNANCEThe State Government’s National Galleryof Victoria Act 1966 established the NGVas a statutory authority which sits withinthe Department of Premier and Cabinetportfolio. The NGV Act provides for a Councilof Trustees with overall responsibility for theNGV. The Council reports to the Minister forthe Arts.LOCATIONSThe NGV’s St Kilda Road Gallery, designedby Sir Roy Grounds, opened in 1968. SinceDecember 2003 NGV has operated across twosites – NGV International on St Kilda Road,redesigned by Mario Bellini, and The Ian PotterCentre: NGV Australia at Federation Square,designed by LAB Architecture Studio.COLLECTIONOver 70,000 works including paintings,sculpture, antiquities, works on paper,photography, decorative arts, furniture,fashion, textiles and multimedia.ADMISSIONAdmission to the State Collection (the NGVCollection) is free. Entry fees are charged forsome exhibitions.OPENING HOURSNGV INTERNATIONAL180 St Kilda RoadOpen 10am–5pmClosed TuesdaysUntil 9pm Wednesdays (art after dark) duringMelbourne Winter Masterpieces exhibitionsTHE IAN POTTER CENTRE:NGV AUSTRALIAFederation SquareOpen 10am–5pmClosed Mondays

Year’sHIghlIghts“The NGV’s 150th anniversary is the perfectopportunity to pay tribute to those who haveplayed a role in the growth of this state treasure.The Gallery has been providing inspiration andenjoyment to our community for 150 years.”5Ted Baillieu, MLA, Premier andMinister for the Arts• Celebrated the NGV’s 150th anniversarywith a year-long program of specialevents, displays and activities, including atwo-day community street pARTy on theanniversary weekend in May, attended bymore than 30,000 people• Added 29 masterpieces to the NGVCollection, valued at $19 million,including an exceptional collection of173 Indigenous works, our first paintingby Gustave Caillebotte and three worksby contemporary artists Vernon AhKee, Brook Andrew and Jonathon Jonescommemorating nineteenth-centuryWurundjeri artist William Barak – allgifted by the Felton Bequest – sculptureby Marino Marini gifted by Loti Smorgon,a major Japanese Shō-Kannon Bosatsugifted by Allan and Maria Myers and worksby John Glover, Sidney Nolan, PenleighBoyd, Thomas Girtin and David Noonan• Following a State Government grantdelivered a major capital project of extensivegallery renewals and redesigns atNGV International, including the openingof the new NGV Kids Space on the groundfloor, new gallery for Prints and Drawingsand the opening of a new family room• Recreated the lavish and dense hangingstyles of the Paris Salon and LondonAcademy shows of the mid-nineteenthcenturywith a floor-to-ceiling hang ofalmost 100 works in the extremely popularSalon Room, and dedicated an adjoiningroom to the style and taste of the BritishRegency period• Offered Australian audiences a rareopportunity to see a host of worksnever before shown here in our seventhMelbourne Winter Masterpieces exhibition,European Masters: Städel Museum,19th–20th Century, which attractedmore than 200,000 visitors and drew anoverwhelmingly positive response• Achieved 64% of our Masterpieces forMelbourne campaign, raising $96.6M in gifts• Engaged a new youth audience with theopening of NGV Studio at FederationSquare, a space dedicated to innovativeand experimental art forms, launchedwith an interactive Facebook and Twittermarketing campaign and an inauguralexhibition showcasing some of Melbourne’smost exciting and talented street artists• Opened a new gallery at NGV Internationaldedicated to the Art of the Pacific, amodern and light-filled space with workson open display, featuring barkcloths byÖmie women artists and body ornamentsby Melbourne-based Samoan artistMaryanne Talia Pau in the inaugural exhibit• Commenced major restoration of onethe most prized works of the collection,Nicolas Poussin’s The Crossing of theRed Sea, c. 1633–34, giving the publica rare look at this complex year longconservation process through a dedicatedblog and regular updates• Held our first ever people’s choice poll offavourite works in the NGV Collection, MyTop Ten, with top honours going to JohnBrack’s Collins St, 5pm, 1955, and launchedthe Top Ten Trail as part of the 150thAnniversary celebration in May, using thepublic’s favourite top ten works to map outa journey between NGV International andNGV Australia.• Authenticated our magnificent Trinitariascarpet as being an Indian work from thelate-sixteenth century, significantly olderthan previously thought• Launched more art after dark activitiesfor Members and two new membershipcategories: NGV Premium Membership andNGV Kids Club membership, which havealready proved popular• Celebrated 60 years of Education andPrograms at the NGV with a packedcalendar of seminars, events and programsfor all ages and interests, attended bymore than 220,000 people• Congratulated the NGV Women’sAssociation on their 50th anniversary andthanked them for their dedication and fortheir exceptional anniversary gift to theGallery of an important sculpture by theBelgian symbolist artist George Minne

“We owe a great deal to all those whohave helped created this importantinstitution, making it the cultural flagshipit is today. This legacy should spur all ofus to work hard to ensure the NGV’scontinued success for future generations.”Allan Myers, President of the Council of Trustees7As this will be my last annual review asPresident of the Council, I would like to givespecial thanks to my fellow Trustees fortheir hard work, commitment and generosityyear after year, particularly Jason Yeap forhis work with the Supporters of Asian Art,an area in which we have made great stridesrecently. I would also like to acknowledge therespective contributions of Ron Dewhurst andAndrea Hull, who retired from the Councilduring this reporting period.It has been a privilege and a pleasure workingwith this dedicated group of people over thepast 9 years, providing direction and supportto the NGV to help it achieve its goals ofcollecting, conserving and displaying greatworks of art in a way that benefits as manypeople as possible. I thank all of the Trusteesvery warmly for their invaluable assistance.I would also like to thank Gerard Vaughan, whohas worked extraordinarily hard during his timeas Director to ensure the NGV keeps gettingbigger and better every year and continues togain the confidence and respect of the public.It was pleasing to see that Gerard’s serviceto the arts was officially recognised when hewas made a Member of the Order of Australia(AM) this year, and I congratulate him on thissignificant achievement. It is well earned.The NGV belongs to, and exists to serve, thecommunity, and all Victorians should be proudof this exceptional cultural resource.I congrat ulate the Gallery on reaching its150th year and look forward to more excitingtimes ahead.Allan MyersPresident, Council of TrusteesNational Gallery of Victoria

8 DIrector’sReportThe past 12 months has been a period ofgreat celebration, reflection and renewal atthe NGV. In May, the Gallery commemoratedthe 150th Anniversary of its founding, whichmeant, of course, a public celebration to markthis important milestone in the history ofAustralia’s oldest public art gallery. However,the anniversary was also an opportunity toreflect on where the NGV is today, where wewould like to be in the future, and what weneed to do to get there. Our aspirations for thefuture were very much a part of the messagewe worked to communicate to the public andthe press.Celebrating 150 yearsWhen the National Gallery of Victoria openedits doors in 1861, Melbourne was considered‘a city of magnificent intentions’. It was a timeof great optimism and planning, due in largepart to the recent discovery of gold and theinflux of immigrants that followed.Notwithstanding their pioneering vision,it is hard to imagine that the Gallery’sfounders could have foreseen the vibrant,internationally acclaimed institution the NGVwould become over the course of the nextone-and-a-half centuries. From relativelyhumble beginnings as a small exhibitionspace within Melbourne’s Public Library,it has grown into the NGV we know andlove today — an impressive, encyclopaediccollection of some 70,000 works, housed intwo architecturally distinguished buildings inMelbourne’s famed arts precinct.Above all, we wanted to invite the wholecommunity to join with us in celebratingthe Gallery’s rich history and achievementsover the past 150 years, and to recogniseand celebrate our great benefactors, andthe generations of trustees, directors andstaff who made it all possible. The 150thAnniversary year was officially opened at amedia launch on 2 February, attended by thePremier and Minister for the Arts, Ted Baillieu,and the Lord Mayor, Robert Doyle, when weannounced key activities planned for the yearand the first major donations, including agroup of significant gifts from our good friendand benefactor Loti Smorgon, sourced fromher own collection.These exceptional gifts — Marino Marini’sexquisite bronze sculpture, Rider (Cavaliere),1945; Pablo Picasso’s Woman combing herhair (La coiffure), 1906, cast after 1910, a keysculpture from the artist’s early period; threeceramic sculptures by John Perceval, Thekiss, Figure of an angel and Seated figure of anangel, all from 1960; and Marge 1990, a majortwo-panel abstract expressionist painting byJoan Mitchell — added to the Smorgon family’sprevious munificent donations to the NGV.The next major announcement was made ata packed media conference on the morning of24 May, the actual date of the NGV’s openingin 1861 by the then governor, Sir Henry Barkly— and carefully chosen to occur on QueenVictoria’s birthday. The present Governorof Victoria, Alexander Chernov, unveiled anexceptional gift of 173 Indigenous worksdonated to us by the Felton Bequest.The works included a collection of 63 rarenineteenth- and early- twentieth-centuryIndigenous shields, 107 twenty-first-centurypaintings from the Far Western Desert, andthree works by contemporary indigenousartists Vernon Ah Kee, Brook Andrew andJonathan Jones, specially commissionedto pay tribute to the celebrated nineteenthcenturyWurundjeri headman and artist,William Barak. This was the most significantgift of Indigenous art in the Gallery’s history,greatly strengthening our holdings, nowcomprising some 3,000 works, and alreadyone of the most important in the world.The Felton Bequest saved its income forfive years, accumulating some $6 million,in order to do something very special forthe NGV’s sesquicentenary, and we areextremely grateful for this exceptional andtransforming gift.The new works were formally gifted tothe Gallery that evening, in the presenceof the Premier, as the prelude to the NGVFoundation‘s Gala Fundraising Dinner, held inthe Great Hall and attended by 500 guests,each of whom made a generous donationto the acquisition fund. The Governor andMrs Chernov were the principal guests ofhonour, with the President of the Council,the Chairman of the NGV Foundation,Bruce Parncutt, the Chairman of the FeltonBequests Committee, Sir Andrew Grimwade,and myself all making brief remarks.During the evening, an additional FeltonBequest gift, Gustave Caillebotte’s Theplain of Gennevilliers, yellow fields, 1884was also unveiled — our first work by thisimportant, though less known, member of theImpressionist group — along with a new giftfrom Allan and Maria Myers, a highly important12th century Shō-Kannon Bosatsu, furtherstrengthening the historic Japanese collection.The dinner was a resounding success,raising over $400,000 in addition to thegifts mentioned above, and was regardedby all those present as a very special andmemorable occasion.Our 150th anniversary week celebrationsculminated in a two-day event, pARTy, onSaturday 28 and Sunday 29 May, organisedunder the creative direction of Robyn Archer,well known in Australia and internationallyas a singer, writer, artistic director and vocaladvocate for the arts. Robyn did a magnificentjob in bringing art and the community together,and I would like to thank her on behalf ofthe NGV for her invaluable contribution. Thedoors at both NGV International and NGVAustralia stayed open until late throughout theweekend, with free music and performances,

“Looking back over the past 150 years,it is clear that the Felton Bequest was thecatalyst that enabled the NGV to make thesignificant acquisitions that have helpedcreate a world-class collection.”Gerard Vaughan, Director9talks by artists, curators and special guests. Ahighlight was street art and lively installationsmapping out a trail between the two buildings,referencing twenty five key masterpiecesin the NGV Collection, produced by acombination of VCA students and independentartists and performers.More than 30,000 people visited our twobuildings over the weekend to join in the funand help wish their gallery a happy birthday.I was very struck by the large number ofvisitors who sought me out to wish the Gallerywell, and to say how important the NGV, itscollections, exhibitions and programs, havebeen to them. There was a great sense ofcommunity ownership and celebration.Thanks must also go to Lisa Sassella, theNGV’s General Manager, Marketing andCommunications, and her team, whoseflawless management of the 150thcelebrations ensured everything wentoff without a hitch; we also thank all theperformers, artists and visitors who turnedout to help make it a weekend to remember.We are extremely grateful to the MelbourneCity Council Arts and Culture Committee,without whose generous sponsorship theevent would not have been possible, andin particular to the Lord Mayor, who took astrong personal interest in the project, and tothe Deputy Lord Mayor, Susan Riley.Masterpieces for MelbourneIn addition to the Felton Bequest’s anniversarygifts to the Gallery, we received many othermajor donations in honour of our 150th year.As mentioned earlier, a gift of major worksfrom Loti Smorgon’s private collection addedto an extremely generous history of support bythe Smorgon family over many years. Loti andVictor Smorgon spearheaded the Masterpiecesfor Melbourne campaign when it was launchedin 2008 with a notable leadership donation,which at the time was the largest individualcash gift ever made to an Australian publicart gallery. Works subsequently purchasedthrough the Loti and Victor Smorgon Fundhave transformed the NGV’s holdings ofinternational contemporary art. Loti Smorgonhas gifted an incredible $40 million in value tothe NGV, made up of cash donations to formthe endowment fund, works of art acquiredwith income from that fund and the valueof works donated from her own collection.We thank Loti and her family for theirextraordinary generosity and patronage, whichis an inspiration to the whole community.The generous benefactions of Allan and MariaMyers, and Baillieu and Sarah Myer, throughthe Yulgilbar Foundation, have helped the NGVacquire some important Japanese works, withthree significant works entering the collectionthis year, and we are extremely grateful fortheir continuing support. Generous fundingwas also received from John and PaulineGandel, to support the construction of ourfirst ever gallery dedicated to Japanese art,the Pauline Gandel Gallery.I would also like to thank Nigel and PatriciaPeck, who made a leadership gift of $1.2million to the NGV during the year. Thisgenerous gift will be held in an endowed fundand the income stream will be used to fundacquisitions to help build the NGV collectionfor current and future generations.We were thrilled to announce that RonMueck’s contemporary masterpiece Drift2009, which was such a hit with visitors toour Mueck retrospective last year, will, in duecourse, return to the NGV permanently as apromised gift from its US owners, John andAmy Phelan. Other secured works includeSean Scully’s Queen of the Night, 2008, madepossible through the generosity of the artistand donated funds, and Francesco Francia’smagnificent Virgin and Child with the youngSaint John in a garden of roses, c. 1515.We also received a splendid anniversarygift from the NGV Women’s Association,who celebrated 50 years of support forthe NGV in February — George Minne’sbeautiful sculpture Kneeling youth, 1898.The work of this Belgian symbolist sculptorhad a profound effect on the artists of theVienna Secessionist group, including GustavKlimt and Egon Schiele, and this acquisitionsignificantly augments the NGV’s collection ofworks from this period.We are extremely grateful to the NGVWomen’s Association not only for theirmajor contribution to this important gift butalso for their continued support over half acentury. The year also saw the publication ofa history of the Women’s Association, whichdocuments the commitment and hard work ofso many friends.Melbourne’s tradition of philanthropy hasenabled the NGV to build a collection ofextraordinary quality and world renown forthe people of Victoria over the past 150 years.Nearly $100 million has now been raised insupport of the Masterpieces for Melbournecampaign, and I would like to thank all ofour donors most warmly for their strongphilanthropic spirit and generosity.Renewed spacesWe have been rethinking and redesigningmany of our galleries for the 150th yearand have undertaken a number of majorrefurbishments as part of an extensiverenewal project, generously supported by theGovernment of Victoria.Following the great success of NGV KidsCorner at Federation Square, we createda new gallery space dedicated to childrenand families on the ground floor of NGVInternational, which has already proved a bighit since its opening during the anniversarycelebrations in May.

10Also unveiled during the pARTy weekend wasour new Art of the Pacific gallery on Level3, a spacious and light-filled gallery withroom for a more dynamic and open displayof works than had previously been possiblein the smaller ground floor space which itreplaced. The space does greater justice tothe importance of the artistic traditions ofthe Pacific region, with a particular focus oncontemporary work.Earlier in the year we opened the rehung 19thcentury Salon Room at NGV International,which dramatically recreates the densehanging style and sumptuous visual effectof the great Paris Salon and London RoyalAcademy exhibitions of the eighteenth andnineteenth centuries. Photographs of NGVexhibitions from our first decades demonstratehow this taste was emulated in Melbourne.Almost 100 works, many of which have notbeen shown in our lifetime, have been hungfloor-to-ceiling, giving visitors a glimpse of thepopular taste of the period during which theGallery was opened. The refurbished SalonRoom has been a great hit with the public, andis always crowded.For the first time, we also have a room dedicatedto the art and taste of the Regency period,developed around last year’s marvel lous giftsof Sir William Beechey’s 1790’s portraits of thefirst Earl and Countess of Stradbroke, gifted tous by the present countess, Rosie Rous.The Powerhouse Museum in Sydney hasloaned us its important suite of neo-classicalfurniture designed by Thomas Hope, asa contribution to our 150th celebrations,to display alongside our own collection ofRegency furniture and decorative arts. Allof the reorganised 19th century rooms havebeen extremely popular with visitors and are atestament to the skills of NGV staff, as manyof the works had to be newly conserved andcleaned before being displayed.As the NGV’s Anniversary date is May 24 – andit’s no coincidence that this date was also thebirthday of Queen Victoria – our Herkomerportrait of Queen Victoria, commissioned bythe Trustees in 1890, was hung prominentlyas part of the 150th celebrations.The year also saw the opening of the NGVStudio at Federation Square, a new initiativeto encourage and promote experimentaland innovative art forms, and particularlygroup and community based practice. To helpcreate a buzz and spark the community’sinterest ahead of the Studio’s officialopening, some of Australia’s best street artcollectives, joined by international guestartists, were invited to create a mural on a24-metre temporary hoarding positionedbehind the window of the space, while thepermanent fit-out was being completed onthe other side. As word got out, commentsfrom curious onlookers and fans flooded in viaTwitter and Facebook, with the crew with themost feedback earning the right to hold thefirst exhibition in the new space. Everfreshtook out final honours for their work, Graffitialways wins, and their new exhibition, whichopened in June, drew large crowds.This was a new approach for the NGV andwe are extremely encouraged by the public’sresponse. NGV Studio will present a changingprogram of exhibitions, installations andevents aimed at promoting new ideas andactively engaging a youth audience; judging bythe online comments received so far, this newinitiative has established a strong following– in the first week alone the Twitter audiencerose to 140,000. We are grateful to ArtsVictoria for a generous grant which enabledthe development and fit-out of this new space.The $3.1 million allocated by the StateGovernment for our 150th anniversaryrenewal projects has been augmentedwith funding drawn from our own reserves,and new funding generated by the NGVFoundation. This will enable other excitingnew spaces to be unveiled throughout therest of this year and early next year, includingthe new ground floor Contemporary space,plus an impressive new gallery dedicated tothe Ancient Worlds and our renewed AsianCollection galleries, which will be reopenedand fully functioning in 2012.Showcasing great artIt was a great year for exhibitions, kickingoff with our seventh Melbourne WinterMasterpieces exhibition, European Masters:Städel Museum, 19th-20th Century. Theredevelopment of the Städel Museum inFrankfurt afforded a unique opportunityto bring so many of these rarely seenmasterpieces to Melbourne and we are verygrateful to our German colleagues for sharingthem with us.This wonderful show brought together aremarkable selection of masterpieces bythe greatest German, French, Belgian, Dutchand Swiss masters of this dynamic period ofradical experimentation, drawn from one ofthe finest museum collections in Europe.We were truly privileged to host thisexhibition, which gave audiences anunprecedented opportunity to see spectacularworks by artists rarely seen in Australia, fromiconic neoclassical, realist, impressionist andsymbolist works, through to breathtakingGerman expressionist paintings and sculpture.The exhibition closed in October with just over200,000 visitors and excellent feedback fromthose who attended. The pick-up rates for theaudio guide and the catalogue were excellent:1 in 10 and 1 in 22 respectively, and the showwas a great financial success, through thecareful management of costs.More importantly, it was also an extremelysignificant exhibition from an educationalperspective, as many of the artists featured

“Our Melbourne Winter Masterpiecesexhibitions are exclusive toMelbourne and offer local audiencesthe chance to see internationalworks of extraordinary calibre.”Gerard Vaughan, Director11in the exhibition were less known to localaudiences. The ten works by GermanExpressionist Max Beckmann in particular —which were given their own room in the show— were a revelation for many people.Created especially for the Städel exhibitionwas a unique NGV Kids installation, Das PuzzleHaus, illustrated by local artist Geoff Kellyin a German expressionist style inspired bythe Beckmann paintings on show, particularlyThe synagogue in Frankfurt am Main, 1919.The playhouse was erected in FederationCourt at NGV International and filled withpuzzles of varying complexity featuring Städelartworks. In an adjoining space, children couldcreate self-portraits, sketch buildings anddisplay their work on a specially created townsignpost. It was a big hit with children of allages, and was an important rehearsal for thenew, permanent NGV Kid's Space launched inMay 2011.Our exhibition showcasing the imaginative,visionary talent of French symbolist artistGustave Moreau was magnificent, drawingstrong crowds (especially art students)though it was intended as something of aniche exhibition. Gustave Moreau and theEternal Feminine comprised 117 paintings,watercolours and drawings generously loanedto the NGV by the Musée Gustave Moreau, inParis, the artist’s former house and studio,and explored the artist’s fascination withfemale beauty.Like the Städel exhibition, this show played amajor role in bringing new art to our shores, asit was the first significant survey in Australia— indeed in the southern hemisphere — of thework of this most important artist.Also at NGV International, Unnerved: the NewZealand Project celebrated the work of 26contemporary artists from across the Tasmanahead of the opening of our new Art of thePacific gallery. Curated by the Queensland ArtGallery’s Senior Curator of Pacific Art, MaudPage, this fascinating, and at times quite dark,exhibition explored New Zealand’s changingsocial, cultural and political landscapethrough more than 100 artworks in a rangeof media.A great highlight of the year’s exhibitionsprogram was a comprehensive survey ofthe work of Eugene von Guérard, Australia’smost renowned and eminent landscapepainter of the colonial period — the first suchretrospective in more than three decades.Guest curator Dr Ruth Pullin , working withMichael Varcoe-Cocks of our ConservationDepartment, and Humphrey Clegg of ourAustralian Art Department, brought togethermore than 180 works, which celebrated theremarkable contribution von Guérard madeto Melbourne’s emerging visual culture in themid-to-late-nineteenth century and his veryspecial place in the NGV’s history.As the Gallery’s inaugural Curator andMaster of the School of Painting, von Guérardbecame, in effect, our first Director. Throughhis travels, often accompanying scientistfriends to unexplored areas, he presented aview of the Australian landscape unlike anythat had been seen before.This major retrospective received glowingcoverage in print and online media, withscholars and critics recognising its relevanceto our 150th anniversary, and the importanceof the new research which underpins thethesis of the exhibition; it will then travelto the Queensland Art Gallery, and to theNational Gallery of Australia.Von Guérard’s work was also featured inThis Wondrous Land: Colonial Art on Paper,which looked at the early years of Europeansettlement in Australia, from 1773 to the latenineteenthcentury.Held in two parts, this exhibition tracedAustralia’s colonial history through animpressive selection of rarely seen drawings,watercolours and prints drawn from theNGV’s important – and still growing –collection of works on paper. The exhibitiongave a fascinating insight into how thisvast continent and the growing colony ofMelbourne were depicted by newly arrivedartists of the period, including Joseph Lycett,Richard Browne, Conrad Martens, LouisBuvelot and Georgiana McCrae, alongsideworks by 19th century Indigenous artists suchas Tommy McRae and William Barak.The exhibition was accompanied by asubstantial publication with contributionsby Australian and international experts incolonial art.Top Arts is always an eagerly awaitedhighlight of the NGV’s annual exhibitioncalendar, and this year’s show certainlydidn’t disappoint. We are pleased to be ableto pay tribute each year to the inspirationaltalent of VCE Arts and Studio Arts studentsthrough this very popular and diverse show,which has also established a very strongFacebook following in recent years. I wouldlike to congratulate Philip Hickingbothamfor taking out top honours in the GoldmanSachs People’s Choice Awards for his superbportrait, Edge of Darkness, and all of theyoung artists who contributed the impressivefield of over 3,000 works from which the finalselection was made.In The Naked Face: Self-Portraits, guestcurator Dr Vivien Gaston drew together afascinating selection of works that revealednot only how artists see themselves, butalso how they want to be seen. The showwas a reminder of the exceptional depth andrichness of our permanent collection, as everywork featured in this large exhibition belongedto the NGV.

12The late Japanese-born jeweller and metalsmithMari Funaki explored form and spacein her sculptural works, which were featuredin a special exhibition at NGV Australia. Theshow focused on the most recent work of thisextraordinary artist, who was working withthe NGV on this exhibition right up until thetime of her tragic death last year.In March, we opened ManStyle: The Dandy andthe Peacock, the first exhibition in Australiato showcase local and international men’sfashion from the eighteenth century to thepresent day. It comprised two quite differentexhibitions, one at NGV Australia and theother NGV International, each exploringdistinctive aspects of male dress.We closed the reporting year with the openingof our eagerly awaited Melbourne WinterMasterpieces show, Vienna: Art & Design, theeighth in this annual series.This year, we are showcasing a dazzling selectionof 240 works that capture the artisticbrilliance and cultural and intellectual zeitgeistof Vienna at the turn of the twentieth century.Works by such internationally famed artists,designers and architects as Gustav Klimt,Egon Schiele, Oskar Kokoschka, JosefHoffmann, Adolf Loos, and many others, havebeen drawn from the two most importantViennese museums which hold works of thisperiod, the Belvedere and the Wiener Museum,as well as from private collections andinstitutions around the world.It is an exceptional show, applaudedthroughout the world for its depth, rigorouscuratorial approach and stylish installation.Lastly, the NGV continued its longstandingcommitment to lending works as generouslyas it can to other institutions. Hundreds ofworks were loaned to galleries in regionalVictoria, and throughout Australia. In addition,we contributed masterpieces to importantexhibitions overseas. Both our pictures byMonet were requested by the Musée d’Orsayfor the hugely successful Monet exhibitionpresented in Paris at the Grand Palais, andboth were prominently hung. We contributedour important Manet The House at Rueil tothe Impressionist Gardens exhibitions, whichopened for the Edinburgh Festival, and thentravelled to the Thyssen-Bornemisza Museumin Madrid; the NGV’s picture was used toillustrate the cover of the Madrid catalogue.Our bronze statue of Rodin’s The thinker wasloaned to the Singer Laren Museum in theNetherlands for an exhibition organised inconjunction with the Musée Rodin in Paris.The piece underwent extensive cleaning andrestoration before being sent to the exhibition,removing layers of wax and lacquer that hadbeen applied to the work over time, revealingthe subtle detail and original patina of thebronze, an appearance more in keeping withthe artist’s original intentions. It was thrillingto be reminded that the NGV’s version of Thethinker, one of the most famous sculpturalimages in the world, was the very firstproduced by Rodin.Media and audience engagementThe NGV’s Media and Public Affairs team wasable to generate an extraordinary level ofhighly positive ‘saturation’ press coverage thisyear, particularly in the lead-up to the 150thpARTy weekend. In the weeks before thisevent, the NGV was featured across all majormedia: newspapers, radio, television, streetpress and online, so much so that some of myinterstate colleagues joked that they couldscarcely open a newspaper without seeing amention of the NGV! The Gallery made thefront page of The Age twice in a week — anunprecedented achievement.Our social media strategy was very effective,resulting in more than 140,000 comments onTwitter about the pARTy weekend. Many blogspicked up news of the event, generating evenmore community interest and publicity.The public was also engaged through anonline competition, My Top Ten, in which theycould vote for their most-loved work of artfrom the NGV Collection, with John Brack’sCollins St., 5 pm selected as the all-timefavourite. The press took a great interest inthis exercise, and the final top ten artworkswere also featured as part of the street artand performances over the birthday weekend.We also released our first iPhone app, to keepsubscribers up to date with what’s on at theNGV and provide the latest information aboutour ever-changing schedule of exhibitionsand programs. In recent years, we’ve beenfocusing our efforts on greater engagementand interaction with a youth audience; forsome time we have felt that this constituencyneeded a more focused approach. The ‘soft’opening of NGV Studio allowed us to do thisvery effectively, using the vacant space tospark the public’s interest and curiosity withchanging displays of street art. The projectwas noticed by passers-by, particularly theyouth demographic, who then chatted aboutit on Twitter and posted pictures of the streetcrews’ work online. Holding an interactivecompetition in which fans could vote for theirfavourite street crew encouraged furtherdiscussion and promotion, and enabled thecommunity to shape the final outcome.The approach was very successful, andsimilar initiatives will form part of our ongoingmarketing and communications strategy.

13International collaborationEarly in the reporting year, I joined directorsof some of the world’s leading art galleries atthe annual meeting of the Bizot Group. Thediscussion was extremely constructive, withtwo key questions emerging: firstly, how canmuseums make use of the growing potentialfor electronic publishing, and secondly,how, in this time of great environmental andfinancial pressure, can museums reducetheir carbon footprint? Sustainability is akey element of our new strategic plan, moredetails of which can be found in later sectionsof this report.In October, I had the pleasure of travelling toTaiwan and Japan with our President AllanMyers, and our Trustee and Chairman of theSupporters of Asian Art, Jason Yeap. Curatorof Asian Art Wayne Crothers accompaniedus in Japan to meet with a number of fellowmuseum directors from key institutions,including the Mori Art Museum, the NezuMuseum, the National Museum of Japan, theMuseum of Aurora and the Palace Museum inTaiwan. While in the region, we also took theopportunity to meet with several dealers toview a variety of potential acquisitions.While in Japan, we attended the opening of amajor exhibition of Albrecht Dürer prints atthe National Museum of Western Art in Tokyo,featuring 105 works from the NGV Collection.We were the major lender to this exhibitionand it was a privilege to speak at the opening.As part of the Gallery’s 150th anniversarycelebrations, the Melbourne City Councilhosted a special evening of lectures (oneof the Melbourne Conversation Series) onissues in contemporary art by a distinguishedpanel of international guests. We werevery pleased to have with us Terry Smith,Andrew W Mellon Professor of ContemporaryArt History and Theory at University ofPittsburgh, Mami Kataoka, Chief Curator ofthe Mori Art Museum in Tokyo, Li Lei, Directorof the Shanghai Art Museum, and renownedAustralian visual artist, Bill Henson.This free event was very well attendedand provoked some lively and thoughtprovokingcommentary and discussion on theimportance and meaning of contemporarypractice across different cultures.Research, conservation andscholarshipIt has been an extremely busy year for ourresearch and conservation staff, as manyitems required extensive work, on a very tighttimetable, to be ready for display in time forthe 150th year celebrations. Their efforts andresults were very much appreciated.Early this year, preparations began for thecleaning and restoration one of the mostprized works in the NGV Collection, NicolasPoussin’s The Crossing of the Red Sea,c. 1633-34. This is a major, complex project,with research and treatment expected totake about a year. In an NGV first, the publiccan get a fascinating and rare insight into thisprocess, through regular updates on the NGVwebsite which document the course of thetreatment as it unfolds.This significant restoration would not havebeen possible without the generous supportof BNP Paribas, a longstanding sponsor ofmuseums and restoration projects aroundthe world, and we thank them for thiscreative partnership.We sent our superb, though hithertoproblematic, Trinitarias carpet to a specialistrestoration facility in Belgium, and arrangedfor one of the world’s leading oriental carpetexperts to examine it.We were delighted to receive his reportthat this magnificent carpet was older thananyone believed, defining it as being fromthe Mughal Court of northern India from thelate-sixteenth century. This is extremelygood news, as the carpet’s origin and datehave been matters of some debate. Nowmagnificently cleaned and conserved, theTrinitarias carpet has returned safely to theNGV, and is currently on display in the northmezzanine gallery devoted to 16th and 17thcentury Italian painting.PublicationsIn May, we published a suite of major booksto commemorate the 150th anniversary,including The NGV Story, by Melbourne artistand writer Phip Murray. Phip has done anexcellent job of documenting, in an informaland very engaging style, the key milestonesin the NGV’s history and celebrating thesignificant events, people and stories thathelped make the Gallery what it is today. Theaim was to provide an informal account, verymuch from the perspective of the NGV today.We also unveiled a rebranded double editionof the Art Journal of the National Gallery ofVictoria (previously known as the Art Bulletinof Victoria), which reached its own milestonethis year, celebrating 50 years of continuouspublication of original research papershighlighting works in the NGV Collection. Thisspecial commemorative edition is on sale innewsagencies as well as the NGV Shop.In addition, we have published someexceptional catalogues this year. In particular,Vienna: Art and Design: Klimt, Schiele,Hoffmann and Loos is a beautiful andimpressive scholarly publication, one of thefinest we have produced, with contributionsfrom consulting exhibition curator ChristianWitt-Dörring and other experts in the field.Another standout was the catalogueaccompanying our von Guérard exhibition,Nature Revealed. This major milestone inacademic scholarship draws on previouslyunseen works and new research by exhibitioncurator Dr Ruth Pullin, supported by the

14results of the scientific and technical researchand analysis undertaken by Michael Varcoe-Cocks of our Conservation Department; theyhave shed new light on this seminal Australianartist. To commemorate their half-century,the NGV Women’s Association published aspecial anniversary book, entitled Celebrating50 years of the NGV Women’s Association.I would like to congratulate and thank thisextraordinary group of dedicated friendsfor their support and remarkable historyof fundraising through the decades, and inparticular for their exceptional anniversarygift this year.FINANCIAL RESULTThe NGV incurred an operating deficit of $2.2million in 2010/11, before accounting fordepreciation and the income from fundraisingactivities. This deficit, which has been fullyfunded from reserves built up in previousyears was, to a large extent, planned. Thedeficit reflected significant expenditure onthe display of the State Collection, and thecelebration of the NGV’s 150th Anniversary.In addition, however, revenue from tradingoperations was nearly 17% less than theprevious year. The exceptional financial resultof the Salvador Dalí: Liquid Desire exhibitionin 2009/10 was unlikely to be repeated,but revenues were further depressed byincreased competition from other culturaland leisure events and the impact of externalmacroeconomic factors, particularly in thesecond half of the year.Following confirmed reductions in theGovernment’s annual operating grant, andongoing economic pressures, we will need tomanage our cost base extremely prudently in2011/12 in order to avoid further deficits. Asa result, the scope of our activities may needto be reduced. The impact of this is currentlybeing considered very closely by the Councilof Trustees and Executive Management Team.Further information on the financial result forthe year can be found on page 46, and in thefinancial statements for the year ended 30June 2011, which follow.Looking aheadAs mentioned earlier, we are implementing anew strategic plan this year, with a new setof key Outcomes . We are also working on anumber of projects (Milestones) under theeight broad Outcomes, around which the mainpart of this report is structured.One of our Milestones is to increasecommunity awareness of the need for theGallery to have more space, and during theyear we were pleased to see some extensivemedia coverage of this critical aspiration.We are coming up to a decade since theopening of The Ian Potter Centre: NGVAustralia at Federation Square, duringwhich time we have simply outgrownthe space available. The success of theIndigenous galleries has exceeded our wildestexpectations, which are packed every daywith school groups, overseas tourists andMelbournians alike. With our 3,000-workstrongcollection of Indigenous art, there hasnever been a more compelling argument formore space for its permanent display. As I’vementioned in previous years’ Annual Reports,our long-term hopes are for a new wingadjacent to one of our existing buildings, eitherat Federation Square, or in the proposed SturtStreet arts precinct behind NGV International.This year saw far more attention being givento planning for the proposed redevelopmentof the Sturt Street area, and I welcomed theopportunity to attend a meeting of interestedparties in May and to join the working partyfor this project. It’s still early days, but we arelooking forward to discussing the planningfor this exciting development, which has thepotential completely to transform and breathefresh life into Melbourne’s art precinct.Thank youOver the past 150 years, the NGV collectionhas grown into one of extraordinary richnessand depth, thanks to the generosity of a greatnumber of people. Nearly all of the 70,000works in the NGV Collection (now valued atover $3.7 billion) have been acquired throughprivate philanthropy and we are extremelyfortunate to have had this consistently highlevel of community support.I extend our sincere thanks to all our donorsand supporter groups, who continue the NGV’sgreat philanthropic tradition, for the benefitof current and future generations. There isno doubt that many friends and supportersdecided that our 150th Anniversary was agood moment to offer donations, and as theworld slowly recovers from the effects of theGFC we have been heartened by a noticeableincrease in philanthropic support.I would also like to thank the VictorianGovernment, particularly the Premier andMinister for the Arts, the Hon. Ted Baillieu,MP, Parliamentary Secretary Heidi Victoria,MP, the former Premier, the Hon. JohnBrumby, MP, and former Minister, the Hon.Peter Batchelor, MP, the Secretary of theDepartment of Premier and Cabinet, HelenSilver, and the Director of Arts Victoria,Penny Hutchinson, for their ongoing supportof our work. In addition, we are very gratefulto the Melbourne City Council and the LordMayor, Robert Doyle, whose generous fundingensured the success of the 150th anniversarycelebrations and Gallery renewal projects.Allan Myers has led by example as Presidentof the Council of Trustees, this year alsotaking on the additional task of chairingthe joint Trustee and management 150thAnniversary planning committee. I wouldlike to thank Allan and all of the Trustees fortheir hard work, commitment and personalgenerosity, and in particular Ron Dewhurstand Andrea Hull, who retired during the year.

15My colleagues on the Executive ManagementTeam have done an exceptional job thisyear, and I thank all of them for their efforts:Deputy Director Frances Lindsay, especiallyfor the marvellous exhibitions that wereplanned and executed so well, GeneralManager, Marketing and CommunicationsLisa Sassella, who managed the 150thcelebrations, and Liz Grainger, as GeneralManager, Operations who manages her rangeof responsibilities so astutely.the strongest levels of community visitationanywhere, a proportion of local involvementthat is much higher than in the majorEuropean and North American art museumsagainst which we are regularly benchmarked.This is our strength and raison d’être. Here’sto the next 150 years!Gerard Vaughan, DirectorWe welcomed the arrival of Nick Palmer, whojoined us in the newly created role of GeneralManager, Development & CommercialOperations, which encompasses incomegeneration from non-government sourcesincluding fundraising, sponsorship andcommercial initiatives. Nick has already madea difference in this important role, and I thankhim for his contribution.In April, we farewelled Pierre Arpin, who leftus to take up the position of Director of theMuseum and Art Gallery of the NorthernTerritory. We wish Pierre well in his new post,and thank him for his contribution to the NGV.The year-long project of planning anddelivering the 150th anniversary program,in addition to the normal annual activities,placed great demands on our staff and Iwould like to thank each and every one ofour employees and volunteers for theircommitment and support. The extra effortmade by colleagues across all disciplinesand departments is acknowledged andgreatly appreciated.Finally, I would like to thank everyone whoparticipated in our anniversary celebrationsand helped make our Gallery’s 150th yearso successful and memorable. We are hereto serve our community, and the high levelof visitation to the galleries and exhibitionsand involvement in our education programscontinues to inspire us. The NGV has one of

16 LegIslatIveandStrategIcFrameworkLegislative FrameworkThe National Gallery of Victoria Act 1966established a Council of Trustees with overallresponsibility for the National Gallery ofVictoria reporting to the Minister for the Arts.The Act provides that ‘in carrying out itsfunctions, the Council must endeavour tocontribute to the enrichment of the cultural,educational, social and economic life of thepeople of Victoria.’Council of Trustees FunctionsSection 13 (1) of The National Gallery ofVictoria Act 1966 provides that the functionsof the Council shall be to:• Control, manage, operate, promote,develop, and maintain the NationalGallery land;• Maintain, conserve, develop and promotethe State Collection of works of art;• To make material within the StateCollection available to persons, departmentsand institutions in such mannerand subject to such conditions as theCouncil determines with a view to the mostadvantageous use of the State Collection;• Conduct public programs and exhibitions ofmaterial within the State Collection;• To carry out and make available such otherservices, including computer and othertechnologies, and the printing publicationand sale of books, information and reproductionsin relation to pictures, works of artand art exhibits as the Council thinks fit;• Assist the promotion, organisation, andsupervision of art galleries and any body orassociation established for the promotionof art within Victoria;• Advise the Minister and theseorganisations on matters of generalpolicies relating to art galleries;• Provide leadership in the provision of artgallery services in Victoria;• Carry out other functions as the Ministerfrom time to time approves.NGV ValuesExcellence, integrity, accessNGV Mission and VisionNGV’s Mission is ‘to illuminate life bycollecting, conserving and presenting greatart.’ Our Vision is to ensure that, ‘as Victoria’scultural flagship and home to Australia’sfinest art collection, the NGV is recognised asone of the leading art museums of the world.’NGV OutcomesRealising our Vision means achieving our eightOutcomes, as described in our draft StrategicPlan, 2010/13:1: Collection/ Exhibitions – Great “MustSee” ArtTo develop, conserve and research the StateCollection to ensure it remains Australia’sfinest and to curate, or host, outstandingexhibitions2: Community – Inclusive and HighlyAccessibleTo create opportunities for more broadlybased public attendance and participation3. Creative Content – Quality Experiencefor AllTo create opportunities for engagement andenjoyment of the NGV at the galleries, on-lineand through other media4: Education – Centre for Learning ExcellenceTo provide challenging and high qualityexhibitions and educational training andprograms balancing curatorial reputation andbroad audience appeal5: Recognition – Excellent National andInternational ReputationTo be seen as a leading art museum in termsof our collections, our exhibitions and ourengagement with our community6: Talent – Magnet for the Brightest and BestTo support the achievement of the NGV’smission and vision through the selection anddevelopment of employees and volunteers7: Money – Able to Fund AspirationsTo secure a broad and committed funding baseand nurture relationships with stakeholders8: Sustainability – Responsible Resource UseTo ensure the effective, efficient andresponsible use of all resourcesAlignment with VictorianGovernment PolicyThe NGV’s 2010/13 Strategic Plan addressesthe NGV’s obligations under its 3 year Series3 Overarching Agreement with the StateGovernment. The Plan is also consistentwith the goals and strategies outlined inthe previous Labour Government’s policyframework: Creative Capacity+ : Arts for allVictorians and the Government Priority Areascommunicated at the start of 2010/11.The table (p 18–19) shows the NGV’scontribution in 2010/11 to theimplementation of strategies in CreativeCapacity+: Arts for all Victorians.The Arts Portfolio Agencies Output Targetsfor 2010/11 (BP3) are set out in a table on p 17.

17PORTFOLIO AGENCIES OUTPUT – 2010-11 BP3 TARGET2009-10 actual 2010-11 target 2010-11 actualQuantityAccess - visitors / users number 1,607,376 1,365,000 1,523,325Access - online visitors to website (user sessions) - usingbrowser-based web analytics toolnumberN/A[Note 1]1,450,000 959,114Members and Friends [Note 2] number 27,891 24,500 25,250Volunteer hours [Note 3] number 10,069 11,000 21,377Students participating in education programs number 96,285 98,000 90,072QualityCollection stored to industry standard [Note 4] per cent 70 70 60Visitors satisfied with visit overall per cent 98 95 97Notes:1 Online visitor figures reported in 2009/10 (2,090,778) used a different form of measurement and so are not comparable.2 This shows the number of financial Memberships. Duo and family Memberships are multiplied to establish the number of NGV members (43,927) a figure used elsewhere in the report.Some targets are different from the NGV Business Plan, as reported elsewhere.3 The increase in Volunteer hours is due to:a. the inclusion of the time spent by the Voluntary Guides in researching and preparing tours and programs(as well as the delivery time), andb. more volunteers in NGV Members, particularly during the 150th Anniversary celebrations.4 The pressures on the NGV’s limited storage capacity increased during the year.

18 NGVcontrIbutIons toCreatIve CapacIty+In 2010/11Creative Capacity + StrategiesDeveloping artists, ideas and knowledgeEngaging creative communitiesHOW NGV CONTRIBUTED TO CREATIVE CAPACITY+• Announced many major acquisitions, including over 170 works from theFelton Bequest to celebrate 150th Anniversary.• Effective relationship with VMEC to support NGV’s rolling 5 year MWMexhibition schedule.• Acquiring new works for the State Collection, including contemporaryworks through VFLAA• Managing and documenting the State Collection (including digitally asresources allow)• Conserving and preserving the State Collection, through utilisation oftechnology and science• Storing the State Collection and conducting inventory processes• Encouraging scholarly research and technical enquiry• Maintaining a varied and high quality publication program• Delivering strategies for the management of archives andintellectual property• Delivered more accessible hours:- Successful “Last Day of Summer” late night event on 27 February- 150th Anniversary May weekend with late night entertainment.- Weekly Wednesday night art after dark program for the EuropeanMasters: Städel and Vienna MWM exhibitions.- Opened innovative NGV Studio street art program at new location atFederation Square.- 150th Anniversary celebrated through many special events andpARTy weekend.• Opening NGV Kids Space and new facilities for families with children atNGV International• Promoting free entry to the State Collection• Holding diverse exhibitions including our annual MWM exhibition• Engaging students and teachers through on-site, on-line and travellingeducation programs• Running regular art after dark programming to extend audience reachduring MWM• Engaging young people not in education or employment through ourYouth Access and Young Ambassador programs• Engaging academics and arts sector professionals in our programs• Participating in arts festivals and events• Engaging regional, interstate and overseas audiences by lending artworksand touring exhibitions• Engaging Melbourne’s philanthropic community, including ourMasterpieces for Melbourne campaign• Introducing new types of NGV Memberships — NGV Kids Club andPremium Membership• Maintaining an active volunteer base• Engaging NGV Members and volunteers in the life and work of the NGV

19Building creative industriesCreating place and space• Supporting creative artists through acquisitions and engagement forpublic programs and events• Developing innovative multimedia educational programs• Develop an effective stakeholder communications strategy• Developed a compelling “Case for the Gallery”• Enhancing Victoria’s museum industry skills through NGV staffprofessional development and travel• Building employment opportunities through our exhibition program• Building strong and viable partnerships with sponsors, especially for MWM• Masterpieces for Melbourne campaign progressed• Limited progress on leadership gift from State and/or FederalGovernments for Masterpieces for Melbourne Campaign• Successful funding and commencement of NGV International’s galleryand public space renewal and redesign (including NGV Kids Space)• Trustee Committee established to oversee technology plan development• Embed organisation-wide effective strategy execution disciplines• Implementing new environmental initiatives including, participating inResource Smart and trialling innovative use of heating, ventilation and airconditioning (HVAC)• Participating in Southbank and Sturt Street Cultural Precinct project groups• Maintaining fit for purpose infrastructure• Leveraging existing resources for more effective care and development ofour physical assetsCreative Capacity + GoalsArts for all Victorians: a culture of participationOn the threshold: an economy based on innovationCreative place: a dynamic arts sectorNGV PathwaysPathway 1: Active Partnering with GovernmentPathway 2: A Culture Valuing, Excellence, Integrity and AccessPathway 5: Strong Community EngagementPathway 6: A Diverse AppealPathway 3: Skills & ProfessionalismPathway 8: Effective Strategic ExecutionPathway 4: Growing Funding for ArtPathway 7: Acquiring & Sharing a Great Collection

201COLLECTION ANDEXHIBITIONSAimTo develop, conserve andresearch the State Collectionto ensure it remains Australia’sfinest and to curate, or host,outstanding exhibitionsPerformance indicators• Value of 2010/11 acquisitions: $24.1 million(target: $12 million; 09/10: $10.6 million)• Value of 2010/11 gifts in kind $18 million(target: $7 million; 09/10: $6.7 million)• Number of Masterpieces added to theCollection: 22 (target: 20; 09/10: 17)• Proportion of recent acquisitions (last 3years) displayed at the NGV or on loan:27% (target: 20%; 09/10: 14%)• Pay exhibition tickets sold: 208,676 (target:290,265; 09/10: 447,968)• Loans to NGO/agencies: 29 (target: 30;09/10: 32)• Loans to peer institutions: 620 (target:600; 09/10: 636)Acquisitions• A major collection of Indigenous works,donated by the Felton Bequest, includingrare nineteenth- and early twentiethcenturyshields, paintings from the FarWestern Desert and three works bycontemporary artists Vernon Ah Kee,Brook Andrew and Jonathan Jonescommemorating nineteenth-centuryWurundjeri artist, William Barak, aswell as works by Rover Thomas, AlecMingelmanganu and Sally Gabori• A wonderful group of artworks verygenerously gifted by Loti Smorgon fromher personal collection, comprisingMarino Marini’s Rider (Cavaliere),1945,Pablo Picasso’s Woman combing her hair(La coiffure), 1906 cast after 1910, JohnPerceval’s The kiss, Figure of an angel andSeated figure of an angel, all from 1960,and Marge, 1990, an abstract expressionistdiptych painting by Joan Mitchell• Indigenous masterpieces including LongJack Phillipus Tjakamarra’s Untitled Mala(Spinifex Wallaby) 1972• European masterpieces, including ThomasGirtin’s The Stepping Stones on the Wharfe,above Bolton Abbey, Yorkshire, 1801 , LouisGauffier’s André-François Miot, envoy ofthe French Republic to the Grand Dukeof Tuscany, 1797, and our first work byimportant Impressionist painter GustaveCaillebotte, The Plain of Gennevilliers,yellow fields, 1884• Sculpture, including George Minne’sKneeling youth, 1898, largely fundedby a major gift from the NGV Women’sAssociation to commemorate their 50thAnniversary and the NGV’s 150th• Contemporary art, including DavidNoonan’s sculpture Untitled, 2009• Asian art, including a major JapaneseShō-Kannon Bosatsu from the twelfthcentury Heian period• 216 artworks, valued at $12.2million, acquired through the FederalGovernment’s Cultural Gifts ProgramDisplay• Extensive refurbishment and redesign ofgalleries at NGV International, includingmajor permanent collection changeoversand new displays created especially for the150th anniversary year• Unveiled a series of exciting new rehangs,including the Salon Room, which replicatesthe dense hanging style popular duringthe period when the NGV was first opened,and the Regency Room, which showcasesportraiture and furniture of the BritishRegency period• Displayed the exceptional collection of173 Indigenous works gifted by the FeltonBequest at NGV Australia• Opened a new gallery dedicated to the Artof the Pacific at NGV International, as wellas relocating the Robert Raynor Printsand Drawings Gallery on the third floor ofNGV International• Relocated the Pre-Columbian, Egyptian,Near East and Graeco-Roman antiquitiesin preparation for the opening of the newAncient Worlds gallery• Launched NGV Studio, a new exhibitionspace at Federation Square for showcasingexperimental and collaborative art forms• New displays and rehangs, comprisingaround 200 artworks, were installed in twoof the twentieth and twenty-first centuryAustralian art galleries in honour of the150th celebrations• 162 works across nine gallery spaces wereinvolved in extensive permanent collectionchangeovers, including scheduled lightsensitivechangeovers and changesnecessary to accommodate the 150thanniversary rejuvenationsResearch and conservation• Conserved a large number of works fordisplay in the new Salon and RegencyRooms, including surface cleaning andrestoration of an entire wall of paintings,frames restoration, and resolvingcomplex structural issues on a SheratonCabinet Secretaire• Commenced a major conservation project,the restoration of Nicolas Poussin’s Crossingof the Red Sea, c. 1633–34, which isexpected to take approximately 12 months• Undertook extensive restoration andtreatment of the NGV’s cast of Rodin’s Thethinker ahead of its loan to the Netherlands• Cleaned all of the NGV’s major von Guérardworks before their display in Eugene vonGuérard: Nature Revealed, and conductedextensive new scientific and technicalresearch to better understand the role ofunderdrawing in von Guérard’s work• Completed wax removal and cleaning ofthe Trinitarias carpet and transported it toBelgium for assessment by internationalexperts, who authenticated the piece asbeing from the Mughal Court of northernIndia from the late-sixteenth century, olderthan was previously believed• Presented research papers at a hostof national and international forums,including the First International Congresson Chemistry for Cultural Heritage inRavenna, Italy, the second Modern Art:Who Cares? congress, in Amsterdam,the Australian Decorative and Fine Arts

“The exceptional quality and depthof the NGV Collection means thatin international terms Melbournecould be said to have one of the bestpicture collections in the world.”Sir Nicholas Serota, Director of the Tate, London21Society and the International Conferenceon Oriental Carpets, in Stockholm• Submitted a paper for publication in thejournal of the International Institute forConservation of Historic and ArtisticWorks, on the examination, attribution andrestoration of Giovanni Battista Tiepolo’sFinding of Moses, and presented a range ofseminars and lectures on this topic• As part of a preventive conservationstrategy, examined a large number ofIndigenous objects for pest-related issuesand commenced treatment where needed,and also developed a manual to assistfurther pest identification and preventassociated risks to collection itemsRevaluation of collection• The NGV Collection has been externallyre-valued in the year. Regular externalvaluation is a requirement of bothAustralian Accounting Standards and theVictorian Government Financial ReportingDirective 103D ‘Revaluation of Non-CurrentAssets’. The full Collection was lastvalued at $3.26 billion in 2008. This valuehas now increased by over 14% to $3.73billion. This value has been reflected in theaudited financial statements.Key loans• International loans included Monet'sVétheuil, 1879, and Rough weather atÉtretat, 1883, to the Grand Palais in Parisfor a major survey of the artist’s work,Edouard Manet’s The House at Rueil tothe National Gallery of Scotland and theMuseo Thyssen-Bornemisza in Madrid,Rodin’s The thinker to the Singer LarenMuseum in the Netherlands, Edgar Degas’Portrait of a woman to the YokohamaMuseum of Art in Japan, and a largeselection of Dürer prints to Japan’sNational Museum of Western Art• Loaned a number of works to HeideMuseum of Modern Art, including sixAlbert Tucker paintings for inclusion inAlbert Tucker: Images of Modern Evil, and aseries of drawings by Joy Hester• Dispatched twelve paintings and sixworks on paper to the Art Gallery of NewSouth Wales’ Rupert Bunny: Artist in Parisexhibition, which travelled to the NGV andthe Art Gallery of South Australia, as wellas a number of works for inclusion in Pathsto Abstraction: 1867–1917 and eight LynnSilverman photographs to be exhibited inPhotography and Place• Sent ten works to the Queensland ArtGallery to be exhibited in Art, Love and Life:Ethel Carrick and E Phillips Fox• Two paintings and a photograph wentto Canberra for inclusion in the NationalPortrait Gallery’s travelling exhibition InnerWorlds: Portraits and Psychology• Eugene von Guérard’s View of the snowybluff on the Wonnangatta River, 1864,went to the Art Gallery of South Australiaas part of a reciprocal loan for an NGVtouring exhibition• Provided works for display at ParliamentHouse, Government House, theDepartment of Premier and Cabinet,the Office of the Parliamentary CounselVictoria, the Victorian GovernmentSolicitor’s Office, the County Court,the Department of Sustainability andEnvironment, the Victorian GovernmentArchitect’s Office and the Coroner’s Court• Installed an impressive collectionof Thomas Hope Regency furniture,generously loaned to the NGV by Sydney’sPowerhouse Museum, within the newRegency RoomExhibition diversity• Held the seventh Melbourne WinterMasterpieces exhibition, European Masters:Städel Museum, 19th–20th Century,attracting more than 200,000 visitors andintroducing many previously unseen worksand artists to Australian audiences• Paid homage to the NGV’s first curator andde facto director in Eugene von Guérard:Nature Revealed, a major retrospectivecurated by Dr Ruth Pullin and featuringover 150 works by this eminent and iconicAustralian artist, including many of hisbeloved landscapes, along with severalbeautifully illustrated sketchbooks andsome never-before-seen paintings• Explored the ideal of female beauty inGustave Moreau: The Eternal Feminine, thefirst significant retrospective of this majorsymbolist artist in the southern hemisphere• Showcased the collaborative artisticprocess of Harrell Fletcher in The SoundWe Make Together, an exhibition createdwith the participation of Melbourne-basedartists and community groups• Focused on photography in a number ofdiverse exhibitions, including LuminousCities – New Cities, exploring modernistphotographic techniques that capturedthe built environment in interwar Europe,Timelines: Photography and Time, focusingon the course of human life, and StormyWeather, a selection of contemporarylandscape photography• Displayed exquisite lacework from therenowned Pollen collection, now part ofthe NGV Collection, in Lace in Fashion,which featured lace from the sixteenth tothe twentieth century• Celebrated the unique and beautiful workof Mari Funaki, who was one of Australia’sleading contemporary jewellers andsculptural artists• Highlighted the fascinating work ofcontemporary New Zealand artists ina range of media in Unnerved: The NewZealand Project, from the QueenslandArt Gallery• Looked at artists’ depictions of the earlyyears of European settlement in Australiain This Wondrous Land: Colonial Art onPaper, a large selection of works drawnfrom the NGV’s renowned prints anddrawings collection

22“The NGV Collection is our great assetand the heart of all our activities.The donation of significant worksof art extends and enhances ourhistoric collections and builds on ourcontemporary art holdings.”Judith Ryan, Senior Curator, Indigenous Art• Marvelled at the exceptional talent ofyoung artists in the ever-popular Top Arts,featuring the work of the state’s mostgifted VCE Arts and Studio Arts students• Held the first exhibition in Australia focusingon the changing styles of male fashionduring the past two centuries in Manstyle• Explored self-portraiture in The Naked Face:Self-Portraits, curated by Dr Vivien Gaston• Provided a timely look at the work of thegroundbreaking Australian artist JohnDavis, whose last major show was morethan 20 years ago.• Opened Vienna: Art & Design, the eightexhibition at the NGV in the MelbourneWinter Masterpieces series, showcasingthe lavish, glamorous and controversialstyle of Vienna at the turn of thetwentieth century• Announced the Melbourne WinterMasterpieces exhibition for 2012 –Napoleon: Revolution to EmpireVictorian Foundation for LivingAustralian ArtistsThe Victorian Foundation for Living AustralianArtists (VFLAA) was established in 2002with a grant of $5 million from the StateGovernment of Victoria, matched by anequal contribution from the National Galleryof Victoria’s Council of Trustees. It has thefollowing objectives:Works of art acquired by the VLFAA, now inits seventh year, extended the representationof Australian artists in the collection ofthe NGV, and supported and enhanced theexhibitions held at Victorian regional andmetropolitan galleries.The VFLAA Committee convened in Augustand December 2010, and May 2011.A total of 39 works across a range ofdisciplines including photography, painting,prints, fashion & textiles and new mediaworks were acquired by the VFLAA during thisfinancial year.Regional representatives on the VFLAACommittee Dianne Mangan, Director,Wangaratta Exhibitions Gallery and MurrayBowes, Director, Warrnambool Art Gallerycompleted their term on the Committeein August 2010. Anthony Camm, Director,Ararat Regional Art Gallery and JaneAlexander, Director, Mornington PeninsulaRegional Gallery joined the Committee for theDecember 2010 meeting.The table of performance statistics for2010/11 is on page 23.Looking ahead• Opening more new galleries and spaces,including a contemporary gallery spaceon the ground floor of NGV International,new Asian Galleries and The AncientWorlds gallery• Announcing our Melbourne WinterMasterpieces shows for 2013 and 2014• Delivering our contemporary art strategyand five-year exhibitions strategy• Identifying further outward internationaltouring opportunities, particularly in theAsian region, and ongoing development ofan active regional touring program, subjectto funding availability• Delivering short and long term solutions forCollection storage currently at over capacity• To increase support for living Australianartists by purchasing and exhibitingAustralian art, with an emphasis oncontemporary Australian visual art;• To enable public galleries throughoutVictoria to exhibit high quality examples ofcontemporary Australian visual art;• To expand the NGV’s purchasing capacityfor contemporary Australian visual art andenhance the State Collection’s holdings ofsuch; and• To grow the VFLAA Fund in real termsover time.

23VFLAA STATISTICSFinancial performanceIndicator 2010/11Growth in capital value of the VFLAA Endowed Fund 6.5%Annual value of 2010/11 acquisitions $234,517Market value of Endowed Fund at year end $8,475,968Artistic performanceIndicator 2010/2011 2009/2010TargetResultNumber of VFLAA works acquired - 39 42Number of artists whose art was acquired - 23 24Number of Victorian artists whose art was acquired - 7 13Victorian artists as a percentage of total artists acquired 50% 30.4% 54.2%Number of Indigenous artists whose art was acquired 1 0 2% income spent in primary market 80% 100% 96%VFLAA/State Collection Access PerformanceIndicator 2010/2011 2009/2010TargetResultVFLAA works displayed at NGV 40 141 72VFLAA works displayed on NGV website 40187(Note 1)187Regional/ outer metropolitan galleries which received VFLAA works 4 0 5VFLAA works loaned to regional/ outer metropolitan galleries 9 0 1Total number of VFLAA works loaned - 6 11NGV’s Management of VFLAA PerformanceIndicator 2010/2011 2009/2010Number of Regional Galleries having VFLAA membership 2 2Number of VFLAA acquisition meetings 3 4Publication of VFLAA report (activities, financial & artistic) in NGV Annual Report 1 1Notes:1 The NGV Collection online is under redevelopment

242CommunItyAimTo create opportunities formore broadly based publicattendance and participationPerformance indicators• Total visitors: 1.5 million (target: 1.41million; 09/10: 1.6 million)• Visitors to touring exhibitions: 222,078(target: 56,500; 09/10: 124,106)• Visitors rating exhibitions as ‘good’ or ‘verygood’: 90% (target: 95%, 09/10: 96%)• Visitors rating NGV visit as ‘good’ or ‘verygood’: 97% (target: 95%; 09/10: 98%)• Hours per week that the public has accessto NGV buildings: 45 (target: 45; 09/10: 45)• Visitors from outside Victoria: 23% (target:30%; 09/10: 25%)• Visitors attending with children (familygroups): 11% (target: 10%; 09/10: 9%)• NGV Members: 43,927 (target: 45,400;09/10: 51,168)• Victorian regional centres receivingexhibitions from the NGV: 4 (target: 4;09/10: 2)• Collaborative projects with NGOs/agencies:30 (target: 20; 09/10: 20)NGV 150• Undertook a year long project of specialevents to mark the Gallery’s 150thanniversary, culminating in a weekend ofpublic celebrations, planned and directedby artistic adviser Robyn Archer andattended by more than 30,000 people• As part of the anniversary weekendpARTy, created a journey between thetwo NGV gallery buildings, with a seriesof installations, tableaux vivants and 28artistic interpretations of key works inthe NGV collection, which received anenthusiastic response from visitors• 25% of people on the journey were firsttime visitors• Had our first on-site ‘Tweet-up’ with theNGV’s most engaged Twitter followers,reaching 7,000 people• Continued the pARTy after dark, with around6,000 people enjoying free musical performances,free talks, and great food and wineat both NGV buildings into the night• Held our first ever people’s choice poll offavourite works in the NGV Collection withtop honours going to John Brack’s CollinsSt, 5pm, 1955• In conjunction with Australia Post, issueda 150th anniversary souvenir series ofstamps featuring highlights of the NGVcollection, including works by Roy deMaistre, Hans Heysen and Arnold Shore• Hosted a special public event at theMelbourne Town Hall, attended by around500 people, featuring an internationalpanel of artists, museum directors andacademics discussing contemporary art, aspart of the City of Melbourne’s MelbourneConversations series• Chronicled key moments in the NGV’shistory through a monthly series in Gallerymagazine during the year and released aspecial collector’s edition of the magazineto mark the 150th Anniversary in May• Produced a publication, The NGV Story, toshare with a wide readership some of thegreat moments from the history of the NGV• Facilitated a special two-part documentaryon the NGV, narrated by comedian HannahGadsby, which screened on the ABC’sArtscape programVisitors• Received excellent critical reception fromthe public for European Masters: StädelMuseum, 19th–20th Century• Ranked the 23rd most visited art museumin the world in 2010, and the second-mostvisited in Australia, according to the annualsurvey of global art gallery attendancespublished by the UK’s The Arts Newspaper• Drew thousands of younger visitors to theGallery through events such as The LastDay of Summer, featuring live music andentertainment as well as access to Galleryexhibitions, and initiatives such as NGVStudio, with a competition and inauguralexhibition focusing on street artNGV Kids• Opened a permanent, free NGV Kids Spaceon the ground floor of NGV Internationalafter attracting over 65,000 visitorsin 2010/11 to the NGV Kids Corner atFederation Square• Engaged young minds and senses throughthe inaugural exhibition, Kaleidoscope,which created wondrous world of art andcolour in which children and families couldexplore art together and engage with morethan 40 works from the NGV collection• Launched a new membership category,NGV Kids Club, with 250 young art fansjoining the club during its first monthCommunity and culture• Complemented the artistic themes andstyles on show in the European Mastersexhibition with a free program of the musicof Beethoven, Schumann and Wagner byOrchestra Victoria, attended by a capacitycrowd of 650• Recreated the sophisticated world ofthe German Cabaret of the 1920s–40sthrough live music, entertainment,fine food and wine at Städel after dark,drawing attendances of up to 1500 eachWednesday night• Presented the world premiere of a newversion of Mussogorsky’s Pictures at anExhibition and work by contemporarycomposer Julian Yu to a captivatedaudience of 200 people• Collaborated with a wide range ofcommunity groups, including CrookedRib Art, CERES, Art Projects Australia,the Grainger Museum, the King DavidSchool Choir, the Footscray CommunityArts Centre, the Hip Hop Academy, RISEand Hell Gallery, to create a series ofunique performances that formed partof Harrell Fletcher’s The Sound We MakeTogether exhibition• More than 600 people packed the Great Hallto experience Shadows to Life, a narratedIndonesian performance depicting the Hindu

“We had a lot of fun putting togethera suitably celebratory weekend foreveryone who already loved theNGV, and to encourage others toembark upon a lifetime love affair.”Robyn Archer, NGV 150 Artistic Adviser25epic Ramayana through shadow puppetrywith Balinese and Javanese gamelan music,presented by more than 100 performers anddirected by Ki Poedijono, OAM• The Beijing Opera presented a spectacularperformance for some 200 attendeesas part of the NGV’s Chinese New Yearcelebrations in February• Around 2000 people enjoyed the LastDay of Summer program on 27 February,featuring bands, floor talks and a livebroadcast by Three Triple R radio• Ukiyo-e demonstrations and workshops byvisiting Japanese master printer Tatsuya Itoand Director of the Japan Ukiyo-e Museumattracted more than 200 participants andwere rated as outstanding by all participantswho completed the evaluation formOutreach• Delivered Youth Access – Cloaks of ManyCultures, an innovative arts project foryoung women aged 15–20 from newlyarrived communities in the Hume area,giving participants the opportunityto work closely with, and learn from,recognised artists and other artsprofessionals, in partnership with theCentre for Multicultural Youth and withsupport from the Lord Mayor’s CharitableFoundation, the Bennelong Foundationand the Scanlon Foundation• Developed an exciting visual art andliteracy project focused on landscapepainting, which encouraged studentsto create and display their own ‘locallandscapes’, with more than 500 studentsand families taking part• Conducted three days of workshopsthroughout Victoria’s Western Districtfocused on the Gallery’s Dressed to Rule:Imperial Robes of China as part of RegionalArts Victoria’s Arts 2 Go Outreach Program• Enabled students from Hamilton NorthPrimary School to experience through aspecial outreach program the EuropeanMasters exhibition after it had closedTouring• Explored the nineteenth- and earlytwentieth-centuryEuropean fascinationwith the Near and Middle East in Imaginingthe Orient, a touring exhibition fundedthrough Arts Victoria, which featuredsignificant historical pieces from theNGV Collection and loans from the StateLibrary of Victoria and regional galleries,and showed at regional venues from July2010 to May 2011• Promoted the work of young Indigenousartists from the Palm Islands in Thruthe Lens, a touring installation from theQueensland Art Gallery that was mountedat the NGV in conjunction with NAIDOCWeek celebrations• Sent the extremely popular Ron Mueckexhibition to the Gallery of ModernArt, Queensland Art Gallery and theChristchurch Art Gallery, New Zealand,after showing at the NGVArtists and academics• Senior managers and conservation staffparticipated in the teaching programfor the Masters of Cultural MaterialConservation at the University ofMelbourne and continued to play anactive role in the development of theconservation profession in Australiathrough a series of professionalworkshops, conferences and lectures• Artist and photographer Dr JenniferDickson presented a fascinating freelecture on south-eastern Anatolia,including the stabilisation and restorationof historic Ottoman mosques and therestoration to World Heritage standardsof the Armenian Cathedral of the HolyCross on Akdamar Island, to more than100 attendees with support from theTurkish Consulate• Art historian Dr Margot Yeomansintroduced more than 100 participantsto the lives and work of lace-makers inseventeenth-century Holland• The NGV was invited to be part of thejudging panel for the inaugural NewHeartlands Refugee Fine Art Prize,dedicated to celebrating the creative talentsand positive social contribution of Australianartists from a refugee background• More than 200 people attended this year’sUrsula Hoff Lecture, which explored theNGV’s internationally significant collectionof Pre-Raphaelite works, presented byAssociate Professor Alison Inglis, from theSchool of Culture and Communication atthe University of MelbourneMarketing• Generated an outstanding 91% awarenessamong the public of the Melbourne WinterMasterpieces European Masters exhibition• Developed a comprehensive marketing planto publicise the 150th anniversary, includingdedicated campaign branding and an onlineand television advertising campaign• Assisted in the production of a series ofsegments in collaboration with the ABC’sCollectors, Artscape, and Art Nationprograms, including programs on textileconservation practice, a host of exhibitionsand the Gallery’s 150th anniversary• Ran a highly successful marketing andsocial media campaign to generate publicinterest in, and promote viral marketingof, the NGV Studio space prior to itsofficial opening, particularly targeting ayouth audience• Commissioned qualitative research toexamine the perception and positioning ofthe NGV in the community and help developstrategies to encourage repeat visitation• Launched a refreshed NGV logo and brandidentity in line with research findings

3CreatIvecontentAimTo create opportunities forengagement and enjoyment ofthe NGV at the galleries, onlineand through other media“We have been finding new waysto engage with the community,including through our first iPhoneapp, regular podcasts andinteractive competitions. All havebeen extremely popular.”Lisa Sassella, General Manager,Marketing and Communications27Performance indicators• Proportion of NGV Collection accessibleonline: 26% (target: 30%; 09/10: 23%)• Website visitors: 959,114 (target: 1.45million; 09/10: NA)• Facebook fans: over 10,000 (target: 7500;09/10: 4630)• NGV titles published for sale: 19 (target:20; 09/10: 19)Virtual NGV• Held the first online people’s choicecompetition, My Top Ten, encouraging thepublic to select their favourite works of artfrom the NGV collection, which generatedimmense mainstream interest and morethan 16,000 Facebook votes – the prizewas a fabulous dinner prepared by chefsPhillipe Mouchel and Terry Clark• Released the first NGV iPhone app, offeringsubscribers free up-to-the-minute news onevents and exhibitions at the Gallery, whichhas already been downloaded by 5,469people and used 20,398 times• Launched Talk Top Arts, an online forumproviding behind-the-scenes access tothe Top Arts exhibition and inviting fans toconnect with each other online• Gave the public a rare insight into theconservation process through The PoussinProject, an online forum with updates onthe major restoration of Nicolas Poussin’sThe Crossing of the Red Sea, and Eugenevon Guérard: True Nature Revealed, a blogshedding new light on the artist’s work• Launched the Artist and You project,which encouraged people to visit theNGV’s Facebook page and have theirportraits recreated by Melbourneillustrator Oslo Davis• Held an interactive competition toencourage passers-by and fans to votefor their favourite street crew via Twitterand Facebook before the official openingof NGV Studio• The NGV Collection online is underredevelopmentPublishing• Published a number of outstandingcatalogues, including Eugene von Guérard:Nature Revealed, based on new researchand previously unseen works, and Vienna:Art & Design: Klimt, Schiele, Hoffmann, Loos.• Commissioned The NGV Story, a surveyof key events and anecdotes from theNGV’s history, researched and written byPhip Murray• Launched an expanded edition of the ArtJournal of the National Gallery of Victoria(formerly known as the Art Bulletin ofVictoria) to mark the journal’s 50th issueLooking ahead• Launching an online shop on theNGV website• Continuing to extend digital access tothe NGV Collection

284educatIonAimTo provide challenging andhigh quality exhibitions andeduca tional and trainingprograms balancing curatorialreputation and broadaudience appealPerformance indicators• School students attending ticketededucation programs: 90,072 (target:98,000; 09/10: 96,285)• Teachers attending capabilityimprovement sessions and workshops:13,900 (target: 12,000; 09/10: 14,349)• Public programs tickets sold: 95,878(target: 100,000; 09/10: 112,866)Schools• Some 104,000 students and teachersparticipated in 7,000 diverse educationprograms during the year• Celebrated the 60th anniversary ofeducation at the NGV, which has grownfrom a team of two part-time staff in1950 to a large permanent team ofprofessional educators who develop anddeliver programs to nearly 100,000schoolchildren a year• Investigated nineteenth- and twentiethcenturyAustralian history from both anIndigenous and a colonial perspectivein Encounter Confrontation: TwoPerspectives, and explored highlights ofthe NGV’s rich collection of antiquities inAncient Civilisations at the NGV, includingancient Egyptian mummy masks, Greekand Roman antiquities, and Chinese tombware, as part of the History Teachers’Association Annual Conference• Hosted the opening reception of theNational Conference for Teachers ofGerman Language for 150 attendees,with dignitaries and speakers includingDr Michael Witte, Ambassador of theFederal Republic of Germany to Australia,Anne-Marie Schleich, Consul Generalof the Federal Republic of Germany,Erika Kimpton-Etter, Honorary Consul ofSwitzerland, the Hon. Tim Holding, Ministerfor Water, Finance, Tourism and MajorEvents, and Steve Herbert, ParliamentarySecretary for Education• Introduced the workings of the artsindustry to 270 eager students throughStudio Arts – Art Industry Contexts• Held a professional learning program forprimary school art teachers, focusing onthe Gallery as a resource for curriculumlevels 1 to 4• Gave hundreds of students from schoolsin Hume, Colac, Wonthaggi and WantirnaSouth an insight into Aboriginality andits influences on art and music througha performance and forum exploringKoorie Stories and Song and tours of theNGV Indigenous collection, with fundingprovided by Melbourne City Council andtransport assistance through the NGVSchools Access Fund• In conjunction with the Goethe Institut,hosted the German Day Out for more than1200 students exploring the arts precinctas a resource for languages and culture• Featured a full-day program for 500students as part of the SustainableLiving Festival at Federation Square, withinternationally renowned environmentalistDavid Suzuki and contemporary artistJohn WolseleyChildren and families• Held puppentheater performances andart-making activities in the Great Hallfor 134 participants as part of Father’sDay activities during the EuropeanMasters exhibition• Created Das Puzzlehaus, an abstractexpressionist-inspiredfun-house fullof activities based on the internationalmasterpieces on show in the EuropeanMasters exhibition• Focused on fashion in Oh Man! Art youwear, encouraging children to createtheir own wearable art as part of theArt Sparks Program accompanying theManStyle exhibition• Entertained 3,500 excited children andtheir family members with a full day ofactivities on Children’s Family Day inMay, including sock puppets, friendshipbracelets, face-painting, badge-making,magicians, stilt walkers, performances,family tours of the Gallery and muchmore, presented in partnership withthe Department of Education and EarlyChildhood DevelopmentOnline programs• Launched an interactive online forumfor Harrell Fletcher: The Sound We MakeTogether, with support from online mediapartner, threethrousand.com• In conjunction with DEECD’s virtualconferencing facility, ran an onlineprofessional learning session formultimedia teachers across Victoria onhow to use the NGV and artworks as astimulus for multimedia programs• Developed a new online resource topromote critical thinking, analysis andliteracy among VCE English students,in collaboration with the VictorianAssociation for the Teaching of English,which has provoked an enthusiastic andhighly positive response from participantsPublic programs• Conducted 874 well-attended publicprograms throughout the year offeringdiverse content and broad audience appeal• More than 50,000 people participatedin 292 public and members’ programsoffered in conjunction with the EuropeanMasters exhibition, including a bookedoutsymposium, booked-out painting,drawing and writing workshops, free artafter dark entertainment, an extensivemusic program, free daily tours with NGVVoluntary Guides and booked-out weekendbreakfast programs• Provided a rare opportunity to capture themasterpieces on show in the EuropeanMasters exhibition through a tailoredsketching class directed by artist MarcoLuccio, which received highly positivefeedback from participants

“The NGV’s global reputation isbased on the importance andvalue of the State Collection,particularly in Old Master works,but the NGV Collection is also trulyencyclopaedic, covering the gamutfrom antiquity to contemporary art.”Frances Lindsay, Deputy Director29• Continued the extremely popular fourweekphilosophy course by Dr DavidRathbone, from the School of Philosophyat The University of Melbourne, withtopics including the philosophies of artand aesthetics of Kant, Hegel and Goethe,and philosophical inquiry after the impactof the Second World War, attracting morethan 100 attendees to each session andsparking lively discussion and debate• Ran Art and Memory tour programs forresidents of the Emmy Monash AgedCentre with varying degrees of dementia,assisting them to experience and discussworks in the NGV collection• Back by popular demand, comedianHannah Gadsby hosted a series of bookedouttours of the NGV collection for morethan 1,500 participants, sharing her uniqueperspective on her favourite and not-sofavouriteworks• Voluntary Guides conducted 2,753 guidedtours for visitors to the Gallery during theyear for 21,816 visitors• Hosted the annual Barbara BlackmanTemenos Foundation Lecture, whichthis year was presented by writer,scholar and spiritual teacher AndrewHarvey and focused on Rumi’s Diwan ofShams of Tabriz, and attracted morethan 200 participants• As part of Social Inclusion Weekin November, presented a movingperformance of popular songs to acaptivated audience of more than 500people by an impressive 120-memberchoir conducted by Jonathon Welch• Hosted the annual Ursula Hoff lectureand the Duldig lecture on sculptureLooking ahead• Continuing delivery of DEECD curriculumbasedprograms• Implementing a youth ambassadorsprogramCommunity collaboration• In association with the Australian TurkishCultural Platform and MulticulturalArts Victoria, held demonstrations ofcalligraphy, marbling and other techniquesfor 150 participants by visiting Turkishartists Dr Munevver Ucer, Dr SuleymanBerk, Mrs Esengul Inalpulat and Mr SeyitAhmet Depeler• Participated in the International Society ofEducation through Art South-East Asia–Pacific Regional Congress, a collaborative,three-day professional learning programwith Art Education Victoria, Art EducationAustralia, InSEA and ACMI, whichattracted more than 200 participants frommuseums, schools, the tertiary sector andcommunity groups, including participantsfrom as far as Saudi Arabia, Chile, the US,New Zealand and Hong Kong

305RecognItIonAimTo be seen as a leading artmuseum in terms of ourcollections, our exhibitionsand our engagement with ourcommunity“The NGV was always a placewhere I felt I could escapeas a kid. It was grand andquiet and peaceful. It was abeautiful place where I wasallowed to daydream andescape the world.”Toni Maticevski, Fashion designerInternational recognition• The NGV’s new iPhone app was includedin Mashable’s ‘Five great gallery apps forart’ list, alongside the Louvre, MoMA andLondon’s National Gallery• The publication John Davis: Presence wasawarded second prize in the category‘Exhibition catalogues’ at the AmericanAssociation of Museums Design Awards• Ron Mueck publication is now being copublishedby the NGV and Yale UniversityPress, to be distributed in the UK and theUS in late 2011Arts Victoria Arts PortfolioLeadership Awards• The NGV’s Access Program, whichprovides opportunities for people withhearing, vision, mobility and memorychallenges to access and engage withthe visual arts, won the Leadership inDisability Access award• Long-time NGV Member and volunteerHelena Gibbs won a Volunteer RecognitionAward for her dedication and service to theGallery over the past 35 years• The Gallery was also highly commended inthree sections: Leadership in Technology,for use of artwork imaging technology inpartnership with the Australian Synchrotronand the CSIRO; Leadership in Community,for the We are One project, which uses theNGV collection to promote cultural diversityand help reduce race-based discriminationamong young people; and Leadership inMarketing and Audience Development forthe Last Day of Summer event.Print Industries CraftsmanshipAwards (PICA)• Won a gold award for the Ron Mueckcatalogue, a silver award for the Imaginingthe Orient room brochure, a silver awardfor the 2009/10 Annual Report and abronze award for the European Masterscard packNational Book Design Awards• Mari Funaki: Objects won the award for thebest designed specialist illustrated bookFringe Festival Awards• The collaborative exhibition HarrellFletcher: The Sound We Make Togetherreceived the Best Visual Art AwardMuseums Australia PublicationAwards• Won two awards at the MuseumsAustralia Publication Awards: the Draperoom brochure won in the exhibitioncatalogue (small) category and the JohnBrack hardcover catalogue was highlycommended in the exhibition catalogue(major) category.Federation Square CustomerService Excellence Awards• Jacqueline McNamee, Information Officer,received a Federation Square CustomerService Excellence AwardAustralia Day Honours• NGV Director Gerard Vaughan was madea Member of the Order of Australia (AM)for his service to the arts, includingthe development and promotion of theState Collection and exhibitions, and hiscontribution to arts scholarship, educationand fundraising

6talentAimTo support the achievementof the NGV’s mission andvision through the selectionand development ofemployees and volunteers“The NGV Voluntary Guide provideda detailed and clear presentation aswell as answering all questions withgreat enthusiasm and care. Her tourreally enriched my experience... andI will return to view the drawingsand paintings with newly acquiredknowledge”NGV VISITOR31Performance indicators• Training and development spend per EFT:$1,131 (target: $1000; 09/10: $1035)• Volunteer hours given: 21,377 (target:11,000; 09/10: 10,069)Leadership• Implemented and sought feedback on anew internal communications strategyseeking to improve communication acrossall levels of the NGV and develop newways to ensure staff are informed,engaged and able to contribute effectively• Developed and implemented a newthree-year strategic plan, with a revisedset of milestones and a new quarterlyreporting framework• Developed new Respect for Otherstraining for all NGV managers and staffStaff highlights• Congratulated the following staff onachieving career milestones:10 Years Narelle Wilson; JessemynSchippers; Patricia Matovski; JonathanLuker; Suzanna Shaw; Predrag Cancar;Tina Saccone; Susie May; Phillip Adams;Joy Kremler; Rebecca Hicks.15 Years Carl Villis; Katie Somerville;Elena Nikolaeva; Ruth Shervington20 Years Catherine Leahy; Ieva Kanepe;Daryl West-Moore25 Years Garry Sommerfeld30 Years Jennie Moloney; Garth Mclean• Welcomed Nick Palmer to the newlycreated role of General Manager,Development and Commercial Operations,focusing on revenue generation from nongovernmentsources• Welcomed Narelle Gardner in the role ofManager, Risk and OH+S, Angela Bakeras HR Services Manager, Karen Andersonas Archives Project Manager and GillesBonnet as Building Engineer• Farewelled Pierre Arpin, General Manager,Collections & Exhibitions Management,who took up the position of Director atthe Museum and Art Gallery of theNorthern Territory• Farewelled Capital Projects ManagerDarren Hughes after 9 years of service,Mike Cardiff, Asset Manager, after 6 years,Head of Human Resources Laura Venusalso after 6 years and Manager CorporatePartnerships, Andrew Boyd, after 3 yearsProfessional development• Photographic Services’ Selina Ou took4 months’ leave to take up an AustraliaCouncil artist’s residency in New York• Charmian Watts, Assistant Registrar,Exhibitions, was elected Vice-president ofthe Australasian Registrars’ Committee• Dianne Whittle, Conservator of Objectscompleted a three-day workshop onassessing risks to museum collections• Indigenous Art Project Officer LukeScholes joined a group of Papunya Tulaartists from the Walungurru (Kintore)and Kiwirrkura communities on aresearch field trip of remote culturalsites in the Western Desert region ofWestern Australia, in preparation for aforthcoming exhibition celebrating the40th anniversary of these artists• Curator of Asian Art Wayne Crotherstravelled to Japan to explore ideas forfuture exhibitions and gallery design andresearch recently acquired works, andalso attended the International Council ofMuseums Conference in Shanghai• Hosted 18 work experience students,across six NGV departmentsHealth and wellbeing• Obtained the views of staff through anannual employee opinion survey and regular‘pulse check’ surveys. Now developingstrategies to address staff concerns• Relaunched NGV Social Club for staff• Reinvigorated the OH+S Committee with anew program of training for all Health andSafety RepresentativesVoluntary Guides• Opened a new Voluntary Guides office onthe ground floor of NGV International• NGV Voluntary Guides Years of ServiceAwards were given for 30 years ofachievement to:- Delma Valmorbida• For 20 years of achievement to:- Robyn Cass- Margot Harper- Beverley Macintosh• NGV Voluntary Guides who retired at theend 2010 included:- Caroline Brain- Antonia Curtis- Jane Guy- Janet Lilley- Delma ValmorbidaLooking ahead• Negotiating a new enterprise agreement• Developing a medium-term humanresources strategy, including a greaterfocus on staff development, successionplanning and management development• Delivering new training program for OH+S,focussing on safety leadership• Completing a review of the OH&S managementsystem to prepare for new legislation.

327fundIngAimTo secure a broad andcommitted funding base andnurture relationships withstakeholdersPerformance indicators• 2010/11 donations for the immediatepurchase of works of art: $5 million(target: $5 million; 09/10: $3.9 million)• Proportion of Masterpieces for Melbournecash campaign target achieved 76%(target: 90%; 09/10: 50%)• Average retail sale per square metre perday: $26.20 (target: $24.39; 09/10: $30.47)MASTERPIECES FOR MELBOURNE• $54.3 million in cash gifts and pledgesand $22.6 million in works of art for theMasterpieces for Melbourne campaignsince its inception in 2006• $19.5 million in notified bequests since thecommencement of the campaign• In 2010/2011 52 gifts were made throughthe Patrons Program, directing $110,650towards the immediate purchase of art• Major cash gifts were received from Allanand Maria Myers, Nigel and Patricia Peck andJohn and Pauline Gandel and the estates ofMax G Chapman and Ruth Houghton.• Important acquisitions were made possiblewith generous donations from Ken andJill Harrison, Bruce Parncutt and RobinCampbell, Ross and Fiona Adler, LuisaValmorbida and Lyn Williams• Significant donations received from theMargaret Lawrence Bequest and the NeilsonFoundation; the Hugh D T WilliamsonFoundation and Gordon and JacquelineMoffatt provided funds for special projects• The 150th Anniversary was celebratedwith gifts of Masterpiece works ofart from Loti Smorgon and the FeltonBequests CommitteeFUNDRAISING AND PHILANTHROPY• We achieved strong results despite globalfinancial challenges and natural disasterswhich diverted some support away fromthe arts• The 150th Anniversary Dinner, hostedby the NGV Foundation, was highlysuccessful raising $451,000 toward theArt Acquisition Fund• Commissioned a social and economicimpact study on the benefits that the NGVprovides to the VictoriaFELTON SOCIETY• The NGV gratefully acknowledged 47bequests and welcomed many newmembers to the SocietySUPPORTERS OF ASIAN ART• The focus of fundraising at the Supportersof Asian Art annual dinner was the fundingof an Education Resource to provideaccess to the NGV’s Asian Collections• The Supporters of Asian Art Acquisitionfund was boosted with a generous giftfrom The Neilson FoundationNGV CONTEMPORARY• Funded the purchase of Luke RudolphPortrait No. 24, 2010• Contributed to the purchase of ChristoProject for Keith Murdoch Court,National Gallery of Victoria, Melbourne –documentation of the project which was aseminal event in 1969, bringing to the citythe most recent international practice interms of installation artSUPPORTERS OF DECORATIVE ARTS• Celebrated the generosity of Dr RobertWilson, one of the most significantbenefactors to decorative arts at the NGV,with a special viewing of the exhibitionwhich showcased Robert’s gifts• Acquired a pair of Saint Cloud sceaux averre, assisted by Peter and Ivanka CanetSUPPORTERS OF INDIGENOUS ART• Supporters contributed $111,375 infunding for works of art• Two Larrikitj (hollow logs) by Yolnguelders Gawirrin Gumana and BalukaMaymuru, were acquired – purchasedwith contributions by friends in memoryof Catherine Allen, a founding member ofSupporters of Indigenous Art• Five sculptural works from ManingridaArts & Culture were acquired as a resultof the annual Supporters of Indigenous ArtFundraising Dinner.SUPPORTERS OF PRINTS & DRAWINGS• The Picasso print Blind Minotaur ledthrough the starry night by Marie-Theresewith dove was acquired with funds donatedby Lyn Williams, Christine Healy, RickAmor and the Art Acquisition Fund• Organised a special evening viewing of ThisWondrous Land: Colonial Art on Paper forsupporters which highlighted a number ofrecent gifts and acquisitionsCorporate partnerships• Secured $3.09 million in cash and contrasupport from corporate sponsors• Continued our relationship withMercedes-Benz, as Principal Partnerof the Melbourne Winter Masterpiecesexhibitions; European Masters: StädelMuseum, 19th – 20th Century in 2010 andVienna: Art & Design in 2011• Received support from BNP Paribas andthe BNP Paribas Foundation that hasenabled the commencement of a majorconservation project, the restoration ofNicolas Poussin’s The Crossing of the RedSea c. 1633-34, completion of the projectis expected in late 2011• Macquarie Group, Ernst & Young, QantasAirways, BlueScope Steel, SofitelMelbourne On Collins and RepucomInternational have continued as Partnersof the NGV

“Notwithstanding challengingtimes, the generosity of ourindividual and corporatesupporters continued tobenefit the NGV and we remainextremely grateful”Nick Palmer, General Manager Developmentand Commercial Operations33• For the seventh consecutive year GoldmanSachs has been Principal Sponsor of theTop Arts exhibition• Attracted support from more than 40sponsors including Mercer, The Age,Credit Suisse, Miele Australia, TourismVictoria, Melbourne Airport, JCDecaux,Lavazza, V/Line and Dulux Australiaacross a variety of projects such as theexhibition program, permanent collectionand 150th anniversary• Secured a generous grant from the City ofMelbourne as Presenting Partner for the150th anniversary pARTy weekend events• Welcomed Crumpler and Micador assupporters of NGV Kids Club• Set ambitious targets for future corporatesponsorships as part of an evolving threeyear business planNGV Business Council• Welcomed ANZ Private, Australia Post,BHP Billiton, Ernst & Young, MercedesBenz Australia/Pacific, Qantas, NewcrestMining and Village Roadshow as BusinessCouncil companies.• A series of successful events were heldincluding private viewings of exhibitionsand dinners.NGV Corporate Members• Welcomed Alcoa of Australia, InvestecBank and T. Rowe Price to NGV CorporateMembers. Centric Wealth, Norton Gledhill,Nuance Multimedia and Wilbow Groupcontinued as Corporate Members.Women’s Association• Celebrated the 50th anniversary of theNGV Women’s Association and releaseda special publication commemoratingthis milestone and tracing the history andachievements of the Association• Raised funds for the acquisition of GeorgeMinne’s Kneeling Youth 1898 to mark theAssociation’s anniversary and as a 150thanniversary gift to the Gallery• More than 460 people, including 170new guests, attended the NGV Women’sAssociation Annual Spring Lunch to heararchitect Sean Godsell give a thoughtprovokingaddress and to enjoy a day offabulous food and visual delights in theGreat Hall• Thanked Mrs Jan de Kretser, who retiredfrom her position as Patron during the year,for her contribution, and welcomed MrsElizabeth Chernov as our new Patrontravel grants• Two generous supporters continuedto fund travel grants as professionaldevelopment for NGV staff:- Peter and Joan Clemenger and- The NGV Women’s AssociationRetail and catering• Achieved exceptional sales across allretail and catering outlets, especiallyduring the pARTy weekend, during whichrevenue was up 180% compared to thesame weekend a year ago• Sold 10,417 copies of the Städel catalogueand achieved the highest ever pick-up ratefor an exhibition audio guide at 1 in 10• Launched a new identity for the NGV Shopsand mounted a comprehensive marketingcampaign to raise awareness of thestores, including a Christmas catalogue,branded shop bags and other instoremarketing collateral, poster placementthroughout the inner city and a seriesof advertisements in a range of media,resulting in a $65,000 increase in revenueduring the Christmas period comparedwith the previous year• Redeveloped the Gallery Kitchen on theground floor of NGV International, updatingthe front of house fixtures and installingadditional kitchen equipment to allowgreater menu scopeLooking ahead• Achieving the Masterpieces for Melbournetarget of $150 million• Reviewing performance, strategic prioritiesand reporting of commercial operations,fundraising and corporate partnerships• Holding the inaugural annual dinner forSupporters of Decorative Arts• Assessing the revenue potential ofwholesale and other markets forNGV merchandise• Appointing the inaugural ElizabethSummons annual Fellow and awardingeight Nicholas Draffin research andtravel grants to NGV staff• Welcoming Ben Nancarrow who joins theNGV as Head of Corporate Partnerships

348SustaInabIlItyAimTo ensure the effective,efficient and responsible useof all resourcesPerformance indicators• Collection stored to industry standards:60% (target: 70%; 09/10: 70%)• Milestones met in line with asset strategy:56% (target: 100%; 09/10: 82%)• Waste recycled: 73% (target: 75%;09/10: 68%)• Average gross spend per visitor $7.54(target: $9.01; 09/10: 9.84)INFORMATION SERVICES• Deepened information managementexpertise through recruitment of newArchivist and Knowledge Manager• Commenced a consultative evaluationof NGV record-keeping requirements andcompiled an archives location guide• Updated the Records ManagementPolicy to incorporate the requirements ofthe recently released Public RecordsOffice of Victoria standards framework• Designed a new staff induction program forinformation management and libraryservices and incorporated this into coretraining requirements• Upgraded the corporate intranet achievingincreased usability and improved capacityfor disaster recovery• Reviewed and updated the networkcommunications infrastructure designand procured new networkingequipment to replace ageing andobsolete existing infrastructure• Generated savings through a review ofthe Microsoft licensing model• Replaced the NGV's antivirus andvoicemail systems and upgraded thepublic switchboardFINANCE• Developed strategies to respond toreductions in Government Grant funding in2011/12, and ongoing• Completed cyclical valuations of the StateCollection, Library Collection and Land& Buildings, for financial accounting andinsurance purposes• Implemented improved accounting andreporting model for exhibitions program• Reviewed the Revenue & Debtors Policyand procedures and introduced newsystems for credit collection• Improved the systems and reporting forretail inventory, responding to internalaudit recommendations• Completed reviews of FBT and DGR andother tax compliance issues and commenceddevelopment of internal manualEnvironment• Established an interdepartmental GreenExhibition Design and Installation WorkingParty to help develop more sustainableand environmentally responsible practicesfor exhibition management• Launched a new internal communicationsstrategy for environmental initiatives• Completed testing of building thermalefficiency at NGV International to see ifagreed environmental conditions could beachieved without mechanical intervention• Updated the Environmental ManagementPlan for 2011-13• Used accredited renewal electricity“Green Power” for 20% of totalelectricity consumption• Improved systems for tracking andreporting environmental impacts• Commenced evaluation of LED lightingsystems in gallery spaces• Steadily increased recycling ratesachieving 78% of total waste in the secondsix months of the yearAssets and facilities• Successfully managed a major capitalproject that involved renewing andredesigning a range of key gallery andpublic spaces at NGV Internationalduring the year, meeting tight timelinesand budgets• Continued significant repair works toceilings, skylights and floors damagedduring the March 2010 hailstorm , anddesigned new hail guards to mitigate therisk of similar events in future• Installed new disabled toilets and afamily room on the ground floor ofNGV International• Completed the fit out of the new NGVStudio space to scope and on budget,including integrating with NGV Kids Cornerand the NGV Australia foyer• Reviewed current collection storagefacilities and identified opportunities forimprovement and short-term solutions toovercapacity issues• Completed successful transition to newcontracts for security services and building& mechanical services, following publictender processes• Maintained asset condition indices withinexpectations, despite pressures onresources and funding• Commenced review of business systemsand processes to improve work flow andaccountability and deliver efficiencies• Developed new engineering team throughrecruitment of key skills and changes toout-sourced business model to improvecost and risk managementPROCUREMENT, TENDERS & CONTRACTS• Managed a complex public tender formechanical and building services• Commenced public tender for facilitysupport services• Reviewed contracts register systemrequirements and identified cost-effectiveuse of existing system to meet requirementsand enhance business outcomes• Led the business case preparation forNGV Studio at Federation Square andnegotiated the property lease and grantfrom Arts Victoria to undertake fit out andinitial installation• Reviewed models for stationery procurement,identifying savings of up to 20%

"Our people, systems, infrastructureand services are critical to thefuture of the NGV and its position asa leading art museum"Liz Grainger, General Manager Operations (CFO)35RISK MANAGEMENT• Consolidated multiple insurance policiesinto a single policy and negotiated additionalinsurance coverage for incoming exhibitions• Reviewed the NGV policy framework andinstigated a three-year policy review cyclealong with internal communications strategies• Commenced trials of an exhibition riskassessment and management processwhich continues to be refined• Reviewed the NGV's incident managementsystem and identified new systems,processes and reporting for implementation• Commenced a review of the NGV’sEmergency Response and BusinessContinuity Plans• Approved a revised Risk ManagementPolicy in line with the new InternationalStandard on Risk Management (AS/NZSISO 31000:2009)• Achieved significant improvement in theclosure rate for internal audit findingswith over 90% of all recommendationsnow completedLIBRARY SERVICES• Undertook a major review of the ShawResearch Library’s collection, consolidatingall material on the NGV’s history andactivities into a single collection• Developed a definitive historical list of allNGV exhibitions• Completed a new strategy for themanagement of the ephemera collection• Compiled a complex index to all previouseditions of the NGV's Art Bulletin ofVictoria for publication with the 50thcelebratory editionLOOKING AHEAD• Focusing on creating cost savings during2011/12 following a year of major investmentin Gallery renewal and capital projects andreduction in Government funding• Finalising a business case for additionalfunding to improve access• Finalising a 3–5 year information technologyplan, supporting strategic outcomes• Completing the major upgrade of networkcommunications infrastructure in bothbuildings and installation of first-stagewireless capacity• Performing a comprehensive review ofthe NGV's ticketing, booking and venuemanagement systems• Reviewing the NGV's Investment Policy andstrategy to ensure that both continue tomeet the NGV's long-term objectives• Contributing to the Arts Victoria AssetManagement Framework and Greeningthe Portfolio projects, which aim to delivera sustainable asset funding model forthe sector• Continuing implementation of the NGV'sEnvironmental Management Plan andachievement of key targets for energy,water and waste management• Implementing new HVAC operating regimesat NGV International, generating reductionsin consumption of electricity and water, andsavings in costs• Working closely with other Arts Portfolioagencies and Arts Victoria to developeffective short- and long- term solutions foradequate and effective storage facilities forthe State Collection• Further developing business cases for moreexhibition and collection display space forthe NGV• Completing the remaining stages of the NGVInternational Gallery Renewal Project, ontime, to scope and on budget• Continuing development of the NGV's AssetManagement Framework• Delivering new training for contractmanagement and enhancing KPI frameworkfor contracts• Finalising review of the NGV incidentmanagement and reporting systems.• Implementing new processes to enhancepurchase order systems and facilitateeffective procurement• Finalising and communicating new Archivesand Library Policies• Completing a full stock-take of the ShawResearch Library collection and startingimplementation of the ephemera strategy

36 ExhIbItIons:NGV AustralIaStick it! Collage in Australian Art20 March – 29 August 2010Gallery 11, Level 2, NGVARupert Bunny: Artist in ParisAn Art Gallery of NSW Travelling Exhibition26 March – 4 July 2010Galleries 17-20, Level 3Principal Sponsor:Macquarie GroupSupport Sponsors:Sofitel Melbourne On CollinsDulux AustraliaJCDecauxMelbourne AirportAustralian Made: 100 Years of Fashion28 May 2010 – 23 January 2011Fashion & Textiles Gallery 12, Level 2Principal Sponsor:LavazzaSupport Sponsor:Inlink MediaLight Play2 June – 7 November 2010NGV Kids Corner, Cnr Russell & Flinders StsMari Funaki: Objects6 August – 24 October 2010Gallery 20, Level 3, NGVAJohn Davis: Presence6 August – 24 October 2010Galleries 17, 18, & 19, Level 3, NGVASupport Sponsor:Inlink MediaStormy Weather: ContemporaryLandscape Photography24 September 2010 – 20 March 2011Gallery 11, Level 2, NGVASmall Worlds30 November 2010 – 3 May 2011NGV Kids Corner, Cnr Russell & Flinders StsThe Naked Face: Self-portraits3 December 2010 – 27 February 2011Gallery 17-20, Level 3, NGVAManStyle11 March – 27 November 2011Fashion & Textiles Gallery 12, Level 2, NGVASupport Sponsors:Sofitel Melbourne On CollinsLavazzaSanpellegrinoTop Arts: VCE 201031 March – 19 June 2011Gallery 15-16, Level 3Principal Sponsor:Goldman SachsEducation Partners:Department of Education and Early ChildhoodDevelopmentVictorian Curriculum and AssessmentAuthorityCatholic Education OfficeIndependent Schools VictoriaSupport Sponsor:Avant CardEugene von Guérard: Nature Revealed16 April – 7 August 2011Galleries 17-20, Level 3, NGVAPrincipal Sponsor:Macquarie GroupSupport Sponsors:Sofitel Melbourne on CollinsThe AgeV/LineDulux AustraliaFelton Grimwade & Bosisto’sLiving Water28 May 2010 –Qantas Airways Indigenous Galleries,Ground LevelHarrell Fletcher: The sound we maketogether (Melbourne)11 September 2010 – 30 January 2011Galleries 15 & 16, Level 3Exhibition Partner:Melbourne Fringe FestivalSupport Sponsor:threethousand.com.au

ExhIbItIons:NGV InternatIonal37Love, Loss & Intimacy13 February – 25 July 2010Robert Raynor Gallery, Ground LevelTea and Zen15 April – 29 August 2010Asian Art Temporary Exhibition Space, Level 1Timelines: Photography and Time7 May – 3 October 2010Photography Gallery, Level 3Melbourne Winter Masterpieces 2010European Masters: Städel Museum,19th – 20th Century19 June – 10 October 2010Temporary Exhibition Space 1, 2 & 3Principal Partner:Mercedes-BenzNGV Partner International Art:Ernst & YoungSupport Sponsors:Miele AustraliaCredit SuisseSofitel Melbourne On CollinsThe AgeNine NetworkTourism VictoriaCity of MelbourneJCDecauxMelbourne AirportClemenger BBDOLace in Fashion23 July 2010 – 30 January 2011Fashion & Textiles Gallery, Level 2Endless Present: Robert Rooney andConceptual Art12 November 2010 – 27 March 2011Prints & Drawings Gallery, Level 3Unnerved: The New Zealand Project26 November 2010 – 27 February 2011Temporary Exhibition SpaceA Queensland Art Gallery Touring ExhibitionSupport Sponsor:Sofitel Melbourne On CollinsLuminous Cities: Photographs of the BuiltEnvironment22 October 2010 – 13 March 2011Photography Gallery, Level 3Gustave Moreau and the Eternal Feminine10 December 2010 – 10 April 2011Temporary Exhibition Space 1Principal Sponsor:MercerSupport Sponsors:Sofitel Melbourne On CollinsThe AgeDulux AustraliaManStyle11 March – 30 October 2011Fashion & Textiles Gallery, Level 2Support Sponsors:Sofitel Melbourne On CollinsLavazzaSanpellegrinoDeep Water: Photographs 1860–20002 April – 11 September 2011Photography Gallery, Level 3Support Sponsor:CrumplerThis Wondrous Land: Colonial Art on Paper29 April – 2 October 2011Robert Raynor Gallery, Level 3Melbourne Winter Masterpieces 2011Vienna: Art & DesignKlimt, Schiele, Hoffmann, LoosExhibition Organised by the Belvedere Museumand Wien Museum18 June – 9 October 2011Temporary Exhibition Space 1, 2 & 3Principal Partner:Mercedes-BenzNGV Partner International Art:Ernst & YoungSupport Sponsors:Sofitel Melbourne On CollinsThe AgeTourism VictoriaQantas AirwaysAustrian National Tourist OfficeCity of MelbourneJCDecauxMelbourne AirportKaleidoscope: Art and Colour28 May –NGV Kids SpaceSupport Sponsor:Dulux Australia

38 ExhIbItIons:NGV TourIngExhIbItIonsRon MueckA National Gallery of VictoriaTouring ExhibitionQueensland Art Gallery8 May – 1 August 2010Christchurch Art Gallery2 October 2010 – 23 January 2011Albrecht Dürer’s Prints and Drawings:Religion / Portraits / NatureA National Gallery of VictoriaTouring ExhibitionNational Museum of Western Art, Tokyo26 October 2010 – 16 January 2011Imagining the OrientA National Gallery of VictoriaTouring Exhibition7 July 2010 – 1 May 2011Mornington Peninsula Regional Gallery7 July – 29 August 2010Swan Hill Regional Gallery15 October – 28 November 2010Castlemaine Art Gallery andHistorical Museum15 January – 27 February 2011Hamilton Art Gallery16 March – 1 May 2011

LIst ofPublIcatIons1 July 2010 – 30 June 201139Major publicationsSmall publicationsJohn Davis: Presenceby David Hurlston with Charles Green andRobert LindsayThe Naked Face: Self-portraitsby Vivien Gaston with contributions by PaolaDi Trocchio, Kirsty Grant and Elena TaylorGustave Moreau and the Eternal Feminineby Marie-Cécile Forest and Ted Gott withcontributions by Laurie Benson, AllisonHolland, Frances Lindsay, Sophie Matthiessonand Gerard VaughanManStyle: Men + Fashionby Paola Di Trocchio, Laura Jocic,Roger Leong, Katie Somerville andDanielle WhitfieldTop Arts: VCE 2010by Merren RicketsonEugene von Guérard: Nature Revealedby Ruth PullinImagining the Orientby Petra KayserLace in Fashionby Roger Leong and Paola Di TrocchioMari Funaki: Objectsby Jane DeveryStormy Weather: ContemporaryLandscape Photographyby Isobel CrombieHarrell Fletcher: The Sound We MakeTogether (Melbourne)by Alex BakerLuminous Cities: Photographs of theBuilt Environmentby Susan van WykEndless Present: Robert Rooney andConceptual Artby Maggie Finch and Cathy LeahyArt Journal of the National Gallery ofVictoria, edition 50Edited by Isobel Crombie and Judith RyanThe NGV Story: A celebration of 150 yearsby Phip MurrayDeep Water: Photographs 1860–2000by Susan van WykLiving Water: Contemporary Art of theFar Western Desertby Judith RyanVienna: Art and DesignKlimt, Schiele, Hoffmann, LoosVarious authorsThis Wondrous Land: Colonial Art on PaperEdited by Alisa Bunbury; various authorsWhat’s On:(Six editions)Gallery:(Six editions)

40CORPORATEGOVERNANCESTRUCTUREas at 30 June 2011CORPORATE GOVERNANCEThe National Gallery of Victoria, which openedto the public in 1861, is a statutory authorityestablished by the National Gallery of VictoriaAct 1966. The NGV sits within the VictorianGovernment’s Premier and Cabinet portfolio.The responsible Minister is Ted Baillieu MP,Premier and Minister for the Arts.Council LegislationThe Council of Trustees of the NationalGallery of Victoria is constituted by s.5 of theNational Gallery of Victoria Act 1966. The Actspecifies that ‘in carrying out its functions,the Council must endeavour to contribute tothe enrichment of the cultural, educational,social and economic life of the people ofVictoria.’ Section 6 of the Act stipulates thatthe Council shall consist of 11 membersappointed by the Governor-in- Council. TheCouncil’s composition is:a) a person holding a senior academic officein the visual arts in a University in Victoria;b) a person having relevant experiencein relation to regional art gallerieswithin Victoria;c) a person who, in the opinion of the Ministerfor the Arts, is distinguished in the field ofbusiness administration;d) a person who in the opinion of the Ministeris distinguished in the field of finance;e) seven others nominated by the Minister.During the period 1 July 2010 to 30 June 2011two trustees, Ron Dewhurst and Andrea Hull,retired after 8 and 2 years respectively.Trustees are appointed for a term not exceedingthree years and may serve up to threeconsecutive terms. Trustees do not receiveremuneration for their Council activities.Council MeetingsThe NGV provides corporate secretariatsupport for the Council which meets formallyat least seven times a year and for CouncilCommittees which meet between three andeight times a year.Council CommitteesAll Council Committees are established unders.11A of the Act. They generally comprise asub-set of trustees and non trustees basedon their respective areas of interest andexpertise. Relevant senior managers attendCommittee meetings. The Committees areresponsible for developing policies in relationto their respective areas and for makingrecommendations to the Council. The minutesof Council Committee meetings are circulatedfor consideration at the next Council meeting.COUNCIL OF TRUSTEESAllan Myers AO (President)Appointed a trustee in May 2003;reappointed 2006 and 2009;appointed President in June 2004Allan has had a long and distinguishedcareer in commercial law, has lectured inlaw at universities in Melbourne, Englandand Canada, and written many legal articlespublished in Australia and abroad. He hasa long history of supporting professionalorganisations and charitable foundationsincluding the Howard Florey Institute.Susan CohnAppointed a trustee in June 2010Susan is a leading contemporary artistworking across the art-craft-design divide.She has post-graduate qualifications in fineart from RMIT University, and a Doctor ofPhilosophy in Fine Art Theory from Universityof New South Wales. In addition to heron-going contribution to the arts, she hasexhibited extensively; won several awards,and worked on interdisciplinary projects inAustralia and overseas.Peter EdwardsAppointed a trustee in May 2008;reappointed 2011Peter is Managing Director of the VictorSmorgon Group. The Group’s ventures includeProperty, Consumer Retail, Recycling &Renewable Manufacturing, and SustainableAgriculture. Peter is a Trustee of the JulianBurton Burns Trust, and a board member ofSECUREcorp Pty Ltd and the Jewish Museumof Australia.Vince FitzGeraldAppointed a trustee in May 2003;reappointed 2006 and 2009Vince was a former director of the AllenConsulting Group. Previously he was a seniorCommonwealth official in the Departments ofTreasury, Prime Minister and Cabinet, Finance,Trade (Secretary) and Employment, Educationand Training (Secretary). He is a director ofETF Securities Ltd and subsidiaries, includingASX-listed ETFS Metal Securities Ltd; amember of the Council of the AustralianNational University and a Trustee of theFinkel Foundation.Angela NdalianisAppointed a trustee in July 2004;reappointed in 2007 and 2010Angela is Associate Professor in ScreenStudies in the School of Culture andCommunication at the University ofMelbourne. She specialises in the cinema andits inter connections with other visual media ofthe past and present and especially in the reemergenceof baroque aesthetics beyond theeighteenth century. Her publications focus onmedia histories and the convergence of films,television, computer games, comic books andtheme park spaces, and include Neo-BaroqueAesthetics and Contemporary Entertainment(MIT Press 2004), The Contemporary ComicBook Superhero (Routledge 2009), ScienceFiction Experiences (New Academia Publishing2010) and The Horror Media Sensorium(McFarland Publishing, in press).

41Bruce ParncuttAppointed a trustee in March 2005;reappointed 2008 and 2011Bruce has had a long and varied career infinancial services. He is principal of LionCapital a private investment managementand corporate advisory firm and a director ofa number of public and private companies. Hewas previously chief executive of McIntoshSecurities, Senior Vice President of MerrillLynch, a director of Australian Stock ExchangeLtd, and a member of Council of MelbourneGrammar School. He has extensive experiencein fund raising for not-for-profit organizations.Maureen PlavsicAppointed a trustee in May 2003;reappointed 2006 and 2009Maureen has more than 25 years executiveexperience in media, advertising andbrand marketing. She is currently a nonexecutivedirector of Pacific Brands Limitedand Macquarie Radio Network, and isinvolved in fundraising for various non profitorganisations. She was CEO and a Directorof Seven Network Limited and a Director ofOpera Australia.Andrew SissonAppointed a trustee in May 2010Andrew is the managing director of BalancedEquity Management Pty Limited, a shareinvestment manager. He previously workedfor National Mutual managing share portfoliosin Australia and the UK. He is also a memberof the Save the Children Australia Board, theTakeovers Panel and the Supreme Court ofVictoria – Investments Review Panel to SeniorMaster (Funds in Court).Jason YeapAppointed a trustee in June 2005;reappointed 2008 and 2011Jason is the Chairman of Mering CorporationPty Ltd, and a Director of HerbaCeuticHoldings Limited, China and has beenappointed to Board of Directors of theMurdoch Childrens Research Institute.RETIRED TRUSTEESRon DewhurstAppointed a trustee in May 2003;reappointed 2006 and 2009Ron has had an extensive career in the financeindustry, both in Australia and overseas. In2002 he returned to live in Australia wherehe was the chief executive of IOOF HoldingsLimited until early 2007. In February 2008 Ronjoined Legg Mason Inc, a leading global assetmanager, as Head of International.Andrea Hull AOAppointed a trustee in January 2009Andrea has had a career as CEO, seniorexecutive and Board member of a range ofcultural institutions, most recently as CEO/Director of the Victorian College of the Artsfor 14 years. Following her retirement in 2008she commenced a portfolio career embracingcultural consultancies, non executive Boardpositions and executive coaching.executIve management TEAMDirectorDr Gerard Vaughan, AMDeputy DirectorMs Frances LindsayGeneral Manager Operations (CFO)Ms Liz GraingerGeneral Manager Marketing andCommunicationsMs Lisa SassellaGeneral Manager Collections & ExhibitionsManagementMr Pierre Arpin (until 29 April 2011)Ms Frances Lindsay, Acting (from May 2011)General Manager Development &Commercial OperationsMr Nick Palmer (from 7 February 2011)Head of the Corporate Office and Secretaryto the Council of TrusteesMs Leigh Mackay

42 OrganIsatIonChartas at 30 June 2011Ted Baillieu MLA, Premier of Victoria andMinister for the ArtsHeide Victoria MLA, Parliamentary SecretaryAssisting the Premier with the ArtsSecretary to the Department of Premier and CabinetHelen SilverCouncil of Trustees PresidentAllan Myers AODirector, Arts VictoriaPenny HutchinsonDirectorHead of Corporate Office & secretaryto the council of trusteesDeputyDirectorGeneral ManagerCollections& ExhibitionsManagementGeneral ManagerOperations (CFO)General ManagerMarketing &CommunicationsGeneral ManagerDevelopment& CommercialOperationsCuratorsRegistrationHuman ResourcesMarketingCorporate PartnershipsEducation and PublicProgramsExhibition DesignPublicationsMultimediaConservationCataloguingExhibition ManagementLibraryPhotographic ServicesFinanceAssets & FacilitiesInformation ServicesRisk & OH&SContracts & TendersFront of HouseGraphic DesignMembersMedia &Public AffairsFoundation &Fundraising/EventsDonors & BequestsCommercialOperations

CouncIlCommItteesand KeyStakeholderGroupsas at 30 June 201143AUDIT, RISK AND COMPLIANCECOMMITTEE(incorporating the Gift Fund Committee)Members: Vince FitzGerald (Chair), JasonYeap, Andrew SissonNGV MEMBERS COMMITTEEMembers: Peter EdwardsExternal Members: Seb Halse, Barbara Kane,Sophie Leete, Francis OsowskiInformation Technology CommitteeMembers: Angela Ndalianis (Chair), PeterEdwards, Vince FitzGeraldExternal members: David AdamIndependent members: Jane Harvey, Tam Vu,Stephen RidgewayManagement: Gerard Vaughan, Liz Grainger,Narelle GardnerCOLLECTION MANAGEMENT COMMITTEEMembers: Allan Myers (Chair), AngelaNdalianis, Jason Yeap, Andrew SissonManagement: Gerard Vaughan, FrancesLindsay, Judy WilliamsVFLAA COMMITTEEMembers: Allan Myers (Chair), AngelaNdalianis, Susan CohnExternal Members: Anthony Camm, JaneAlexanderManagement: Gerard Vaughan, FrancesLindsayEXHIBITION MANAGEMENT COMMITTEEMembers: Angela Ndalianis (Chair), MaureenPlavsic, Peter Edwards, Susan CohnManagement: Gerard Vaughan, FrancesLindsay, Liz Grainger, Lisa Sassella, NickPalmer, Nicole MonteiroPERFORMANCE AND REMUNERATIONCOMMITTEEMembers: Bruce Parncutt (Chair), Allan MyersManagement: Gerard Vaughan, Lisa Sassella,Melissa ObeidNGV FOUNDATION BOARDMembers: Bruce Parncutt (Chair), AllanMyers, Jason Yeap, Peter EdwardsExternal members: Ian Hicks (Deputy Chair),John Higgins, Paula Fox, Leigh Clifford, MorryFraid, Bill BownessManagement: Gerard Vaughan, Nick Palmer,Judy Williams, Anna KopinskiINVESTMENT COMMITTEEMembers: Andrew Sisson (Chair), BruceParncutt, Vince FitzGeraldExternal members: nilManagement: Gerard Vaughan, Liz Grainger,Judy WilliamsCOMMERCIAL INITIATIVES COMMITTEEMembers: Maureen Plavsic (Chair), AllanMyers, Jason Yeap, Susan Cohn, AngelaNdalianis, Peter EdwardsManagement: Gerard Vaughan, Nick Palmer,Lisa Sassella, Andrew O’Brien150th ANNIVERSARY COMMITTEEMembers: Allan Myers (Chair), AngelaNdalianis, Jason Yeap, Peter EdwardsManagement: Gerard Vaughan, Liz Grainger,Frances Lindsay, Nick Palmer, Trish Knight,Andrew O’Brien, Jean-pierre ChabrolCollection Policy & HoldingsReview CommitteeMembers: Bruce Parncutt (Chair), Jason YeapManagement: Gerard VaughanAffiliated GROUPSThe NGV is also responsible for managing theactivities of its affiliated groups, namely theNGV Women’s Association, the NGV BusinessCouncil, the Friends of the Gallery Library andthe NGV Voluntary Guides.NGV WOMEN’S ASSOCIATIONPatron Mrs Elizabeth ChernovPresident Mrs Marianne Perrott HayCo Vice-PresidentsMrs Tania BroughamMrs Judy BuchanMrs Deborah Bartlett PittMrs Maggie NanutHonorary SecretaryMrs Georgie LynchHonorary TreasurerMrs Esther FrenkielNGV BUSINESS COUNCILChair Mr Steve CliffordEx Officio Dr Gerard Vaughan AMSecretary Ms Judy WilliamsManagement: Gerard Vaughan, Liz Grainger,Christelle HarrisManagement: Gerard Vaughan, FrancesLindsay, Lisa SassellaMembers:Allens Arthur RobinsonMr Steve Clifford, PartnerAmtrade InternationalMr Ross Adler AC, Chairman

44ANZ PrivateMs Catherine McDowell, Managing DirectorAustralia PostMr Ahmed Fahour, Managing Director &Chief Executive OfficerBHP BillitonMr Marius Kloppers, Chief Executive OfficerBlueScope Steel LimitedMr Graham Kraehe, ChairmanClemenger GroupMr Mark Coad, Managing Director,Clemenger Harvie EdgeErnst & YoungMs Annette Kimmitt, Managing Partner,MelbourneGoldman Sachs & Partners Australia Pty LtdMr Terry Campbell, Senior ChairmanMacquarie Group LimitedMr Wayne Kent, Head of Macquarie Group,MelbourneMercedes Benz Australia/PacificMr Hans Tempel, President & CEOMinter EllisonMr Mark Green, Managing Partner MelbourneNewcrest Mining LimitedMr Greg Robinson, Managing Director & ChiefExecutive OfficerVillage RoadshowMr Graham Burke, Chief Executive OfficerFRIENDS OF THE GALLERY LIBRARYIan Brown, PresidentCommittee Members:Les Silagy,Gloria FolinoTerry LaneManagement: Paul Reynolds, Liz Grainger,Isobel Crombie, Judith Ryan, Gina Panebianco,Judy WilliamsNGV VOLUNTARY GUIDES ORGANISINGCOMMITTEE2010Ian Buckingham, PresidentSarah Watts, Deputy PresidentCommittee Members:Dorothy BennettWinonah CunninghamPamela FreemanDavid GilfillanMarion HarrisPhillip NorrisGraham RayDodi RoseSarah WattsNGV LIFE MEMBERS134 Life Members attended the annualLife Members’ dinner to welcome thefollowing new Life Members:Todd BarlinHelen BrackSteve BracksMerran KelsallGareth SansomJan SenbergsRobert WilsonPricewaterhouseCoopersMr Tony Peake, Managing Partner MelbourneQantas Airways LimitedMr Leigh Clifford AO, ChairmanMr Ken Ryan, Regional General ManagerRio Tinto AustraliaMr David Peever, Managing Director, Australia2011Ian Buckingham, PresidentSara Watts, Vice PresidentCommittee Members:Winonah CunninghamDavid GilfillanGraham RayAllan MoffatJan WallageDorothy BennettDodi RoseMargaret Wilson

46FIVE-YEARFINANCIALSUMMARYBasis of preparationThe table opposite distinguishes betweenthe NGV’s operating and non-operatingactivities, a distinction not readily seen inthe comprehensive operating statement onpage 53. This distinction is important as thecomprehensive operating statement includessignificant income and expenditure whichrelate to the management of the NGV’scapital cycle. In particular, the NGV raisessubstantial funds, including grants, donationsand bequests, which are not available foroperating purposes but are committed forthe purchase of works of art or for buildingworks. These funds also generate investmentincome for the NGV.In addition, the NGV also accounts fordepreciation charges in respect of its property,plant and equipment. At present, the outputprice from Government which determines theannual recurrent grant does not include anallowance for depreciation.Review of operating performanceThe operating result for 2010/11, beforeaccounting for depreciation, and recognisingthe net income from non-operating activities,was a deficit of $2.2 million (2009/10: surplusof $2.0 million). This deficit has been fullyfunded from reserves built up in previous yearsand reflected significant planned expenditureon the display of the State Collection andthe celebration of the NGV’s role in theVictorian community, in its 150th Anniversaryyear. These important activities deliveredrenewed displays in both buildings; significantresearch and conservation outcomes;enhanced awareness with media, donors andcommercial partners; and an 8% increase invisitor numbers over target, including the verysuccessful 150th Anniversary weekend when30,000 people visited NGV International andNGV Australia.Overall operating expenses increased by 4%over 2009/10, reflecting the one-off impactof these special initiatives, but also generalincreases in employee costs, reflectingthe pay and performance managementframework of the Victorian Public Service.These increases were, however, partiallycompensated for by savings in other areas,notably through the careful managementof the costs of exhibition delivery and ofbuilding operations.Revenue from trading operations was 15.7%,or $3.3 million, less than 2009/10. This waspartly expected as the exceptional financialresult of the Salvador Dalí: Liquid Desireexhibition of the previous year was unlikelyto be repeated. In the event, increased competitionfrom other cultural and leisureevents and the impact of external macroeconomicfactors, particularly in the secondhalf of the year, also depressed revenues.Looking forward to 2011/12, reductions in theGovernment operating grant, coupled withongoing economic pressures, mean that theNGV will need to make significant reductionsin its cost base in order to avoid furtherdeficits. As a result, the scope of outputs andservices is likely to be reduced.Review of non–operatingperformanceIn contrast, fundraising activities performedvery strongly in 2010/11 with cash donationsand bequests, gifts of works of art andinvestment income all ahead of the previousyear. Over $17 million of gifts of works ofart were accessioned, including severalsignificant gifts in recognition of the 150thAnniversary. Taking fundraising activity intoaccount, the NGV’s overall net result forthe year was a surplus of $16.9 million, thehighest figure since 2003/04.Balance sheetThe NGV’s balance sheet (page 54) isdominated by the State Collection whichwas revalued in the year to $3.73 billion, anincrease of nearly 14% over the previouscarrying value. The NGV’s land and buildingswere also subject to independent externalrevaluation during the year and the updatedfigures, which also take into account a changein accounting policy described in more detailin Note 1(R) on page 61, are reflected in thebalance sheet. The unrealised gains in respectof these revaluations, and those for financialassets, are shown in other economic flows inthe Five Year Summary opposite.Included in property, plant and equipmentare additions of $3.6 million representingexpenditure to date on the gallery renewalproject at NGV International, including thenew NGV Kids Space, and at NGV Australiafor the fit-out of the new NGV Studio. Theseinitiatives, which will continue into 2011/12,are being largely funded through the StateGovernment grants and private philanthropy.The balance sheet also includes cash andother financial assets of $48.4 million(2010: $46.4 million). These funds arelargely held for the purchase of works ofart, or other purposes as restricted by thedonor or grantor. The balance of funds isavailable to meet the NGV’s operating andcapital expenditure needs.During 2010/11, the NGV added works to thevalue of $23.8 million to the State Collection(2009/10: $10.6 million).

47FIVE YEAR FINANCIAL PERFORMANCENotes2011$ '000s2010$ '000s2009$ '000s2008$ '000s2007$ '000sOperating revenueGovernment grants 1 43,216 41,628 41,645 40,267 38,526Trading revenue 17,939 21,273 19,374 18,144 17,18561,155 62,901 61,019 58,411 55,711Operating expensesEmployee costs ( 24,324 ) ( 22,495 ) ( 20,921 ) ( 19,625 ) ( 18,393 )Other operating costs ( 39,060 ) ( 38,398 ) ( 40,060 ) ( 39,284 ) ( 36,539 )( 63,384 ) ( 60,893 ) ( 60,981 ) ( 58,909 ) ( 54,932 )Operating result before depreciationand similar charges( 2,229 ) 2,008 38 ( 498 ) 779Net depreciation and similar charges 2 ( 10,071 ) ( 10,607 ) ( 11,166 ) ( 11,163 ) ( 10,261 )Operating result after depreciationand similar charges and before netincome from non-operating activities( 12,300 ) ( 8,599 ) ( 11,128 ) ( 11,661 ) ( 9,482 )Net income from non-operating activities 3Fundraising activities -cash gifts,bequests & other receipts9,825 6,102 12,174 11,707 5,226Fundraising activities - gifts in kind 4 17,197 6,731 2,559 3,302 5,493Investing activities 5 1,501 ( 1,199 ) ( 4,828 ) ( 1,759 ) 5,594Capital grants and similar income 6 688 ( 1,000 ) 2,380 221 6429,211 10,634 12,285 13,471 16,377Net result 16,911 2,035 1,157 1,810 6,895Other economic flows, other nonownerchanges in equity7 433,775 5,663 -Comprehensive result 450,686 7,698 1,157 1,810 6,895Notes1 Excludes Government grants for Depreciation Equivalent revenue, Capital Assets Charge,works of art purchases and capital works2 Comprises depreciation and other adjustments to the value of non-current assets(excluding investments) which have no cash effect. Figures for years ended 30 June 2010and earlier have been re-stated to reflect the change in accounting described in Note 1(R)of the financial statements.3 Represents net revenue streams related to the purchase of works of art or to capital works.4 Includes gifts of works of art and of other goods and services.5 Includes realised profits/losses on the sale of investments, dividents, interest and marketvalue movements required to be recognised in the comprehensive operating statement.6 Includes grants and other funding for capital works. The year ended 30 June 2009 includesa grant from the Government of Victoria for the purchase of John Brack The bar and theyears ended 30 June 2010 and 30 June 2011 include the repayments of this grant.7 Represents unrealised gains in respect of the revaluation of cultural assets, physicalassets and financial assets available-for-sale.

FInancIal andOther StatutoryReports

52 FInancIalstatementsfor the year ended 30 June 2011In our opinion,(a) the attached comprehensiveoperating statement, balancesheet, statement of changesin equity, cash flow statementand notes to the financialstatements present fairlythe financial transactions forthe year ended 30 June 2011and the financial position ofthe Council of Trustees of theNational Gallery of Victoria asat 30 June 2011,(b) the accounts have beenmaintained in accordancewith the National Galleryof Victoria Act 1966 andregulations made thereto,(c) the financial statements havebeen prepared in accordancewith Standing Direction 4.2of the Financial ManagementAct 1994, applicable FinancialReporting Directions,Australian AccountingStandards and othermandatory professionalrequirements,(d) at the date of signing thesefinancial statements theCouncil of Trustees is notaware of any circumstancesthat would render anyparticular included in thesestatements misleading orinaccurate.Allan MyersPresident24 August 2011Gerard VaughanDirector24 August 2011Elizabeth Grainger FCAChief Financial Officer24 August 2011

ComprehensIveoperatIng statementfor the financial year ended 30 June 201153Comprehensive operating statementNotes2011($ thousand)2010($ thousand)Continuing operationsIncome from transactionsState Government - recurrent appropriation 39,890 39,389State Government - capital assets charge grant 3,954 3,954Other grants from State Government entities 2(a) 4,014 1,779Operating activities income 2(b) 17,001 20,468Fundraising activities income 2(c) 27,022 12,833Income from financial assets classified as available-for-sale 2(d) 2,363 2,166Total income from transactions 94,244 80,589Expenses from transactionsEmployee expenses 3(a) (24,324) (22,495)Depreciation 3(b) (10,071) (10,607)Use of premises provided free of charge (540) (540)Supplies and services 3(c) (38,102) (37,697)Capital assets charge (3,954) (3,954)Total expenses from transactions (76,991) (75,293)Net result from transactions (net operating balance) 17,253 5,296Other economic flows included in net resultNet gain/(loss) on financial instruments 4(a) (464) (3,100)Net gain/(loss) on non-financial assets 4(b) 114 (173)Other gains/(losses) from other economic flows 4(c) 8 12Total other economic flows included in net result (342) (3,261)Net result 16,911 2,035Other economic flows – other non-owner changes in equityCultural assets revaluation reserve: gain taken to equity 17 422,241 -Physical assets revaluation surplus 17 9,682 -Financial assets available-for-sale reserve 17 1,852 5,663Total other economic flows – other non-owner changes in equity 433,775 5,663Comprehensive result 450,686 7,698The comprehensive operating statement should be read in conjunction with the accompanying notes on pages 57 to 83.

54 Balancesheetas at 30 June 2011Balance sheetNotes2011($ thousand)2010($ thousand)2003($ thousand)AssetsFinancial assetsCash and deposits 16(a) 7,231 9,982 13,828Receivables 5 1,567 1,548 1,570Financial assets classified as available-for-sale 6 41,148 36,555 32,862Total financial assets 49,946 48,085 48,260Non-financial assetsInventories 7 1,770 1,362 872Prepayments and other assets 1,587 1,235 304Property, plant and equipment 8 248,238 245,699 205,307Cultural assets 9 3,736,933 3,290,888 1,799,324Total non-financial assets 3,988,528 3,539,184 2,005,807Total assets 4,038,474 3,587,269 2,054,067LiabilitiesPayables 10 4,912 5,170 14,548Provisions 11 5,375 4,598 2,305Total liabilities 10,287 9,768 16,853Net assets 4,028,187 3,577,501 2,037,214EquityAccumulated surplus/(deficit) (62,026) (48,645) 44,605Reserves 17 3,930,868 3,466,801 1,836,064Contributed capital 159,345 159,345 156,545Total equity 4,028,187 3,577,501 2,037,214The above balance sheet should be read in conjunction with the accompanying notes on pages 57 to 83.

Statement ofchanges In equItyfor the financial year ended 30 June 201155Total($ thousand)Contributed capital($ thousand)Accumulated surplus/ (deficit)($ thousand)Financial assets available-for-salereserve ($ thousand)Cultural assets revaluation reserve($ thousand)Physical asset revaluation surplus($ thousand)Infrastructure reserve($ thousand)Collection reserve($ thousand)Balance at 1 July 2009 182,764 43,255 85,029 3,138,182 - (38,772) 159,345 3,569,803Net result for year - - - - - 2,035 - 2,035Other comprehensiveincome for the year- - - - 5,663 - - 5,663Transfer from accumulated surplus 11,378 530 - - - (11,908) - -Balance at 30 June 2010 194,142 43,785 85,029 3,138,182 5,663 (48,645) 159,345 3,577,501Net result for year - - - - - 16,911 - 16,911Other comprehensiveincome for the year- - 9,682 422,241 1,852 - - 433,775Transfer from accumulated surplus 27,452 2,840 - - - (30,292) - -Balance at 30 June 2011 221,594 46,625 94,711 3,560,423 7,515 (62,026) 159,345 4,028,187The statement of changes in equity should be read in conjunction with the accompanying notes on pages 57 to 83.

56 Cashflowstatementfor the financial year ended 30 June 2011CASH FLOW STATEMENTNotes2011($ thousand)2010($ thousand)Cash flows from operating activitiesReceiptsReceipts from Government 43,709 39,755Receipts from other entities 28,859 28,593Goods and Services Tax recovered from the Australian Taxation Office 2,519 2,543Dividends and interest received 2,029 1,973Total receipts 77,116 72,884PaymentsPayments to suppliers and employees (67,713) (68,269)Total payments (67,713) (68,269)Net cash flows from/(used in) operating activities 16 (b) 9,403 4,615Cash flows from investing activitiesNet transfers (to)/ from externally managed unitised trusts (2,719) 2,011Payments for cultural assets (6,513) (3,613)Payments for property, plant and equipment (2,922) (878)Net cash flows from/(used in) investing activities (12,154) (2,480)Net increase/ (decrease) in cash and cash equivalents (2,751) 2,135Cash and cash equivalents at the beginning of the financial year 9,982 7,847Cash and cash equivalents at the end of the financial year 16 (a) 7,231 9,982The above cash flow statement should be read in conjunction with the accompanying notes included on pages 57 to 83.

Notes to thefInancIalstatementsfor the financial year ended 30 June 2011571. Summary of significant accounting policiesa. Statement of complianceThe annual financial statements represent the audited generalpurpose statements of the Council of Trustees of the NationalGallery of Victoria (“the National Gallery of Victoria”), in accordancewith the Financial Management Act 1994 and applicable AustralianAccounting Standards and Interpretations (AASs). The AASs includeAustralian equivalents to International Financial Reporting Standards.In complying with AASs, the National Gallery of Victoria has, whererelevant, applied those paragraphs applicable to not-for-profit entities.b. Basis of preparationThe accrual basis of accounting has been applied in the preparationof these financial statements whereby assets, liabilities, equity,income and expenses are recognised in the reporting period to whichthey relate, regardless of when cash is received or paid.These financial statements are presented in Australian dollars,the functional and presentational currency of the National Galleryof Victoria.In the application of AASs, management is required to make judgements,estimates and assumptions about carrying values of assetsand liabilities that are not readily apparent from other sources.The estimates and associated assumptions are based on historicalexperience and various other factors that are believed to be reasonableunder the circumstances, the results of which form the basis of makingthe judgments. Actual results may differ from these estimates.• financial assets classified as available-for-sale which are measuredat fair value with movements reflected in equity until the asset isderecognised.Assets are measured at fair value, being, the consideration given inexchange for assets purchased at arm’s length or the fair value ofassets donated, or provided to, the National Gallery of Victoria.Accounting policies are selected and applied in a manner whichensures that the resulting financial information satisfies the conceptsof relevance and reliability, thereby ensuring that the substance of theunderlying transactions or other events is reported.The accounting policies set out herein have been applied in preparingthe financial statements for the year ended 30 June 2011 and thecomparative information presented for the year ended 30 June 2010.c. Reporting entityThe financial statements cover the National Gallery of Victoria which isa statutory authority established under the National Gallery of VictoriaAct 1966, as amended, of the State of Victoria. Its principal address is:180 St Kilda RoadMelbourne Victoria 3004The National Gallery of Victoria is an administrative agency acting onbehalf of the Crown.The estimates and underlying assumptions are reviewed on an ongoingbasis. Revisions to accounting estimates are recognised in the period inwhich the estimate is revised if the revision affects only that period, andfuture periods if the revision affects both current and future periods.The report has been prepared in accordance with the historical costconvention except for:• cultural assets and property, which, subsequent to acquisition, aremeasured at the revalued amount being their fair value at the dateof the revaluation less any subsequent accumulated depreciation,if applicable, and subsequent impairment losses. Revaluations aremade with sufficient regularity to ensure that the carrying amountsdo not materially differ from their fair value;• building plant and fit-out where the fair value is generally based onthe depreciated replacement value; andA description of the nature of the National Gallery of Victoria’soperations and its principal activities is included in the Annual Reporton page 4 which does not form part of these financial statements.d. Scope and presentation of financial statementsComprehensive operating statementIncome and expenses in the comprehensive operating statement areclassified according to whether or not they arise from ‘transactions’or ‘other economic flows’. This classification is consistent with thewhole of government reporting format and is allowed under AASB 101Presentation of Financial Statements. The net result is equivalent toprofit or loss derived in accordance with AASs.‘Transactions’ or ‘other economic flows’ are defined by the Australiansystem of government finance statistics: concepts, sources and methods2005 (see Note 22).

58 1. Summary of significant accounting policies (cont’d)Balance sheetAssets and liabilities are presented in decreasing liquidity order withassets aggregated into financial and non-financial assets.Current and non-current (ie those expected to be recovered or settledafter 12 months) assets and liabilities are disclosed in the notes,where relevant.Statement of changes in equityThe statement of changes in equity presents reconciliations of eachequity opening balance at the beginning of the reporting period to theclosing balance at the end of the reporting period, showing separatelymovements due to amounts recognised in the comprehensive operatingresult and amounts recognised in equity related to transactions withowners, in their capacity as owners.• the significant risks and rewards of ownership of the goods havetransferred to the buyer;• the National Gallery of Victoria retains neither continuingmanagerial involvement to the degree usually associated withownership nor effective control over the goods sold;• the amount of revenue can be reliably measured; and• it is probable that the economic benefits associated with thetransaction will flow to the National Gallery of Victoria; and thecosts incurred or to be incurred in respect of the transaction canbe measured reliably.(c) Revenue from membership feesRevenue from annual membership fees is recognised when receivedand revenue from multiple year membership fees is recognised overthe period of the membership.Cash flow statementCash flows are classified according to whether or not they arisefrom operating activities, investing activities, or financing activities.This classification is consistent with requirements under AASB 107Statement of Cash Flows.(d) Cash sponsorship and contra sponsorshipRevenue from sponsorship contracts, both cash and contra,is recognised as revenue over the period during which thecontractual and servicing obligations of the National Galleryof Victoria are discharged.e. Income from transactionsAmounts disclosed as income are, where applicable, net of returns,allowances and duties and taxes. Revenue is recognised for each of theNational Gallery of Victoria’s major activities as follows:National Gallery of Victoria enters into contra sponsorshipcontracts to receive sponsorship in various forms other than cash inexchange for promoting the provider as a corporate sponsor. Thesecontracts are treated as contracts for the provision of services.(i) State Government - recurrent appropriation and other grantsfrom State Government entitiesState Government appropriation and other grants from StateGovernment entities are recognised on receipt in accordance withAASB 118 Revenue. Grants from third parties are recognised as incomein the reporting period in which the National Gallery of Victoria gainscontrol over the underlying asset. For reciprocal grants, (i.e. equalvalue is given back by the National Gallery of Victoria to the provider),the National Gallery of Victoria is deemed to have assumed controlwhen the National Gallery of Victoria has satisfied its performanceobligations under the terms of the grant. For non-reciprocal grants, theNational Gallery of Victoria is deemed to have assumed control whenthe grant is receivable or received.(ii) State Government - Capital assets charge grantThe State Government capital assets charge grant represents theopportunity cost of capital invested in the non-current physical assetsused in the provision of outputs. The grant is calculated on the carryingamount of non-current physical assets (excluding heritage and culturalassets) and is matched by an equivalent government charge.(iii) Operating activities income(a) Revenue from exhibition and program admissionsRevenue arising from exhibition and public program admissions isrecognised at the point of sale.(b) Revenue from retail sales Revenue arising from retail sales is recognised when the followingconditions have been satisfied:(e) Other revenueRevenue from retail and function catering, advertising, functionsfees, booking fees, venue hire fees and work of art loan fees arerecognised in the period in which the service was provided.(iv) Fundraising activities income(a) Donations and bequestsDonations and bequests are recognised on receipt.(b) Donated cultural assetsDonated cultural assets are recognised when the gift is acceptedby the National Gallery of Victoria and is recorded at fair valueat the time of the donation. Fair value is determined by either anaverage of independent valuations, for works donated under theCultural Gifts Program, or by a curatorial or other assessment bythe National Gallery of Victoria.Revenue arising from the contribution of assets is recognised whenthe following conditions have been satisfied:• control of the contribution or right to receive the contribution exists;and• it is probable that the economic benefits comprising thecontribution will be realised.(v) Income from financial assets classified as available-for-saleactivitiesIncome from financial assets classified as available-for-sale isgenerally recognised when receivable. Dividends are recognised whenthe right to receive payment is established.

59f. Expenses from transactions(i) Employee expensesEmployee expenses include all costs related to employment includingwages and salaries, leave entitlements, redundancy payments andsuperannuation contributions. These are recognised when incurred.The amount charged to the comprehensive operating statement inrespect of superannuation represents the contribution made by theNational Gallery of Victoria to the superannuation funds of employees.(ii) DepreciationProperty, plant and equipment, including freehold buildings butexcluding land have finite lives and are depreciated. Depreciation iscalculated on a straightline basis at rates that allocate the asset’svalue, less any estimated salvage value, over its estimated useful life.Leasehold improvements are depreciated over the period of the leaseor the asset’s estimated useful life, whichever is the shorter, using thestraightline method. The estimated useful lives, residual values anddepreciation method are reviewed at the end of each annual reportingperiod. Note 8 provides details on the estimated useful lives that areused in the calculation of depreciation on property, plant and equipment.Where it is determined that the estimated useful life of an asset haschanged, the depreciation rate for that asset is adjusted accordingly(iii) Supplies and servicesSupplies and services expenses are recognised as an expense in thereporting period in which they are incurred. The carrying amounts ofany inventories held for distribution are expensed when distributed.• gains or losses, as a result of changes in bond rates from theprevious 12 months, in determining the present value of the longservice liability.H. Financial Assets(i) Cash and depositsCash and deposits, including cash equivalents, comprise cash on handand cash at bank, deposits at call and highly liquid investments with anoriginal maturity of three months or less, which are readily convertibleto known amounts of cash and are subject to insignificant risk ofchanges in value.(ii) ReceivablesReceivables consist of:• Statutory receivables, which include amounts predominantlyowing from the Victorian Government and GST input tax creditsrecoverable; and• Contractual receivables, which include debtors in relation to goodsand services.(iii) Financial assets classified as availableforsaleInvestments held by the National Gallery of Victoria are classified asbeing available-for-sale and are stated at fair value. Gains and lossesarising from changes in fair value are recognised directly in equity untilthe investment is disposed of or is determined to be impaired, at whichtime the cumulative gain or loss previously recognised in equity isincluded in profit or loss for the period. Fair value is determined in themanner described in Note 15(g).(iv) Capital assets chargeThe capital assets charge is imposed by the Department of Treasuryand Finance and represents the opportunity cost of capital invested inthe non-current physical assets used in the provision of outputs. Thecharge is calculated on the carrying amount of non-current physicalassets (excluding heritage and cultural assets) and is matched by anequivalent government grant.G. Other economic flows included in the net result(i) Net gain/(loss) on financial instrumentsNet gain/(loss) on financial instruments comprises:• changes to the provision made in regards to the collection ofoutstanding debts, and• gains or losses on foreign exchange contracts, excluding foreignexchange hedges, as a result of changes in exchange rates fromthe date of commitment to the date of payment.(ii) Net gain/(loss) on non-financial assetsNet gain/(loss) on non-financial assets comprises:• changes to the provision made in regards to the slow-moving stock(iii) Other gain/(loss) from other economic flowsOther gain/(loss) from other economic flows comprises:• gains or losses on foreign exchange hedge contracts as a result ofchanges in the exchange rate from the rate fixed under the contractto rate which would have been paid on settlement, if a foreignexchange hedge contract had not been entered into; andI. Non-Financial Assets(i) InventoriesInventories are held for sale in the ordinary course of business operationsand are measured at the lower of cost and net realisable value.A provision for stock obsolesence is made when there is objectiveevidence that an inventory item may be economically impaired.(ii) Prepayments and other assetsPrepayments and other assets represent payments in advance ofreceipt of goods or services or that part of expenditure made in oneaccounting period covering a term extending beyond that period.(iii) Property, plant and equipmentLand and buildings are measured initially at cost, and subsequentlyat fair value. Assets such as heritage assets are measured at fairvalue with regards to the property’s highest and best use after dueconsideration is made for any legal or constructive restrictions imposedon the asset, public announcements or commitments made in relationto the intended use of the asset. The fair value of the heritage assetsthat the State intends to preserve because of their unique historicalattributes is measured at the replacement cost of the asset lesswhere applicable accumulated depreciation calculated on the basis ofsuch cost to reflect the already consumed or expired future economicbenefits of the asset and any accumulated impairment.

60 1. Summary of significant accounting policies (cont’d)Non-building plant and equipment are measured at cost lessaccumulated depreciation and impairment. Land and buildings aremeasured at fair value in accordance with FRD 103D Non-CurrentPhysical Assets.Revaluation of non-current property, plant and equipmentNon-current assets measured at fair value are revalued in accordancewith FRD 103D Non-Current Physical Assets. This revaluation processnormally occurs every five years, based upon the asset’s GovernmentPurpose Classification. In between valuations, the fair value for landand buildings is determined by reference to indices provided by theValuer-General Victoria and for plant and equipment by review ofthe useful life of the plant and equipment and reasonableness of thedepreciation rates used.Revaluation increments or decrements arise from differences betweencarrying amount and fair value. Revaluation increments are crediteddirectly to the physical asset revaluation surplus, except that, to theextent that an increment reverses a revaluation decrement in respect ofthat class of asset previously recognised as an expense in the net result,the increment is recognised immediately as revenue in the net result.Revaluation decrements are recognised immediately as expenses inthe net result, except that, to the extent that a credit balance existsin the physical asset revaluation surplus in respect of the same classof assets, they are debited directly to the physical asset revaluationsurplus. Revaluation increases and decreases within a class ofproperty, plant and equipment are offset against one another withinthat class but are not offset in respect of assets in different classes.(iv) Cultural assetsCultural assets comprise works of art in the State Collection and otherworks of art and cultural assets. Control of the State Collection isvested in the Council of Trustees of the National Gallery of Victoria byvirtue of the National Gallery of Victoria Act 1966, as amended. Additionsto the State Collection may take the form of either a purchase by theNational Gallery of Victoria or a donation from a third party.All cultural assets are held for exhibition, education, research and historicalinterest. Such assets are deemed worthy of preservation becauseof the social rather than financial benefits they provide to the community.The nature of these assets means that there are certain limitations andrestrictions imposed on their use and/or disposal. Purchased culturalassets are initially carried at cost and subsequently at fair value. Donatedor bequeathed cultural assets are carried at fair value. Cultural assetsare not depreciated as they do not have a finite useful life.Cultural assets measured at fair value are revalued in accordancewith FRD 103D Non-Current Physical Assets. This revaluation processnormally occurs every five years, based upon the asset’s GovernmentPurpose Classification. In between valuations, the fair value forcultural assets is determined by reference to valuation assessmentsconducted internally within the National Gallery of Victoria and othercorroborating evidence such as indices.Revaluation increments or decrements are credited/debited directly tothe cultural assets revaluation reserve.J. Liabilities(i) PayablesPayables represent liabilities for goods and services provided to theNational Gallery of Victoria that are unpaid at the end of the financialyear. Payables are initially measured at fair value, being the cost of thegoods and services, and then subsequently measured at amortised cost.(ii) ProvisionsProvisions are recognised when the National Gallery of Victoria has apresent obligation, the future sacrifice of economic benefits is probable,and the amount of the provision can be measured reliably.The amount recognised as a provision is the best estimate of the considerationrequired to settle the present obligation at reporting date, takinginto account the risks and uncertainties surrounding the obligation.Where a provision is measured using the cashflows estimated tosettle the present obligation, its carrying amount is the present valueof those cashflows.(iii) Employee expenses(a) Wages and salaries, annual leave and sick leaveLiabilities for wages and salaries and annual leave expected to besettled within 12 months of the reporting date are recognised in theprovision for employee benefits in respect of employee services upto the reporting date, classified as current liabilities and measuredat their nominal values.(b) Long service leaveLiability for long service leave (“LSL”) is recognised in the provisionfor employee benefits.Current liability – unconditional LSL is disclosed in the notesto the financial statements as a current liability even where theNational Gallery of Victoria does not expect to settle the liabilitywithin 12 months because it will not have the unconditional right todefer the settlement of the entitlement should an employee takeleave within 12 months.The components of this current LSL liability are measured at:• present value - component that the National Gallery of Victoriadoes not expect to settle within 12 months; and• nominal value - component that the National Gallery of Victoriaexpects to settle within 12 months.Non-current liability – conditional LSL is disclosed as a noncurrentliability. There is an unconditional right to defer thesettlement of the entitlement until the employee has completedthe requisite years of service.The non-current LSL liability is measured at present value. Gain orloss following revaluation of the present value of non-current LSLliability due to changes in bond interest rates is recognised as another economic flow.

61(iv) Employee expenses on-costsEmployee expenses on-costs (payroll tax, workers compensation,super annuation, annual leave and LSL accrued while on LSL taken inservice) are recognised separately from the provision for employeebenefits.K. Equity(i) Contributions by ownersAdditions to net assets which have been designated as contributionsby owners (the State of Victoria) are recognised as contributed capital.Other transfers that are in the nature of contributions or distributionshave also been designated as contributions by owners.(ii) Collection reserveRepresents accumulated revenue received from donations, bequests,investment income and similar sources which is dedicated to theacquisition of cultural assets. This reserve also includes the value ofgifts in kind. Amounts in respect of years prior to the year ended 30June 2001 are approximations only.(iii) Infrastructure reserveRepresents accumulated revenue received from donations, bequests,grants, investment income and similar sources which is dedicatedto the purchase of non-current fixed assets and infrastructure. Thisreserve was established as at 30 June 2005 and includes revenuereceived since 1 July 2001.(iv) Physical asset revaluation surplusRepresents increments arising from the periodic revaluation of landand buildings.(v) Cultural assets revaluation reserveRepresents increments arising from the periodic revaluation ofcultural assets.(vi) Available-for-sale revaluation reserveRepresents increments arising from the revaluation of financial assetsclassified as available-for-sale.L. CommitmentsCommitments are disclosed at their nominal value and inclusive of theGoods and Services Tax payable.m. Contingent assets and contingent liabilitiesContingent assets and contingent liabilities are not recognised inthe balance sheet, but are disclosed by way of a note and, ifquantifiable, are measured at nominal value. Contingent assets andliabilities are presented inclusive of Goods and Services Tax receivableor payable respectively.n. Goods and Services Tax (GST)Income, expenses and assets are recognised net of the amount ofassociated GST, unless the GST incurred is not recoverable from thetaxation authority. In this case it is recognised as part of the cost ofacquisition of the asset or as part of the expense.Receivables and payables are stated inclusive of the amount of GSTreceivable or payable. The net amount of GST recoverable from, orpayable to, the taxation authority is included in other receivables orpayables in the balance sheet.Cash flows are presented on a gross basis. The GST componentsof cash flows arising from investing or financing activities which arerecoverable from, or payable to the taxation authority, are presented asoperating cash flows.O. Events after reporting dateAssets, liabilities, income or expenses arise from past transactions orother past events. Where the transactions result from an agreementbetween the National Gallery of Victoria and other parties, thetransactions are only recognised when the agreement is irrevocable ator before balance date. Adjustments are made to amounts recognisedin the financial statements for events which occur after the reportingperiod and before the date the statements are authorised for issue,where those events provide information about conditions which existedin the reporting period. Disclosure is made by way of note about eventsbetween the reporting date and the date the statements are authorisedfor issue where the events relate to conditions which arose after thereporting date and which may have a material impact on the results ofsubsequent years.P. Foreign currencyAll foreign currency transactions during the financial year arebrought to account using the exchange rate in effect at the date ofthe transaction or the exchange rate in the forward hedging contract.Exchange differences are recognised in the comprehensive operatingstatement in the period in which they arise. Where a material foreigncurrency commitment is a fixed amount and is or can be paid on afixed date in the future, a forward foreign currency contract is enteredinto with the Treasury Corporation of Victoria. All other foreigncurrency transactions are entered into as spot transactions. Realisedforeign currency gains or losses are recognised in the comprehensiveoperating statement in “Net gain/(loss) on financial instruments” andunrealised foreign currency hedge gains or losses are recognised in thecomprehensive operating statement in “Other gains/(losses) from othereconomic flows.”q. Rounding of amountsAmounts in the financial statements have been rounded to the nearestthousand dollars, unless otherwise stated.R. Change in accounting policy on revaluation ofbuildingsDuring the year, there has been a change in the accounting for the assetclasses of Buildings, Building Fit-out, and Plant and Equipment. Themajority of assets in these classes relate to the St Kilda Road premisesof the National Gallery of Victoria.In previous accounting periods, the class of Plant and Equipment wascarried at cost, less accumulated depreciation, as was required underprevious versions of FRD103D Non-Current Physical Assets, in placeprior to March 2009. This included elements of plant and equipmentwhich were integral to the building structure and operation. The asset

621. Summary of significant accounting policies (cont’d)class of Buildings was carried at valuation and included some elementsof building fit-out which were considered to be similar to building fabricin nature and purpose. The remaining assets in Building Fit-out werecarried at cost, less accumulated depreciation.As at 30 June 2011, the accounting for these classes of assetshas changed in order to ensure consistency with the measurementrequirements of FRD 103D Non-Current Physical Assets, revisedMarch 2009. The classification of assets between the classes hasalso been reviewed to ensure greater consistency with the descriptionof the class. In particular, the class of Buildings has been analysedinto Buildings and Building Fit-Out and Plant and Equipment has beenanalysed into Building Plant and other Plant and Equipment.The three resulting classes of Buildings, Building Fit-Out and BuildingPlant are now carried at fair value where fair value is considered tobe the market-based valuation performed by the Valuer-GeneralVictoria as at 30 June 2011. Plant and Equipment is carried at cost,less accumulated depreciation as there is no reliable market-based fairvalue for these assets.As this is considered a change in accounting policy and given thatmarket-based valuations for Buildings, Building Fit-out and Building Plantremain available for earlier periods, the 2010/11 financial statements,and relevant notes, have been amended as though this policy had beenin place since the year ended 30 June 2004 the year in which theseassets were initially recognised in the financial statements, following thecompletion of the redevelopment of the St Kilda Road building.The impact of this change on the financial statements is:Net result from transactions:2003/04 to2010/11($ thousand)Building – depreciation expense (4,016)Fit-out – depreciation expense 7,724Building plant - depreciation expense 1,230Total additional depreciation expense 4,938Other economic flows – other nonownerchanges in equity:Increase in physical assets revaluation surplus 50,419In accordance with AASB 101 Presentation of Financial Statements,the Balance Sheet and related notes (Note 8, Property, Plant andEquipment and Note 17, Reserves) show the following comparativeinformation:• the end of the current period;• the end of the previous period; and• the beginning of the earliest comparative period, 2002/03.S. AASs issued that are not yet effectiveCertain new accounting standards have been published that are notmandatory for the 30 June 2011 reporting period. The National Galleryof Victoria assesses the impact of these new standards and earlyadopts any new standards where applicable.As at 30 June 2011, the following standards and interpretationshad been issued but were not mandatory for financial year ending30 June 2011. The National Gallery of Victoria has not, and does notintend to, adopt these standards early.New accounting standards and interpretationsStandard/InterpretationSummaryApplicablefor annualreporting periodsbeginning onImpact on publicsector entity financialstatementsAASB 9 Financial instrumentsThis standard simplifies requirements for theclassification and measurement of financialassets resulting from Phase 1 of the IASB’sproject to replace IAS 39 Financial Instruments:Recognition and Measurement (AASB 139 FinancialInstruments: Recognition and Measurement).Beginning1 Jan 2013Detail of impact isstill being assessed.AASB 124 Related PartyDisclosures (Dec 2009)Government related entities have been granted partialexemption with certain disclosure requirements.Beginning1 Jan 2011Preliminary assessmentsuggests the impactis insignificant

2. Income from transactions632. Income from transactions(a) Other grants from State Government entities2011($ thousand)2010($ thousand)State Government - capital funding 1,688 -- other grants 1,339 820Department of Education and Early Childhood Development - grant 447 419Fair value of assets and services received free of charge (a) 540 540Total grants from other State Government entities 4,014 1,779(b) Operating activities incomeExhibition and program admissions 4,723 7,432Retail sales 4,717 5,217Membership fees 2,076 2,246Cash sponsorship 1,213 1,267Contra sponsorship 1,563 1,177Catering royalties and venue hire charges 1,056 1,391Other revenue 1,653 1,738Total operating activities income 17,001 20,468(c) Fundraising activities incomeDonations, bequests and similar income 9,825 6,102Donated cultural assets 17,197 6,731Total fundraising activities income 27,022 12,833(d) Income from available-for-sale financial assetsInterest - bank deposits 398 265Dividends and interest - managed funds 2,029 1,973Investment management fees (64) (72)Total income from available-for-sale financial assets 2,363 2,166Note:(a) Premises at the Public Records Office Victoria occupied without financial consideration.

643. Expenses from transactions3. Expenses from transactions(a) Employee expenses2011($ thousand)2010($ thousand)Salaries, wages and long service leave (22,510) (20,801)Post employment benefits:Defined benefit and defined contribution superannuation plans (1,814) (1,694)Total employee expenses (24,324) (22,495)(b) Depreciation of property, plant and equipmentDepreciation expense (a) (10,071) (10,607)Total depreciation (10,071) (10,607)(c) Supplies and servicesFacilities operations and equipment services (16,732) (16,992)Promotion and marketing (5,609) (4,576)Freight and materials (3,151) (4,393)Office supplies, insurance and communications (4,181) (3,831)Cost of retail goods sold (2,648) (3,036)Rental of premises (2,843) (2,437)Other operating expenses (2,938) (2,432)Total supplies and services (38,102) (37,697)Notes:(a) Refer Note 8 for more information

4. Other economic flows included in net result654. Other economic flows included in net result2011($ thousand)2010($ thousand)(a) Net gain/(loss) on financial instrumentsDecrease in provision for doubtful debts (a) 24 121Net (loss) on foreign exchange transactions (52) (15)Net realised (loss) on sale of financial assets at fair value (436) (3,206)Total net (loss) on financial instruments (464) (3,100)(b) Net gain/(loss) on non-financial assetsDecrease/(increase) in provision for slow-moving stock 114 (173)Total net (loss) on non-financial assets 114 (173)(c) Other gain/(loss) from other economic flowsNet (loss) on foreign exchange hedge contracts (7) (13)Net gain arising from revaluation of long service leave liability (b) 15 25Total net gain from other economic flows 8 12Notes:(a) Decrease in provision for doubtful debts from other economic flows.(b) Revaluation gain as a result of changes in bond rates.5. Receivables5. Receivables2011($ thousand)2010($ thousand)Current receivablesContractualTrade receivables (a) 644 1,056Provision for doubtful receivables (6) (47)Other receivables 346 451984 1,460StatutoryGoods and Services Tax input tax credit recoverable 143 88Victorian Government Departments and Agencies 440 -Total current receivables 1,567 1,548Total receivables 1,567 1,548Movement in the provision for doubtful recEIvables2011($ thousand)2010($ thousand)Balance at beginning of the year (47) (209)Reversal of unused provision recognised in the net result 17 41Decrease in provision recognised in the net result 24 121Balance at end of the year (6) (47)Notes:(a) The average credit period for sales on credit is 30 days. Recovery of late outstanding amounts is managed on a case by case basis through credit management procedures.

666. Financial assets classified as available-for-sale6. Financial assets classified as available-for-saleCurrent investments2011($ thousand)2010($ thousand)Investment in externally managed unitised trusts 2,931 2,446Total current investments at market value 2,931 2,446Non-current investmentsInvestment in externally managed unitised trusts 38,217 34,109Total non-current investments at market value 38,217 34,109Total investments at market value 41,148 36,555The National Gallery of Victoria holds cash, deposits and investmentsto provide for future operating and capital purposes, including thepurchase of works of art for the State Collection. Funds are classifiedas current or non-current.Current funds represent funds held either in transactional bankaccounts, or invested in order to reduce short term volatility in valueand optimise the investment income earned.Non-current funds represent funds held in perpetuity (endowed funds)and invested with the intent of maximising their long term value. As aresult, these funds may experience short term volatility in value.a) Ageing analysis of financial assets classified as available-forsaleand cash and depositsRefer Table 15.4 in Note 15 for ageing analysis of financial assetsclassified as available-for-sale.b) Analysis and purpose of financial assets classified as available-for-sale and cash and depositsGeneralfundsDedicatedfundsTotal fundsGeneralfundsDedicatedfundsTotal funds2011($ thousand)2011($ thousand)2011($ thousand)2010($ thousand)2010($ thousand)2010($ thousand)Cash and deposits 2,006 5,225 7,231 6,559 3,423 9,982CurrentFinancial assets classifiedas available-for-saleNon-currentFinancial assets classifiedas available-for-saleTotal financial assets classifiedas available-for-sale- 2,931 2,931 - 2,446 2,446- 38,217 38,217 - 34,109 34,109- 41,148 41,148 - 36,555 36,555Total financial assets 2,006 46,373 48,379 6,559 39,978 46,537General funds have been generated by the National Gallery of Victoriafrom operating activities and are applied to the achievement of theNational Gallery of Victoria’s future strategic objectives, includingexpenditure on property, plant and equipment.Dedicated funds have been granted, donated or bequeathed to theNational Gallery of Victoria and are dedicated to the purchase of worksof art, or other specific purposes, as expressed by the original grantor,donor or testator.

7. Inventories677. InventoriesCurrent inventories2011($ thousand)2010($ thousand)Goods held for resale – at cost 2,307 2,786Less: provision for slow moving stock (537) (1,424)Total current inventories 1,770 1,362Movement in the provision for slow moving stockBalance at the beginning of the year (1,424) (1,251)Amounts written off during the year 773 -(Increase) / decrease in allowance recognised 114 (173)Balance at the end of the year (537) (1,424)

688. Property, plant and equipment8. Property, plant and equipment Notes2011($ thousand)2010($ thousand)2003($ thousand)LandAt valuation (a) 1(I)iii 51,673 43,250 22,150BuildingsAt valuation (b) 1(I)iii 32,920 38,897 18,972Less: accumulated depreciation - (1,167) -32,920 37,730 18,972Total land and buildings 84,593 80,980 41,122Building plantAt fair value 57,231 67,616 -Less: accumulated depreciation - (10,955) -57,231 56,661 -Building fit-outAt fair value 94,396 112,045 -Less: accumulated depreciation - (14,476) -94,396 97,569 -Leasehold improvementsAt fair value 13,614 13,614 10,658Less: accumulated depreciation (9,632) (8,759) (3,436)3,982 4,855 7,222Plant and equipmentGeneral plant and equipmentAt fair value 15,970 15,542 11,250Less: accumulated depreciation (11,182) (10,850) (2,538)4,788 4,692 8,712Capital works-in-progressAt cost 3,248 942 148,251Total plant and equipment 163,645 164,719 164,185Total property, plant and equipment 1(I)iii 248,238 245,699 205,307Aggregate depreciation recognisedas an expense during the year:Buildings 389 389 -Building plant 3,652 3,652Building fit-outs 4,825 4,825 -Leasehold improvements 873 869 512Plant and equipment 332 872 1,4181(I)iii 10,071 10,607 1,930Notes:(a) A valuation of land was undertaken as of 30 June 2011(b) A valuation of buildings was undertaken as of 30 June 2011

69The following useful lives of assets are used in the calculation of depreciation:Buildings 100 years Leasehold improvements 13-15 yearsBuilding plant 20-25 years Plant and equipment 3-30 yearsBuilding fit-out15-20 years2011Land($ thousand)Buildings($ thousand)Building plant($ thousand)Building fit-out($ thousand)Leasehold improvements($ thousand)Plant and equipment($ thousand)Capital works-in progress($ thousand)Total($ thousand)Carrying amount atthe start of the year43,250 37,730 56,661 97,569 4,855 4,692 942 245,699Additions - - 4 197 - 428 2,928 3,557Transfer from capitalwork in progressDepreciationexpense- - - - - - (622) (622)- (390) (3,651) (4,825) (873) (332) - (10,071)Disposals - - - (8) - - - (8)Revaluation increment/(decrement)Carrying amount atthe end of the year8,423 (4,420) 4,217 1,463 - - - 9,68351,673 32,920 57,231 94,396 3,982 4,788 3,248 248,2382010Land($ thousand)Buildings($ thousand)Building plant($ thousand)Building fit-out($ thousand)Leasehold improvements($ thousand)Plant and equipment($ thousand)Capital works-in progress($ thousand)Total($ thousand)Carrying amount atthe start of the year43,250 38,119 60,313 102,324 5,724 4,816 883 255,429Additions - - - 70 - 751 880 1,701Transfer from capitalwork in progressDepreciationexpense- - - - - - (821) (821)- (389) (3,652) (4,825) (869) (872) - (10,607)Disposals - - - - - (3) - (3)Carrying amount atthe end of the year43,250 37,730 56,661 97,569 4,855 4,692 942 245,699

708. Property, plant and equipment (cont’d)2003Land($ thousand)Buildings($ thousand)Leaseholdimprovements($ thousand)Plant andequipment($ thousand)Re-developmentworks-in progress($ thousand)Total($ thousand)Carrying amount atthe start of the year20,000 18,972 47 5,740 108,062 152,821Additions - - 7,687 4,410 40,189 52,286Depreciationexpense- - (512) (1,418) - (1,930)Disposals - - - (20) - (20)Revaluation 2,150 - - - - 2,150Carrying amount atthe end of the year22,150 18,972 7,222 8,712 148,251 205,307During the year an independent valuation of the National Gallery ofVictoria’s land was performed by Urbis Valuations Pty Ltd, on behalfof the Valuer-General Victoria, and an independent valuation of theNational Gallery of Victoria’s building was performed by Charter KeckCramer, on behalf of the Valuer-General Victoria, in order to determinetheir fair values as at 30 June 2011. The valuations, which conformto Australian Valuation Standards, were determined by reference tothe amounts for which these assets could be exchanged betweenknowledgeable and willing parties in an arm’s length transaction. Fairvalue is determined by direct reference to recent market transactionson arm’s length terms for land and building of comparable size andlocation to the National Gallery of Victoria after due considerationis made for any legal or constructive restrictions imposed on theseassets. The land is subject to a heritage overlay and the NationalGallery of Victoria is included on the Victorian Heritage Register underthe Heritage Act 1995.9. Cultural assets9. Cultural assetsCultural assets2011($ thousand)2010($ thousand)Library – at valuation 3,357 3,002Works of art – at valuation 3,733,576 3,287,8863,736,933 3,290,888Movements in Cultural assets 2011Library($ thousand)Works of art($ thousand)Total cultural assets($ thousand)Carrying amount at the start of the year 3,002 3,287,886 3,290,888Additions 32 23,796 23,838Revaluation increment 323 421,894 422,217Carrying amount at the end of the year 3,357 3,733,576 3,736,933

71Movements in Cultural assets 2010Library($ thousand)Works of art($ thousand)Total cultural assets($ thousand)Carrying amount at the start of the year 2,936 3,277,308 3,280,244Additions 66 10,578 10,644Carrying amount at the end of the year 3,002 3,287,886 3,290,888During the year an independent valuation of the National Gallery ofVictoria’s library was performed by Sainsbury’s Books Valuers PtyLtd, a member of the Antiquarian Booksellers Association, and anindependent valuation of the State Collection of works of art wasperformed by Simon Storey Valuers, in order to determine their fairvalues as at 30 June 2011. Mr Simon Storey, a director of SimonStorey Valuers, is an approved valuer under the Commonwealth ofAustralia Taxation Incentives for the Arts Scheme and a member ofthe Auctioneers and Valuers Association of Australia. The result of thevaluation of the State Collection of works of art was a total valuationof $3,733,576,000. The result of the valuation of the National Galleryof Victoria’s library was a total valuation of $3,357,000. The valuationswere determined by reference to the amounts for which these assetscould be exchanged between knowledgeable and willing parties in anarm’s length transaction.10. Payables10. PayablesCurrent payables2011($ thousand)2010($ thousand)Supplies and services 792 1,930Other payables 2,853 2,316Income in advance 1,267 924Total payables 4,912 5,170(a) Maturity analysis of contractual payablesPlease refer to Table 15.5 in Note 15 for the maturity analysis ofcontractual payables.(b) Nature and extent of risk arising from contractual payablesPlease refer to Note 15 for the nature and extent of risks arising fromcontractual payables.

7211. Provisions11. ProvisionsCurrent employee benefits2011($ thousand)2010($ thousand)Employee benefits - annual leave- Unconditional and expected to settle within 12 months1,674 1,340Employee benefits - long service leave (a)- Unconditional and expected to settle within 12 months 208 140- Unconditional and expected to settle after 12 months 2,485 2,075Non-current employee benefitsConditional long service leave entitlements 377 552Total employee benefits 4,744 4,107Employee benefit on-costsCurrent on-costs 581 425Non-current on-costs 50 66Total on-costs 631 491Total employee benefits and related on-costs 5,375 4,598Movement in provisionsEmployee benefits($ thousand)On-costs($ thousand)Total($ thousand)2011 2011 2011Opening balance 4,107 491 4,598Additional provisions recognised 2,278 303 2,581Reductions arising from payments (1,626) (161) (1,787)Change due to variation in bond rates (15) (2) (17)Closing balance 4,744 631 5,375Current 4,367 581 4,948Non-current 377 50 427Notes:(a) The provision for long service leave represents expected future payments discounted to their present values.12. SuperannuationThe National Gallery of Victoria has several staff who are members ofthe public sector superannuation schemes listed below. As at 30 June2011, these schemes were carrying total liabilities, including liabilitiesfor members’ benefits, in excess of the value of the schemes’ assets.In line with Government policy, the unfunded superannuation liabilitieshave been reflected in the financial statements of the Department ofTreasury and Finance. Superannuation contributions for the reportingperiod are included as part of employee benefits in the comprehensiveoperating statement. There were no contributions outstanding at theyear end and there have been no loans made from the funds (2010– nil). The details of the major employee superannuation funds andcontributions paid or payable by the National Gallery of Victoria are asfollows. The total amount of superannuation excludes amounts paidunder salary sacrifice arrangements.

73FundPlanEmployeecontributionrate (%)Employercontributionrate (%)Contributionfor the year2011 ($)Contributionfor the year2010 ($)Government SuperannuationOffice (Revised Scheme)Defined benefit 9.5 17.6 70,502 63,991Government SuperannuationOffice (New Scheme)Defined benefit 0,3,5,77.4, 8.7,9.5, 10.3103,785 93,327Vic Super Pty Ltd Defined contribution - 9 1,428,571 1,284,091Various other Defined contribution - 9 273,565 239,691Total 1,876,423 1,681,10013. Commitments for expenditureThe following commitments have not been recognised as liabilities in the financial statements:13. Commitments for expenditureBuilding occupancy services under contractPayable:2011($ thousand)2010($ thousand)Not longer than one year 5,606 5,339Longer than one year and not longer than five years 21,424 20,985Longer than five years 60,033 63,86987,062 90,193Operating leasesPayable:Not longer than one year 890 743Longer than one year and not longer than five years 610 7351,500 1,478Outsourced services contract commitmentsPayable:Not longer than one year 9,510 3,686Longer than one year and not longer than five years 11,347 1,80720,857 5,49314. Contingent assets and contingent liabilitiesAs at 30 June 2011 the National Gallery of Victoria had no known contingent assets or contingent liabilities (2010 –nil).

7415. Financial instrumentsThe National Gallery of Victoria’s principal financial instrumentscomprise of:• Cash at bank and in hand;• Bank deposits at call;• Receivables (excluding statutory receivables)• Investments in externally managed unitised trusts (cash,diversified fixed interest, equities and listed property); and• PayablesDetails of the significant accounting policies and methods adopted,including the criteria for recognition, the basis of measurement, andthe basis on which income and expenses are recognised, with respectto each class of financial asset, financial liability and equity instrumentabove are disclosed in Note 1 to the financial statements.The main purpose in holding financial instruments is to manageprudentially the National Gallery of Victoria’s financial risks.The carrying amounts of the National Gallery of Victoria’s financialassets and financial liabilities by category are in 15.1 below.15.1: Categorisation of financial instrumentsFinancial assets2011($ thousand)2010($ thousand)Cash and deposits 7,231 9,982Receivables 1,009 1,460Financial assets classified as available-for-sale 41,148 36,555Total financial assets (a) 49,388 47,997Financial liabilitiesPayables 4,870 5,170Total financial liabilities (b) 4,870 5,170Notes:(a) The total amount of financial assets disclosed here excludes statutory receivables (i.e. taxes receivable).(b) The total amount of financial liabilities disclosed here excludes statutory payables (i.e. taxes payable).15.2: Net holding gain/(loss) on financial instruments by categoryFinancial assets (a)2011($ thousand)2010($ thousand)Cash and deposits 398 265Receivables - -Financial assets classified as available-for-sale 1,529 (1,305)Total financial assets net holding (loss) 1,927 (1,040)Notes:(a) For cash and deposits, receivables and available for sale financial assets, the net gain or loss is calculated by taking the interest revenue, less any impairment recognised in the net result.(b) There are no amounts owing under hedging contracts at the end of the financial year.

75(a) Credit riskCredit risk arises from the financial assets of the National Gallery ofVictoria, which comprise cash and deposits, receivables and availablefor sale financial assets. The National Gallery of Victoria’s exposureto credit risk arises from the potential default of a counter party ontheir contractual obligations resulting in financial loss to the NationalGallery of Victoria. Credit risk is measured at fair value and is monitoredon a regular basis. At the balance sheet date, the maximum exposure tocredit risk in relation to financial assets and, in particular, receivablesis the carrying amount. The credit risk in relation to trade debtors ismanaged through processes and procedures for the establishment ofcredit and the collecting of overdue amounts. At the reporting date, theaged profile of trade receivables was as follows:15.3: Maximum exposure to credit risk Maximum credit riskTrade receivables2011($ thousand)2010($ thousand)Current 383 393< 30 days 82 13431-60 days 19 435> 60 days 185 94Total 669 1,056Potential impairment (6) (47)Currently the National Gallery of Victoria does not hold any collateralas security nor credit enhancements relating to any of its financial assets.As at the reporting date, there is no event to indicate that there was anymaterial impairment of any of the financial assets.There are no financial assets that have had their terms renegotiated soas to prevent them from being past due or impaired, and they are statedat the carrying amounts as indicated. The following table discloses theageing only of financial assets that are past due but not impaired:15.4: Ageing analysisof financial assetsCarryingamount($ thousand)Not pastdue and notimpaired($ thousand)Past due but not impaired($ thousand)Impairedfinancialassets($ thousand)Less than 1month1-3 months3 months –1 year15 years2011Financial assets:Cash and deposits 7,231 7,231 - - - - -Receivables 1,009 811 - - 204 - (6)Financial assets classifiedas available-for-sale41,148 41,148 - - - - -49,388 49,190 - - 204 (6)2010Financial assets:Cash and deposits 9,982 9,982 - - - - -Receivables 1,460 978 - 529 - - (47)Financial assets classifiedas available-for-sale36,555 36,555 - - - - -47,997 47,515 - 529 - - (47)

77(d) Market riskMarket risk is the risk that market rates and prices will change and thatthis will affect the operating result, or value of assets and liabilities,of the National Gallery of Victoria. The main exposures to market riskarise through price risk, interest rate risk and foreign currency risk.The principal financial instruments affected by these risks are financialassets classified as available-for-sale, held in externally managedunitised trusts.These funds are invested and managed in accordance with the NationalGallery of Victoria’s investment strategy, which includes a variety ofequity assets, inflation-sensitive assets, income assets and absolutereturnassets and distinguishes between the differing objectives andrisk profiles of funds held for the medium term and for the longer term.Such assets are stated at fair value which is generally approximated bymarket value. Gains and losses arising from the changes in fair valueare recognised in the carrying value of the assets.The National Gallery of Victoria recognises that market activity,particularly in equity markets, can give rise to significant short termvolatility in the value of financial assets and this risk is accepted andmanaged within the objectives of the investment strategy. In theprevious reporting period, global equity markets suffered significantdeclines with losses common in most markets, including Australia. Thisfall was reflected in the fair value of the National Gallery of Victoria’sfinancial assets during the reporting period. In the current reportingperiod the market values of the financial assets classified as availablefor-salehave shown some recovery.Taking into account the current and future economic climate, the tablebelow discloses the sensitivity of the National Gallery of Victoria’sfinancial assets to movements in the pricing of managed investmentsby shifts of +/- 5% and +/- 10%.15.6: Price risk sensitivity offinancial assets+5%($ thousand)-5%($ thousand)+10%($ thousand)-10%($ thousand)CarryingAmountNetResultEquityNetResultEquityNetResultEquityNetResultEquity2011Financial assetsCash and cash equivalents 7,231 - - - - - - - -Receivables 1,009 - - - - - - - -Other financial assets classifiedas available-for-sale41,148 2,057 2,057 (2,057) (2,057) 4,115 4,115 (4,115) (4,115)Total increase/(decrease) 2,057 2,057 (2,057) (2,057) 4,115 4,115 (4,115) (4,115)2010Financial assetsCash and cash equivalents 9,982 - - - - - - - -Receivables 1,460 - - - - - - - -Other financial assets classifiedas available-for-sale36,555 1,828 1,828 (1,828) (1,828) 3,656 3,656 (3,656) (3,656)Total increase/(decrease) 1,828 1,828 (1,828) (1,828) 3,656 3,656 (3,656) (3,656)

78 15. Financial instruments (cont’d)e) Interest rate riskInterest rate risk arises from the potential of changes in interestrates to affect the reported result. A fluctuation in interest rates mayalso give rise to changes in the fair value of financial instruments.The interest rate risk on cash at bank and bank deposits at call is notconsidered material to the reported result. The interest rate risk oncash managed funds is managed as part of the overall investmentstrategy which includes a variety of equity assets, inflation-sensitiveassets, income assets and absolute-return assets. Equity and propertymanaged funds have been excluded from this interest rate sensitivityanalysis due to these investments not being directly affected bychanges in interest rates. The National Gallery of Victoria’s exposureto interest rate risks and the effective interest rates of financial assetsand financial liabilities are as follows:15.7: Interest rate analysis offinancial instrumentsInterest rate exposureWeightedaverageeffectiveinterest rate%Carryingamount($ thousand)Fixedinterest rate($ thousand)Variableinterest rate($ thousand)Non-interestbearing($ thousand)2011Financial assetsCash and cash equivalents:Cash at bank and on hand 3.52% 461 - 357 104Cash deposits at call 4.88% 20 - 20 -Cash deposits at call (investment inexternally managed unitised trusts)4.94% 6,750 - 6,750 -Receivables 1,009 - - 1,009Other financial assets (investment in externallymanaged unitised trusts-fixed interest)5.94% 2,931 2,931 - -11,171 2,931 7,127 1,113Financial liabilitiesPayables 4,870 - - 4,8704,870 - - 4,870Net financial assets/(liabilities 6,301 2,931 7,127 (3,757)2010Financial assetsCash and cash equivalents:Cash at bank and on hand 2.24% 1,295 - 1,185 110Cash deposits at call 3.92% 2,540 - 2,540 -Cash deposits at call (investment inexternally managed unitised trusts)3.86% 6,147 - 6,147Receivables n/a 1,460 - - 1,460Other financial assets (investment in externallymanaged unitised trusts-fixed interest)9.00% 2,665 2,665 - -14,107 2,665 9,872 1,570Financial liabilitiesPayables (5,170) - - (5,170)(5,170) - - (5,170)Net financial assets/(liabilities) 8,937 2,665 9,872 (3,600)

79The sensitivity analysis below discloses the impact on the operatingresult and equity of changes in interest rates on the National Gallery ofVictoria’s financial assets by +/- 50bp and +/- 100bp.15.8: Interest rate sensitivity of financial assets+50bp($ thousand)-50bp($ thousand)+100bp($ thousand)-100bp($ thousand)CarryingAmountNetResultEquityNetResultEquityNetResultEquityNetResultEquity2011Financial assetsCash and cash equivalents 7,231 36 36 (36) (36) 72 72 (72) (72)Receivables 1,009 - - - - - - - -Financial assets classifiedas available-for-sale2,931 15 15 (15) (15) 30 30 (30) (30)Total increase/(decrease) 51 51 (51) (51) 102 102 (102) (102)2010Financial assetsCash and cash equivalents 9,982 50 50 (50) (50) 100 100 (100) (100)Receivables 1,460 - - - - - - - -Financial assets classifiedas available-for-sale2,665 13 13 (13) (13) 27 27 (27) (27)Total increase/(decrease) 63 63 (63) (63) 127 127 (127) (127)f) Foreign currency riskForeign currency risk arises from changes in the value of assetsand liabilities denominated in foreign currencies as exchangerates fluctuate. The National Gallery of Victoria makes purchases andsales in foreign currencies and reduces its risk by, wherever practical,preferring a certain outcome over an uncertain outcome and byminimising its exposure to exchange rate movements. Material foreigncurrency commitments, where the amount and timing of paymentare known, are hedged through the Treasury Corporation of Victoria.The National Gallery of Victoria’s investment strategy also allowsfor investment in international equities (hedged and unhedged) andoverseas securities. This foreign currency risk is managed as part of theoverall investment strategy which includes a variety of equity assets,inflation-sensitive assets, income assets and absolute-return assets.At the year end, payables included the following balances denominatedin foreign currencies:2011 2010$ $Euro 76,243 293,968(g) Fair valueThe fair values and net fair values of financial assets and financialliabilities are determined as follows:The fair value of financial assets and financial liabilities with standardterms and conditions and traded in active liquid markets are determinedwith reference to quoted market prices; and the fair value of otherfinancial assets and financial liabilities are determined in accordancewith generally accepted pricing models based on discounted cash flowanalysis. The National Gallery of Victoria considers that the carryingamount of financial assets and financial liabilities recorded in thefinancial statements to be a reasonable approximation of their fairvalues, either because of their short-term nature, or because they arevalued and can be traded in an active market.15.9: Comparison between carrying amount andfair valueThe National Gallery of Victoria considers the carrying amount offinancial instrument assets and liabilities recorded in the financialstatements to be an approximation of their fair values, because of theshort-term nature of the financial instruments and the expectation thatthey will be paid in full.

8016. Cash flow information16 (a) Cash and deposits2011($ thousand)2010($ thousand)Cash at bank and on hand 461 1,295Bank deposits on call 6,770 8,687Total cash and deposits 7,231 9,98216 (b) Reconciliation of net result for the period tonet cash flows from operating activities2011($ thousand)2010($ thousand)Net result for the period 16,911 2,035Non-cash movements:Depreciation of property, plant and equipment 10,071 10,607Donated cultural assets (17,197) (6,731)Movements in assets and liabilities:(Increase)/decrease in current receivables (19) (390)(Increase)/decrease in current inventories (408) 359(Increase)/decrease in other current assets (357) 1,206(Decrease)/increase in current payables (375) (3,407)(Decrease)/increase in current provisions 777 936Net cash flows from/(used in) operating activities 9,403 4,615

17. Reserves8117. Reserves Note2011($ thousand)2010($ thousand)2003($ thousand)Collection reserveBalance at beginning of financial year 194,142 182,764 79,899Transfer from accumulated surplus 27,452 11,378 12,963Balance at end of financial year 1(k) 221,594 194,142 92,862Infrastructure reserveBalance at beginning of financial year 43,785 43,255 -Transfer from accumulated surplus 2,840 530 -Balance at end of financial year 1(k) 46,625 43,785 -Physical asset revaluation surplusBalance at beginning of financial year 85,029 85,029 -(Decrement)/increment during the year 9,682 - 2,150Balance at end of financial year 1(k) 94,711 85,029 2,150Cultural assets revaluation reserveBalance at beginning of financial year 3,138,182 3,138,182 1,740,684Increment during the year 422,241 - 367Balance at end of financial year 1(k) 3,560,423 3,138,182 1,741,051Financial assets available-for-sale reserveBalance at beginning of financial year 5,663 - -Increment during the year 1,852 5,663 -Balance at end of financial year 1(k) 7,515 5,663 -Balance at end of financial year 3,930,868 3,466,801 1,836,063Net change in reserves 464,067 17,571 7,67718. Responsible personsDuring the reporting period the following people held a positiondesignated as a “responsible person”, as defined by the FinancialManagement Act 1994: All responsible persons held a position for thefull financial year, unless otherwise stated.Minister for The Arts:The Hon. P. Batchelor MLA (retired 27/11/10)The Hon. E. Baillieu MLA (appointed 2/12/10)Trustees who served during the year were:Ms S CohnMr R Dewhurst (resigned 19/4/11)Mr P Edwards (term expired 14/5/11, re-appointed 15/5/11)Dr V FitzGeraldProf A Hull (term expired 14/5/11)Mr A Myers (President)Dr A NdalianisMs M PlavsicMr A SissonMr B Parncutt (term expired 13/3/11, re-appointed 3/5/11)Mr J Sau Lee Yeap (term expired 13/3/11, re-appointed 3/5/11)Director: Dr G VaughanRemunerationNo benefits or remuneration were paid to responsible persons.Amounts relating to the Minister are reported in the financialstatements of the Department of Premier and Cabinet.Related party transactionsThere were no related party transactions during the year (2010 - nil).

82 19. Remuneration of executivesThe number of executive officers and their total remuneration during thereporting period are shown in the first two columns in the table belowin their relevant income bands. The base remuneration of executiveofficers is shown in the third and fourth columns. Base remuneration isexclusive of bonus payments, long service leave payments, redundancypayments and retirement benefits.19. Remuneration of EXECUTIVES Total Remuneration Base Remuneration2011 2010 2011 2010Income Band No. No. No. No.$90 000 – 99 999 - - 1 -$100 000 – 109 999 1 - - -$150 000 – 159 999 - - - 1$160 000 – 169 999 - 1 1 1$170 000 – 179 999 1 1 1 1$180 000 – 189 999 - 1 1 1$190 000 – 199 999 1 1 - -$200 000 – 209 999 1 - - -$290 000 – 299 999 (Accountable Officer) - - - 1$300 000 – 309 999 (Accountable Officer) - - 1 -$320 000 – 329 999 (Accountable Officer) 1 1 - -Total numbers 5 5 5 5Total amount $1,013,768 $1,034,476 $944,924 $975,380During both years, an executive officer was employed for part of each year.20. Remuneration of auditors20. Remuneration of auditorsVictorian Auditor General’s Office2011($ thousand)2010($ thousand)Audit of the financial statements 51 4951 4921. Subsequent eventsThere were no significant events occurring after the reporting date in2011 (2010 – nil).

22. Glossary of terms83Comprehensive resultTotal comprehensive result is the change in equity for the period otherthan changes arising from transactions with owners. It is the aggregateof the net result and other non-owner changes in equity.statement of changes in equity); or it may also be used to replace theold term ‘financial report’ under the revised AASB 101 Presentation ofFinancial Statements (Sept 2007), which means it may include the mainfinancial statements and the notes.Capital asset chargeThe capital asset charge represents the opportunity cost of capital investedin the non-current physical assets used in the provision of outputs.CommitmentsCommitments include those operating, capital and otheroutsourcing commitments arising from non-cancellable contractualor statutory sources.Employee expensesEmployee expenses include all costs related to employment includingwages and salaries, leave entitlements, redundancy payments andsuperannuation contributions.Financial assetA financial asset is any asset that is:• c a s h ;• an equity instrument of another entity;• a contractual right:- to receive cash or another financial asset from another entity; or- to exchange financial assets or financial liabilities with anotherentity under conditions that are potentially favourable to theentity; or• a contract that will or may be settled in the entity’s own equityinstruments and is:- a non-derivative for which the entity is or may be obliged to receivea variable number of the entity’s own equity instruments; or- a derivative that will or may be settled other than by the exchangeof a fixed amount of cash or another financial asset for a fixednumber of the entity’s own equity instruments.Grants and other transfersTransactions in which one entity provides goods, services, assets (or extinguishesa liability) or labour to another entity without receiving approximatelyequal value in return. Grants can either be operating or capital innature. While grants by governments may result in the pro vision of somegoods or services to the transferor, they do not give the transferor a claimto receive directly benefits of approximately equal value. Receipt andsacrifice of approximately equal value may occur, but only by coincidence.For example, governments are not obliged to provide commensuratebenefits, in the form of goods or services, to particular taxpayers inreturn for their taxes. For this reason, grants are referred to by the AASB118 Revenue, as involuntary transfers and are termed non-reciprocaltransfers. Grants can be paid as general purpose grants which refer togrants that are not subject to conditions regarding their use. Alternatively,they may be paid as specific purpose grants which are paid for a particularpurpose and/or have conditions attached regarding their use.Financial statementsDepending on the context where the term ‘financial statements’ is used,it may include only the main financial statements (i.e. comprehensiveoperating statement, balance sheet, cash flow statements, andNet resultNet result is a measure of financial performance of the operations forthe period. It is the net result of items of revenue, gains and expenses(including losses) recognised for the period, excluding those that areclassified as ‘other non-owner changes in equity’.Net result from transactions/net operating balanceNet result from transactions or net operating balance is a key fiscalaggregate and is revenue from transactions minus expenses fromtransactions. It is a summary measure of the ongoing sustainability ofoperations. It excludes gains and losses resulting from changes in pricelevels and other changes in the volume of assets. It is the componentof the change in net worth that is due to transactions and can beattributed directly to government policies.Other economic flowsOther economic flows are changes in the volume or value of an assetor liability that do not result from transactions. It includes gains andlosses from disposals, revaluations and impairments of non-currentphysical and intangible assets; actuarial gains and losses arising fromdefined benefit superannuation plans; fair value changes of financialinstruments and agricultural assets; and depletion of natural assets(non-produced) from their use or removal. In simple terms, othereconomic flows are changes arising from market remeasurements.PayablesIncludes short and long term trade debt and accounts payable, grantsand interest payable.Sales of goods and servicesRefers to revenue from the direct provision of goods and services andincludes exhibition and program admissions, retail sales, membershipsand sponsorships.Supplies and servicesSupplies and services represents the costs of running the NationalGallery of Victoria excluding employee benefits, depreciation of property,plant and equipment, use of premises provided free of charge and thecapital asset charge. These costs include costs of facilities, informationservices, cost of goods sold, exhibitions, education and public programs.TransactionsTransactions are those economic flows that are considered to arise asa result of policy decisions, usually an interaction between two entitiesby mutual agreement. They also include flows within an entity such asdepreciation where the owner is simultaneously acting as the ownerof the depreciating asset and as the consumer of the service providedby the asset. Taxation is regarded as mutually agreed interactionsbetween the government and taxpayers. Transactions can be in kind(e.g. assets provided/given free of charge or for nominal consideration)or where the final consideration is cash. In simple terms, transactionsarise from the policy decisions of the government.

OtherStatutoryReports85STAFF STATISTICSThe National Gallery of Victoria started 2010/11 with 280.8 full time equivalent employees (FTE) and ended it with 302.1.Employees(Headcount)Ongoing EmployeesFull Time(Headcount)Part Time(Headcount)Fixed term& Casual**Total FTEFTE FTE FTEJune 2011 235 164 71 208.4 93.7 302.1June 2010* 231 168 63 205.6 75.2 280.8Notes:In reporting employee numbers the following assumptions have been applied:Casual FTE is based on the hours worked in the last pay period of the financial year.Ongoing employees includes people engaged on an open ended contract of employment who were active in the last pay period of June.*June 2010 figures have been changed from those published in the last Annual Report to reclassify Executive Officers from ongoing employees to fixed term employees.**The increase in the FTE for fixed term & casual employees is partly attributable to short term contracts to support the 150th Anniversary Gallery Renewal Project. The balance of short termcontracts are largely funded by specific grants and savings in other costs.Gender:Employees(Headcount)2011 2010*Ongoing Fixed term & Casual Ongoing Fixed term & CasualFTEFTEEmployees(Headcount)Male 80 75.5 22.7 78 73.6 21.1Female 155 132.9 71.0 153 132.0 54.1Total 235 208.4 93.7 231 205.6 75.2FTEFTEAge:Under 25 3 2.6 12.2 5 4.2 6.025-34 73 64.4 41.4 72 57.9 39.535-44 87 73.8 20.9 83 77.2 10.845-54 43 40.6 14.7 44 41.3 13.055-64 26 24.4 2.9 24 22.4 5.9Over 64 3 2.6 1.6 3 2.6 0.0Total 235 208.4 93.7 231 205.6 75.2Classification:VPS1 2 1.6 6.2 0 0.0 6.9VPS2 58 45.1 37.9 61 48.2 29.7VPS3 73 66.7 27.2 79 71.6 22.6VPS4 57 53.3 9.8 44 41.5 6.0VPS5 23 20.4 5.8 26 24.0 2.0VPS6 22 21.3 2.8 21 20.3 3.0Executive Officer 0 0.0 4.0 0 0.0 5.0Total 235 208.4 93.7 231 205.6 75.2

86EMPLOYMENT AND CONDUCT PRINCIPLESThe NGV is committed to ensuring that merit and equity principles areintegral to all aspects of human resource development. Its strategy forensuring this includes the:• recruitment, selection and probation procedures• induction process• grievance resolution process,• performance development and progression (PDP) system, and• application of Disability Action Plan initiatives, as appropriate.UPHOLDING PUBLIC SECTOR CONDUCTAll National Gallery of Victoria staff are provided with induction andorientation covering:• NGV Values — Excellence, Integrity and Access• Code of Conduct for the Victorian Public Sector• Policy information and annual training in relation to EEO andRespect for Others• NGV’s Grievance process• Whistleblower’s Protection Policy and Guidelines• Confidentiality and Intellectual Property Policies• Financial Code of Practice, and• Other NGV policies.REVIEWING PERSONAL GRIEVANCESFor the year ended 30 June 2011 there were two formal grievanceslodged. Both were resolved externally via mediation with no furtheraction required.Education & Public ProgramsNGV Education and Programs provides visitors with multiple, differentand enjoyable ways to engage with art. Local, regional and internationalvisitors can participate in and select from an extensive range ofprograms, events and activities that complement the historical andcontemporary collections and temporary exhibitions of Australian andInternational Art. In 2010/2011 more than 221,000 people engagedwith art at the NGV through, public, Members’, youth and schools’programs including 874 public and Members programs, 2,753 guidedtours and more than 7,000 sessions for school groups. All programs,tours, classes and activities are researched, coordinated and conductedto support diverse audiences in their interpretation of NGV Collectionsand exhibition displays.Education and Public Program HighlightsMelbourne Winter Masterpieces – European Masters: StädelMuseum, July–October 2010. More than 7,300 students and teachersparticipated in 129 education programs.Highlights for NGV Schools programs included:• A young researchers mural painting of Beckman inspired Melbourne• Booked out painting and writing workshops• VCE programs• Professional learning sessions for teachers• National Conference for teachers of German language• Immersion programs providing experiential learning opportunitiesfocused on European cultures• An outreach program at Hamilton North PS after the closing weekend• Hourly introductory tours of the NGV Collection and the Gallery’shistory presented by NGV Voluntary Guides throughout the weekendMore than 57,000 people participated in 292 public and Membersprograms and tours. Public and Members’ Program highlights were• Free Städel Kids activities available every weekend and each of theschool holidays – de puzzle haus being a popular place for childrenand adults• Art after dark free entertainment and themed performances everyWednesday night til 9pm showcasing some of Melbourne’s talentedmusicians• Free daily tours with NGV Voluntary Guides• Free film programs for adults and children• Extensive music program including a capacity crowd in the GreatHall for the Orchestra Victoria concert• Booked out weekend breakfast programs• Booked out practical painting and drawing workshops• Popular 4 week philosophy course• Booked out symposium, successful series of lectures, short courseand introductory talksNGV Education 60th Anniversary Year 2010 and the InternationalSociety for Education through Art South East Asia-Pacific RegionalCongress, October 2010 marked 60 years of education through artat the NGV. We also celebrated the collaboration with Department ofEducation and Early Childhood Services and the Catholic EducationOffice in the provision of curriculum support for students and teachersin Victorian schools. On this historic occasion the NGV collaboratedwith Art Education Victoria, Art Education Australia, InSEA, andACMI to present an international professional learning program foreducators. The three day program of concurrent papers and workshopsattracted in excess of 200 participants from museums, schools,tertiary sector and community groups committed to professionallearning and exchange in the visual arts. More than 70% of attendeeswere from outside of Melbourne and as far away as Saudi Arabia, Chile,Chicago, New Zealand, Hong Kong, and Egypt as well as from interstateand regional Australia.NGV 150th Anniversary Weekend, 28th & 29th May 2011. The entireteam of NGV Education and Public Programs and volunteers dedicatedtime over the weekend to facilitate the public’s engagement with theNGV and join the celebrations in all activities and events. More than12,200 people participated in the public floor talks, family activitiesand tours, voluntary guided tours and performances. Floor talks of theNGV Journey works and Top 10 works were presented by curators,educators, conservators, celebrities and NGV Ambassadors. Theresponses from public participants, presenters and organisers wereconsistently and overwhelmingly positive and passionate. The NGVStory publication was a great success. The programs featured over thisweekend included:• Floor talks about works in the collection by prominent Melbourneidentities and curators• Family tours• pARTy after dark featuring live performances from localMelbourne bands at NGV International and Indigenous musicians atNGV Australia• Art sparks and Artcart family activities

87• The launch of the Kids Space at NGV International• An NGV trail linking NGV International and NGV Australia andfeaturing live re-enactments of works in the Collection.Artists, Designers and AcademicsArtists in Schools Information Session, July 2010. NGV Schoolscollaborated with Arts Victoria to present this annual state-widelaunch on Wednesday 15 July and attracted close to 200 teachers andartists to the 2011 program information session.Philosophy Course: European Thinkers in the Nineteenth andTwentieth Centuries, September 2010. Dr David Rathbone, School ofPhilosophy, The University of Melbourne made a welcome return tospeak on Kant’s and Hegel’s respective philosophies of art and discusshow Goethe’s thought fits into this picture. He explored twentiethcentury philosophical enquiry after the impact of the Second World War.Each session attracted more than 100 attendees many who were firsttime visitors to the NGV. Lively discussion extended the program overtwo hours each week as part of the European Masters public program.Lecture: Tutankhamun, Egypt’s Golden King – New ScientificResearch, September 2010. Associate Professor Colin A. Hope,Director, Centre for Archaeology and Ancient History, MonashUniversity presented on recent research and comparison to establishTutankhamun’s heritage and lineage.Barbara Blackman Temenos Foundation Annual Lecture: Rumi’sDiwan of Shams of Tabriz – The Divine Vision, October 2010. Thispresentation on Sunday 3 October by Andrew Harvey, writer, scholarand spiritual teacher interweaved three vital themes surroundingRumi, mystical poet and instrument of divine consciousness: Rumi’scrucifixion by and resurrection into love; Islamic Mystical Tradition andawakening, and; the sacred initiatory power of mystical poetry. Thisannual lecture attracted over 200 participants.Lecture: from the Holy Mountain – A Journey Through South EasternAnatolia, October 2010. presented Dr Jennifer Dickson’s (artist andphotographer) personal journey through the cities of Turkey, wherethe speaker documented the stabilisation and restoration of historicOttoman mosques and the on-going restoration to World Heritagestandards of the Armenian Cathedral of the Holy Cross on AkdamarIsland. More than 100 people attended the free lecture on Tuesday12 October. Dr Dickson’s visit to Australia included presentations atAGNSW and NGA and was arranged through and supported by theTurkish Consulate.Lecture: Lace-makers’ Lives in Seventeenth Century Holland, October2010. More than 100 attendees participated in this lecture on Saturday16 October presented by Dr Margot Yeomans, art historian whichlooked at the legends surrounding lace-making and, in conjunction withpaintings of them, discussion of the lives of lace-makers.The 2010 Annual Ursula Hoff Lecture – An important exampleof the Brotherhood: the History of the Pre–Raphaelite Collectionin the NGV, November 2010 provided an historical overview of theinternationally significant collection of Pre–Raphaelite works in theNGV and focussed on the historical context that produced the majorworks as well as the motivations that prompted their purchase.Presented by Associate Professor Alison Inglis, School of Culture &Communication, The University of Melbourne in association with The SR Stoneman Foundation, this was the first annual lecture presented byNGV Public Programs. More than 200 people attended this free lecture,twice as many as 2009.Treasures of the Cluny Museum Lecture, November 2010 waspresented by Dr Taburet-Delahaye, Director of the Cluny Museum:the National Museum of the Middle Ages, Paris and the 2010 HancockFellow of the Australian Tapestry Workshop. The booked out eventon the evening of 14 November had a capacity attendance of 270participants and was part of a series of three free lectures presentedin association with The University of Melbourne and the AustralianTapestry Workshop.Symposium: Gustave Moreau and the Eternal Feminine, December2010 featured papers by the visiting Director of the Musée Gustave-Moreau, NGV Director, NGV Deputy Director and NGV InternationalCurators. 116 people booked into this opening weekend program on 5December which was an excellent response to an academic programheld in the peak of the festive season.Short Talks Afternoon: Early Australian Fashion, January 2011was the final public program for the exhibition which closed on 23January. Featuring a speaker from the University of Queensland, NGVConservator and NGV Fashion Curator, the afternoon program provided40 participants with exclusive insights to the fashion values of the eraand conservation practices utilised in the NGV’s fashion collection.Short Course: Monstrous Love, April 2011. This short course provideda detailed exploration into the mythic symbolism of the work ofGustave Moreau and aimed to provide a detailed education to enhanceparticipant’s knowledge and enjoyment of the exhibition. In the revoltagainst the materialism and industrialisation of his age, this courselooked at how Gustave Moreau drew on classical myth and legendto create a fantastic and an often disturbing dream–like world. Thiscourse also explored the juxtaposition of heroism against monstrosityand radiant female beauty against bestiality and ugliness.Symposium: Scientific perspectives and the landscapes of Eugenevon Guérard, April 2011. Reflecting Eugene von Guérard’s ownengagement with the sciences, this symposium brought together arange of specialists from different disciplines to discuss von Guérardand the Australian landscape. Specialists in the earth sciences, sciencehistorians as well as art historians presented an array of papers to anaudience of over 200 people.agIdeas 2011 International Design Research Lab, May 2011 was aone-day research forum and display on Monday 2 May that provideddesign educators, researchers and practitioners with the opportunityto present design research papers to their peers. The inaugural forumwas designed to create awareness of new knowledge in the areas ofmultidisciplinary design practice and its benefits, and the relationshipbetween design practice and education. The program was selectedfrom international submissions via an independent peer review paneland the resulting program raised interesting and challenging debate

88around where design practice is at today. This interdisciplinary forumfocused on: 1 Multi-disciplinary applications of design practice and itsoutcomes for the broader community and 2 The relationship betweendesign education and design practice.Symposium: Vienna: Art & Design, June 2011. A series of shortpapers were presented by international visiting speakers and cataloguecontributors including keynote presentations by Dr Wolfgang Kos,Director, Wien Museum; Dr Agnes Husslein–Arco, Director, Belvedere;Prof Tim Bonyhady, Director, Centre for Climate and Law Policy amongothers. This Symposium was a resounding success and was sold out at250 attendees.FamiliesArt Sparks and Artcart. These programs were held for children aged3+ and their families at NGV International and NGV Australia from12-3pm each Saturday and Sunday and during school holidays. Theseprograms aimed to facilitate engagement with the Gallery and specialexhibitions through free activities. Throughout 2010–11 these programseries responded to the NGV Collection and the following exhibitions:• Rupert Bunny: Artist in Paris• European Masters: Städel Museum, 19th–20th Century• Light Play• ManStyle• Unnerved: The New Zealand Project• Contemporary Encounters• The Naked Face: Self–portraits• This Wondrous Land: Colonial art on paperStädel Kids, June–October 2010. Activities attracted 200–300children per day during the school holiday period and on weekends.The puzzle house was popular with children and adults alike and theAlphabet Trail was highly praised by families and in particular byGerman language teachers.Children’s Week, October 2011. Presented in partnership with theVictorian Department of Education and Early Childhood Developmenton Sunday 31 October provided artful activities created just for familiesincluding fun with games, entertainment, art making activities and achildren’s tour of the NGV.Small Worlds at NGV Kids Corner, November 2010- April 2011 waswell received by visitors and some 150 children and carers/parentsvisited each day in the opening week. The exhibition explores andpresents different worlds assembled from small objects from the NGVCollection including a teapot in the guise of Flinders Street Station, aselection of wheeled toys and engaging figurines. Artist Anna Hoyle’sresponse to these thematic assemblages animate the space which,together with a range of creative hands-on and multimedia activities,complement and extend children’s learning and understanding abouttheir world and that of other cultures and times.NGV Kids Space, NGV International, May 2011. The second dedicatedchildren’s gallery at the NGV opened to the public. Designed for childrenup to 8 years of age and their families, the first exhibition Kaleidoscope:Art and colour, celebrated the power of colour and the impact it has onour lives. The exhibition showcases over 40 works from across the NGVCollection. The opening of this space was a highlight of the NGVs 150Anniversary weekend.Family and Children’s Trails, July 2010–June 2011. A selection of selfguided trails were developed throughout the year to support changingexhibitions and the permanent collection including:• Explore and Draw activity trails for NGV International and NGVAustralia• Explorer Trail: Fern Gullies to Mountain Tops in conjunction with theexhibition Eugene Von Guérard: Nature Revealed at NGV Australia• Vibrant Vienna discovery activity in conjunction with Vienna: Artand DesignMorning Stories, July 2010–April 2011. On Sundays children and theirfamilies were invited to listen to free stories presented by theatreAttack, to look at art, to share their experiences and to engage withexhibitions including:• Small Worlds• Light PlayNGV Kids Corner: Light Play, July–November 2010. This exhibitionencouraged children to play with light and look at artworks and theworld in different and unusual ways and attracted over 40,000 childrenand families. Free Morning stories and Artcart activities were heldin conjunction with this exhibition, providing access to children andfamilies of all backgrounds. Melbourne artist Juan Ford added hisresponse to the installation Light Play which presented artworks fromacross the NGV Collection that investigated the way light affected theworld around us. From ancient Egyptian to contemporary works, thisinteractive exhibition allowed children to bend, distort, reflect, andrefract to their hearts’ content whilst engaging with some of the verybasic, everyday principles.NGV SchoolsThe NGV offers rich learning experiences to all schools and year levelsand provides unique and life-long learning opportunities for studentsand teachers accessible onsite, offsite and online. NGV Schoolspresented numerous student programs throughout the year, as wellas professional development programs for teachers, including on linesessions and comprehensive on line resources spanning a wide range ofcurriculum topics, exhibition themes and outreach services utilising theNGV as a resource for teaching and learning. NGV Schools is supportedby Department of Education and Early Childhood, Catholic EducationOffice and COASIT and the Italian Government.Victorian Information Technology Teachers Association CareersExpo, Federation Square. On Thursday 29 July 2010 this expoattracted more than 1,100 students who participated in informationcommunication technology activities including tours and lectures atthe NGV.Premier’s Reading Challenge, October 2010. The annual awardsreception for students who have fulfilled the Premier’s ReadingChallenge is a state-wide literacy initiative and program with thousandsof student participants from prep to year 9. The NGV has been the

89host venue since the awards inception in 2004 and incorporates thepresentation of awards to successful recipients representing thewinning schools. 240 attendees participated in the 2010 awardsceremony in conjunction with guest celebrity authors and entertainers.All students, many of who had not been to the NGV previouslyconcluded the program with tours of the NGV with NGV educators.The Catholic Education Office Melbourne The CEOM funded twoPlaced Teachers Paula Lindley and Jane Strickland to facilitate andnegotiate programs for Professional Learning and Student Learningwith consideration given to the CEO Strategic Priorities and Directions.Highlights of the negotiated Student Learning programs in the CatholicSector include:Early Years Awards, October 2010. The annual awards ceremony washeld at the NGV again with over 240 attendees enjoying a celebratoryevening of recognition for community, education and businesspartnerships for effective services to young children in Victoria.Presented in collaboration with DEECD and the Office of the Ministerfor Children’s Services and Early Childhood Development.Water Week, October 2010. Hastings West Primary School studentsin grades 3 and 4 toured the NGV’s water trail and then participatedin a water inspired workshop in the Great Hall on 18 October.Representatives from BlueScope Steel and Melbourne Water joined the50 students, many of whom were first time visitors to the NGV.School Libraries Association of Victoria Conference, November 2010.200 School librarians attended their annual conference on 12November with tours, workshops and lectures offered by NGVEducators and external presenters including children’s author andillustrator Graeme Base.AEV National Curriculum Forum, November 2010. The NGVcollaborated with Art Education Victoria on 24 November to hostthe Visual Arts Focus Forum for the response to the Draft National/Australian Curriculum Shape Paper. 30 visual arts educators prebookedto attend the discussion.Student Touch Tours, April 2011. The inaugural NGV Sculpture GardenTouch Tour was held for 16 year 5–10 students who are blind or havelow vision, and their carers. This was a successful collaborativeventure involving members of NGV’s Disability Action Plan group, staffand students from DEECD’s State Wide Vision Resource Centre, NGVSchools and NGV Conservation. This program was inspired by the TateModern Touch Tour. The aim of the NGV Touch Tour was to experienceNGV sculptures by touch and to share their responses. The works wereall suitable to touch without damage or risk to the art work includingsculptures by artists Murray-White, Armstrong, Moore, de Kooning,Leger and Rodin. This program continues the NGV’s support of accessto the NGV for all members of our community, especially to peoplewith disabilities.Children’s Family Day and Launch of Education Week, May 2011 washeld in the Great Hall, Federation Court and Grollo Equiset Gardenson Sunday 15 May 2011. A variety of activities including Sock Puppets,Rangoli, Friendship Bracelets, Masterpieces Makeover – NGV 150Schools Photo Project, Badge Making, Book Reading and Family Toursof the Gallery took place while stilt walkers, outdoor games withVictoria Scouts, face painting, magicians and performances from thetalented State Schools Spectacular entertained in excess of 3,500children and their family members. This very successful event waspresented by the NGV in partnership with the Victorian Department ofEducation and Early Childhood Development.Negotiated Programs were developed with many Catholic schools forexample, with Star of the Sea, focusing on Portraiture for 160 Year 7students and 160 Year 8 students for Australian ImpressionismResurrection Primary School, St Albans West focus on Early YearsLiteracy and Art with 160 Year 1 and 2 Students who attended a Galleryprogram with a tour and art making workshop funded by the NGVAccess Fund. Placed Teachers visited the school and provided a previsitprogram for all Early Years staff.St Finbar’s East Brighton, 140 students attended Art andSpirituality tours.Year 5/6 from St Mary’s , Williamstown and St Patrick’s, Murrumbeenatook part in an Indigenous art and NGV visit and outreach, contributing tothe creation of Bunjil, the Creation Spirit Nest Project that incorporatedstudent messages for reconciliation and caring for the earth.997 Catholic students attended Religious Education programs in2010-2011.Highlights of the Professional Learning programs include :• Tours and outreach of Art and Religious Education programs withCatholic Schools, and• 562 Catholic teachers have accessed NGV Art and ReligiousEducation Professional Learning.Outreach and Access ProgramSchools Access Program is supported by the Fred J P Archer Trustand the Lord Mayors Charitable Trust and provides free and subsidisedtransport and programs for schools disadvantaged by economichardship, recent natural disasters and distance. 2,460 students from41 schools accessed the NGV’s education activities and learningopportunities through this program. Individual and Group donorshave also contributed to Schools Access programs, in particular theAustralian Decorative and Fine Arts Society who supported schoolsfrom regional Victoria in their visit to the NGV and workshop program.Performance: Orchestra Victoria. Three wonderful performanceswere held in the Great Hall designed to complement the themes andstyles on display at the NGV. A full capacity audience of 600 peopleattended each performance which was open and free to the public.Performances included:• 23 July – European Masters focused on Beethoven, Schumann andWagner and featured soprano Katharine Tier, cellist Timothy Waldenand conductor Marko Letonja,• 20 October – explored popular favourites and the final performancefor lead violinist and artistic director Jo Beaumont,• 25 March – was led by concertmaster, Adam Chalabi, OrchestraVictoria showcased their musical diversity by performing a rousingprogram and unique repertoire featuring a range of musical styles,including pieces from the baroque and classical periods.

90History Teachers Association Annual Conference, July 2010Encounter Confrontation: Two PerspectivesSusie May, Educator and Brian McKinnon, Indigenous Project Officerinvestigated 19th and 20th century Australian history from both anAboriginal and colonial perspective to discuss and analyse works of artin the NGV’s Australian collection which illuminate curriculum themessuch as the impact of settlement on the Indigenous populations, theearly years of the Port Phillip District, WWI and WWII, attitudes toIndigenous rights and immigration. The session attended by more than30 participants addressed key aspects of VELS History Level 6, VCEUnits 3 and 4 Australian History and the draft national curriculum.Jane Strickland, Educator presented on highlights of the NGV’s richcollection of Antiquities, including mummy masks from Ancient Egypt,Greek and Roman antiquities, Chinese tomb ware and Pre-Columbianfigures. Discussion centred on how student engagement with suchinspiring objects, in a gallery environment, can stimulate creativethinking and offer insights which enrich the historical knowledgeand skills acquired in the classroom. This session attended by 25participants addressed key aspects of VELS History Level 5 and thedraft national curriculum.The Arts and the Environment, Science and Technology StrategicPartnerships Program Network Meeting, July 2010 was held at theBotanic Gardens on 26 July with strong representation from bothnetworks and attendance in excess of 70 educators. Presentationsfocused on collaborative projects between organisations in the deliveryof school programs focussed on the arts and the environment. Keypresentations included Artists in Schools Programs, Zoo Movesprograms, Plant Magic and environmental artist Michael Scheill.NGV Artbus, September 2010–May 2011 The Artbus program serieswas sold out and saw NGV facilitating visits to regional communitiesand their historical locations, cultural facilities and art galleries.This included:• Central Goldfields and the Castlemaine Art Gallery• Annual garden tour to Stonefields• Ballarat and the Begonia Festival• The McClelland Sculpture Survey• Gateway to the Pyrenees, Avoca and Maryborough• Eugene von Guérard trip to Cape Schanck and the McCrae HomesteadDecoding the Qing: Regional Arts Victoria – Arts 2 Go OutreachProgram, September 2010. Half day workshops were conductedthroughout Victoria’s Western District focussed on the NGV’s Dressedto Rule: Imperial Robes of China exhibition. Three days of workshopswere presented by NGV Educators utilising a virtual tour of theexhibition followed by a textiles workshop inspired by the imperialrobes and aspects of Chinese culture.The Royal Melbourne Show, September 2010 featured NGV Kidsactivities as part of the Victorian Government’s expo and the Departmentof Education and Early Childhood Development’s information stand. Morethan 500 children participated in workshop activities conducted by NGVEducation and Programs staff on 20, 27, 28 September.Distance Education Exhibition, September 2010 RosemaryEtherton, Educator opened the student exhibition for DistanceEducation on 3 September.The Song Room, October 2010 and June 2011 The NGV and SongRoom collaborated to provide young children in schools disadvantagedby distance or economic hardship with access to a cross arts programat NGV International. The Sing, Dance and Discover Art Programsupported by Children’s week Grant in October and the Arts AliveProgram in June provided schools access to art and music from all overthe world. In this amazing experience, students are introduced to thewonderful world of music with a fantastic performance, an educatorguided tour and viewing the international Collection.Catholic Education Office - Visual Arts Exhibition, March 2011. Thisannual event celebrates the opening of CEO Education week. Thisyear Senior Educator, Michele Stockley, opened the exhibition for 200attending guests, teachers, exhibitors and their families.Slow Art Day, April 2011 is an annual global event held on16 April.Founded in Boston and progressively spreading around the world, thisfree program is designed to encourage people to ‘slow down’ and seeart in a new light. The NGV program led by a Program Coordinatorwas attended by 30 visitors who together considered selected worksat NGV International including two dimensional and three dimensionalworks, representative and abstract or expressive and conceptual artand historical and contemporary works to encourage dialogue anddiscussion in comparisons and contrasts between style, materials,techniques and intent.The Age VCE Careers Expo, May 2011. This annual expo was held atCaulfield Racecourse on 6-8 May and NGV Schools staff supervisedan information booth promoting student programs and teacherprofessional learning opportunities. More than 10,000 senior levelstudents visited the information booth over the weekend.Virtual NGV and Online LearningOn-line Resources Acknowledgment, July 2010. Floating Worlds,the NGV’s Asian Art Digital Story Telling resource, was recognisedinternationally and promoted as a leading on-line education resourceby Horizon New Media Consortium based in the United States. Traditionand Transformation, the NGV’s Electronic Whiteboard Program onIndigenous Art, was recognised and promoted by the Department ofEducation and Early Childhood Development as an exemplar on-lineeducation resource.Art Start On-line Resource, http://www.ngv.vic.gov.au/learn/schoolsresources/art-startwas launched on 30 July providing schools with anew interactive education resource targeted to middle years. Fundedby the Department of Education and Early Childhood Developmentthis resource resides in the ‘Learn’ portal of the NGVs website and theDEECDs “FUSE” (Find Use Share Education) portal. The resource issupplemented with teacher briefings designed to increase access tothe NGV Collection and experts, for teachers in remote locations. Thebriefings are supported by a moderated blog facility – the “NGV SchoolsNing” which enables professional dialogue and curriculum exchange.

91The focus of the resource is on developing literacy through stories,visuals, and related learning activities that explore how meanings andmessages are constructed in the visual arts and through collectionsand exhibitions. The resource offers a flexible package of web-basedresources, including film, images, documents and web 2 interactiveelements designed to meet the needs of teachers and students.Literacy skills and student interaction with the NGV is enhanced byactivities that encourage students to explore and respond to artworksin the NGV Collection and the ‘Views and Voices’ facility provides amoderated space for sharing these online.Multimedia Teachers Online Professional Learning Session, August2010 was conducted by Ingrid Wood, NGV Educator for teachers ofmultimedia seeking to utilise the NGV and art works as stimulus formultimedia programs for students. The session was undertaken aspart of DEECD’s Virtual Conferencing facility and NGV Schools staffwere able to conduct and participate in the session at 6pm from theNGV education office via staff computers connecting with teachersacross Victoria.Museums Australia National ConferenceInteresting Times: New roles for collections, September 2010. GinaPanebianco was a keynote speaker on the NGV’s newest online learningresource at the annual conference on 30 September attended by 500fellow museum colleagues from across the country and around theworld. The paper NGV Art Start: Changing Views and Voices focussed onthe aims, content and scope of this resource together with some of thechallenges, outcomes and implications of interactive engagement thatshifts the historical place of the singular voice of authority in museumand art education to the multiple, diverse and collective voices oflearners beyond the gallery walls and classroom environment.Victorian Association of Teachers of English Conference, December2010 featured a presentation by Susie May, NGV Educator focussedon the new VCE on line resource jointly prepared by NGV Educationand VATE. The resource VCE English Contexts: Innovative ideas forusing artworks in the NGV Collection, demonstrates how teachersand students can use the NGV collection to explore ideas associatedwith the VCE English Contexts. The resource features comprehensiveinformation on four artworks together with questions and suggestedideas for writing. The focus of this area of study is to think criticallyabout the work of others in order to identify, discuss and analyse theideas and arguments associated with the selected Context.Elluminate On-line Professional Learning Session, October 2010focussed on the art and symbols of China presented by Marg StephensEducator through a PowerPoint presentation of NGV works and on-lineteacher’s discussion forum. A great opportunity for teachers across thestate to participate in tailored professional learning without the needto travel or leave their work place or home. Held at 6pm more than 20teachers participated in this training session with positive feedback.On-line Education Resources and Trails 2010-2011• NGV Water Trail. The NGV’s on-line Water Trail was revised toreflect recent changes to the Collection displays and reprinted forpublic distribution. This education resource accompanies the NGVWater Trail at NGV International and was developed for visitors todiscover the importance of water through art. The resource exploresissues of sustainability and the relationship between water and artthrough four key themes: the spiritual significance of water; water atwork; water and leisure and water and domestic life. The resource’sinformation, learning activities, questions and discussion points canbe used before, during or after your journey on the NGV Water Trail.• Education resource: VCE English Contexts :Innovative ideas forusing artworks in the NGV Collection as a resource. This educationresource was written in conjunction with VATE, (VictorianAssociation for the Teaching of English) for English teachers.It demonstrates how teachers and students can use the NGVCollection to explore ideas associated with the VCE, (VictorianCertificate of Education), English Contexts through a focus onfour artworks. Each artwork can be used for all the Contexts. Theresource features comprehensive information on the artworks,questions and suggested ideas for writing.There are many possible ways of approaching and exploring theideas associated with each Context. The focus of this area of studyis to think critically about the work of others in order to identify,discuss and analyse the ideas and arguments associated with theselected Context.• Top Arts Student Forum is a moderated social network forumand a membership based Ning established to encourage studentconversations about VCE Art and Studio Arts.• Von Guérard: Nature Revealed This schools’ resource providesbackground information on the artist, including biographical detailsand artistic influences, and highlights the artist’s adventurousspirit and his involvement with exploration and science. A focus onWeatherboard Creek Falls, Jamieson’s Valley, New South Wales, 1862and Mount Kosciusko, seen from the Victorian border (Mount HopeRanges) 1866 includes discussion and analysis of these two keyworks, both of which are in the NGV Collection. Learning activitiesinclude a range of questions and starting points for further exploringthe work of von Guérard and can be adapted to suit the specificrequirements of VELs and VCE Studies related to the visual arts andenvironmental education.• Vienna Art and Design This resource provides education supportmaterial for the exhibition Vienna: Art & Design – Klimt, Schiele,Hoffmann, Loos and the associated website. It offers an overviewof the themes of the exhibition as well as focusing on Gustav Klimt,Josef Hoffmann and selected works of art and design. Designedfor senior students and teachers of Art and Studio Arts; VisualCommunication and Design; and Design and Technology, it can alsobe adapted for use with younger students.Voluntary GuidesThe NGV Voluntary Guides provide a free community service targetedto bringing art and people together. With weekly training sessionsspanning NGV Collection, departmental and special exhibitions, artistsand their ideas and practice and contemporary issues in art the NGVVoluntary Guides provided 2,753 tours and 1,467 hours of voluntarywork for the NGV and the wider community. More than 21,800 peoplevisited the NGV with the assistance of NGV Voluntary Guides. The yearconcluded with the graduation of the trainee Guides in June bringingthe total number of active Guides to 135.

92Voluntary Guides AGM. This annual event was held on Tuesday23 November with more than 150 Guides in attendance. In hisPresident’s speech, Ian Buckingham, thanked the NGV for support oftheir voluntary work and announced that the guiding fraternity hadhad excellent feedback with regard the various special events andfunctions that they had taken.NGV Education and Programs Responsiveness toCultural Diversity, Women, Youth and Indigenous AffairsIn line with the State Government’s whole of government approachon agency responsiveness to the issues of multiculturalism, women,youth, and Indigenous affairs, NGV has responded with many initiativesundertaken throughout 2010–11.Highlights of the NGV Voluntary Guides included:• A new guiding schedule for 2011 designed to place guides at thedisposal of the public as often as possible in the period of greatestattendance at the gallery. It has taken into account the times ofday which were not experiencing good public take up of tours andconsolidated our work force to give the best service possible to thepublic and the NGV.• Trainee Guides were employed to both assist the active guiding bodyand achieve on floor experience in real situations during the firstsemester. This measure will not completely cover a shortfall that weare about to experience with the retirement of another six guides.• This year the Guides experienced steady and solid attendances atall guided tours for Special and Departmental exhibitions. The publichave shown by their numbers for each tour that they appreciatewhat the Guides provide in the form of enriched information and theyoften express their pleasure at having experienced such a fulfillingaddition to their visit to the Gallery.Gallery Visits You Program/Art & Memory, January–June 2011. Theguides have had an average of 4 visits to Aged Care Facilities eachmonth and these visits are extremely well received by all residents andhave expanded presentations to include past exhibitions such as RupertBunny and John Brack.The Art & Memory Program, September 2010 – July 2011 is an AccessProgram for people living with dementia presented by NGV VoluntaryGuides and coordinated by Jill Wylie, Programs Administrator. DodiRose, Voluntary Guide and Ian Buckingham, President Voluntary Guideshave taken a lead role in reinvigorating a program initiated at the NGVin 2007. In conjunction with staff at the Emmy Monash Centre for AgedCare in Caulfield monthly tours have been established for residentsand a PowerPoint presentation based on selected works in the NGVCollection was introduced as a Gallery Visits You Program for residentsunable to leave the centre that would stimulate discussion amongst the50 participants. The results were powerful and passionate. Telephoneconferencing and mentoring for NGV staff and guides has also beeninitiated by MoMA who run an internationally recognised and leadingarts based program Meet at MoMA for people living with dementia.Voluntary Guides Trainee Graduation. Thirty five trainees completedtheir 18 month training course coordinated by Jill Dwyer withassistance from Guide Mentors who provided professional andongoing support. The trainees graduated on Tuesday 28 June and GinaPanebianco, Head of Education and Programs presented the graduateswith their Voluntary Guides badge. The event was well attended with150 Guides both active and retired.Valuing Cultural Diversity InitiativesCulturally diverse public programs and schools programs werefeatured as part of NGV’s programming for 2010–11. Tours andclasses were conducted at both NGV Australia and NGV International.Language programs were run for students and teachers of French,Italian, German and Spanish. Other specific programs included:Italian Language Programs, July 2010- June 2011 A range of classesand workshops are conducted by the NGV Italian Educator for all yearlevels and teacher professional development throughout the schoolyear including Collection Tours, Travel Through Italy and La BellaItalia – the Beautiful Italy Workshop. The Italian language programs aresupported by COASIT and Italian Government.National Conference for Teachers of German Language, July 2010marked the opening reception for 150 language teachers to the weekendconference. Dignitaries and speakers included H.E. Dr. Michael Witter,Ambassador of the Federal Republic of Germany to Australia, Anne-Marie Schleich, Consul General of the Federal Republic of Germany,Erika Kimpton-Etter, Honorary Consul of Switzerland, The Hon. TimHolding Minister for Water, Finance Tourism and Major Events, Mr. SteveHerbert, Parliamentary Secretary for Education. Senior Curator TedGott introduced the exhibition and NGV Educators were available duringthe exclusive viewing for any questions and curriculum assistance.Inside the Tea House Workshop was developed and delivered insupport of the Tea and Zen exhibition and incorporates a Gallery viewing,discussion, workshop, Tai Chi, Meditation, Green Tea tasting and Chinesebrush painting in a half day program well supported by students andteachers of Studies of Society and the Environment, Asian Studies,Asian Literacy and Japanese language.German Day Out, July 2010 An annual student program coordinated bythe Goethe Institut and attended by 1,200+German language studentson 29 July. The program for the Städel exhibition and introductory talkfeatured as a key program attraction for these students who wereexploring the arts precinct as resource for languages and culture.French Teachers Soiree for Städel, July 2010 was held on the eveningof Friday 30 July. Attended by 70 teachers, participants enjoyedan introductory exhibition talk by Pierre Arpin, General ManagerExhibitions and Collections followed by an exhibition viewing.Pictures at an Exhibition Concert, August 2010. Performed onSaturday 14 August to 200 participants who enjoyed a rare freeperformance of guzheng (traditional Chinese zither instrument) andstrings presented by international and Australian musicians and aworld premiere of a new version of Mussogorsky’s Pictures at anexhibition. Coordinated in association with Ziyin and Carrillo Gantnerand Mae Anna Pang, the concert featured work by contemporary

93composer Julian Yu. The performers were : Li Li, guzheng; MikiTsunoda; violin, Genevieve Lacey, recorder; Erkki Veltheim, violin; SimonOswell, viola; Rosanne Hunt, violoncello; Steve Newton, double bass.Harrell Fletcher: The Sound We Make Together (Melbourne) PublicPerformances and Presentations from Community Groups, September2010. This program was staged over two days facilitated by HarrellFletcher, guest artists and Alex Baker, Senior Curator ContemporaryArt. The performances together with the participating audiencesformed part of Fletcher’s exhibition. Community groups featured onSaturday 14 August 10.15am–1pm included Crooked Rib Art, CERES(Centre for Education and Research in Environmental Strategies),Jeff Sparrow co-author of Radical Melbourne , Arts Project Australia,and Herb Patten, Indigenous performer and on Sunday 15 August10.15am–1pm included Grainger Museum, King David School Choir,Footscray Community Arts Centre, Hip Hop Academy, RISE (Refugees,Survivors and Ex-Detainees) and Hell Gallery. More than 9,000 peopleparticipated in a range of public and schools programs throughout theduration of the exhibition.Visiting Turkish Artists Demonstrations, September 2010. Calligraphy,marbling and illumination demonstrations took place in the Great Hallby leading artists from Turkey while in Australia for the Tesselar TulipFestival. The artists were generous with their time, providing the 150participants with an array of works, techniques and materials and theopportunity to practice marbling or take home their name written inTurkish calligraphy. The artists were:Dr Munevver UCER, Turkish Illumination Artist & LecturerDr Suleyman Berk, Calligraphy Artist & LecturerMrs Esengul Inalpulat, Turkish Marbling Artist & LecturerMr Seyit Ahmet Depeler, Calligraphy Artist.The demonstrations were coordinated through Mrs Hilkat Ozgun,Founder Australian Turkish Cultural Platform in association withMulticultural Arts Victoria. The Consul General of Turkey attended theprogram and SBS radio held interviews throughout the afternoon.Culture Card, September 2010. Following the launch of the culturecard at NGV in May 2010 (initiated by the Victorian Government and theCommittee of Melbourne), the Gallery hosted an introductory talk andwelcome to the NGV for International tertiary students in conjunctionwith the Melbourne Winter Masterpieces exhibition: Städel Museum,19th–20th Century. The students involved in this program wereprimarily of Indian/Asian descent.Performance: Shadows to Life, October 2010. This narratedIndonesian performance depicting the Hindu epic Ramayana throughshadow puppetry with Balinese and Javanese gamelan music anddance directed by Ki Poedijono OAM, was performed in the Great Hallfor more than 600 attendees. Mahindra Bali, Melbourne communityGamelan, Yarragam, Gender Duo and dancers, contrasted the vibrancyof Balinese culture with the subtlety of Javanese culture as dancersbrought shadow puppet characters to life. The Consul General of theRepublic of Indonesia for Melbourne and Tasmania was in attendancewith guest Consuls from El Salvador, Croatia, Oman and Portugalto observe more than 100 performers, production volunteers andassistants present this visually stunning and culturally profoundnarrative and journey.New Heartlands- Refugee Fine Art Prize, October 2010. GinaPanebianco was one of 5 panellists to judge the inaugural visual artprize dedicated to and celebrating the creative talents and positivesocial contribution of Australian artists from a refugee background. NewHeartlands is a unique initiative of Multicultural Arts Victoria and AMESto support the artistic output and career aspirations of refugee artists.An exhibition of the final and short-listed works was held at AllianceFrançaise Gallery in St Kilda, in November and December 2010.Social Inclusion Week Performance, November 2010. This programwas presented in conjunction with Jonathon Welch and The Choir.More than 500 people enjoyed an hour-long moving and compellingperformance in the Great Hall by the impressive120 member choirpresenting their version of popular songs from classical movies.Tiwi Accents Artists Talks, November 2010. Artist talks were heldon the opening weekend of the Unnerved exhibition and featuredsix exhibiting New Zealand artists who spoke about their work andpractice. More than 200 people attended the free floor talks presentedthroughout the day by Yvonne Todd, Gavin Hopkins, Nathan Pohio, LisaReihana, Anne Noble, and John Pule.Spanish Consul & NGV Collaborative Spanish Principals ProfessionalLearning, November 2010. Twenty–five teachers/principals attendeda Professional Learning program hosted by the Spanish Consulatefocused on how the NGV can be a resource for Spanish languageteachers and students.Spirit of New Zealand Immersion Day for Students, December2010 incorporated a viewing of Unnerved exhibition, introductorypresentation on the history and geography of NZ, Maori performance,haka demonstration and lessons, weaving and much excitementfor the full day program attended by a capacity crowd of 70 accessassisted students.Performance: Monkey King – Journey to the West, January 2011.Three Chinese epics telling the story of how Buddhism came to Chinawere performed in the Great Hall to celebrate Chinese New Year for theNGV’s 150th Anniversary. This program was extremely well receivedand attracted a crowd of 160 people.Performance: Beijing Opera, February 2011. To celebrate Chinese NewYear the Beijing Opera Club performed classic arias and demonstratedtraditional dance while exploring the auspicious symbols in our AsianArt Collection. This program was popular, attracting over 180 fromboth diverse communities.Ukiyo-e Demonstrations and Workshops, March 2011. These programswere presented by Japanese master printer Mr Ito and Director of JapanUkiyo-e Museum, Mr Sakai and his assistant Ms Sakai over four daysin March. More than 200 people participated in the programs whichwere rated as outstanding by all participants completing the evaluationform. Developed and presented by NGV Curators of Asian Art and NGVPublic Programs (in conjunction with the Japan Information and CulturalCentre with support from the Consulate of Japan) the programsfeatured as part of the NGV’s 150 Anniversary programs and the annualmajor festival for Cultural Diversity Week.

94Cultural Diversity Week Access Tours, March 2011. A series of accesstours in different languages were held in conjunction with CulturalDiversity Week and explored the NGV Collection at NGV Australiaand NGV International. Access tours were held in Italian, French andMandarin and facilitated access for different cultural communities.Windows on the World: Art, Literacies and a Global Perspective, May2011. Presented in partnership with the Global Education Project ande:lit (Primary English Teaching Association).80 Participants including40 educators from the Global Education Project from around Australia,and 40 primary school English and Art teachers participated in a fullday program focussed on the interconnectedness of the world in whichwe live through the current cultural, economic, political, social andenvironmental challenges we all share. This professional learning dayprovided an exciting opportunity to explore how intercultural awarenesscan be developed through art, literacies and a global perspective.Jonathon Welch and the 2011 National Festival of Choirs, June 2011featured 7 community choirs from around Australia and 225 performerssinging an array of songs and compositions including traditionalUkrainian and Bosnian-Herzegovinian music, African harmonies,pop, classical favourites, theatre, gospel, folk and choral pieces. Theafternoon program on Saturday 11 June attracted more than 1200attendees of all ages and diverse backgrounds. This is the second yearthat the NGV has collaborated with the festival and two master classeswere also held in the NGV auditorium for festival attendees.Valuing Women InitiativesMore than 90% of the NGV Voluntary Guides and NGV Educators andProgram Coordinators are female, providing strong evidence thateducation and public programming is a field of expertise for women. Mostrecently, a team of tertiary educated, female volunteers were inductedto facilitate children’s and families experience of the newly openedKids Space at NGV International, providing on-site training in children’sservices and career development for tertiary educated women.mirth drenched journey of her favourite, or not so favourite, works ofart at the NGV. Held every Saturday in April and over 6 sessions due topopular demand, more than 1500 people participated in these highlypopular and successful tours, demonstrating the resounding success ofHannah Gadsby’s ability to connect to audiences as a significant figurein both the female and lesbian communities.Arty Mother’s Day, May 2011. NGV invited families to celebratemothers and their significant place in families and community throughMorning Stories, Artcart activities, family tours and an opportunity toexplore the Eugene von Guérard exhibition. This program provided aspecial time for families to enjoy the gallery together and to expresstheir appreciation of the important contribution mothers make to thegrowth and development of individuals and communities.Valuing Youth InitiativesThe NGV has focussed on youth access through school programs,youth activities and targeted public programs. Highlighted initiatives for2010–2011 include:Youth Access Cloaks of Many Cultures Project. This program wasan innovative arts project for young women aged 15-20 from newlyarrived communities who live in the Hume area. From May to July 2010participants had the opportunity to work closely with recognised artistsand art professionals, take part in exhibition tours and to be involvedin a series of weekend workshops. As each week progressed, theparticipants began their own creative journey of making elaborate lifesize paper cloaks. The project concluded with a week-long exhibition ofthe cloaks and exhibits at the Hume community Global Learning Centrefrom 15 – 20 July.Cloaks of Many Cultures was a partnership project between theNational Gallery of Victoria and the Centre for Multi-cultural Youth andwas supported by the Lord Mayor’s Charitable Foundation, BennelongFoundation and Scanlon Foundation.Specific programs highlighting the roles and contribution of women inthe arts included:Women in Medieval Society was held on 17-21 February for 200students incorporating a tour of the NGV Collection, workshop andcurriculum links to the novel With a Sword in My Hand as part of year 8English and Studies of Society Classes at Melbourne Girls College.Lecture: The Orphic vision – An introduction to the art of GustaveMoreau, March 2011. Held in conjunction with International Women’sDay, speaker Dr Michael Adcock, social and cultural historian, exploredthe female form and the allure of powerful women in literature andhistory including, Helen of Troy, Cleopatra, Lady Macbeth, Sapphoand Salomé.Comedy Festival Performance: Melbourne International ComedyFestival 2011 Hannah Gadsby celebrates NGV 150, April 2011. Afterthe success of her Australian and international art tours, the NGV andMelbourne International Comedy Festival collaborated for the fourthyear to present Hannah Gadsby again in 2011. With a Degree in Historyof Art from ANU and fine comic timing, Hannah took participants onWe R 1: Some People We Talked To, August 2010– June 2011.Funded by VicHealth, Arts About Us, WeR1 is an exciting arts projectthat will be delivered over three years to promote cultural diversity inVictoria and ‘to get everyone together’. Using the Gallery’s extensivecollection, staff, artists and resources, the project has a strongemphasis on reducing ethnic and race-based discrimination amongyoung people from Indigenous, non English speaking communities andAnglo-Australians.Some people we talked to was a highlight of this 3 year project andinvolved two secondary colleges: Euroa Secondary College (selectedbecause it doesn’t have a culturally diverse student population) andHume Secondary College (selected because it does have a culturallydiverse student population). This exhibition was composed of portraitphotographs with accompanying audio and was staged in a vacant shopin the main street Euroa. The subjects for the exhibition were membersof the local and wider community and were interviewed by the WeR1participants over two days at the Euroa Butter Factory and these audiointerviews were made available via headphones in the exhibition space.Outlines Program, May-June 2011 This youth program funded by theScanlon Foundation was coordinated by Vessal Safaei, an experienced

95youth project worker and a documentary maker and Halimah Russ, NGVYouth Access and Programs Facilitator and a High School Visual Artsteacher experienced in teaching students with English as their secondlanguage. The objective of Outlines was to explore multiculturalismusing creative art processes with young people who have not accessedthe NGV previously. Conducted over a period of 8 weeks, Outlines had12 participants from Minaret College who attended the NGV eachweekend over the two months undertaking tours and discussion of NGVexhibitions and a shared exploration of cultural identity through art.The participants created a mixed media art work based on the tracingof their own body outline and reflecting their individual identity. Thefinal works will be exhibited at their school in October 2011.NGV art after dark Städel art after dark. Presented every Wednesdayfrom 23 June 2010 – 9 October 2010 this program targeted to youngpeople featured discounted tertiary student tickets, live music andentertainment, themed food and introductory talks. Entertainmentfeatured live performance inspired by German big bands, cabaretand review, continental cafe and Eurovision inspired discotheque.Performers included Frank Charles Big Band, Flirting MazurkasAnushka in the Woods, Tina Del Twist, Woohoo Review, 80s Enuff,Puppentheater and Bodyelectric. Attendance exceeded 1500 onindividual nights and consistently reached 800 attendees per night.Fresh Voices: Tertiary students on the NGV Collection, July–October2010. Through this program series, tertiary students from MelbourneInstitutions were invited to speak about works in the NGV Collection.This program series provided students with the opportunity to engagewith artworks from the collection and provided a unique insight into theworks for public access. Students from VCA and Melbourne Universityparticipated in this series and explored works by James Gleeson, TonyTuckson, Johnny Warangkula and Francis Bacon.Australian Youth Choir Sunday, December 2010 provided festivesongs and music from around the world entertaining more than 100NGV visitors.NGV Studio. A new exhibition space at Federation Square opened inJanuary 2011. NGV Studio has since presented a series of programsof fresh and lively exhibitions, installations, collaborations and eventsthat actively involve Melbourne’s youth and cultural communities. It isa space for local artists, cultural groups and organisations to presenttheir art, ideas and culture; engage in key events and festivals; andutilise a space that promotes experimental art forms.The Street Art Workshop was a full day program held on 1 Aprilinvolving twenty seven year 7-12 students inspired by the street art ondisplay in NGV Studio and Hosier Lane. Working with a contemporarystreet artist from one of the NGV Studio crews, students experimentedwith design, composition, line and colour principles to produce theirown street art ‘piece’.Unnerved Floor Talks and The Last Day of Summer. The NGV hostedthe second “Last Day of Summer” program on the 27th February 2011.This year featured a Kiwi flavour as the program was linked to theexhibition Unnerved: The New Zealand Project. Due to wet weather theprogram was moved from the Grollo Equiset Garden into the GreatHall. The rain did not stop the crowds and there were some 2,000audience members throughout the day. Participants enjoyed music bythree bands, including the New Zealand band ‘Lawrence Arabia’. RRRheld a live off-site broadcast from the Great Hall. We celebrated inthe exhibition with four outstanding floor talks by local New Zealandcurators and artists, attracting audiences in excess of 70 people ateach talk.Top Arts VCE 2010, 31 March-19 June, 2011. This annual exhibitionshowcases the outstanding achievements of young people undertakingArt and Studio Arts in their senior years of schooling. More than200,000 visitors see the exhibition to consider the ideas, studiopractice and inventiveness of these young and emerging artists.A range of programs addressing the VCE Art and VCE Studio Artsstudy designs were attended by over 14,000 students and teachers,including introductory talks and viewing of support and developmentmaterial. Programs included a Professional Development Day forteachers (8 April) and an intensive holiday program for students (14,15 April). Special programs designed to reflect the recent changes inthe study designs were the VCE Analytical Frameworks and Behindthe Scenes attended by over 200 students (4–6 May). Peer to peerprograms included an opportunity to meet with Top Arts exhibitorsArt Raves(18,19 May) attended by over 250 students. Connectionswere also made to the special exhibitions Deep Water, and Eugene VonGuérard: Nature Revealed. More than 2000 people participated in publicand family programs including folio viewings, exhibitors and curatortalks, workshops and Artcart.Young Researchers, May and June 2011. These art intensive threeday programs are designed to give opportunity for highly motivatedpeople aged 14-16 years to have in-depth art making experiences withassistance from practising artists. Commencing with introductorylectures and extended viewing of the respective exhibitions thesestudents work as a team to create a mural in the NGV studios whichremain on display throughout the exhibition’s duration.The May program was inspired by the grand vistas of Von Guérard’smagnificent landscape paintings and the work of other artists who haveresponded to the landscape theme. Students created a spectacularmural in the Education Studios, made up of individual responses to VonGuérard’s artwork and the mural was then placed on public display onthe ground level of NGV Australia. The June program focussed on avariety of art making techniques including stencil art, painting, collageand printmaking, students created a Klimt inspired dynamic large anddecorative, colourful mural and work in their own visual diaries.Valuing Indigenous Victorians InitiativesNGV’s Indigenous Project Officer delivered a number of schoolprograms throughout 2010–11 including classes in the Indigenousgalleries focussed on Culture and Country, Crossing Cultures, PaintingMy Symbols, Indigenous Art and Spirituality. Additionally NGV Programsand Educators supported the NGV’s Indigenous collection with newprogram initiatives including:NAIDOC Week Performance & Forum: Koorie Stories and Song, July2010. The NGV celebrated NAIDOC Week with performances and openstories shared by some of Aboriginal Australia’s best musical talents

96on Saturday 3 July and Sunday 11 July 2010. Facilitated discussionwith Radio National’s Daniel Browning as MC gave insights into theseartists music and their lives. Each performance featured 3 musicianssharing the stage with the MC. The aim was to create a forum inwhich questions could be asked to these artists to gain insight intoAboriginality and how it influences their music. The first performancefeatured singer/songwriters Bart Willoughby, Monica Weightman andRussell Smith. The second perfor mance featured three opera singers;Deborah Cheetham, Don Bemrose and Teriki Onus. The program wasopened by Councillor Kanis and an introduction to the NGV’s NAIDOCWeek exhibition Thru the lens was given by Stephen Gilchrist, CuratorIndigenous art. More than 300 people attended the program which wasfunded through the City of Melbourne and organised by Henry Jamesfrom Song Lines Aboriginal Music.Performance & Forum: Koorie Stories and Song, August 2010. HenryJames from Song Lines Aboriginal Music repeated a NAIDOC WeekProgram for schools for 110 students from Hume Central SC andColac SC. The program featured performances and open stories sharedby some of Aboriginal Australia’s best musical talents, facilitateddiscussion and gave insights into these artists’ music and their lives.The aim of the program was to create a forum in which questions couldbe asked to these artists to gain insight into Aboriginality and how itinfluences their music. A tour of the NGV’s Indigenous collection byNGV Educators complemented the program. The performances werefunded through Melbourne City Council and participating schools wereprovided transport assistance through the NGV Schools Access fund.Performance & Forum: Koorie Stories and Song, September 2010.James Henry from Song Lines Aboriginal Music repeated his NAIDOCWeek Program for schools for 100 students from Wonthaggi SCand Holy Trinity PS. The program featured performances and openstories shared by some of Aboriginal Australia’s best musical talents.The performances were funded through Melbourne City Council andparticipating schools were provided transport assistance through theNGV Schools Access fund.Sustainable Living Festival, February 2011 featured a full day programon 18 February for schools at Federation Square with internationallyrenowned environmentalist David Suzuki. 500 students participatedin talks and workshops. The NGV presented a tour of the Indigenouscollection and a workshop focussed on the importance of sharedresponsibility for the conservation of our land and environment.Students discussed issues and ideas, met contemporary artist JohnWolseley and prepared messages written on sticks which were thenput together to build a nest as a maquette for a larger project to beundertaken in their school called Bunjil’s Nest. The first message stickwas written by David Suzuki.The Bunjil’s Nest program was then offered to school groups visitingthe NGV and their message sticks contributed to a 2x2metre WedgetailedEagles nest sculpture to be installed at NGV Australia duringNAIDOC Week in July 2011. Students participating in these toursincluded students from years 3 to year 12 including Armadale PS,Clifton Hill Primary School, Healesville PS, Hume Central SecondaryCollege, Loreto Mandeville and Methodist Ladies College, Mt WaverlyPS, St Mary’s PS, St Patricks PS.Disability Action PlanThe NGV’s Disability Action Plan (DAP) was approved by the Councilof Trustees in March 2009 and registered with the Australian HumanRights Commission. The NGV DAP Project Team is made up ofrepresentatives from a broad range of departments.The following outcomes were achieved under the DAP during 2010/11:• Access Audits were conducted by third parties at both NGVGalleries. Part of the NGV Renewal Project included constructionof new Disabled toilets and a Family Room on the Ground Level ofNGV International.• Management and staff attended a range of information and trainingsessions including Access to Premises Standards, Orientation andMobility Training, Mental Health and VPS Seminar, and a tour ofMelbourne Mobility Centre. These sessions continue to be wellreceived and have raised staff awareness and confidence.• In March 2011, sixteen students from Statewide Vision Centre inDonvale were welcomed to NGV International to participate in a pilotTouch Tour of a selection of sculptures from the Collection.• A group of ten patients with dementia from the Emmy MonashCentre Aged Care Facility in Caulfield attended a series of ‘Art andMemory’ tours at The Ian Potter Centre: NGV Australia.• Extensive consultation with Vision Australia was undertaken in thedevelopment of the new NGV Kids Space to design and provide interactiveexperiences suitable children who are blind or have low vision.• Kevin Murfitt, Chair for Vision Australia, addressed an All-StaffMeeting about his experiences of art museums since losing his vision.• In October 2010, Carolyn Long travelled to the UK to researchDisability Access and Inclusion funded by a travel grant (supportedby NGV benefactors). She attended the St Dunstan’s 2010 In Touchwith Art conference and had meetings with representatives frommore than 15 galleries and cultural institutions about access.• Consultative networks with other arts agencies and disabilityorganisations continued to be strengthened.Freedom of InformationThe Freedom of Information Act 1982 (FOI) enables members of thepublic to obtain information held by the National Gallery of Victoria.FOI requests should be made in writing describing the documentsrequested and including payment of the statutory application fee andfurther charges may apply (which can be waived) if the request is aroutine request or for access to a document related to the applicant’spersonal affairs. The application fee can also be waived or reduced ifthe applicant would be caused hardship to pay the fee. Requests shouldbe forwarded to the FOI Coordinator, National Gallery of Victoria, POBox 7259, St Kilda Road Victoria 8004.For the 12 months ending 30 June 2011, two requests were receivedfrom the general public. Both requests were finalised during theyear and one request under consideration from the previous yearwas finalised.

98B. Scope 1 & 2 greenhouse gas emissions (tonnes CO2-e)B. Normalised waste disposalStationary Energy 1 22008/2009 2009/2010 2010/201125,154 tCO2-e 23,562 tCO2-e 22,820 tCO2-e1excluding refrigerant leakage2excluding vehicles- refer sections 8 and 10C. Energy Offsets purchased: noneLandfill KG/VisitorRecycled KG/VisitorLandfill KG/Operating HourRecycled KG/Operating Hour2008/2009 2009/2010 2010/20110.05 KG 0.07 KG 0.06 KG0.08 KG 0.14 KG 0.17 KG8.52 KG 12.42 KG 10.97 KG15.05 KG 26.58 KG 29.08 KGD. Percentage of electricity purchased as Green Power1. Pre July 2008: None2. 1 July 2008 to 1 August 2008: 10%3. 1August 2008 to 31 June 2009: 15%4. 1 July 2009 to 31 June 2011: 20% (NGV International)1 October 2009 to 31 June 2011: 20% (The Ian Potter Centre:NGV Australia)E. Normalised energy usage and greenhouse gas emissions2008/2009 2009/2010 2010/2011GJ/Visitor 0.078 GJ 0.078 GJ 0.079 GJtCO2-e/Visitor 0.016 tCO2-e 0.015 tCO2-e 0.015 tCO2-eGJ/OperatingHour14.141 GJ 14.279 GJ 13.719 GJC. Recycling rate: 72.6% (2010/2011 average)8. Supplementary reportingDevelopment of data and benchmarking relating to use of the NGV’svehicles commenced in 2009-2010. There are 2 cars, 1 van and aspecialised art transport truck:NGVVehicles2008/2009 2009/2010 2010/2011tCO2-e 12.86 tCO2-e 25.36 tCO2-e 26.50 tCO2-eWhere public transport is not appropriate, NGV staff members usetaxis:Taxi travel 2008/2009 2009/2010 2010/2011tCO2-e/Operating Hour2.871 tCO2-e 2.690 tCO2-e 2.605 tCO2-etCO2-e 1 23.91 tCO2-e 21.98 tCO2-e 20.94 tCO2-eNoteSee section 12 below for definitions and further information on normalising factors.7.2 Water consumptionA. Total units of metered water consumed by water source , includingair conditioning cooling towers (KL)2008/2009 2009/2010 2010/201147,003 KL 51,971 KL 50,088 KLB. Normalised water usage2008/2009 2009/2010 2010/2011KL/Visitor 0.030 KL 0.032 KL 0.033 KLKL/OperatingHour5.37 KL 5.93 KL 5.72 KL7.3 Waste productionA. Total units of waste disposed of by destination (kg per year)2008/2009 2009/2010 2010/2011Landfill KG 74,660 KG 108,817 KG 96,123 KGRecycled KG 131,881 KG 232,879 KG 254,716 KG1calculated in accordance with EPA Vic guidelines9. GeneralThe data reported here principally relates to activities based at NGVInternational, 180 St. Kilda Rd., Melbourne and The Ian Potter Centre:NGV Australia, Federation Square, Melbourne, which are purposebuiltart galleries housing works from the NGV Collection. The specialactivities carried out particularly affect the consumption of water andenergy, as noted in correspondence from the Chief Executive Officer ofSustainability Victoria to the Director of the NGV:“It is understood that maintaining appropriate temperature andhumidity levels for artwork is a key factor in the consumption of energyand water”.10. Missing data/Historical comparisonBest efforts have been used to collect data. However, future reportsmay show changes in consumption levels and measures that are dueto the discovery of additional data. For the purposes of this report,some data has been estimated due to exact usage information not yetbeing available.Most but not all data comes from supplier invoices and reports and isinput into the database by the NGV staff members responsible for theservices concerned.

99Prior to July 2010, only estimates of water and utilities usage at TheIan Potter Centre: NGV Australia were available from the landlord.During 2009-10 the landlord completed the installation of sub-metersand began supplying metered data for water and utilities used. Dueto the significant lack of completeness of the earlier data, a 3rd partyaudit and as a result necessary adjustments to the data from previousyears has been included in this report.11. Completeness of information providedMost of the data contained in this report relates to buildings operatedby the NGV (refer section 9 above).12. Normalising factorsThe NGV’s environmental impacts are not primarily office-based. Thechart shows the range of normalising factors which are relevant to theNGV’s functions and activities:These works, the budget for which is $5.1 million, were partiallycompleted in the period.All works, of more than $50,000 in value, were subject to certificationof plans, mandatory inspections of the works and issue of occupancypermits or certificates of final inspection.At least annually, the NGV conducts condition inspections of all buildings,plant and equipment to ensure service requirements are being met.Where maintenance or renewal work is required, this is included in futuremaintenance and capital plans and undertaken, taking into accountassessments of risk and availability of financial, and other, resources.No building was required to be brought into conformity during the year.There were no cases or circumstances where registered buildingpractitioners became deregistered, of which the NGV was aware.NormalisingFactorAverage number offull-time buildingoccupants (thenumber variesthrough the year)Number of visitorsNumber of airconditioningoperating hours perannumNumber of hoursopen to public perannum (2010/2011)NGVInternational787,124 (2010/2011)904,883 (2009/2010)814,564 (2008/2009)8,760(Except for the ArtSchool building of2,996 m2 whichoperates 4,680 hoursper year)2,357(Not including afterhoursfunctions)NGVAustralia354 52736,201 (2010/2011)702,493 (2009/2010)766,251 (2008/2009)8,7602,455As a tenant, the NGV also occupied premises at the following locations:• The Ian Potter Centre: NGV Australia, Federation Square,Melbourne, 3000• NGV Kids Corner, Federation Square, Melbourne, 3000• NGV Studio, Federation Square, Melbourne, 3000• 99 Shiel Street, North Melbourne, 3051• 20-40 Booker Street (part), Spotswood, 3015• Units 16 and 17, 136 Hall Street, Spotswood, 3015PrivacyThe NGV has complied with all requirements under the InformationPrivacy Act 2000. For the 12 months ending 30 June 2011, there wereno complaints against the National Gallery of Victoria in relation tobreaches of privacy.CONSULTANCIESDuring the year ended 30 June 2011, there were 42 consultanciesengaged at a total cost of $697,616. No consultancies were paid morethan $100,000 (excluding GST) during the year.13. Submission of ResourceSmart StrategiesRefer section 4 above.14. Reporting requirements for other environmental programsData which has been reported by the NGV under other programmesis consistent with the data provided here. Refer to sections 6 and 10above for comments on missing, incomplete and additional data.NATIONAL COMPETITION POLICYThe NGV is committed to competitive neutrality principles ensuringfair and open competition. Many activities such as cleaning of facilities,buildings maintenance, security and catering services have beenoutsourced through open and competitive procurement processes.COMPLIANCE WITH BUILDING ACT 1993During 2010/11, the NGV owned and controlled premises at NGVInternational, 180 St Kilda Road, Melbourne, 3004 and complied withall provisions of the Building Act 1993, in respect of these premises.As at 5 July 2011, an independent review confirmed that essentialsafety measures were compliant with the requirements of theOccupancy Permit for these premises.During 2010/11, the NGV commenced major building works at NGVInternational, as part of the 150th Anniversary Renewal Project.

100OCCUPATIONAL HEALTH AND SAFETYIn 2010–11, 23.84 days were lost as a result of work-related accidents,compared to 5 days in 2009–10.CategoryPolicy Currency(Review Cycle 3 years)Health and SafetyRepresentive (HSR)TrainingProvisionalImprovement Notices(PINs)WorkSafeInteractionsWorkCover ClaimsManagementMeasureOH&S PolicyCurrent2010/2011Yes[Note 1]2009/2010Yes% of HSRs trained 100% 62%Number of PINsissued by HSRs% of identifiedissues actioned0 0N/AN/ANotifiable Incidents 6 1Notices Received 2 1Visits (excluding asa result of NotifiableIncidents)% of identifiedissues actionedNumber of StandardClaims[Note 2]1 1100% 100%5 3Rate per 100 FTE 1.66 1.07Number Lost TimeClaims[Note 2]1 0Rate per 100 FTE 0.33 0Number claimsexceeding 13 weeks[Note 2]0 0Rate per 100 FTE 0 0Fatality Claims 0 0Average Cost perStandard Claim[Note 2]% claims with areturn to work plan

101The Protected Disclosure CoordinatorMs Leigh Mackay, Head of Corporate OfficePhone: (03) 8620 2392Alternatively, disclosures of improper conduct or detrimentalaction by the NGV or its employees may also be made directly tothe Ombudsman:The Ombudsman VictoriaLevel 9, 459 Collins Street (North Tower)Melbourne VIC 3000Telephone: (03) 9613 6222 Toll free: 1800 806 314Internet: www.ombudsman.vic.gov.auEmail: ombudvic@ombudsman.vic.gov.auFurther informationWritten guidelines outlining the system for reporting disclosures ofimproper conduct or detrimental action by the NGV or its employeesare available for public perusal. The current procedures establishedby the NGV under Part 6 are available upon request and from theNGV website.ATTESTATION ON COMPLIANCE WITH THE AUSTRALIAN/NEWZEALAND RISK MANAGEMENT STANDARDI, Allan Myers, certify that the Council of Trustees of the NationalGallery of Victoria has risk management processes in place consistentwith the Australian/New Zealand Risk Management Standard andthat an internal control system is substantially in place that enablesthe executive to understand, manage and satisfactorily control riskexposures. The Council of Trustees of the National Gallery of Victoriais committed to enhancing the management of risk and is workingtowards best practice. A particular focus is ensuring a comprehensiveunderstanding and application of risk management across theorganisation, through training and education. The Audit Risk andCompliance Committee verifies this assurance and that the risk profileof the Council of Trustees of the National Gallery of Victoria has beencritically reviewed within the last 12 months.• details of publications produced by the NGV about the activities ofthe NGV and where they can be obtained;• details of changes in prices, fees, charges, rates and levies chargedby the NGV for its services, including services that are administered;• details of any major external reviews carried out in respect of theoperation of the NGV;• details of any other research and development activities undertakenby the NGV that are not otherwise covered either in the Report ofOperations or in a document which contains the financial report andReport of Operations;• details of overseas visits undertaken including a summary of theobjectives and outcomes of each visit;• details of major promotional, public relations and marketingactivities undertaken by the NGV to develop community awarenessof the services provided by the NGV;• details of assessments and measures undertaken to improve theoccupational health and safety of employees, not otherwise detailedin the Report of Operations;• a general statement on industrial relations within the NGV anddetails of time lost through industrial accidents and disputes, whichare not otherwise detailed in the Report of Operations; and• a list of NGV’s major committees, the purposes of each committeeand the extent to which the purposes have been achieved.The information is available on request from:Ms Leigh MackayHead of Corporate OfficePhone: (03) 8620 2392Email: enquiries@ngv.vic.gov.auAllan MyersPresident24 August 2011IMPLEMENTATION OF THE VICTORIAN INDUSTRYPARTICIPATION POLICYNo contracts commencing during 2010/11 were required to be reportedunder the VIPP reporting guidelines.ADDITIONAL INFORMATION AVAILABLE ON REQUESTIn compliance with the requirements of the Standing Directions of theMinister for Finance, details in respect of the items listed below havebeen retained by the NGV and are available to the relevant Ministers,Members of Parliament and the public on request (subject to theFreedom of Information requirements, if applicable):• a statement that declarations of pecuniary interests have been dulycompleted by all relevant officers of the NGV;• details of shares held by senior officers as nominee or heldbeneficially in a statutory authority or subsidiary;

102DonorsThe National Gallery of Victoriapays tribute to all our friends,donors, benefactors and patronswhose support, in so many ways,underpins all our activities.MASTERPIECES FORMELBOURNEThe 150th AnniversaryCampaign for the Developmentof the NGV Collection.The National Gallery of Victoriawarmly thanks and acknowledgesthe support from the followingindividuals, families andorganisation, and those whowish to remain annonymous.Campaign PatronsThe Honourable David Angel QC& Anita AngelPeter Clemenger AM & JoanClemengerJim Cousins AO & Libby CousinsSir Andrew Grimwade CBE &Lady GrimwadeHugh M Morgan AC & ElizabethMorganDame Elisabeth Murdoch ACS Baillieu Myer AC & Sarah MyerMaria Myers AOLady Potter ACLoti Smorgon AOLyn Williams AMCampaign CommitteeBruce Parncutt (Chair)Ross Adler ACBill BownessAlan CowenPerri CuttenPeter Griffin AMLorenz GrolloChloe HydeMichael TongDenis Tricks AMLeadership Gifts & Pledges>$100,0001 January 2006 – 30 June 2011Loti Smorgon AO & VictorSmorgon ACAllan Myers AO QC & MariaMyers AOAnonymousBowness FamilyAlan Cowen & MavourneenCowenIan Hicks AMJohn HigginsBruce Parncutt & RobinCampbellNigel & Patricia Peck FoundationYulgilbar FoundationAnonymousEstate of Ruth Margaret FrancesHoughtonDame Elisabeth Murdoch ACSpotlight Charitable FoundationJason Yeap OAM & Min Lee WongAnonymousRoss Adler AC & Fiona AdlerRon Dewhurst & Katie DewhurstPauline GandelDorothy GibsonPeter Griffin AMFraser HopkinsLeigh Clifford AO & Sue CliffordRino Grollo & Diana RuzzeneGrolloThe Margaret Lawrence BequestThe Neilson FoundationMichael Tong & Emily TongLuisa ValmorbidaLyn Williams AMCash Gifts to the Endowment>$10,000 to $100,0001 July 2009 – 30 June 2011Diana GazeCarol SissonMaureen KerridgeAndrew Mountford & SaraMountfordMichael NagyThe Orloff Family TrustDavid Stephenson & KateStephensonSunraysia FoundationMargaret Ross AMMyriam Wylie & John WylieCash Gifts to the ArtAcquisition Fund>$10,000 to $100,0001 July 2009 – 30 June 2011Bill BownessPeter Clemenger AM & JoanClemengerAlan Cowen & MavourneenCowenHugh D T Williamson FoundationPeter Canet & Ivanka CanetMargaret Ross AM & Ian RossWestpac Banking CorporationAnonymous (2)Bulgari Australia Pty LtdEstate of Lady CarnegieRino Grollo & Diana RuzzeneGrolloLou Senini & Mary SeniniDavid WalshMichael Buxton & Andrew BuxtonSir James Gobbo AC CVO & LadyGobboVivien KnowlesWayne McGeoch & VickiMcGeochCarol SissonPATRONS PROGRAMSupporting the Masterpieces forMelbourne campaign, helping toachieve our goal through annualgiving to 30 June 2011.President’s CircleAndrew Abercrombie & ShaddaAbercrombieHarold J Campbell-Pretty &Krystyna Campbell-PrettyJohn Fast & Jenny FastPeter Greenham & AnneGreenhamKen Harrison & Jill HarrisonBarbara van Ernst AMDirector’s CircleJohn Bates & Lorraine BatesNeville BertalliAndrew ChurchyardDianne Gjergja & Giorgio GjergjaRon Hood & Sally HoodColin Laverty OAM & ElizabethLavertyRosie Lew & Solomon LewMark Newman & Hyeon-JooNewmanLoris PeggiePeter Robertson & RachaelRobertsonFrank Tisher & Miriam TisherSupporter’s CircleNicholas Allen & Helen AllenCher Beggs & Don BeggsAndrew BoothCaroline Clemente & RobertClementeLord Francis Ebury & Lady EburyKaren FehringSir James Gobbo AC CVO & LadyGobboRoss Gordon & Kim GordonCatherine GrayRichard GreenMarion Harper

103Graham JoelGeorge Kass & Grace KassSusan KennettZara M KimptonAnthony B Lewis & Helen LewisBeatrice MoignardKoji NakagawaRae RothfieldMurray A SandlandAdrienne ShawJohn TeveleinCOLLECTION SUPPORT1 July 2009 – 30 June 2011We recognise with gratitude thefollowing individuals whose annualgifts are so important to thedevelopment of our collections.SUPPORTERS OF ASIAN ARTMajor GiftsPauline GandelVivien KnowlesAllan Myers AO & Maria MyersAOThe Neilson FoundationMichael Tong & Emily TongWestpac Banking CorporationJason Yeap OAM & Min Lee WongYulgilbar FoundationPresident’s CircleS Baillieu Myer ACBruce ParncuttIvan TranJason Yeap OAMDirector’s CircleCaroline LiowSusan MorganSupporter’s CircleRose DownerJoan GunnSimon LohJanet Wang & Chris WangGim Wah YeoCash Gifts to the Asian ArtAcquisition Fund > $500Budiarman BaharCanaan LawyersJoshua ChanShirley X ChuWanghua ChuPeter ClementsPaul CochraneJim Cousins AO & Libby CousinsJames CorbettJason ChangLi CunxinSir Rod EddingtonWilkin FonElderly Chinese Home IncMilton Harris & Penny HarrisKonfir KaboMerran KelsallDavid LiDiana MorganHugh M Morgan ACS Baillieu Myer ACKen OngMaudie Palmer AOMae Anna PangPeter PoonHarish RaoT Janardhana RaoPhilip Ross & Sophia Pavlovski-RossAdam RyanAndrew SeagerEva SweetMichael Tong & Emily TongPatrick WalshMichael Watt QC & Cecilie HallJohn Webb OAMLyn Williams AMNGV CONTEMPORARYPresident’s CircleBill BownessDirector’s CircleDaniel Besen & Danielle BesenDominic Dirupo & Natalie DwyerSarah Watts & Ted WattsSupporter’s CircleRobyn BurkeAndrew Buxton & GeraldineBuxtonMichael Buxton & Janet BuxtonAndrea CandianiMark ChapmanHarry Curtis & Sue CurtisGlen HarringtonColin Laverty OAM & ElizabethLavertySam Smorgon AO & MinnieSmorgonAnne Wall-SmithCash Gifts to the NGVCAcquisition Fund > $500Peter Bancroft OAM & MarlynBancroftSUPPORTERS OFDECORATIVE ARTSMajor GiftsAustralian Decorative & FineArts Society Yarra IncHarold Campbell-Pretty &Krystyna Campbell-PrettyPeter Canet & Ivanka CanetPresident’s CircleHarold Campbell-Pretty &Krystyna Campbell-PrettyPeter Canet & Ivanka CanetDirector’s CircleHugh M Morgan ACMarjorie PinderKenneth ReedSupporter’s CircleDiana MorganRon Hood & Sally HoodCash Gifts to the DecorativeArts Acquisition Fund > $500Michael Blanche & LauraineDigginsPhilipa CurrieRon Hood & Sally HoodAngela IslesPatricia McDonaldM P McKenzieJohn Pizzey & Betty PizzeyKenneth ReedSUPPORTERS OFINDIGENOUS ARTMajor GiftsWayne McGeoch & VickiMcGeochLou Senini & Mary SeniniJason Yeap OAM & Min Lee WongPresident’s CircleGeoffrey Allen AMJim Cousins AO & Libby CousinsWayne McGeoch & VickiMcGeochBarry Fitzgerald & HelenFitzgeraldDirector’s CircleJudith Gorr & Leon GorrPeter HanksJohn KarkarBori Liberman & Helen Liberman

104 Donors (cont’d)Supporter’s CirclePaul AnastassiouNeville R BirdRosie BrennanMargaret Bullen & Ron VanderwalFiona BrockhoffJulian Burnside AO QCMichael Buxton & Janet BuxtonMichael Casper & Carol CasperNellie CastanKevin Collecutt & MargaretCollecuttTerry CutlerColin Golvan SC & Deborah GolvanAngela Gunn & Neil GunnJane GuyPeter JoplingKathryn KingsCatherine LewisTrevor McLeanKate McMillanDiana MorganDavid MorrisonMossgreen GalleryArthur RoeAnthony G Stolarek & BarbaraStolarekRicci SwartMichael TrovatoCash Gifts to the IndigenousArt Acquisition Fund > $500The Allen Consulting GroupPty LtdPeter Berger & Carolyn BergerAngela BerryTony Boscia & Michele BosciaDaniel CrennanD’lan DavidsonDelma ValmorbidaJillian DwyerStephen Charles & Jenny CharlesChristine Collingwood & JohnCollingwoodEsther FrenkielAmanda FrithMartin Fuggle & Jenny FuggleAngela Gunn & Neil GunnRaymond Hind & Mary HindDonald Holt & Janet HoltTony Hyams & Ann HyamsJames PetersMichelle QuigleyDonald RobertsonIan RogersGabriella RoyAdrienne ShawPhilip SolomonMatthew WalshMichael WrightPeter Zangmeister & AngelikaZangmeisterSUPPORTERS OF PRINTS &DRAWINGSMajor GiftsRick AmorThe Gordon Darling FoundationChristine HealyThe Stuart Leslie FoundationMargaret Stones AM MBELyn Williams AMDirector’s CircleRick AmorChristine HealySupporter’s CirclePeter Di SciascioRae RothfieldCash Gifts to the Prints &Drawings Acquisition Fund >$500Ralph RenardTolarno GalleriesFrederick WoodmanLeon Velik & Sandra VelikSUPPORT FOR SPECIALPROJECTS1 July 2009 – 30 June 2011Pauline GandelJoan Clemenger & PeterClemenger AMElias Jreissati & ColleenJreissatiGordon Moffatt AM & JacquelineMoffattSidney Myer FundAlison RosebyThe Vizard FoundationSUPPORT FOR NGVCONSERVATION1 July 2009 – 30 June 2011The Hugh D T WilliamsonFoundationSusan MorganIndividual Endowed FundsLoti & Victor Smorgon FundBowness Family FundKM Christensen & AE BondBequestDocking Drawing FundJohn McCaughey Memorial PrizeTrustSusan Morgan Fund forConservationBequests Received1 July 2009 - 30 June 2011Marie Theresa McVeigh TrustThe Warren Clark BequestJoe White BequestThe Warren Clark BequestEstate of Dr Donald Allan WrightMarie Theresa McVeigh TrustEstate of Maxwell G ChapmanEstate of Ruth Margaret FrancesHoughtonEstate of Violet BlakeEstate of William F SibleyThe Eugenie Crawford BequestThe Margaret Lawrence BequestThe Thomas Rubie Purcell &Olive Esma Purcell TrustThe E & D Rogowski FoundationThe Hugh D T WilliamsonFoundationThe Victor Gibson and DorothyGibson BequestNew Notified Bequests1 July 2009 - 30 June 2011Anonymous (2)Alan BlackPamela R DaviesSuzanne C DawbarnSophie FlynnMargaret GoodeDawn HalesRobert Heinemann & HeatherHeinemannKaryn HughesIrene IrvineIrene KearseyJohn & Jacquie LlatseVicki McGeoch & WayneMcGeochBrenda MouritzWilliam Begg Murdoch & RichardMartin O’DwyerLouis PartosAnthea RobinsonDodi RoseIrving Saulwick AOLou Senini & Mary SeniniBen Slater & Joan SlaterMark Young

Donors tothe AnnualDInner 2011105Allens Arthur RobinsonValma E Angliss AMMary ArcherAustralia PostPeter Bailey & Kay BaileyJohn Barlow & Mary BarlowNeil Batt AO & Karen GreenCelia Beeton & Greg BeetonLewis Bell & Sally BellAnn Bennett & David BennettQCAngela BerryMarcus Besen AO & Eva BesenAODavid Blanche & CynthiaBlancheBlueScope Steel LimitedHelen Blythe & Brian BlytheBruce Bonyhady AM & RaeBonyhadyBill BownessHelen BrackSteve Bracks AC & Terry BracksStephen Brain & Caroline BrainPrimrose Bright & CharlesBrightJeffrey Browne & DebbieBrowneDavid Brownell & JoannaBrownellGraham Burke & Robyn BurkeAndrew Buxton & GeraldineBuxtonTerry Campbell AO & ChristineCampbellHarold J Campbell-Pretty &Krystyna Campbell-PrettyPeter Canet & Ivanka CanetRoderick Carnegie ACNellie CastanJane ClarkPeter Clark & Jan ClarkLeigh Clifford AO & Sue CliffordSusan Cohn & John DentonChristine Collingwood ACKathy ComportRobert Compton-JonesPhilip J Cornish & CarolineCornishJim Cousins AO & Libby CousinsAlan Cowen & MavourneenCowenMary Crean AMPerri Cutten & Jo DaniellFrederick Davidson & MaryDavidsonPamela DaviesBrian DavisSuzanne C DawbarnDeutscher and HackettLauraine Diggins & MichaelBlancheRose Downer & John DownerFrancis DunnJudy DymondEastgate & HolstPeter Edwards & Monica EdwardsJohn Fast & Jenny FastVince FitzGerald & PennyFitzGeraldLouise FolettaPaula FoxEsther Frenkiel & David FrenkielAmanda FrithJohn Gandel AO & PaulineGandelNeilma GantnerDianne Gjergja & Giorgio GjergjaColin Golvan SC & DeborahGolvanCharles Goode AC & CorneliaGoodeJudith Gorr & Leon GorrJoan GoughJohn Gough AO OBE &Rosemary GoughElizabeth GraingerPeter Greenham & AnneGreenhamPeter Griffin AMRino Grollo & Diana RuzzeneGrolloSarah Guest & James GuestDawn HalesKirsty Hamilton & HarrisonYoungSuzanne HampelBill HensonIan Hicks AMBarbara Higgins & Jim HigginsJohn HigginsChris Hughes & Susan HughesAndrea Hull AODarvell M Hutchinson AM &Barbara HutchinsonChloe Hyde & Anthony HydeMargaret InglisIrene IrvineAngela IslesNeil Jens & June JensDenis JoachimGraham JoelMichael Johnson & MargaretJohnsonWill JonesDorothea Kaiser & Jost KaiserAnne KantorJulie KantorGeorge Kass & Grace KassDiana Kimpton & JamesKimpton AMZara Kimpton OAMRichard King & Andrea KingRobert Kirby & Mem Kirby OAMJennifer LemprierePaul Little AO & Jane HansenRobert Logie-Smith & SueLogie-SmithPatricia Macdonald & RanaldMacdonaldRosemarie MacdougallMacquarie Group LimitedRandal MarshCaroline Matterson & IanMattersonBarbara MayesRobert McKay & Sarah McKayPatricia McKenzieRohan Mead & Sylvia MeadNaomi Milgrom AO & JohnKaldor AMHugh MillarBeatrice MoignardWilliam MoraDiana MorganHugh M Morgan AC & ElizabethMorganSarah MorganSusan MorganS Baillieu Myer ACAllan Myers AO QC & MariaMyers AOCharles NodrumWilliam NuttallJustin O’Day AM & Sally O’DayBruce Parncutt & RobinCampbellRoss Paton & Pamela PatonMarianne Perrott Hay & AndrewHay OBEJohn Pizzey & Betty PizzeyAllan PowellKenneth ReedJulie Reid & Ian ReidRalph RenardSusan M RenoufRio Tinto LimitedMark Robertson & AnneRobertsonAndrew RogersDodi RosePhilip Ross & Sophia Pavlovski-RossMurray SandlandJohn Schaeffer AOPhillip Schudmak & SusanSchudmakJennifer ShawJennifer SimpsonAndrew Sisson & Tracey SissonCarol SissonSpotlight Stores CharitableFoundationNeil ThomasMichael Tong & Emily TongBruce TrethowanDenis Tricks AM & PriscillaTricks

106 NGVDonors to the AnnualDinner 2011 (cont’d)FoundatIon —LIst ofMembers2010–11Sarah Tricks & Ron DickMichael TrovatoUBSAlice VaughanKen Vaughan & Kelly VaughanLeon Velik & Sandra VelikRonald Walker AC CBE &Barbara Walker AOAndrew Wheeler & Jan WheelerLyn Williams AMPhilip Williams & ElizabethWilliamsAngela WoodJohn Wylie AM & Myriam WylieJason Yeap OAM & Min Li ChongAudrey YoulPeter Zangmeister & AngelikaZangmeisterJenny ZimmerPresident’s AdvisoryCouncilMr Allan Myers AO QC & MrsMaria Myers AOThe Ian Potter FoundationMrs Loti Smorgon AO ^Honorary LifeBenefactorsMrs Anita AngelThe Honourable David Angel QCANZ Banking Group LimitedMrs Barbara BlackmanBowness Family ^Mrs Helen Brack ^Mrs Alina CadeMr Alexander CensorEstate of Maxwell G ChapmanMrs Joan Clemenger ^Mr Peter Clemenger AM ^Clemenger FoundationMr Jim Cousins AO & Mrs LibbyCousins ^Mr Alan Cowen & MrsMavourneen Cowen ^Ms Perri CuttenMr Peter Szental & Dr LorraineElsassMr James Fairfax ACMr John W FawcettMrs Pauline Gandel ^Mr Rino Grollo & Mrs DianaRuzzene Grollo ^Mr Ian Hicks AM ^Mr John Higgins ^Mr Elias Jreissati & Mrs ColleenJreissati ^Mr Gordon Moffatt AM & MrsJacqueline Moffatt ^Dame Elisabeth Murdoch ACMr S Baillieu Myer AC & MrsSarah Myer ^The Sidney & Merlyn Myer FamilyNational Australia Bank LimitedNGV Women’s AssociationMr Bruce Parncutt & Ms RobinCampbell ^Nigel & Patricia Peck Foundation ^Lady Potter AC ^The Pratt FoundationThe John T Reid Charitable TrustRio Tinto Limited ^Professor A G L Shaw AO ^Shell Australia LimitedProf Barbara van Ernst AM ^Mrs Lyn Williams AM ^The Hugh D T WilliamsonFoundation ^Dr Robert WilsonMr Peter Wynne Morris & MrDerek ParkerMr Jason Yeap OAM & Ms MinLee Wong ^Founder BenefactorsMr Michael Abbott AO QCDr Jan AltmannAnonymous (4) *^Mr Todd Barlin ^Mr Yosl BergnerMrs Primrose Bright ^Mr Charles Bright ^The Reverend Ian BrownMiss Jennifer BrownMr Timothy BrownK.M. Christensen & A.E. BondBequest FundThe Warren Clark Bequest ^The Eugenie Crawford BequestMr Keith DeutsherMrs Norma DeutsherMs Lauraine Diggins ^Bequest of Violet DulieuMrs Paula Fox ^Mr John FullertonMs Patricia FullertonDr Fiona FullertonThe Victor Gibson & DorothyGibson BequestMr Robert GouldLady Hamer OAMHarrison Family TrustBequest of Kenneth HoodMr Fraser Hopkins^ Recent gift to 30 June 2011* New member

107Estate of Ruth Margaret FrancesHoughton *^Mr Marvin HurnallMr Barry Janes & Mr Paul CrossDr Douglas Kagi *^Estate of Elena KeownMr Andrew KlippelMrs Dinah KrongoldThe Thomas William LashamFund ^Dr Colin Laverty OAM & MrsElizabeth Laverty ^Mr Tony LeeMr Lynton Morgan ^Mrs Elizabeth J MorganThe Myer Foundation ^Mrs Roslyn Packer AOMs Moya PalmerMr Mike ParrThe Tam & Anne PurvesMemorial GiftThe Peter & Susan RowlandEndowmentDr Milton RoxanasMr John Schaeffer AO ^Ms June Sherwood ^Mr Michael ShmithSpotlight Stores CharitableFoundation ^The Rt Hon Sixth Earl &Countess of Stradbroke ^Bequest of Mrs ElizabethSummons MBEMrs Barbara TuckerPamela, Lady VesteyMr John WarnerWestpac Banking Corporation ^GovernorsMr Daryl AbrahamsMr Guy AbrahamsMr Ross Adler AC & Mrs FionaAdler ^Ms Valma Angliss AM ^Ms Rita AvdievMr Michael J Ball AMDr Roger Benjamin & Ms KateSandsMr Marcus Besen AO & Mrs EvaBesen AO ^Mr Edward Billson & MrsMargaret Billson ^Mr Charles Blackman OBEMr Robert BleakleyMr Peter BoothMr Chris BoylanLennox & Edna BrewerMemorial GiftMr Michael Buxton ^Mr Harold Campbell-Pretty &Mrs Krystyna Campbell-Pretty ^Mrs Nellie Castan ^Ms Anita CastanMrs Sylvia Cherny *Mr Patrick ChongMr Leo Christie OAMMr Patrick Corrigan AMMs Deidre CowanMr L Gordon Darling AC CMGMr Ian DarlingMr Shaun Dennison & Mrs AlisonDennisonMr Barrie I Follows AM, JPMrs Margaret G FollowsMr Ian GeorgeMrs Christine GeorgeMr Henry GillespieGoldman Sachs & PartnersAustralia Pty LtdMr Colin Golvan SC ^Mr Peter Griffin AM ^Mrs P Hackforth-JonesMrs Jean Hadges ^Mr Ken Harrison & Mrs JillHarrison ^Helen Macpherson Smith TrustMr Bill Henson ^Mr Donald HoltMrs Janet HoltMrs Angela Isles ^Mr Michael Johnson ^Mr Tim JohnsonMrs Vivien JohnsonMr William M P Jones ^Mr Peter Jopling QC ^Mrs Lily KahanMr Anthony Knight OAMMrs Beverly KnightLab Architecture StudioMr Terence LaneMrs Norma Leslie ^Mr Alexander G LynchMrs Marjory Lynch OAMMr Corbett Lyon & Mrs Yueji LyonBruce & Judy Matear Family TrustMs Magda MatwiejewMr Kevin McDonaldMr Rodney MenziesMr Hugh M Morgan AC ^The Wynne Morris CollectionMiss Maureen Morrisey ^Mr Alfred MullerMr Rupert Myer AMMrs Annabel MyerMr Frank NichollsMr William Nuttall & Ms AnnetteReeves ^Mr Laurence O’Keefe & MrChristopher JamesMr John Olsen AO OBEMr J P Palmer ^E M PatonMr John PlayfootDr Richard ReedMr David J RichardsMr Robert Rooney ^Dr David RosenthalMrs Margaret Ross AM ^R E Ross TrustDr James RoweMrs Alma RoxanasMs Gabriella Roy ^Mrs Judy RoznerMrs Anna SchwartzMr Alan Scott & Mrs Myra Scott ^Estate of Barbara SeddonMr Lou Senini ^Mrs Mary Senini ^Mrs Lisl SingerMrs Carol Sisson ^Mr Ben Slater & Mrs Joan SlaterMs Sally SmartMiss Margaret Stones AM MBE ^Mrs Alice Vaughan ^Mr Santo VersaceThe Ralph & Barbara Ward-Ambler Endowment ^Mr Jeff Wassmann & Ms MelindaGeertzJoe White BequestMr Greg Woolley *^Mrs Dianne YoungMrs Andrea ZieglerProfessor Jenny Zimmer ^FellowsAnonymous (2) *^Dr Elizabeth Arthur *Mrs Samantha BaillieuMr Will BarrettMr Max Beck AMMr Michael BlancheMr Penleigh Boyd *^Ms Alice-Anne BoylanMr Ed BoylanMr Robert BoynesEstate of Barbara BrashBrenmoss Investments Pty LtdMs Rosie Brennan ^Mr Andrew BrowneThe Buchan GroupEstate of Patrick ByrneMs Anne CarinsEstate of Lady Carmen SandraCarnegieSir Roderick Carnegie AC ^Mr John CatoMr Francis ChaiDr William Chanen AM & MrsAnn ChanenMrs Beatrice ChapmanMr Gunter ChristmannSue Clifford & Leigh Clifford ^Mrs Christine Collingwood AC ^Adjunct Professor PeterCorrigan AM

108ngv foundation — list ofmembers 2010–11 (cont’d)Mrs Sue CourseThe Gordon Darling Foundation ^Mr Brian Davis ^Miss Denise de GruchyMr & Mrs Ronald DewhurstMr Neil DonaldsonMr Francis Dunn ^Mr Wayne Eager & Ms MarinaStrocchiMr Peter FayMr William FellowsMs Amanda Frith ^Ms Kerry Gardner ^Emeritus Professor BenGascoigne AOMr David GoldbergerMs Kate GollingsMs Judith Gorr ^Mr Leon GorrBetty, Philip and William GrahamMr William GrahamMs Jennifer GreenMr Andrew GreenMr Angus Grimwade & Mrs KarenGrimwadeMr James HammondMr Michael Hamson & Mrs SusanHamson ^Mr Eric Harding ^Dr Hari Harilela OBEMr Athol HawkeDr Christine Healy *^Mrs Margaret HendyThe Herald & Weekly TimesLimitedMr Ian HigginsMs Jane HodderMr Andrew HodderMs Amirah InglisMr William IrvineDr Alastair Jackson ^Ms Carolyn Kay & Mr SimonSwaneyMs Merran Kelsall ^Mrs Inge King AMMrs Mem Kirby OAM ^Mrs Vivien Knowles ^Dr David Kolieb & Mrs Mira KoliebKPMG Pty LtdThe Margaret Lawrence BequestMr Michael LeunigMrs Helga LeunigRosie & Solomon LewMs Ann Lewis AOMr Ian LobbMr Frank McDonaldMr John McPhee ^Marie Theresa McVeigh Trust ^Ms Naomi Milgrom AOMr Allan MitelmanMr Klaus MojeMr Michael MoonMs Traudl MoonMrs Susan Morgan ^Mrs Jean MoriartyMrs Mandie Moss *^Brenda Strang Mouritz *^William Begg Murdoch & RichardMartin O’DwyerDr Clare MyersMr Michael Naphtali AMThe Neilson Foundation *^Lady NolanEmeritus Professor MaevO’Collins MBEOrica LimitedThe Orloff Family CharitableTrust ^Mr Louis Partos ^Mr Hans Pierrot & Mrs MerrilPierrotMr Stuart Purves AMMrs Janet PurvesMr Ian Reid & Mrs Julie Reid ^The E & D Rogowski FoundationMrs Rae Rothfield ^Mr Leslie RoweMr Graham Ryles OAM KSJ &Mrs Judith RylesScanlon FoundationMrs Adrienne Shaw ^Mr Max SmithMr David SouthwickEstate of Mary Macrae StewartMrs Lisette StrackeMr Takamasa TakahashiMr Peter Tallis & Mrs Mary Tallis ^Mr Michael Tong & Mrs EmilyTong ^Ms Luisa Valmorbida *^Mr Leon Velik ^Mrs Sandra Velik ^Mr Steve Vizard & Mrs SarahVizardMr Andrew G Wheeler ^Mr Lloyd WilliamsMr Ray Wilson OAMMrs Angela Wood ^Estate of Dr Donald Allan WrightMs Christine WrightMs Felicity WrightMr Mark Young *^Mr Salvatore ZofreaMembersMr John Adams & Mrs CecilyAdamsMr Geoffrey Ainsworth AMMrs Vicki AinsworthMrs Jan AlbrechtMr Tim Alder & Mrs Robyn AlderMr Geoff Allen AM *^Ms Vivien Anderson & Mr GillesTerrierMr Brook AndrewAnonymous (6)Mrs Jan Armstrong-ConnAshdene of AustraliaAustralian GalleriesMr Robin BadeDr John Baird & Dr Diane BairdMrs Rosalind BakerMr Andrew BakerBank of QueenslandMr David BardasMr Geoffrey BartlettMr & Mrs Michael E BartlettMr Neil Batt AO ^Mrs Dorothy BaylisMr John BaylisMrs Kate BêchetMr Christopher BeggMrs Patricia Begg OAMMr Ian BelshawMr Phillip Benjamin & Mrs SandyBenjaminMr Gordon Bennett *^Mrs Ann Bennett ^Mrs Carolyn Berger ^Dr Peter BergerMs Angela Berry ^Mr David Blanche ^Ms Penny BlazeyMr Michael Boyd & Ms DonnaBoydMrs Jan BoydMrs Yvonne BoydMrs Ann BrahamMs Caroline Brain ^Ms Brigitte BraunThe Jack Brockhoff FoundationMrs Tania BroughamMrs Jasmine BrunnerMr John BrunnerMr Peter Buckley & Mrs MargaretBuckleyBulgari Australia Pty Ltd *^Dr Margaret Bullen ^Adjunct Professor Peter BurchAM BMMrs Edith BurgessMs Madeleine ByrneMr David ByrneMr Dominic ByrneMr John Calvert-Jones AMMrs Janet Calvert-Jones AOMr Peter Canet & Mrs IvankaCanet ^Mr Michael Casper & Mrs CarolCasper ^Mrs Judy Cassab AOMs Susan CatoMr Jon CattapanMr Frank Chamberlin & MrsDanielle ChamberlinMr Mark ChapmanJustice Stephen Charles & MrsJenny Charles ^^ Recent gift to 30 June 2011* New member

109Mr Ric M Charlton AMDr Samuel ChazanChristie’s Australia LimitedDr Andrew Churchyard ^Mr Robert ClinchDr Cecily CloseMrs Patricia CodyMs Penny ColeingMs Kathy Comport ^Mr William J Conn OAMMrs Caroline Cornish & Mr PhilipCornish ^Mr Laurence G Cox AO & MrsJulie Ann CoxMr David CrawfordMrs Verdine CrawfordMrs Margaret CrothersDr Philippa Currie & Mr PeterCurrieMs Virginia DahlenburgDaimlerChrysler Australia -PacificDr Mark DaniellMr Aleks DankoMrs Joan DarlingMrs Marina DarlingMr Michael G DarlingMr David DarlingMs Sarah DarlingMr Anthony DarlingMrs Marilyn Darling ACMs Pamela R Davies *^Mrs Patricia Davies AMMr Sam Dawson & Mrs LouiseDawsonMrs Sandra DentMr Chris DeutscherMs Andy Dinan & Mr Mario LoGiudice ^Mr Thomas DixonMs Marion DowneMrs Rose Downer ^Dr William DowneyMr Brian Doyne & Mrs PrueDoyneLord Francis Ebury & LadyEbury ^Mr Peter Edwards & Mrs MonicaEdwards ^Ms Lindley EdwardsMr Nick Edwards & Ms AmandaHallDr Robert Edwards AOThe Dr Michael Elliottand Mr Robert BlackburnBequest 2008Mr David EllisMs Julie FarrellMr John Fasham & Mrs BethFashamMrs Janne Faulkner AMMr Barry Fitzgerald & Mrs HelenFitzgerald ^Ms Rosemary FlandersMs Diana FletcherFondation Albert GleizesMrs H M FraserMr Duncan Fraser SmithMr Jon FriedrichMrs Ros FriedrichGallerie AustralisGallery Gabrielle PizziAnnemarie and ArturoGandioli-Fumagalli Foundation(2008)Mrs Neilma Gantner ^Mr Carrillo Gantner AOMrs Diana Gaze ^Sir James Gobbo AC CVO &Lady Gobbo ^Ms Christine GoddenMrs Ethel GoldinDr Greg Goodman & Mrs JenniferGoodmanMr John Gough AO OBE & MrsRosemary Gough ^Mrs Dita GouldMr G Mark GrantMiss Catherine Gray ^Mrs Heather GreenMrs Lesley GriffinMr Fred Grimwade ^Sir Andrew Grimwade CBEMrs Anne Grindrod & Mr JohnGrindrodMrs Angela Gunn ^Mrs Joan Gunn ^Mr Stephen Hains & Mrs JaneHainsMr Lance HammondDr Jack Hansky AM & Dr PaulaHanskyMrs Sarah HarleyMs Claudia HarperMr Glen Harrington & Ms RobynEasthamMr Brent HarrisMs Frances HattamMr John HattamMs Katherine HattamMs Victoria HattamMr Richard Havyatt & Mrs LouisaHavyattMs Ponch Hawkes *^Mrs Hilda HendersonMr Fenn HinchcliffeMs Janice HinderakerMr Emmanuel HirshMr Christopher Hodges & MsHelen EagerMr Peter Holly & Mrs EvalynHolly ^Mr Ron Hood & Mrs Sally Hood ^Mr Edward Horton & Mrs MicheleBonnett-HortonProfessor Anne Hunt OAMMr Darvell Hutchinson AM ^Mrs Chloe F Hyde ^Dr Irene Irvine *^Mrs Anne IsaacsonDr George IvanovMr Robert Jacks AOMrs Frances JerumsMs Juliette, Danielle & GeorginaJerumsMr Denis Joachim ^Dr Frank Jones & Mrs Jill Jones ^Dr Trevor JonesMs Marjorie Josephs-Wilks ^Mrs Barbara Kane & Mr Kevin KaneDr Trudy KennedyMs Susan Kennett ^Ms Maureen KerridgeMs Zara M Kimpton OAM ^Dr Richard King & Mrs AndreaKing ^Mr Lou Klepac OAMKodak (Australasia) Pty Ltd ^Mr Richard Kopinski & Ms AnnaKopinski ^Countess Zofia Krasicka v. SiecinDr Joanne Lagerburg & MrStephen LagerburgMiss Betty LawsonMrs Jennifer Lempriere ^Lesley Kehoe GalleriesMrs Catherine Lewis ^Lillian Ernestine Lobb Bequest ^Mrs Janet LimbMr Geoffrey Linton & MrsCatherine LintonMrs Mary LipshutMr Scott Livesey & Mrs SusieLiveseyMr John LoaneMs Elizabeth H Loftus ^Mr Robert G Logie-Smith & MrsSue Logie-Smith ^Mr Ian Lowe & Ms Angela AdamsMr Graham M LudeckeMrs Georgina LynchMrs Patricia Macdonald ^Mr Angus MackayMr Duncan MacqueenMr Andrew MarksEstate of Ouida MarstonMr Robert MartinMr Frederick Bruce MatearMs Robin MatthewsMrs Barbara Mayes ^Ms Alexandra MayesEstate of Duncan ElphinstoneMcBryde Leary *^Mr John McCarthy *^Mrs Vicki McGeoch & Mr WayneMcGeoch ^

110ngv foundation — list ofmembers 2010–11 (cont’d)Mr Mark McKellar-Harding& Mrs Rachel McKellar-HardingMrs M P McKenzie ^Dr Graeme McKinnon *^Mr Don McRaeMs Sally McRaeMelbourne Art FairMrs Marjory MillerDr James MintoMrs Thelma MintoBequest of Mr George MitchellMrs Beatrice Moignard ^Mr John Desmond MooreMrs Diana Morgan ^Ms Sarah Morgan ^Miss Henrietta MorganMr William MorganMr Dan MossensonMr Andrew Mountford & MrsSara MountfordReverend Nigel Murby Wright& Mr Stephen Murby WrightMr Peter W MusgraveMr Sidney Myer AMMr Martyn Myer AOMrs Fiona MyerMr Philip S MyerMr Frank NadinicMr Michael Nagy *^Mr Harry NankinMrs Maggie Nanut ^Ms Jan NelsonMr Anthony NicholasMr Charles Nodrum ^Professor Tony NortonMr Samuel NylanderMrs Sally O’Day ^Dr Justin O’Day AMMr Kean T OoiMr Kenneth W ParkMr David Payes & Mrs SoniaPayesProfessor Graham PeirsonMrs Christine PeirsonMrs Yvonne PerretMr Anthony Pie & Mrs Betsy PieMs Gwyn Hanssen Pigott OAMMr Roger Pitt & Mrs DeborahBartlett PittMr John Pizzey & Mrs BettyPizzey ^Playoust Family FoundationMr Allan Powell ^Mr Brendan Power & Mrs DianePowerMr Ian PrattSunraysia Foundation ^Mr David PriorMrs Elizabeth A PryceThe Thomas Rubie Purcell &Olive Esma Purcell TrustMr Anthony Rayward & MrsElizabeth RaywardMr Scott RedfordMr Peter RedlichMrs Vivienne ReedMr Alan Rees & Mrs Jancis ReesMr Ralph Renard ^Ms Louise FishmanMr Arthur Roe ^Mr Andrew Rogers ^Mr Ian Rogers ^Ms Dodi Rose *^Mr Philip Ross & Ms SophiaPavlovski-Ross ^Ms Lisa SassellaMr Don SaundersMr Ken Scarlett OAMMrs Marian ScarlettMs Jessemyn SchippersMr Phillip Schudmak & Mrs SusanSchudmak ^Mrs Carol Schwartz AMMrs Ofelia ScottMrs Caroline SearbyMr Paul SelzerMr Bernard ShaferProfessor Robin L Sharwood AM ^Ms Jennifer Shaw ^Mr Ben ShearerMr Stephen Shelmerdine AMMrs Kate ShelmerdineMs Violet ShenoDr Gene Sherman AM & Mr BrianSherman AMWilliam F Sibley TrustMr Gary SingerMr Hans SipMr Jock SmibertMr Sam Smorgon AOMr John SpoonerMr Petrus Spronk *^Mr Matthew StaffordMr David Stephenson & Mrs KateStephenson ^Mr William Stevens ^Mr Robert StevensMiss June StewartMrs Gillian StillwellMrs Diana StockMrs Kathie Sutherland ^Dr Irene SuttonMs Ricci Swart ^Mrs Eva Sweet ^Mrs Rosemary SymeMr Robin Syme AMMrs Jessica Taylor ^Mr Chris Thomas & Mrs CherylThomasMs Margaret TollDr Helen TomMrs Dulcie TrethewieTrust Company LimitedMrs Margaret Tuckson AMEstate of Kenneth Albert TyasMr Claude UllinMrs Delma Valmorbida & MrTarcisio Valmorbida ^Mrs Louisa M VassMs Sue Walker AM ^Mr Bret Walker SCMr Robert WallaceMr David WalshMr Wesley WaltersMr Leonard Warson & Mrs ElanaWarsonMs Georgina WeirEstate of Dr Eric Westbrook CBMrs Dinah WhitakerDr Philip Williams & MrsElizabeth Williams ^Ms Judy WilliamsMs Isobel WilliamsDr Jann WilliamsMr John WolseleyMs Karen WoodburyMr James Woodhouse CromptonProfessor Robert WoodhouseCromptonMr Andrew WrightMrs Myriam Wylie ^Ms Eva WynnMr Adam WynnMr Patrick YangMr Michael YatesMr Peter Zangmeister & MrsAngelika Zangmeister ^Mr David Zerman & Ms SarahBarzel^ Recent gift to 30 June 2011* New member

FeltonSocIetyMembers111Recognising thosewho have made a notifiedbequest to the NGV.PatronHugh M Morgan ACMembersValma E Angliss AMAnonymous (6)Patricia Armstrong-GrantElizabeth ArthurDorothy BaylisKate Bêchet & Helen DickIan BelshawDiana BenevoliAlan BlackIan BrownJennifer BrownAnne CarinsAlex CensorFrancis ChaiFrank & Danielle ChamberlinChristine Collingwood ACJim & Libby Cousins AOPerri CuttenChristopher Thewlis & MarkDarbyshirePamela R DaviesIvor Davis & Susie DavisSuzanne C DawbarnDenise de GruchySandra DentMarion DowneBrian Doyne & Prue DoyneMichael ElliottJohn FawcettMarion FletcherSophie FlynnBarrie & Margaret FollowsPatricia FullertonArturo Gandioli-Fumagalli &Annemarie Gandioli-FumagalliMargaret GoodeWilliam GrahamAngela GunnJoan GunnLesley HaleDawn HalesAlistair HayRobert Heinemann & HeatherHeinemannHilda HendersonMargaret HendyIan HigginsPeter & Evalyn HollyFraser HopkinsKaryn HughesMarvin HurnallPeter IbbotsonAlison InglisIrene IrvineIrene KearseyRichard Kopinski & Anna KopinskiTony LeeWayne LeslieCatherine & Geoffrey LintonJohn & Jacquie LlatseMarita MaddenRobert MartinDiane MatthewsKevin McDonaldPatricia McDonaldVicki McGeoch & WayneMcGeochJoyce McGrath OAMMark McKellar-Harding & RachelMcKellar-HardingSusan Morgan & Lynton MorganMaureen MorriseyJack Moshakis & Gill TaskerBrenda MouritzWilliam Begg Murdoch & RichardMartin O’DwyerLaurence O’Keefe & ChristopherJamesMoya PalmerKenneth W ParkLouis PartosRuth PartridgeE M PatonChristine & Graham PeirsonHans Pierrot & Merril PierrotBrendan Power & Diane PowerJohn PoynterIan PrattKen PriceDavid RichardsJames RichardsonJudy RoachSally RobertsonAnthea RobinsonDodi RoseMarie RowlandGraham Ryles OAM KSJ &Judith RylesIrving Saulwick AOJessemyn SchippersLou Senini & Mary SeniniRobin L Sharwood AMProfessor Alan Shaw AOJune SherwoodBen Slater & Joan SlaterMax SmithDiana StockDavid Trenerry & ElizabethTrenerryGary Upfield & Robyn UpfieldBarbara van Ernst AMRobert WallaceHazel WestburyNoel WhaleDinah WhitakerJudy WilliamsAmanda WorthingtonPeter Wynne Morris & DerekParkerDianne YoungMark Young

112 SponsorsNGV PartnersMelbourne WinterMasterpiecesAustralian ArtInternational ArtIndigenous ArtNGV Water TrailOfficial HotelResearch PartnerConservation PartnerNGV SupportersAlcoa of AustraliaBlue Star GroupDulux AustraliaInlink MediaLavazzaMelbourne WaterMercerSanpellegrinoExhibition Principal SponsorsExhibition Support SponsorsAustrian National Tourist officeAvant CardCatholic Education OfficeCity of MelbourneClemenger BBDOCredit SuisseCrumplerDepartment of Education& Early Childhood DevelopmentDulux AustraliaErnst & YoungFelton Grimwade & Bosisto’sIndependent Schools VictoriaInlink MediaJCDecauxLavazzaMelbourne AirportMercerMíele AustraliaNine NetworkQantas AirwaysSanpellegrinoSofitel Melbourne On CollinsThe Agethreethousand.com.auTourism VictoriaV/LineVictorian Curriculum &Assessment AuthorityNGV 150th Anniversary Partners and SupportersPresenting PartnerEvent SupportersAdams PrintCanFixISS Facility ServicesK.W. Doggett Fine PaperselectAVTaylor Made SignsTradeflex

AcquIsItIons2010–11113AUSTRALIAN ARTAboriginal and TorresStrait Islander ArtGiftsVernon Ah Kee (Kuku Yalanji/Yidinyi/Waanyi born 1967), Ideas of Barak 2011,charcoal on canvas, 5 channel colour videotransferred to media player, sound, 25 min45 sec. Felton Bequest, 2011Mark Anderson (Pitjantjatjara bornc. 1930), Ilkurlka 2005, synthetic polymerpaint on canvas. Felton Bequest, 2011Yunkurra Billy Atkins (Putijarraborn 1930s), Kumpupirntily (LakeDisappointment) 2005–08, syntheticpolymer paint on composition board. FeltonBequest, 2011Maringka Baker (Pitjantjatjara bornc. 1952), Pukara 2009, synthetic polymerpaint on canvas. Felton Bequest, 2011Lydia Balbal (Mangala born c. 1958), Winpa2009, synthetic polymer paint on canvas.Felton Bequest, 2011Tjapartji Kanytjuri Bates (Ngaanyatjarraborn c. 1932), Kungkarrangkalpa (SevenSisters); Kungkarrangkalpa (SevenSisters); Kungkarrangkalpa (Seven Sisters);Warlawurru 2009, synthetic polymer painton canvas. Felton Bequest, 2011Beryl Bell (Ngaanyatjarra born 1974) JodieLydia Jackson (Ngaanyatjarra born c. 1975)Yvonne James (Ngaanyatjarra born 1941)Tjukurparti James (Ngaanyatjarra born1935) Nyinku Kulitja (Ngaanyatjarraborn 1932) Anna Porter (Ngaanyatjarraborn 1941) Eunice Yunurupa Porter(Ngaanyatjarra born 1948) Martha KynitjaProtty (Ngaanyatjarra born 1938) PatriciaWilly-Orgula (Ngaanyatjarra born 1935),Docker River women’s Lasseter history Story2009, synthetic polymer paint on canvas.Felton Bequest, 2011Waynatjura Bell (Ngaanyatjarra born 1940)Judith Yinyika Chambers (Ngaanyatjarraborn 1958) Nancy Nyanyarna Jackson(Ngaanyatjarra born 1953) PollyPyuwawyia Jackson (Ngaanyatjarraborn 1957) Melissa Mitchell-Stevens(Ngaanyatjarra born 1966) EuniceYunurupa Porter (Ngaanyatjarra born1948), Warakurna women’s Lasseter historyStory 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Jakayu Biljabu (Manyjilyjarra born c. 1937)Morika Biljabu (Manyjilyjarra born c. 1988),Minyipuru (Seven Sisters) 2009, syntheticpolymer paint on canvas. Felton Bequest,2011Jarran Jan Billycan (Yulparija bornc. 1930), All the jila 2006; Kirriwirri 2007;Kirriwirri 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Anmanari Brown (Pitjantjatjara born early1930s), Kunkarangkalpa (Seven Sisters)2005; Kunkarangkalpa (Seven Sisters) 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Yikartu Bumba (Manyjilyjarra born 1940s),Kuput Kuput Claypan 2009, syntheticpolymer paint on canvas. Felton Bequest,2011Yikartu Bumba (Manyjilyjarra born 1940s)Jakayu Biljabu (Manyjilyjarra born c. 1937)Nyanjilpayi Nancy Chapman (Manyjilyjarraborn c. 1941) May Chapman (Manyjilyjarraborn 1940s) Doreen Chapman(Manyjilyjarra born 1970s) Linda James(Manyjilyjarra born 1984) Donna Loxton(Kartujarra born 1970s) MulyatingkiMarney (Manyjilyjarra born 1941) ReenaRoger (Manyjilyjarra born 1950s) BeatriceSimpson (Manyjilyjarra born c. 1966)Ronelle Simpson (Manyjilyjarra born 1988)Muntararr Rosie Williams (Manyjilyjarraborn c. 1943), Ngayarta Kujarra 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Hector Burton (Pitjantjatjara born c. 1939),Anumara Tjukurpa (Caterpillar Dreaming)2009, synthetic polymer paint on canvas.Felton Bequest, 2011Wawiriya Burton (Pitjantjatjara bornc. 1928), Ngayuku Ngura (My Country) 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Katjarra Butler (Ngaanyatjarra born 1946),Ngamurru 2010, synthetic polymer painton canvas. Gift of Wayne McGeoch throughthe Australian Government’s Cultural GiftsProgram, 2011May Chapman (Manyjilyjarra born 1940s),Janawa 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Nyanjilpayi Nancy Chapman (Manyjilyjarraborn c. 1941), Minyipuru (Seven Sisters);Minyipuru (Seven Sisters) 2008; Minyipuru(Seven Sisters) 2009, synthetic polymerpaint on canvas. Felton Bequest, 2011Myra Yurtiwa Cook (Ngaanyatjarra bornc. 1932), Kartjinguku Creek, my birthingplace 2005; Lirrun; Lirrun; Lirrun 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Taylor Cooper (Pitjantjatjara born c. 1940),Malara; Malara 2009, synthetic polymerpaint on canvas. Felton Bequest, 2011Angkaliya Curtis (Pitjantjatjara bornc. 1928), Ngayuku mitaku Ngura, Cave Hill2009, synthetic polymer paint on canvas.Felton Bequest, 2011Lorraine Davies (Pitjantjatjara born 1955)Kunmanara Donaldson (Pitjantjatjara1936–2008) Kathleen Donegan(Pitjantjatjara born c. 1944) Anne Hogan(Pitjantjatjara born 1945) Annette Hogan(Pitjantjatjara born c. 1940) EstelleHogan (Pitjantjatjara born c. 1937) MyrtlePennington (Pitjantjatjara born c. 1935)Nulbinga Simms (Ngaanytjarra bornc. 1945) Carlene West (Pitjantjatjara bornc. 1945) Tjaduwa Woods (Pitjantjatjaraborn c. 1954), Tjintirtjintir 2008, syntheticpolymer paint on canvas. Felton Bequest,2011Pulpurru Davies (Ngaanyatjarra bornc. 1943), Kiwarr; Ngurra 2008, syntheticpolymer paint on canvas. Felton Bequest,2011Nyakul Dawson (Pitjantjatjara c. 1935–2007), Minyma Kutjara (Two Sisters) 2006,synthetic polymer paint on canvas. FeltonBequest, 2011Jimmy Donegan (Ngaanyatjarra/Pitjantjatjara born c. 1940), Papa Tjukurpamunu Pukara 2009, synthetic polymer painton canvas. Felton Bequest, 2011Jarinyanu David Downs (Wangkajunga/Walmajarri c. 1925–95), Shield (c. 1976),earth pigments on wood. Felton Bequest,2011Amy French (Warnman born late 1930s),Kanaji; Wirri wirri linji 2009, syntheticpolymer paint on canvas. Felton Bequest,2011Carol Maanyatja Golding (Ngaanyatjarraborn c. 1932), Muruntjarra munu Walu 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Simon Hogan (Pitjantjatjara born c. 1930),Ilkurlka 2004, synthetic polymer paint oncanvas. Felton Bequest, 2011Weaver Jack (Yulparija c. 1928–2010),Lungarung 2007; Lungarung 2008, syntheticpolymer paint on canvas. Felton Bequest,2011Jonathan Jones (Kamilaroi/Wiradjuri born1978), untitled (muyan) 2011, light boxes.Felton Bequest, 2011Spider Kalbybidi (Yulparija born 1928),Judi 2006, earth pigments on canvas.Felton Bequest, 2011Tjampawa Katie Kawiny (Pitjantjatjaraborn c. 1921), Kapi Tjukula (Rock Holes)2009, synthetic polymer paint on canvas.Felton Bequest, 2011Pukarlyi Milly Kelly (Warnman bornc. 1935), Finished Now 2009, syntheticpolymer paint on canvas. Felton Bequest,2011Ray Ken (Pitjantjatjara/Yankunytjatjaraborn c. 1940), Tali – Sandhill country 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Tjungkara Ken (Pitjantjatjara born1969), Ngayuku Ngura (My Country) 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Nyumitja Laidlaw (Ngaanyatjarra bornc. 1938), Kuriella; Kuriella; Kuriella 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Tjunka Lewis (Ngaanyatjarra born c. 1927),Patjarrtja 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Jatarr Lily Long (Warnman born c. 1940),Karlamilyi 2008, synthetic polymer paint oncanvas. Felton Bequest, 2011Alec Mingelmanganu (Woonambalc. 1910–81), Wanjina; Wanjina 1980, earthpigments and natural binder on canvas.Felton Bequest, 2010Dickie Minyintiri (Pitjantjatjara bornc. 1915), Kapi 2008; Kapi Tjukula;Malukutjina 2009, synthetic polymer painton canvas. Felton Bequest, 2011Tommy Mitchell (Ngaanyatjarra bornc. 1943), Kurlilypurru 2009, syntheticpolymer paint on canvas. Felton Bequest,2011Kate Miwulku (Ndjebbana born c. 1950),Dilly bag; Waraméla (Fish trap); Waraméla(Fish trap) 2010, earth pigments andsynthetic binder on Stringybark (Eucalyptussp.). Gift of Anthony Stolarek, 2010Kawayi Nampitjinpa (Warlpiri/Pintupi bornc. 1948), Wanampi Tjukurrpa (Water snakeDreaming) 2010, synthetic polymer painton canvas. Gift of Wayne McGeoch throughthe Australian Government’s Cultural GiftsProgram, 2011Nyangapa Nora Nangapa (Manyjilyjarraborn c. 1916), Pini Purnu 2009, syntheticpolymer paint on canvas. Felton Bequest,2011Wintjiya Napaltjarri (Pintupi born c. 1932),Watanuma 2008, synthetic polymer painton canvas. Felton Bequest, 2011Walangkura Napanangka (Pintupi bornc. 1940), Women’s Dreaming at Tjukurla2007, synthetic polymer paint on canvas.Felton Bequest, 2011Raymond Nelson (Pitjantjatjara c. 1935–2006), Pirulungka 2002–03, syntheticpolymer paint on canvas. Felton Bequest,2011Tiger Palpatja (Pitjantjatjara born c. 1915),Piltatinga; Wanampi Tjukurpa; WanampiTjukurpa 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Lawrence Pennington (Pitjantjatjara bornc. 1940), Dakurl 2003; Kurparu (Magpie)2005, synthetic polymer paint on canvas.Felton Bequest, 2011

114Billy Benn Perrurle (Alyawarr/Akaraborn 1943), Bush in droving country 2001,synthetic polymer paint and polyurethaneon plywood; Mt Corrasell 2001, syntheticpolymer paint and polyurethane oncanvas on plywood; Outstation; Red Tank;Untitled 2001, synthetic polymer paintand polyurethane on plywood; Untitled;Untitled 2001, synthetic polymer paintand polyurethane on canvas on plywood;Way out 2001, synthetic polymer paint andpolyurethane on composition board; Mudtank 2002, synthetic polymer paint andpolyurethane on canvas on plywood. Giftof Michael Moon through the AustralianGovernment’s Cultural Gifts Program, 2011Tali Tali Pompey (Pitjantjatjara born 1947),Para – Desert Gum 2009, synthetic polymerpaint on canvas. Felton Bequest, 2011Milatjari Pumani (Yankunytjatjara born1928), Ngura Walytja, Antara; Ngura Walytja,Antara; Ngura Walytja, Antara 2010,synthetic polymer paint on canvas. FeltonBequest, 2011Ngupulya Pumani (Yankunytjatjara born1948), Maku Tjukurpa (Witchetty Grub Story)2010, synthetic polymer paint on canvas.Felton Bequest, 2011Cliff Reid (Ngaanyatjarra 1947–2010),Ceremonial shield design; Wati Kutjarra(Two Men) 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Dadda Samson (Kartujarra born c. 1933),Puntuwarri 2009, synthetic polymer painton canvas. Felton Bequest, 2011Muni Rita Simpson (Manyjilyjarra c. 1941–2008), Jila travelling to Wirnpa; Yimiri 2008,synthetic polymer paint on canvas. FeltonBequest, 2011Keith Stevens (Pitjantjatjara born 1940s),Piltati 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Nellie Stewart (Pitjantjatjara born 1930s),Minyma Kutjara (Two Sisters), syntheticpolymer paint on canvas. Felton Bequest,2011Wakartu Cory Surprise (Walmajarri bornc. 1929), Manabularnbularn Warla; WarlataJiwari 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Pincher Talunga (Ngangikurungurr bornc. 1937), Untitled 2001, synthetic polymerpaint on canvas. Gift of Michael Moonthrough the Australian Government’sCultural Gifts Program, 2011Rover Thomas (Kukatja/Wangkajungac. 1926–98), Yunurr (Spring Creek) 1991,earth pigments and natural binder oncanvas. Felton Bequest, 2010Wingu Tingima (Pitjantjatjara born c. 1917–2010), Kuru Ala 2003; Kungkarangkalpa(Seven Sisters) 2007–09; Kungkarangkalpa(Seven Sisters) 2009, synthetic polymerpaint on canvas. Felton Bequest, 2011Long Jack Phillipus Tjakamarra (Pintupi/Luritja born c. 1932), Mala (SpinifexWallaby) 1972, synthetic polymer paint oncomposition board. Gift of Geoff Allen AMin memory of Catherine Allen through theAustralian Government’s Cultural GiftsProgram, 2011Martin Tjampitjinpa (Pintupi c. 1965–2007), Tingarri Dreaming at Muyinga 2006,synthetic polymer paint on canvas. Gift ofan anonymous donor through the AustralianGovernment’s Cultural Gifts Program, 2011Ronnie Tjampitjinpa (Pintupi born c. 1943),Water Dreaming at Malparingya 2006,synthetic polymer paint on canvas. FeltonBequest, 2011Johnny Yungut Tjupurrula (Pintupi bornc. 1930), Tingarri Dreaming at Wanaritjarra2009, synthetic polymer paint on canvas.Felton Bequest, 2011Harry Tjutjuna (Pitjantjatjara born c. 1930),Kungka Tjuta; Spiderman 2009, syntheticpolymer paint on canvas. Felton Bequest,2011Roy Underwood (Pitjantjatjara bornc. 1937), Mulaya 2008, synthetic polymerpaint on canvas. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive c. 1800), Shield (c. 1800), wood, cane,earth pigments. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive 1840s), Broad shield (1840s), wood.Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Gulmari shield (c. 1850–75),earth pigments and natural pigments onwood. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive mid 19th century), Parrying shield(1850s), wood. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive mid 19th century), Shield (c. 1860),hardwood, earth pigments. Felton Bequest,2011Unknown (New South Wales Aboriginalactive 1860s), Parrying shield (1860s),wood. Felton Bequest, 2011Unknown (South Australian Aboriginalactive early 19th century – mid 19thcentury), Broad shield (early 19th century –mid 19th century), earth pigments on wood,cane, pipeclay. Felton Bequest, 2011Unknown (Victorian Aboriginal activeearly 19th century – mid 19th century),Broad shield (early 19th century – mid 19thcentury), earth pigments on wood, cane,pipeclay. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive mid 19th century), Parrying shield(mid 19th century), wood. Felton Bequest,2011Unknown (Queensland Aboriginal activemid 19th century), Shield (mid 19thcentury), earth pigments and naturalpigments on wood. Felton Bequest, 2011Unknown (Western Australian Aboriginalactive late 19th century), Shield (late 19thcentury), wood. Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Gulmari shield (19th century),natural pigments on wood, earth pigments.Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Gulmari shield (19th century),earth pigments and natural pigments onhardwood. Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Gulmari shield (19th century),earth pigments and natural pigments onwood. Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Gulmari shield (19th century),earth pigments and natural pigments onhardwood. Felton Bequest, 2011Unknown (Victorian Aboriginal active 19thcentury), Parrying shield (19th century),wood, pipeclay. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive 19th century), Parrying shield (19thcentury), earth pigments on wood, cane,pipeclay. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive 19th century), Parrying shield (19thcentury), wood, earth pigments. FeltonBequest, 2011Unknown (New South Wales Aboriginalactive 19th century), Parrying shield (19thcentury), wood, earth pigments. FeltonBequest, 2011Unknown (Victorian Aboriginal active 19thcentury), Parrying shield (19th century),wood, earth pigments. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive 19th century), Parrying shield (19thcentury), earth pigments on wood. FeltonBequest, 2011Unknown (Victorian Aboriginal active 19thcentury), Parrying shield (19th century),wood, earth pigments. Felton Bequest, 2011Unknown (Victorian Aboriginal active 19thcentury), Parrying shield (19th century),earth pigments and natural pigments onwood. Felton Bequest, 2011Unknown (Victorian/South AustralianAboriginal active 19th century), Parryingshield (19th century), wood, earth pigments.Felton Bequest, 2011Unknown (Victorian/South AustralianAboriginal active 19th century), Parrying shield(19th century), wood. Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Rainforest shield (19thcentury), natural pigments on hardwood.Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Shield (19th century), wood,earth pigments. Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Shield (19th century), wood,natural pigments. Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Shield (19th century), earthpigments and natural pigments on wood.Felton Bequest, 2011Unknown (Queensland Aboriginal active19th century), Shield (19th century), earthpigments and natural pigments on wood.Felton Bequest, 2011Unknown (Queensland/New South WalesAboriginal active c. 1900), Gulmari shield(c. 1900), earth pigments and naturalpigments on wood. Felton Bequest, 2011Unknown (Western Australian Aboriginalactive c. 1900), Marrka (Shield) (c. 1900),earth pigments on wood (Gyrocarpusamericanus). Felton Bequest, 2011Unknown (Victorian Aboriginal activec. 1900), Parrying shield (c. 1900), earthpigments on wood. Felton Bequest, 2011Unknown (Queensland Aboriginal activec. 1900), Parrying shield (c. 1900), wood,earth pigments. Felton Bequest, 2011Unknown (New South Wales/VictorianAboriginal active c. 1900), Parrying shield(c. 1900), wood. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive c. 1900), Parrying shield (c. 1900),wood, earth pigments. Felton Bequest, 2011Unknown (Queensland Aboriginal activec. 1900), Rainforest shield (c. 1900), earthpigments and natural pigments on wood.Felton Bequest, 2011Unknown (Queensland Aboriginal activec. 1900), Rainforest shield (c. 1900), earthpigments and natural pigments on wood.Felton Bequest, 2011Unknown (Queensland Aboriginal activec. 1900), Rainforest shield (c. 1900), naturalpigments on hardwood. Felton Bequest,2011Unknown (Queensland/New South WalesAboriginal active c. 1900), Shield (c. 1900),wood. Felton Bequest, 2011Unknown (South Australian Aboriginalactive c. 1900), Shield (c. 1900), earthpigments on wood, cane, pipeclay. FeltonBequest, 2011Unknown (South Australian Aboriginalactive c. 1900), Shield (c. 1900), wood.Felton Bequest, 2011Unknown (Western Australian Aboriginalactive c. 1900), Wunda shield (c. 1900), earthpigments on wood. Felton Bequest, 2011Unknown (Queensland Aboriginal active1920s), Woorabinda Mission shield (1926),natural pigments on wood. Felton Bequest,2011Unknown (Western Australian Aboriginalactive early 20th century), Shield (c. 1930),earth pigments and natural pigments onwood. Felton Bequest, 2011Unknown (New South Wales Aboriginalactive 1950s), Mission shield (1950s),pokerwork on wood. Felton Bequest, 2011Unknown (Northern Territory Aboriginalactive mid 20th century), Shield (c. 1960).earth pigments, synthetic polymer paint andnatural pigments on wood. Felton Bequest,2011Unknown (Northern Territory Aboriginalactive mid 20th century), Shield (1960s),earth pigments on beanwood (Erythrinavespertilio). Felton Bequest, 2011Unknown (Northern Territory Aboriginalactive 1970s), Shield 1972, earth pigmentsand synthetic polymer paint on wood. FeltonBequest, 2011Unknown (Western Australian Aboriginalactive early 20th century), Parrying shield(early 20th century), wood. Felton Bequest,2011Unknown (Queensland Aboriginal activeearly 20th century), Rainforest shield (early20th century), earth pigments and naturalpigments on wood. Felton Bequest, 2011Unknown (Queensland Aboriginal activeearly 20th century), Rainforest shield (early20th century), earth pigments and naturalpigments on wood. Felton Bequest, 2011Unknown (Queensland Aboriginal activeearly 20th century), Rainforest shield (early20th century), earth pigments on wood,natural pigments. Felton Bequest, 2011Unknown (Queensland Aboriginal activeearly 20th century), Shield (early 20thcentury), natural pigments on wood. FeltonBequest, 2011Unknown (Western Australian Aboriginalactive early 20th century), Shield (early20th century), hardwood. Felton Bequest,2011Unknown (Western Australian Aboriginalactive early 20th century), Shield (early20th century), wood. Felton Bequest, 2011Unknown (Western Australian Aboriginalactive early 20th century), Shield (early20th century), wood. Felton Bequest, 2011Unknown (Queensland Aboriginal activeearly 20th century), Shield (early 20thcentury), earth pigments and naturalpigments on hardwood. Felton Bequest,2011

115Unknown (Western Australian Aboriginalactive early 20th century), Wunda shield(early 20th century), earth pigments onwood. Felton Bequest, 2011Unknown (Northern Territory/WesternAustralian Aboriginal active 20th century),Shield (early 20th century – mid 20thcentury), earth pigments on beanwood(Erythrina vespertilio), feathers. FeltonBequest, 2011Unknown (Western Australian Aboriginalactive early 20th century – mid 20thcentury), Shield (early 20th century – mid20th century), wood. Felton Bequest, 2011Unknown (Western Australian Aboriginalactive early 20th century – mid 20thcentury), Shield (early 20th century – mid20th century), wood. Felton Bequest, 2011Unknown (Pitjantjatjara active mid 20thcentury), Piti (Bowl) (mid 20th century),earth pigments on wood. Gift of Todd Barlinthrough the Australian Government’sCultural Gifts Program, 2011Daniel Walbidi (Mangala/Yulparija born1983), All the jila 2006; Ilyara; Kirriwirri2009, synthetic polymer paint on canvas.Felton Bequest, 2011Ngipi Ward (Ngaanyatjarra born c. 1949),Kapitu Kapitu 2007, synthetic polymer painton canvas. Felton Bequest, 2011Kalaju Alma Webou (Yulparija c. 1920–2009), Pinkalarta; Pinkalarta 2006;Pinkalarta; Pinkalarta 2007, syntheticpolymer paint on canvas. Felton Bequest,2011Christine West (Ngaanyatjarra bornc. 1952), Kungkarrangkalpa (Seven Sisters)2009, synthetic polymer paint on canvas.Felton Bequest, 2011Bugai Whyouter (Manyjilyjarra born c. 1945),Kunawarritji 2009, synthetic polymer painton canvas. Felton Bequest, 2011Bugai Whyouter (Manyjilyjarra bornc. 1945) Pinyirrpa Nancy Patterson(Manyjilyjarra born 1940s), Parnngurr 2009,synthetic polymer paint on canvas. FeltonBequest, 2011Ginger Wikilyiri (Pitjantjatjara bornc. 1932), Tjitji kutjara pitjangu yii – NyiiNgampuku 2009, synthetic polymer paint oncanvas. Felton Bequest, 2011Muntararr Rosie Williams (Manyjilyjarraborn c. 1943) Yikartu Bumba (Manyjilyjarraborn 1940s), Yimiri 2009, synthetic polymerpaint on canvas. Felton Bequest, 2011Nora Wompi (Manyjilyjarra born c. 1935),Kunawarritji (Well 33) 2008; Kunawarritji(Well 33) 2009; Kunawarritji (Well 33) 2010,synthetic polymer paint on canvas. FeltonBequest, 2011Tjayangka Woods (Pitjantjatjara bornc. 1930), Minyma Kutjara (Two Sisters) 2005,synthetic polymer paint on canvas. FeltonBequest, 2011PurchasesSolomon Booth (Kala Lagaw Ya born 1962),Coconut palm tree 2010, linocut, ed. 2/30.Purchased, NGV Supporters of IndigenousArt, 2010Janine McAullay Bott (Noongar born1951), Traditional basket – Spiked handle2010, wood (palm), agave (Agave sp.).Purchased, NGV Supporters of IndigenousArt, 2010Peter Datjin Burarrwanga (Gumatj born1953), Gumatj ceremonial chest design 2002,earth pigments on canvas. Purchased withfunds donated by Lou and Mary Senini, 2011Bob Burruwal (Rembarrnga born 1952),Buya Male 2010, earth pigments onKurrajong (Brachychiton sp.), feathers, resin.Purchased with funds donated by Lou andMary Senini, 2011Mercy Paymurrmurra Fredericks(Ngarinyin/Urarru born 1954), Gulungi;Kira Kira, Gundan and Wamarra; WanjinaGarrangu 2010, earth pigments onStringybark (Eucalyptus sp.). Purchased,NGV Supporters of Indigenous Art, 2010Mavis Warrngilna Ganambarr (Datiwuyborn c. 1966), Bolngu, the Thunderman 2010,natural dyes on pandanus, bush string,feathers, shell, milkwood. Purchased withfunds donated by Lou and Mary Senini, 2011Margaret Warru Garrawarra(Liyagawumirr born 1940) Rosemary Gutili(Dätiwuy born 1958), Miyalk ritjawuy dhawu(Women’s bush stories) 2010, syntheticpolymer paint on canvas. Purchased withfunds donated by Lou and Mary Senini, 2010Gawirrin Gumana (Dhalwangu bornc. 1930), Barama 2008, earth pigments onStringybark (Eucalyptus sp.). Purchasedwith funds donated by friends in memory ofCatherine Allen, 2010Jason Guwanbal Gurruwiwi (Galpu born1962), Wulwuma, Yam man 2010, earthpigments on milkwood, feathers, bushstring, resin. Purchased with funds donatedby Lou and Mary Senini, 2011Sandra Hill (Nyoongar born 1951), Beyondthe pale 1951, synthetic polymer paint onplywood, painted wood. Purchased, NGVSupporters of Indigenous Art, 2010James Iyuna (Kuninjku born 1959),Lorrkon 2010, earth pigments on Kurrajong(Brachychiton diversifolius). Purchased, NGVSupporters of Indigenous Art, 2011Kitty Kantilla (KutuwulumiPurawarrumpatu) (Tiwi c. 1928–2003),Untitled; Untitled; Untitled (2003), printed2009, etching, ed. 11/30; Untitled (2003),printed 2009, lithograph, ed. 11/30.Purchased with funds donated by friends inmemory of Catherine Allen, 2010George Liwukang (Djangu c. 1923–2007),Mirringungu (Whale) 2000, earth pigmentson Stringybark (Eucalyptus sp.). Purchasedwith funds donated by Lou and Mary Senini,2011Manuwa (Djambarrpuyngu c. 1917–79),Bänumbirr 1979, earth pigments onStringybark (Eucalyptus sp.). Purchased,NGV Supporters of Indigenous Art, 2010Baluka Maymuru (Manggalili born 1947),Manggalili Yothu Yindi Larrakitj 2007, earthpigments on Stringybark (Eucalyptus sp.).Purchased with funds donated by friends inmemory of Catherine Allen, 2010Jimmy Midjawmidjaw (Kunwinjku1897–1985), Untitled 1975, earth pigmentson Stringybark (Eucalyptus sp.). Purchased,NGV Supporters of Indigenous Art, 2010January Nanganyari-Namiridali(Kunwinjku 1901–72), Lumah Lumah(c. 1970), earth pigments on Stringybark(Eucalyptus sp.). Purchased, NGVSupporters of Indigenous Art, 2010Yhonnie Scarce (Kokatha/Nukunu born1973), Oppression, repression (familyportrait) 2004, glass, tin, colour inkjetprints. Purchased with funds donated byJudith and Leon Gorr, 2010Wakartu Cory Surprise (Walmajarri bornc. 1929), Waterhole at Warla 2010, syntheticpolymer paint on canvas. Purchased, NGVSupporters of Indigenous Art, 2010Whiskey Tjukangku (Yankunytjatjaraborn c. 1939), Punu trees 2011, syntheticpolymer paint on canvas. Purchased, NGVSupporters of Indigenous Art, 2010Donkeyman Lee Tjupurrula (Kukatjac. 1921–94), Coolamon (1970s), earthpigments on wood. Purchased with fundsdonated by Jim Cousins AO and LibbyCousins, 2010Harry Tjutjuna (Pitjantjatjara born c. 1930),Wanka: Spider and Mututa Tjukurpa2010, synthetic polymer paint on canvas.Purchased, NGV Supporters of IndigenousArt, 2010Unknown (Northern Territory Aboriginalactivs 1960s), Shield (1960s), earthpigments on beanwood (Erythrinavespertilio). Purchased, NGV Supporters ofIndigenous Art, 2010John Anthony Wuribudiwi Wilson (Tiwiborn 1955), Murtankala 2010, earthpigments on Ironwood (Casuarina sp.).Purchased with funds donated by JimCousins AO and Libby Cousins, 2011Nawurapu Wunungmurra (Dhalwanguborn c. 1952), Gapu ga gitkit (Water andbirds) 2005, earth pigments on wood.Purchased with funds donated by JasonYeap OAM and Min Lee Wong, 2010Owen Yalandja (Kunwinjku born 1962),Yawkyawk 2010, earth pigments onKurrajong (Brachychiton diversifolius).Purchased, NGV Supporters of IndigenousArt with the assistance of Barry and HelenFitzgerald, 2011Johnny Yirryirrngu (Datiwuy born c. 1965),Bolngu, the Thunderman 2010, earthpigments on milkwood, bush string, naturalbinder. Purchased with funds donated byLou and Mary Senini, 2011Barrupu Yunupingu (Gumatj born1948),Untitled (Ancestral fire) 2010, earthpigments on Stringybark (Eucalyptus sp.).Purchased with funds donated by Lou andMary Senini, 2010Nyapanyapa Yunupingu (Gumatj bornc. 1945), Wild apple orchard 2008; Mangutji#4; Pink and white painting 2010, earthpigments on Stringybark (Eucalyptus sp.).Purchased with funds donated by Lou andMary Senini, 2010Australian CeramicsGiftsMichael O’Connell (England 1898–1976,lived in Australia 1920–37), Pair of gardenpots (1931), cement. Bequest of ColletteReddin, 2010John Perceval (Australia 1923–2000),(Figure of an angel) (1958); The kiss; (Seatedfigure of an angel) (c. 1960), earthenware.Gift of Loti Smorgon AO through theAustralian Government’s Cultural GiftsProgram, 2011Petrus Spronk (born the Netherlands1939, arrived Australia 1957), Burned fields,bowl (1989), from the Bushfires series1989, earthenware, gold leaf, lacquer;Black bamboo grove, bowl (2002), fromthe Korean series 2000–04, earthenware,gold leaf; The road within, bowl (2005)from the Inner landscapes series 2004–08;Deep space, bowl; In the beginning, bowl;Lutea’s imaginary cloudscape, bowl; Painteddesert of ideas, bowl; Saltbush plains of theimagination, bowl (2006), from the Innerlandscapes series 2004–08; Black hole inspace, bowl; The endless affairs of the innerlandscape, bowl; The soft haze of autumnallight, bowl (2007), from the Inner landscapesseries 2004–08, earthenware. Gift of theartist through the Australian Government’sCultural Gifts Program, 2011Australian Fashionand TextilesGiftsAkira, Sydney fashion house (est. 1993)Akira Isogawa design (born Japan 1964,arrived Australia 1986), Dress 2010, silk,cotton, metallic thread. Gift of AmandaLeen, 2010Christopher Graf, Melbourne fashionhouse (1983–2000) Christopher Grafdesigner (born Australia 1964), Ruffle dress1997 winter 1997, wool, acetate, metal;Taurus jacket and skirt 1998 winter 1998,wool (crepe), acetate, cotton (velvet),polyester (satin); Tusk dress 1999 winter1999, wool (crepe), acetate, metal; Fashionvictim dress 2000 winter 2000, wool (crepe),screenprinted polyester, acetate, metal. Giftof the artist, 2011Norah Honter maker (born Ceylon 1894,arrived Australia (1964/65), died 1988/89),Wedding dress 1971, wool yarn, polyester.Gift of Cresside Collette, 2010Mr Stripes, Melbourne fashion house(active in Australia 1960s –70s), Pantsuit1971, rayon, viscose, metal, plastic. Gift ofCresside Collette, 2010Inez Alice Stranks dressmaker (bornAustralia 1924), Wedding dress 1949,cotton, silk (satin), wax, paper, metal,plastic, foil. Gift of Inez Alice Houston (néeStranks), 2010Unknown, Melbourne dressmaker (activein Australia 1920s) C. F. Bally & Co. Ltd,Switzerland manufacturer (1907–99)Craig, Williamson Pty Ltd, Melbourneretailer (1898–1939), Wedding outfit 1925,silk, metallic thread, glass, cotton (velvet),metal, paper, leather, silk (satin), plasticbeads. Gift of Maurice and Janet Mead,2010PurchasesBush Couture, Sydney fashion house(1982–91) Linda Jackson designer (bornAustralia 1950), Maasai Africa (1982–88),cotton, lycra, plastic, metal. Purchased,Victorian Foundation for Living AustralianArtists, 2010Christopher Graf, Melbourne fashionhouse (1983–2000) Christopher Grafdesigner (born Australia 1964) PhillipRhodes, Melbourne millinery house(est. 1992) Phillip Rhodes milliner (bornAustralia 1960), Requiem outfit 1994 spring,cotton, polyester, acetate, cotton (velvet),velcro, metal, spartre, silk, syntheticfabric. Purchased, Victorian Foundation forLiving Australian Artists, 2010Christopher Graf, Melbourne fashionhouse (1983–2000) Christopher Grafdesigner (born Australia 1964) PhillipRhodes, Melbourne millinery house(est. 1992) Phillip Rhodes milliner (bornAustralia 1960) Nola Erickson embroiderer(active in Australia 1990s), Signature jacketand hat 1995 spring, wool, wool (crepe),acetate, poylester thread, glass, plastic,metal , spartre, synthetic fabric, ostrichfeathers. Purchased, Victorian Foundationfor Living Australian Artists, 2010

116Flamingo Park, Sydney fashion house(1973–95) Linda Jackson designer(born Australia 1950) Charlotte Barnesdecorator (active in Australia 1970s), DyingRose 1975, wool (crepe), polyester (satin).Purchased, Victorian Foundation for LivingAustralian Artists, 2010Flamingo Park, Sydney fashion house(1973–95) Linda Jackson designer (bornAustralia 1950), Easy rider 1975, silk (satin)silk (taffeta); Marilyn 1975, silk (taffeta);Patchwork corduroy 1975, cotton (corduroy),rayon, metal; Titania 1975, silk (chiffon);Wildflowers 1976, cotton, silk; Harlequin1977, silk (taffeta), rubber (elastic), cotton;Opera house outfit 1977, silk (taffeta),cotton, rayon, metal. Purchased, VictorianFoundation for Living Australian Artists,2010Flamingo Park, Sydney fashion house(1973–95) Linda Jackson designer(born Australia 1950) David McDiarmiddecorator (Australia 1952–95, lived inUnited States 1979–87), Black and whitecalligraphy 1978, silk (taffeta), paint.Purchased, Victorian Foundation for LivingAustralian Artists, 2010Flamingo Park, Sydney fashion house(1973–95) Linda Jackson designer (bornAustralia 1950), Colour patches 1978,wool; Pink and orange checks 1978, silk;Sturts desert pea 1979, cotton. Purchased,Victorian Foundation for Living AustralianArtists, 2010Flamingo Park, Sydney fashion house(1973–95) Linda Jackson designer (bornAustralia 1950) Bruce Goold decorator(active in Australia 1980s), Kangaroo pawjacket 1980, taffeta, paint. Purchased,Victorian Foundation for Living AustralianArtists, 2010Flamingo Park, Sydney fashion house(1973–95) Jenny Kee designer (bornAustralia 1947) Jan Ayres knitter (bornEngland 1947, lived in Australia 1980s),Snake goddess 1980, cotton. Purchased,Victorian Foundation for Living AustralianArtists, 2010Flamingo Park, Sydney fashion house(1973–95) Linda Jackson designer (bornAustralia 1950), Yowah opal 1981, cotton(corduroy), rayon, silk. Purchased, VictorianFoundation for Living Australian Artists,2010Cecilia Heffer (born Chile 1963, arrivedAustralia 1971), Reticella lace 2007,screenprinted silk (Shantung), cottonpolyesterthread; Antique lace 1 2010,cotton, cotton-polyester thread; Antiquelace 3; Antique lace 5 2010, cotton, printedcotton, cotton-polyester thread; Homeland2010, screenprinted silk (Shantung), silk(organza), natural dyes, cotton-polyesterthread; State series 2; State series 3; Stateseries 4 2010, silk, cotton, linen, cottonpolyesterthread. Purchased, VictorianFoundation for Living Australian Artists,2011Linda Jackson (born Australia 1950),Curve 1983, silk (taffeta), metal; Waratah1984, silk (taffeta) screenprinted silk(organdie), metal. Purchased, VictorianFoundation for Living Australian Artists,2010Romance was Born, Sydney fashionhouse (est. 2005) Luke Sales designer(born Australia 1981) Anna Plunkettdesigner (born Australia 1982), Violin jacketand Sequin scale leggings and runners2010 spring-summer 2010–11 RenaissanceDinosaur collection, inkjet print on silk(crepe), cotton, metal and plastic (sequins),cotton (canvas), rubber, glitter. Purchased,Victorian Foundation for Living AustralianArtists, 2011Australian MetalworkGiftsCharles Summers designer (bornEngland 1825, lived in Australia 1853–67,died France 1878), William Calvertmanufacturer (active in Australiac. 1882– c. 1886), Intercolonial Exhibitionof Australasia, award medal (1866–67),copper, wood. Gift of John and SuzannePlayfoot through the AustralianGovernment’s Cultural Gifts Program, 2011Australian MultimediaPurchasesRichard Lewer (born New Zealand 1970,arrived Australia 1997), The sound of yourown breathing 2010, colour DVD, sound, 7min 40 sec. Purchased, Victorian Foundationfor Living Australian Artists, 2011Tom Nicholson (born Australia 1973),Documents from a banner marching project,2004–2007 2004–07, SD digital video andsuper 8 film transferred to SD digital video,silent, 9 min, 9 sec, 19 min, 7 sec, 12 min,17 sec. Purchased, Victorian Foundation forLiving Australian Artists, 2011Australian PaintingGiftsGordon Bennett (born Australia 1955),Home decor (Aboriginal art) #7; Home decor(Aboriginal art) #8; Interior (Red chairs)2009, synthetic polymer paint on canvas.Presented by John Citizen Arts Pty Ltdas trustee for The Bennett Family Trustthrough the Australian Government’sCultural Gifts Program, 2011Penleigh Boyd (born England 1890,arrived Australia 1893, died 1923), Wintertriumphant 1920, oil on canvas. Gift ofMandie Moss and Penleigh Boyd in memoryof their father Robin Boyd (1919–1971)architect and son of the artist through theAustralian Government’s Cultural GiftsProgram, 2011Anthony Dattilo-Rubbo (born Italy 1870,arrived Australia 1897, died 1955), Aconnoisseur (1903), oil on canvas. Gift ofChristopher Keher through the AustralianGovernment’s Cultural Gifts Program, 2010H. J. Johnstone (England 1835–1907,lived in Australia 1853–77, United States1877–79), Morning on the Murray nearBlanchetown 1882, oil on canvas. Bequest ofDuncan Elphinstone McBride Leary, 2011Amanda Marburg (born Australia 1976),Norman 2001, oil on canvas. Gift of ananonymous donor through the AustralianGovernment’s Cultural Gifts Program, 2010Sidney Nolan (born Australia 1917, livedin England, died England 1992), Bird overharbour, Sydney 1948, enamel paint oncomposition board. Presented by the DrDouglas A. Kagi Scientific Research Trustthrough the Australian Government’sCultural Gifts Program, 2011William Rowell (Australia 1898–1946),Bush landscape (1938), oil on compositionboard; Central Australian landscape; Eveninglandscape; Landscape (Mountain rance inbackground) (1938); Self-portrait (c. 1940),oil on canvas. Bequest of Thelma Rowell,widow of the artist William Rowell, 1996Gareth Sansom (born Australia 1939),Wee Ian 1967–68, enamel paint andcollage of cut paper on composition board;Conversation piece 1977, oil and enamelpaint, fabric, wood and collage of cutphotographs on composition board; Eveningrendezvous 1977, oil and enamel paint andcollage of cut printed paper and etchings oncomposition board, adhesive tape; Untitled1987; Face on blue (2000–01), oil on enamelpaint on canvas. Gift of an anonymousdonor through the Australian Government’sCultural Gifts Program, 2010Peggy Shaw (Australia 1917–2009, livedin England and France 1951–55), Flightthrough the forest of fear (c. 1945), oil andpencil on canvas; (Seated woman) (1949–50), oil and pencil on canvas on compositionboard. Gift of Professor A. G. L. Shaw inmemory of Peggy Shaw, 2010R. E. Taylor Ghee (Australia 1869–1951),Hauling the logs (c. 1905), oil on canvas.Gift of the McKinnon family in memoryof Margaret McKinnon and her greatgrandfatherPeter Kirk, 2011PurchasesJohn Glover (born England 1767, arrivedAustralia 1831, died 1849), MoultingLagoon and Great Oyster Bay, from PineHill (c. 1838), oil on canvas on canvas.Purchased with assistance of an anonymousdonor and the M. G. Chapman Bequest, 2011John Spiteri (born Australia 1967), Fourseasons 2004, oil on canvas; Hard rain2006, enamel paint on glass, wood; Todaytonight 2007, oil on canvas, wood, metal.Purchased, Victorian Foundation for LivingAustralian Artists, 2011Australian PhotographyGiftsJanina Green (born Germany 1944,arrived Australia 1949), Untitled (1988),gelatin silver photograph, coloured dyes.Gift of Andrew Firestone in memory ofSybil Firestone through the AustralianGovernment’s Cultural Gifts Program, 2011Ponch Hawkes (born Australia 1946), Heshould never have worn those shorts (2010),colour transparencies, light boxes. Gift ofan anonymous donor through the AustralianGovernment’s Cultural Gifts Program, 2011Christopher Köller (born England 1943,arrived Australia 1952), Gardens 1997–2007, printed 2009, type C photographs.Gift of Bill Bowness through the AustralianGovernment’s Cultural Gifts Program, 2010Jill Orr (born Australia 1952, lived in theNetherlands 1980–84), Ash 2002, inkjetprint. Gift of the artist, 2011J. R. T. Richardson (active in Australia1930s–40s), Dr Julian Smith FRPS (1930s),gelatin silver photograph. Presented byKodak (Australasia) Pty Ltd through theAustralian Government’s Cultural GiftsProgram, 2010Lynne Roberts-Goodwin (born Australia1954), Al Hammadi Desert Saqar #1; AlHammadi Desert Saqar #3 (2007), fromthe Random acts series 2007. type Cphotograph. Gift of Simeon Kronenbergthrough the Australian Government’sCultural Gifts Program, 2010Dr Julian Smith (born England 1873,arrived Australia 1876, died 1947), Themaster plays (c. 1932); Dick Swiveller; Oldfirebrand (c. 1937); Weller (c. 1938); Abdul;Adonis; After the party; Alice and Dinah;Alister in Wonderland; Anchorite; Angela;Any questions?; The appeal; August KnappFRPS; Battle!; Beryl; Between acts (Entreactes); Between you and me (Entre nous);Bill Sikes; Bon mot; The bonnet; Brig. HarryFurnell; Brig. N. Hamilton Fairley; Clubsteward; Col Clarebrough; Col McCally;Confidences; Dr Carl Hammar; Dressingup; Dry humour; Echo of the drum; Fal ‘Isnot the truth the truth’; F. C. Tilney; FightingMac; Fortissimo!; Friday; Gen. Sir ThomasBlamey (1930s), gelatin silver photograph;Georgina poses (1930s), hand-colouredgelatin silver photograph; Hands of a pianist;Harold Cazneaux; Helen; Hoi!; I doubt it!; Intothe future; John; John Eaton FRPS; KwockChung; Leaf music; Lieut James Lawrence;The life of the party; The little Deb; Thelittle drummer; The little marchioness; LordNuffield; Lt-Col S. Manekshaw MC; MajorSid Blandford; Marjorie Bick MSc; Martinet;Mavis; Memories; Memories; Mephisto;Micawber; Miss Julia Page; Monte Luke FRPS;Mr Hyde; Mr Pickwick; My son; Nan in silver;Old firebrand; Oliver asks for more; Orientalserenade; Osato; Oscar Hammerstein II; Ourdaily; The painter; Perfume; The plot thickens;Portia; Portrait of a lady; Probationer; Theranch boss; Red fifteen; RIAF; Sairey; Sauce;The scout; Sea surge; Self-portrait; Shylock;Sidney Carton; Silver locks; Sir Howard Florey;Sir Thomas Dunhill; Soldier of fortune; Sono;Sono Asato; Sower of tares; Squadrons up!;The surgeon; Tapestry; Terror; The thinker;Todd Duncan; Tough; Uriah; Vespers;Thewhite fur; Whoosh! (1930s), gelatin silverphotograph; The wisdom of years (1930s),hand-coloured gelatin silver photograph;You amaze me! (1930s); Age and experience(c. 1940); Dr Thomas Wood (1944); MajorGeneral George Vasey CB CBE DSO; MurrayGriffin; War artist, POW (1940s), gelatinsilver photograph. Presented by Kodak(Australasia) Pty Ltd through the AustralianGovernment’s Cultural Gifts Program, 2010Unknown (active in Australia 1850s), Notitle (Man with bow tie) (1850s), saltedpaper photograph, watercolour, gouache,cardboard. Gift of Loretta Pash in memoryof Ted and Gina Gregg, 2011Unknown (active in Australia 1890s),John and Emma Lamb (1892), albumensilver photographs, watercolour, gouache,cardboard. Gift of Loretta Pash in memoryof Ted and Gina Gregg, 2011Wherrett & Co., Hobart (1872–81) RichardMcGuffie (Australia 1858–1922), No title(Woman with plumed bonnet) 1881, albumensilver photograph, oil paint, varnish,cardboard. Gift of Loretta Pash in memoryof Ted and Gina Gregg, 2011Australian Prints andDrawingsBooksPurchasesWalter Preston etcher (English 1777– after1821, worked in Australia 1812– after 1821)Joseph Lycett (attributed to) (after) JamesWallis (after), An Historical Account of theColony of New South Wales by James Wallis,published by Rudolph Ackermann, London,1821, book: etchings, letterpress, 42 pages,marbled paper, half-leather and wood cover,with embossing and gold tooling, stitchedbinding. Joe White Bequest, 2010

117DrawingsGiftsCharles Bush (Australia 1919–89), JosephBrown 1980, pencil. Gift from the Estate ofDr Joseph Brown AO OBE, 2010Donald Friend (Australia 1915–89, livedin Nigeria 1938–40, Sri Lanka 1957–61,Indonesia 1968–79), Autumn still life 1984,watercolour. Gift of Ralph Ward-AmblerAM and Barbara Ward-Ambler throughthe Australian Government’s Cultural GiftsProgram, 2010Marie Hagerty (born Australia 1964), DrOptic (2003), collage of cut and printedpaper and mylar; O (2003), collage of cutand printed paper. Gift of an anonymousdonor through the Australian Government’sCultural Gifts Program, 2010Jesse Jewhurst Hilder (Australia1881–1916), The pool (1909), watercolour.Gift of Ralph Ward-Ambler AM and BarbaraWard-Ambler through the AustralianGovernment’s Cultural Gifts Program, 2010Sidney Nolan (born Australia 1917, livedin England 1953–92, died England 1992),Wimmera landscape 1942, pastel. Giftof Ralph Ward-Ambler AM and BarbaraWard-Ambler through the AustralianGovernment’s Cultural Gifts Program, 2010Carl Plate (Australia 1909–77, lived inEngland 1937–40), Lab (792/74) 1974,collage of cut printed paper on cardboard.Gift of Jocelyn and Cassi Plate through theAustralian’s Government’s Cultural GiftsProgram, 2011Peggy Shaw (Australia 1917–2009, lived inEngland and France 1951–55), Flower 1976,synthetic polymer paint over pencil. Gift ofProfessor A. G. L. Shaw in memory of PeggyShaw, 2010R. W. Sturgess (Australia 1882–1932, livedin England 1953–92), The lane moonrise(1909), watercolour. Gift of Ralph Ward-Ambler AM and Barbara Ward-Amblerthrough the Australian Government’sCultural Gifts Program, 2010Wes Walters (born Australia 1928), Studyfor Dr Joseph Brown (1983), charcoal. Giftfrom Estate of Dr Joseph Brown AO OBE,2010Fred Williams (Australia 1927–82, livedin England 1951–56), Sapling forest 1962,gouache, chalk, pencil and ink. Gift ofLyn Williams AM through the AustralianGovernment’s Cultural Gifts Program, 2010PurchasesIso Rae (born Australia 1860, lived in France1887–1932, England 1932–40, died England1940), (Breton girl with goat) (c. 1895), pastel.Purchased with funds donated from theEstate of Ouida Marston, 2011PrintsGiftsThomas Ham engaver (born England 1821,arrived Australia 1842, died 1870) WilliamStrutt (after), Native police encampment(1854), plate 14 from The gold diggersportfolio consisting of a series of sketchesof the Victoria gold fields taken by talentedartists on the spot 1854, etching. Gift ofDavid Thomas, 2010John W. Lewin (born England 1770, arrivedAustralia 1800, died 1819), White-breastedhoney-sucker (1808–22), plate XXII fromBirds of New South Wales, published byHenry G. Bohn, London, 1838 edition, handcolouredetching. Gift of John McPheethrough the Australian Government’sCultural Gifts Program, 2010PurchasesJohn Carmichael engraver (born Scotland1911, arrived Australia 1825, died 1857)James Adamson draughtsman (born late18th century, lived in Australia 1835–41,died 1841), Melbourne from the south side ofthe Yarra Yarra 1839, engraving and etching.Purchased with funds donated by the HughD. T. Williamson Foundation, 2011S. T. Gill (born England 1818, arrivedAustralia 1839, died 1880), The diggersand diggings of Victoria 1855, set of 24lithographs. Purchased with funds donatedby Stephen Nagle, 2011Tim Maguire (born England 1958, arrivedAustralia 1959), Refraction V 2008, colourdigital pigment print, ed. 2/7. Purchased,Victorian Foundation for Living AustralianArtists, 2010Fred Williams (Australia 1927–82, lived inEngland 1951–56), Tribute Gauguin (1954–55), etching, aquatint and foul biting on zinc,1st state. Purchased, NGV Patrons, 2010Australian SculptureGiftsBrook Andrew (born Australia 1970), Marksand Witness: A lined crossing in Tribute toWilliam Barak 2011, polyvinyl chloride,neon, transformer. Felton Bequest, 2011Amanda Marburg (born Australia 1976),Maquette for Norman (2001), plasticine.Gift of an anonymous donor through theAustralian Government’s Cultural GiftsProgram, 2010Tom Nicholson (born Australia 1973),Documents from a banner marching project,2004–2007 2004–07, colour inkjet print onpolyester, wood. Gift of the artist and AnnaSchwartz Gallery, 2011Lenton Parr (Australia 1924–2003),Standing figure 1958; Marina 1965, enamelpaint on steel. Gift of Sue Walker AMthrough the Australian Government’sCultural Gifts Program, 2011PurchasesDavid Noonan (born Australia 1969, lived inEngland 2005–), Untitled 2009, screenprinton jute and linen on plywood, steel.Purchased, Victorian Foundation for LivingAustralian Artists, 2011INTERNATIONAL ARTAsian ArtGiftsINDIAN, Hooded Merganser (Lophodytescucullatus) (c. 1800), opaque watercolouron paper. Gift of John McPhee through theAustralian Government’s Cultural GiftsProgram, 2011INDIAN, Tanjore / Thanjavur paintingof Krishna and three devotees (mid 19thcentury), opaque watercolour, goldand glass on plaster on wood. Gift ofJohn McCarthy through the AustralianGovernment’s Cultural Gifts Program, 2011INDIAN, Cosmic man: Parsvanatha (19thcentury), opaque watercolour and gold onfabric. Gift of John McCarthy through theAustralian Government’s Cultural GiftsProgram, 2011INDIAN, Jain cosmic diagram of the world ofmortals (19th century), opaque watercolourand gold on fabric. Gift of John McCarthythrough the Australian Government’sCultural Gifts Program, 2011INDIAN, Padmavati or Vairotya, Jain snakegoddess (19th century), opaque watercolourand gold on fabric. Gift of John McCarthythrough the Australian Government’sCultural Gifts Program, 2011INDIAN, Picchavai of Sri Nathji as abridegroom and four devotees (19thcentury), opaque watercolour and gold onfabric. Gift of John McCarthy through theAustralian Government’s Cultural GiftsProgram, 2011INDIAN, Pilgrimage painting of the Jainpilgrimage site of Satrunjaya (19th century),opaque watercolour and gold on fabric. Giftof John McCarthy through the AustralianGovernment’s Cultural Gifts Program, 2011INDIAN, Figure of a deceased man from aritual eye bestowing painting (Chaksudanapata) (20th century), watercolour andopaque watercolour on paper on cardboard.Gift of John McCarthy through theAustralian Government’s Cultural GiftsProgram, 2011INDIAN, Guru Nanak and Sikh saints (20thcentury), opaque watercolour on paper. Giftof John McCarthy through the AustralianGovernment’s Cultural Gifts Program, 2011INDIAN, Santal Jadupatua scroll (20thcentury), watercolour on paper onfabric. Gift of John McCarthy through theAustralian Government’s Cultural GiftsProgram, 2011INDIAN, Santal Jadupatua scroll (20thcentury), pen and ink and watercolour onpaper on fabric. Gift of John McCarthythrough the Australian Government’sCultural Gifts Program, 2011Seikozan (Japanese active late 19th – early20th century), Bowl (late 19th – early 20thcentury), earthenware, gilt, enamel (KyoSatsuma ware). Gift of Brenda StrangMouritz, 2010VIETNAMESE, Basin (1st century – 3rdcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Covered ewer with bowl(11th century –12th century), stoneware.Gift of Zorica McCarthy, 2010VIETNAMESE, Covered jar (11th century –13th century), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Covered jar (11th century –13th century), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Covered jar (11th century–13th century), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Ewer (11th century –13thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Inkstone (11th century–13th century), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, (Inkstone or stand) (11thcentury –13th century), earthenware. Gift ofZorica McCarthy, 2010VIETNAMESE, Lidded water dropper (11thcentury –13th century), earthenware. Gift ofZorica McCarthy, 2010VIETNAMESE, Bowl (12th century –13thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Beaker (13th century–14th century), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Bowl (13th century –14thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Bowl (13th century –14thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Bowl (13th century –14thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Bowl (13th century –14thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Bowl (13th century –14thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Bowl (13th century –14thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Covered bowl (13th century– 14th century), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Covered ewer (13th century– 14th century), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Covered jar (13th century– 14th century), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Ewer (13th century – 14thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Ewer (13th century – 14thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Straight-sided bowl (13thcentury – 14th century), earthenware. Giftof Zorica McCarthy, 2010VIETNAMESE, Bowl (14th century – 15thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Bowl (14th century – 15thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Bowl (14th century – 15thcentury), earthenware. Gift of ZoricaMcCarthy, 2010VIETNAMESE, Jar (14th century – 15thcentury), earthenware. Gift of ZoricaMcCarthy, 2010

118VIETNAMESE, Plate (18th century – 19thcentury), earthenware. Gift of ZoricaMcCarthy, 2010Purchases(CENTRAL ASIAN / AFGHAN, Tajik /Uzbek people), Woman’s cloak (Ferangie/paranja) (mid 20th century), silk, cotton,metal, glass and plastic. Purchased, NGVAsian Art Acquisition Fund with fundsdonated by Vivien Knowles, 2011(CENTRAL ASIAN / AFGHAN, Tajik /Uzbek people), Woman’s cloak (Ferangie/paranja) (mid 20th century), silk, cotton,metal, glass and plastic. Purchased, NGVAsian Art Acquisition Fund with fundsdonated by Vivien Knowles, 2011(CENTRAL ASIAN / AFGHAN, Turkmen/Tajik / Uzbek people), Woman’s cloak(Ferangie/paranja) (mid 20th century), silk,cotton, metal, glass and plastic. Purchased,NGV Asian Art Acquisition Fund with fundsdonated by Vivien Knowles, 2011(CENTRAL ASIAN / AFGHAN, Turkmen/Tajik / Uzbek people), Woman’s cloak(Ferangie/paranja) (mid 20th century), silk,cotton, metal, glass and plastic. Purchased,NGV Asian Art Acquisition Fund with fundsdonated by Vivien Knowles, 2011INDONESIAN, Alas people, Woman’s vest(Baju masirat) (mid 20th century), cotton.Purchased, NGV Asian Art AcquisitionFund, 2011INDONESIAN, Balinese people,Ceremonial valance for a temple of pavilion(Ider-ider) (c. 1900), cotton. Purchased, NGVAsian Art Acquisition Fund, 2011INDONESIAN, Balinese people,Ceremonial valance for a temple or pavilion(Ider-ider) (c. 1900), cotton. Purchased, NGVAsian Art Acquisition Fund, 2011INDONESIAN, Batak people, Ceremonialtextile, (Ulos pinussaan or ulos ragidup)(early 20th century), cotton. Purchased,NGV Asian Art Acquisition Fund, 2011INDONESIAN, (Toba Batak people),Divination book (Pustaha) (19th century–20th century), wood, bark, pigments, ink.Purchased, NGV Asian Art AcquisitionFund, 2011JAPANESE, Sho-Kannon Bosatsu Heianperiod (12th century), lacquer and gilt onCypress (Hinoki), crystal. Purchased withfunds donated by Allan Myers AO and MariaMyers AO, 2011JAPANESE, Pair of covered bowlsEdo period (late 18th century – late19th century), porcelain, enamel, gilt(Arita ware). Purchased, NGV Asian ArtAcquisition Fund, 2011Utagawa KUNIYOSHI (Japanese 1797–1861), He looks fierce, but he is really a niceperson (Mikake wa kowai ga tonda ii hito da)(c. 1847), colour woodblock. Purchased,NGV Asian Art Acquisition Fund with theassistance of the Lillian Ernestine LobbBequest, 2010; People join together to formanother person (Hito katamatte hito ni naru)(c. 1847); The votive tablet with masks ofkabuki actors taken at face value (Ataruhônô negai o gakumen) (c. 1848–49), colourwoodblock. Purchased, NGV Asian ArtAcquisition Fund, 2011Kim Hoa TRAM (Chinese born Vietnam1959, worked in Australia 1984–), Listeningto the rain and No word 2009, ink on paper.Purchased with funds donated by JasonYeap OAM and Min Lee Wong, 2010UZBEKISTANI, Lakai Uzbek people,Embroidered panel (Ilgich) (early 20thcentury), wool, silk. Purchased, NGV AsianArt Acquisition Fund with funds donated byVivien Knowles, 2011UZBEKISTANI, (Uzbek / Tajik people),Woman’s coat (Munisak) (late 19th century),silk, cotton. Purchased with funds donatedby Vivien Knowles, 2010InternationalDecorative ArtsGiftsJosef HOFFMANN designer (Austria1870–1956) WIENER WERKSTÄTTE,Vienna commissioning workshop(Austria 1903–32) J. SOULEK, Viennamanufacturer (Austria active early 20thcentury), Chair, from the Gallia apartmentdining room (c. 1913), Walnut (Juglans sp.),velvet, (other materials). Felton Bequest,2011WEDGWOOD, Staffordshiremanufacturer (England est. 1759),Comport; Covered tureen with ladle; Icepail (c. 1790), earthenware (creamware).Gift of Alan Landis through the AustralianGovernment’s Cultural Gifts Program, 2011PurchasesWilliam Arthur Smith BENSON designer(England 1854–1924) W. A. S. BENSON &CO. LTD, London manufacturer (England1880–1920), Pair of candlesticks (c. 1890–1914), copper, silvered brass, lacqueredwhite metal. Purchased with funds donatedby the Australian Decorative and Fine ArtsSociety Yarra Inc., 2010Augustus Welby Northmore PUGINdesigner (England 1812–52) JOHNHARDMAN & CO. Birminghammanufacturer (England 1838–1900), Pair ofcandlesticks (c. 1846) designed, (1850–75)manufactured brass, enamel. Purchasedwith funds donated by Peter and IvankaCanet, 2010SAINT-CLOUD PORCELAIN FACTORY,Saint-Cloud manufacturer (France 1666–1766), Pair of sceaux à verres (1720–30),porcelain (soft-paste). Purchased, NGVSupporters of Decorative Arts with theassistance of Peter and Ivanka Canet, 2011International Fashionand TextilesGiftsPierre BALMAIN, Paris couture house(1945–82) Pierre BALMAIN designer(France 1914–82), Dress (c. 1966), rayon,cotton (chemical lace), silk lining. Gift of SirRoderick Carnegie AC, 2011GHANA, War shirt (20th century), cotton,leather, hide, bone. Gift of David Bardas inmemory of Sandra Bardas OAM throughthe Australian Government’s Cultural GiftsProgram, 2011LANVIN, Paris fashion house (est. 1909)Alber ELBAZ designer (born Morocco 1961,emigrated to Israel 1971, worked in UnitedStates 1985–96, France 1996–), Boots2006–07 autumn-winter, leather, metal,plastic (zipper). Gift of Christine Barro, 2010PurchasesFORTUNY, Venice studio and workshop(Italy est. 1904) Mariano FORTUNYdesigner (Spain 1871, worked in Italy1889–1949, died Italy 1949), Coat (c. 1920),metallic pigment on silk velvet, silk faille(lining). Purchased with funds donated byBulgari Australia Pty Ltd, 2011RICK OWENS, Paris fashion house (est.1994) Rick OWENS designer (born UnitedStates 1962, worked in Frace 2003–),Outfit 2011 spring-summer 2011 Anthemcollection, leather, cotton, silk, metal,rayon, rubber. Purchased with fundsdonated by Norma and Stuart Leslie, 2011ZAMBESI, Auckland fashion house (est.1979) Elisabeth FINDLAY designer (bornGreece 1948, emigrated to New Zealand1951), Outfit 1997 summer, printed silk(georgette), elastic; Accoutre gown 1999winter, cotton, wool, polyamide, metal;Outfit 2000 summer, printed silk, cotton,plastic, wool, metal; Outfit 2003 winter,Revolution collection, leather, wool, plastic,polyester; Outfit 2004 winter, Wild at heartcollection, wool, silk (tulle), cotton (denim),metal; Outfit 2005 summer, wool, cotton,leather, elastic, metal; Outfit 2006 winter,and the song remains the same collection,(georgette), nylon, polyamide, wool (felt);Outfit 2008 winter, wool, metal. PurchasedNGV Foundation, 2010International MultimediaPurchasesYAHATA Aki (Japanese 1985–), Michikochurch 2008, colour DVD, sound, 28 min 2sec, ed. 2/10. Purchased with funds donatedby Allan Myers AO and Maria Myers AO,2011YANG Yongliang (Chinese 1980–), Phantomlandscape 2010, colour DVD, sound, 3 min23 sec, ed. 4/5. Purchased NGV Foundation,2011Art of the PacificGiftsAnga people, Morobe Province, PapuaNew Guinea,Shield (20th century), naturalpigments on wood, fibre. Gift of Todd Barlinthrough the Australian Government’sCultural Gifts Program, 2011Asempa Village, Okapa District, EasternHighlands Province, Papua New Guinea,Ancestor figure (1970s), wood. Gift of ToddBarlin through the Australian Government’sCultural Gifts Program, 2011John Feroa (Santa Catalina Island, EasternSolomon, Solomon Islands born 1980s),Feast bowl (c. 1980), wood, Nautilus shell(Nautilus pompilius). Gift of Todd Barlinthrough the Australian Government’sCultural Gifts Program, 2011Florida Island, Solomon Islands,Ceremonial shield (c. 1980), wood, nautilusshell (Nautilus pompilius), fibre, cane. Giftof Todd Barlin through the AustralianGovernment’s Cultural Gifts Program, 2011Huli people, Tari Area, SouthernHighlands, Papua New Guinea, Bachelor’swig (c. 1960), human hair, earth pigments,Superb Bird of Paradise (Lophorinasuperba) plume, cassowary feathers, aulai(everlasting daisies). Gift of Todd Barlinthrough the Australian Government’sCultural Gifts Program, 2011Jeni Village, Pomatsj River, NorthwestAsmat, West Papua, Emak cem pakmu(Initiate’s house carving) (c. 1986), earthpigments on wood, fibre. Gift of Todd Barlinthrough the Australian Government’sCultural Gifts Program, 2011Kandrian Area, West New BritainProvince, Papua New Guinea, Shield(mid 20th century), natural pigments onwood, rattan. Gift of Todd Barlin throughthe Australian Government’s Cultural GiftsProgram, 2011Karkar Island, Madang Province, PapuaNew Guinea, Shield (19th century), naturalpigments on cane, wood, fibre. Gift of ToddBarlin through the Australian Government’sCultural Gifts Program, 2011Maori people, New Zealand, Orator’shand club (1890s), wood. Gift of Todd Barlinthrough the Australian Government’sCultural Gifts Program, 2011.Maori people, New Zealand, Woodenflute 1988, wood, pāua (Abalone shell).Gift of Todd Barlin through the AustralianGovernment’s Cultural Gifts Program, 2011Maori people, New Zealand, Staff finial(mid 20th century), wood, pāua (Abaloneshell). Gift of Todd Barlin through theAustralian Government’s Cultural GiftsProgram, 2011Marind-Anim people, Muting Area, BianRiver, South coast, West Papua, Dancefish (c. 1987), earth pigments on wood.Gift of Todd Barlin through the AustralianGovernment’s Cultural Gifts Program, 2011Mount Hagen Area, Western HighlandsProvince, Papua New Guinea, Ceremonialwig (c. 1960), human hair, feathers, shells,fibre, mother-of-pearl. Gift of Todd Barlinthrough the Australian Government’sCultural Gifts Program, 2011Mount Hagen Area, Western HighlandsProvince, Papua New Guinea, Ceremonialwig (c. 1960), human hair, feathers, fibre,mother-of-pearl. Gift of Todd Barlin throughthe Australian Government’s Cultural GiftsProgram, 2011Nakanai People, West New BritainProvince, Papua New Guinea, Shield (mid20th century), earth pigments and naturalpigments on wood, rattan. Gift of ToddBarlin through the Australian Government’sCultural Gifts Program, 2011Nakanai People, West New BritainProvince, Papua New Guinea, Shield (mid20th century), earth pigments and naturalpigments on wood, rattan. Gift of ToddBarlin through the Australian Government’sCultural Gifts Program, 2011Pora Pora River, Middle Ramu, PapuaNew Guinea, Shield (early 20th century),pigment on wood. Gift of Todd Barlinthrough the Australian Government’sCultural Gifts Program, 2011Simbai Area, Madang Province, PapuaNew Guinea, Shield (early 20th century),natural pigments on wood, fibre. Gift of ToddBarlin through the Australian Government’sCultural Gifts Program, 2011Simbai Area, Madang Province, PapuaNew Guinea, Shield (mid 20th century),natural pigments on wood, fibre. Gift of ToddBarlin through the Australian Government’sCultural Gifts Program, 2011Vokeo Island, East Sepik Province,Papua New Guinea, Dance mask (mid20th century), synthetic polymer paint onwood, earth pigments, clay, dog teeth, cane.Gift of Todd Barlin through the AustralianGovernment’s Cultural Gifts Program, 2011

119Yali people, Eipomek Area, CentralHighlands, West Papua, Shield (mid 20thcentury), natural pigments on wood, fibre.Gift of Todd Barlin through the AustralianGovernment’s Cultural Gifts Program, 2011PurchasesDairum Hitum / Dairum Kabur Rivers,West Papua, Shield (c. 1960), earthpigments on wood. Purchased NGVFoundation, 2010Huon Gulf, Morobe Province, PapuaNew Guinea, Kundu (Drum) (c. 1950),synthetic polymer paint on wood, earthpigments, cane, lizard skin. Purchased NGVFoundation, 2010Maryann Talia Pau (Samoan born 1978,emigrated to New Zealand 1979, Australia1989), Batman who? 2009, tulle, pandanus,tifa seeds, pu’a seeds, pule shells, sterlingsilver, cotton; Fa’amolemole, pe mafai onatatou lalaga fa’atasi? (Please can I weavewith you?) 2009, pandanus, pule (cowrieshells), organza and satin; Mo Lo’u Tama,Samoan (For my Dad) 2009, pandanus,pule (cowrie shells), satin, dyed feathers.Purchased, Victorian Foundation for LivingAustralian Artists, 2010New Georgia/Vella Lavella, WesternProvince, Solomon Islands, Ancestorfigure, bust (late 19th century), earthpigments on wood, shell, fibre. PurchasedNGV Foundation, 2010International PaintingGiftsWilliam BEECHEY (English 1753–1839),Rt Hon. John Rous, 6th Baronet, later firstEarl of Stradbroke in Suffolk YeomanryCavalry Uniform (1796), oil on canvas. Giftof the Countess of Stradbroke through theAustralian Government’s Cultural GiftsProgram, 2011Gustave CAILLEBOTTE (French 1848–94),The plain of Gennevilliers, yellow fields(La plaine de Gennevilliers, champ jaunes)(1884), oil on canvas. Felton Bequest, 2011Paul Falconer POOLE (England 1807–79),The emigrants’ departure (1838), oil onwood panel. Gift of Patricia Macdonald tocommemorate the 150th Anniversary of theNGV through the Australian Government’sCultural Gifts Program, 2011Joan MITCHELL (American 1925–92,worked in France 1955–92), Marge (1990),oil on canvas. Gift of Loti Smorgon AOthrough the Australian Government’sCultural Gifts Program, 2011PurchasesLouis GAUFFIER (French 1762–1801,worked in Italy 1785–1801), André-FrançoisMiot, envoy of the French Republic to theGrand Duke of Tuscany (1797), oil on canvas.Purchased with funds donated by ananonymous donor, 2010Luke RUDOLF (English 1977–), Portrait no.24 2010, oil and synthetic polymer painton canvas. Purchased, NGV Contemporary,2010Jean Francois SABLET (Swiss 1745–1819,worked in France c. 1770–91, 1793–1819,Italy 1791–93), Portrait of a revolutionary1794, oil on wood panel. Purchased withfunds donated by an anonymous donor,2010Jožef TOMINC (Slovenian/Italian 1790–1866), Man in Ottoman dress (1830–40), oilon canvas. Purchased with funds donatedby Luisa, Simona and Luca Valmorbida inmemory of Carlo Valmorbida, 2010Tudor St George TUCKER (English1862–1906, worked in Australia 1882–87,1892–99,), Springtime girl 1892, oil oncanvas. The K. M. Christensen and A. E.Bond Bequest, 2010InternationalPhotographyPurchasesEdward BURTYNSKY (Canadian 1955–),Tailings #1, Kalgoorlie, Western Australia2007, type C photograph. Purchased withfunds donated by The Bowness Family Fundfor Contemporary Photography, 2010Thomas DEMAND (German 1964–),Public housing 2003, type C photograph.Purchased with funds donated by TheBowness Family Fund for ContemporaryPhotography, 2010International Printsand DrawingsDrawingsGiftsAugustus JOHN (Welsh 1878–1961,worked throughout Europe 1898–1961),Profile portrait (c. 1910–25), chalk andpastel. Bequest of Duncan ElphinstoneMcBryde Leary, 2011PurchasesCHRISTO (Bulgarian/American 1935–,worked throughout Europe 1958–64),Project for Keith Murdoch Court, NationalGallery of Victoria, Melbourne 1969, pencil,wax crayon, charcoal and collage of cotton,string, staples, adhesive tape and cutphotographs on paper. Purchased, NGVContemporary with the assistance of theLoti & Victor Smorgon Fund, Allan MyersAO and Maria Myers AO, Bruce Parncutt andRobin Campbell, 2010Thomas GIRTIN (English 1775–1802),Stepping stones on the Wharfe, Yorkshire1801, watercolour over traces of pencil,with touches of gouache. Purchased, NGVFoundation, with the assistance of ananonymous donor and Margaret Stones AMMBE, 2011Lorene TAUREREWA (New Zealander1961–), The company of fools 27; Thecompany of fools 28 2008; The company offools 22 2010, watercolour. Purchased NGVFoundation, 2011UNKNOWN, A New South Wales bat(c. 1800–1810s), watercolour, brush and ink,pen and iron-gall ink and gum arabic. TheWarren Clark Bequest, 2010PrintsGiftsMichael AYRTON (English 1921–75), Rising(1971), no. 5 from the Minotaur suite 1971,etching, ed. 43/75. Gift of Jock Palmer, 2011Alexander CALDER (American 1898–1976), Study (Four arches) (c. 1975), colourscreenprint. Gift of Lady Potter AC, 2010Joseph KOSUTH (American 1945–), 15locations 1969/70: Joseph Kosuth: Art asidea as idea 1969, poster: mimeograph. Giftof Robert Rooney, 2010Henri MATISSE (French 1869–1954),Portrait (1953), frontispiece for Portraits,published by André Sauret, Paris, 1954.lithograph, edition of 2850. Bequest ofDuncan Elphinstone McBryde Leary, 2011David ROBERTS (Scottish 1796–1864,worked in England 1822–64) Louis HAGHE(Belgian 1806–85, worked in England1823–95), Petra shewing the upper or eastend of the valley 1839, from The Holy Land,Syria, Idumea, Arabia, Egypt & Nubia, volume3, published by F. G. Moon, London, 1842,lithograph. Bequest of Duncan ElphinstoneMcBryde Leary, 2011William SHARP (English 1749–1824)William BEECHEY (after), Matthew BoultonEsq. FRS & FSA 1801, engraving and etching.Gift of Dr Frank Curnow Jones, 2010PurchasesPablo PICASSO (Spanish 1881–1973,worked in France 1904–73), Blind Minotaurled through the starry night by Marie Thérèsewith dove (Minotaur aveugle guidé par Marie-Thérèse au Pigeon dans une Nuit étoilée)(1934), no. 97 from the Vollard Suite 1930–37, aquatint, drypoint and etching, editionof 260. Purchased, NGV Foundation, NGVSupporters of Prints and Drawings with theassistance of Lyn Williams AM, ChristineHealy and Rick Amor, 2011UNKNOWN (English active late 18thcentury) George STUBBS (after),Kangaroo 1773, plate 20 from An Accountof the Voyages Undertaken ... for MakingDiscoveries in the Southern Hemisphere,published by John Hawkesworth, London,1773, etching and engraving. Joe WhiteBequest, 2010International SculptureGiftsAlexander CALDER (American 1898–1976), Blue disc, black disc (Disque blue, discnoir) (1966), painted metal and wire. Gift ofLoti Smorgon AO, 2011Marino MARINI (Italian 1901–80, workedin Switzerland 1943–48), Rider (Cavaliere)(1945), bronze. Gift of Loti Smorgon AOthrough the Australian Government’sCultural Gifts Program, 2011Pablo PICASSO (Spanish 1881–1973,worked in France 1904–73), (Womancombing her hair) (La coiffure) 1906, cast(after 1910), bronze. Gift of Loti SmorgonAO through the Australian Government’sCultural Gifts Program, 2011PurchasesGeorge MINNE (Belgian 1866–1941,worked in Wales 1914–18), Kneeling youth1898, plaster. Purchased, NGV Women’sAssociation to commemorate their 50thAnniversary and the 150th Anniversaryof the NGV and with the assistance of theproceeds of the National Gallery of VictoriaAnnual Dinners, 2011

120ScholarlyPublIcatIonsand Papers byNGV StaffBaker, Alex. “Contemporaneity: Six Observations.” In Contemporaneityand Art symposium Victorian College of the Arts, Melbourne, 2011.———. Harrell Fletcher: The Sound We Make Together (Melbourne).Melbourne: National Gallery of Victoria, 2010.———. “Ricky Swallow: The Days Aren’t Different Enough, Nos. 1-4 “ArtJournal of the National Gallery of Victoria 50 (2011): 144-45.———. “Things That I Like That Make Me Who I Am.” In Art Forum Series.Victorian College of the Arts, Melbourne, 2010.Baker, Alex, and Harrell Fletcher. “He Said/She Said: A FrankDiscussion between Artists and Institutions.” In Open EngagementConference. Portland, Oregon, , 2011.Baker, Alex , Harrell Fletcher, and Jeff Khan. “A Willingness to BeFlexible: Harrell Fletcher and Alex Baker on Socially Engaged Art.”Art and Australia 48, no. 4 (2011): 629-31.Baker, Alex, and Joseph Allen Shea. “Selling out Appropriately.” InDisorder Disorder: Ulterior Motives in Contemporary Art. Emu Plains:Penrith Regional Gallery and the Lewers Bequest, 2010.———. “Contemporary Chinese Photography.” In Women’s AssociationAnnual Symposium. NGV, 2011.———. “Frank Hurley’s Antarctica.” Australian Book Review (2010).———. “J.W.Lindt Portrait of Eugene Von Guerard.” In Eugene VonGuérard: Nature Revealed, 240-41. Melbourne: National Gallery ofVictoria, 2011.———. “Pictorialist Photography.” In Vienna: Art and Design. Klimt,Schiele, Hoffmann, Loos, edited by Christian Witt-Dörring, WilliamJohnston and Tim Bonyhady, 108-9. Melbourne: National Gallery ofVictoria, 2011.———. “Signs and Wonders: Photography and Yee I-Lann.” In Fluid World,14-17. Kuala Lumpur Valentine Willie Fine Art, 2010.———. Stormy Weather: Contemporary Landscape Photography.Melbourne: National Gallery of Victoria, 2010.———. “Thomas Demand.” Art Journal of the National Gallery of Victoria(2011): 142-43.———. “The World Turns: Asian Photography.” In Friends of the GalleryLibrary Lecture Series, 2011.———. “World’s within World’s: The Photography of Li Gang.” In Li Gang.Melbourne: Monash Gallery of Art, 2011.Benson, Laurie. “Gustave Moreau and Classical Mythology.” In GustaveMoreau and the Eternal Feminine, 38 - 47. Melbourne: NationalGallery of Victoria, 2010.———. “A Masterpiece Revealed: Joseph Wright of Derby in Melbourne.”Art Journal of the National Gallery of Victoria 50 (2011): 103 - 06.Crombie, Isobel, and Judith Ryan, eds. Art Journal of the NationalGallery of Victoria. Melbourne: National Gallery of Victoria, 2011.Crombie, Isobel, Susan van Wyk, and Peta Carlin. “Luminous Cities.”National Gallery of Victoria, 2011.Clegg, Humphrey. “Arthur Loureiro: Portrait of Marie Therese Smith.”Art Journal of the National Gallery of Victoria 50 (2011): 130-31.———. “Mr John King’s Station 1861.” In Eugene Von Guérard: NatureRevealed, 190. Melbourne: National Gallery of Victoria, 2011.———. “View in the Grampians from the Top of the Serra Range 1870.”In Eugene Von Guérard: Nature Revealed, 134. Melbourne: NationalGallery of Victoria, 2011.———. “View of the Grampians with Mount Abrupt and Mount Sturgeonin the Distance 1875.” In Eugene Von Guérard: Nature Revealed, 136.Melbourne: National Gallery of Victoria, 2011.———. “Warrenheip Hills near Ballarat 1854.” In Eugene Von Guérard:Nature Revealed, 110-11. Melbourne: National Gallery of Victoria, 2011.Crombie, Isobel. “Alfred Stieglitz and the Modernist City.” In LuminousCities Symposium. NGV, 2011.———. “Carol Jerrems:Alphabet Series.” In Intimacy: Carol Jerremswith Larry Clark, Nan Goldin and William Yang, edited by NatalieKing and Linda Michael, 126-7. Melbourne Heide Museum and ArtGallery, 2010.Cross, Elizabeth. “Arnold Schoenberg Alban Berg, 1910.” In Vienna: Artand Design. Klimt, Schiele, Hoffmann, Loos, edited by Christian Witt-Dörring, William Johnston and Tim Bonyhady, 140-41. Melbourne:National Gallery of Victoria, 2011.———. “Egon Schiele Erotica.” In Vienna: Art and Design. Klimt, Schiele,Hoffmann, Loos, edited by Christian Witt-Dörring, William Johnston andTim Bonyhady, 52 -55. Melbourne: National Gallery of Victoria, 2011.———. “Franz Metzner the Victor, 1908.” In Vienna: Art and Design. Klimt,Schiele, Hoffmann, Loos, edited by Christian Witt-Dörring, WilliamJohnston and Tim Bonyhady, 258 - 59. Melbourne: National Galleryof Victoria, 2011.———. “Gustav Klimt: Interior View of the Old Burgtheater, 1887-88.”In Vienna: Art and Design. Klimt, Schiele, Hoffmann, Loos, edited byChristian Witt-Dörring, William Johnston and Tim Bonyhady, 42-43.Melbourne: National Gallery of Victoria, 2011.———. “Wilhelm Gause Vienna Municipal Ball, 1904.” In Vienna: Artand Design. Klimt, Schiele, Hoffmann, Loos, edited by Christian Witt-Dörring, William Johnston and Tim Bonyhady, 44-45. Melbourne:National Gallery of Victoria, 2011.

121———. “Zenith and Decline 1908-18.” In Vienna: Art and Design. Klimt,Schiele, Hoffmann, Loos, edited by Christian Witt-Dörring, WilliamJohnston and Tim Bonyhady, 239 -43. Melbourne: National Gallery ofVictoria, 2011.Devery, Jane. Mari Funaki: Objects Melbourne: National Gallery ofVictoria, 2010.———. “Rosalie Gascoigne’s Flash Art.” Art Journal (2010).Di Trocchio, Paola. “European Fashion in the Early Twentieth Century “In European Masters: Städel Museum, 19th-20th Century. Melbourne:National Gallery of Victoria, 2010.———. “Lace in Fashion.” In Australian Institute for the Conservationof Cultural Material (AICCM) Victoria Division. National Gallery ofVictoria, 2010.———. “Maison Martin Margiela ‘20’ the Exhibition: A Review.” FashionTheory: The Journal of Dress Body and Culture Vol 15, no. 1 (2011):99-108.———. “Secession Textiles.” In Vienna: Art and Design. Klimt, Schiele,Hoffmann, Loos., edited by Christian Witt-Dörring, William Johnstonand Tim Bonyhady. Melbourne: National Gallery of Victoria, 2011.———. “Self-Fashioning.” In The Naked Face: Self-Portraits. Melbourne:National Gallery of Victoria, 2011.———. “Tradition and Transformation: The Suit in the Twentiethand Twenty-First Centuries.” In Manstyle/ Men + Fashion, 37-47.Melbourne: National Gallery of Victoria, 2011.———. “Valentino: Themes and Variations.” Context (2010).———. “When Objects Talk.” In The Reader. Melbourne: The EmergingWriters’ Festival, 2010.———. “Writerly Style.” EWF Digital (2011), http://www.emergingwritersfestival.org.au/2011/05/ewfdigital-writerly-style/.Dunsmore, Amanda. “Ancient Egypt: The Predynastic and EarlyDynastic Periods”. Melbourne University, 2011.———. “Edward Burne-Jones and Morris & Co. Saint Paul, Windowfrom the Chapel of Cheadle Royal Hospital, Manchester.” Art Journalof the National Gallery of Victoria 50 (2011): 126 - 27.———. “Historical Inspirations Behind Minton.” 2011.———. “Historical Inspirations Behind Minton.” In U3A. Stonnington, 2011.———. “Magnificent Obsession: The Extraordinary Collections of DrRobert Wilson.” Gallery (2011): 38-40.———. “Minton and Its Influences.” In Brighton Antiques Club, 2011.———. “Perspective: Interview with Sue Course.” Gallery (2011): 40-42.———. “Seventeenth- and Eighteenth-Century English Pottery in theCollections of the National Gallery of Victoria.” In This Blessed Plot, ThisEarth. English Pottery Studies in Honour of Jonathan Horne, edited byAmanda Dunsmore, 234-46. London: Paul Holberton Publishing, 2011.———, ed. This Blessed Plot, This Earth. English Pottery Studies inHonour of Jonathan Horne. London: Paul Holberton Publishing, 2011.———. “Wedgwood and the Neo-Classical.” In Wedgwood AustraliaAnnual Conference, 2011.———. “A Wedgwood Canopic Vase in the National Gallery of Victoria.”In Under the Potter’s Tree: Studies on Ancient Egypt. Presented toJanine Bourriau on the Occasion of Her 70th Birthday., edited by DavidA Aston, Bettina Bader, Carla Gallorini, Paul T Nicholson and SarahBuckingham, 349-54. Leuven: Uitgeverij Peeters, 2011.Dunsmore, Amanda, Ted Gott, Matthew Martin, SophieMatthiesson, Laurie Benson, and Elizabeth Cross. “CharlesRennie Mackintosh. Chair for the Eighth Secession Exhibition, 1900.”In Vienna: Art and Design. Klimt, Schiele, Hoffmann, Loos. , edited byChristian Witt-Dörring, William Johnston and Tim Bonyhady, 74-75.Melbourne: National Gallery of Victoria, 2011.———. “Charles Robert Ashbee and Josef Hoffmann.” In Vienna: Artand Design. Klimt, Schiele, Hoffmann, Loos., edited by Christian Witt-Dörring, William Johnston and Tim Bonyhady, 80-81. Melbourne:National Gallery of Victoria, 2011.———. “Das Interieur.” In Vienna: Art and Design. Klimt, Schiele, Hoffmann,Loos., edited by Christian Witt-Dörring, William Johnston and TimBonyhady, 114-15. Melbourne: National Gallery of Victoria, 2011.———. “Josef Hoffmann Late Decorative Aesthetic.” In Vienna: Art andDesign. Klimt, Schiele, Hoffmann, Loos., edited by Christian Witt-Dörring, William Johnston and Tim Bonyhady, 210-11. Melbourne:National Gallery of Victoria, 2011.———. “Josef Hoffmann Neo-Classical Design.” In Vienna: Art andDesign. Klimt, Schiele, Hoffmann, Loos., edited by Christian Witt-Dörring, William Johnston and Tim Bonyhady, 206-09. Melbourne:National Gallery of Victoria, 2011.———. “Josef Hoffmann Palais Stoclet Tea Service, 1903-04.” InVienna: Art and Design. Klimt, Schiele, Hoffmann, Loos. , edited byChristian Witt-Dörring, William Johnston and Tim Bonyhady, 176-77.Melbourne: National Gallery of Victoria, 2011.———. “Kabarett Fledermaus and the Wiener Werkstaette.” In Vienna:Art and Design. Klimt, Schiele, Hoffmann, Loos., edited by ChristianWitt-Dörring, William Johnston and Tim Bonyhady, 198-201.Melbourne: National Gallery of Victoria, 2011.———. “Koloman Moser Flaechenschmuck, 1901.” In Vienna: Art andDesign. Klimt, Schiele, Hoffmann, Loos., edited by Christian Witt-Dörring, William Johnston and Tim Bonyhady, 126-29. Melbourne:National Gallery of Victoria, 2011.———. “Wiener Werkstaette Early Metalwork.” In Vienna: Art and Design.Klimt, Schiele, Hoffmann, Loos. , edited by Christian Witt-Dörring,William Johnston and Tim Bonyhady, 170-71. Melbourne: NationalGallery of Victoria, 2011.

122Scholarly PublIcatIonsand Papers by NGV Staff(cont’d)Ellem, Alexandra. “In Support of Public and Private Treasures: TheAiccm Victorian Division’s Disaster Response to the Victorian Fires of2009.” AICCM BUlletin 32 (2011).———. “Influences: Hugh Ramsay and the Gallery School.” In TheHistory of the Gallery School and the Birth of the VCA. NGV, 2011.Ellem, Alexandra, and Kay Soderlund. “Conservation and DisasterResponse: Plans for a National Disaster Response Network Informedby Lessons Learned from the Conservation Response to the 2009Victorian Bushfires.” In Interesting Times New Roles for CollectionsMuseums Australia Conference. University of Melbourne 2011.Finch, Maggie. Endless Present: Robert Rooney and Conceptual Art.Melbourne: National Gallery of Victoria, 2010.———. “Material as Meaning: Curating the Exhibition ‘Endless Present:Robert Rooney and Conceptual Art’.” In 6th AICCM Books, Papers andPhotographs Symposium. NGV, 2010.Gott, Ted. “Arid Elegance and Terrifying Beauty:Gustave Moreau andHis Critics at the Salons of 1869 and 1876.” In Gustave Moreauand the Eternal Feminine, 52 - 73. Melbourne: National Gallery ofVictoria, 2010.———. “Deianira.” In Gustave Moreau and the Eternal Feminine, 48 - 51.Melbourne: National Gallery of Victoria, 2010.———. “Galatea.” In Gustave Moreau and the Eternal Feminine, 88 - 91.Melbourne: National Gallery of Victoria, 2010.———. “Gustave Caillebotte. The Plain of Gennevilliers, Yellow Fields.”Art Journal of the National Gallery of Victoria 50 (2011): 128 - 29.———. “Helmut Kolle: Self-Portrait.” In European Masters: StädelMuseum, 19th-20th Century, edited by Felix Kramer, 214 - 15.Melbourne: National Gallery of Victoria, 2010.———. “Robert Buss, the Monopolist and Charles Dickens.” Art Journalof the National Gallery of Victoria 50 (2011): 21 - 27.———. “Venice.” In Gustave Moreau and the Eternal Feminine, 102 - 05.Melbourne: National Gallery of Victoria, 2010.Symposium Tauranga Art Gallery, 2010.———. “Researching Early Australian Fashion in the Collection of theNGV.” In Australian Made: 100 years of fashion seminar. NationalGallery of Victoria, 2011.Kremler, Joy. “Koloman Moser Mountain Peaks and Clouds, 1913.”In Vienna: Art and Design. Klimt, Schiele, Hoffmann, Loos, edited byChristian Witt-Dörring, William Johnston and Tim Bonyhady, 122 -23.Melbourne: National Gallery of Victoria, 2011.Leahy, Catherine. “Albrecht Durer in the National Gallery of Victoria.”In Albrecht Durer: Religion, Portraits, Nature: Prints and Drawings,286-89. Tokyo: National Museum of Western Art, 2010.———. “Thomas Barlow and the Durer Collection of the NationalGallery of Victoria.” National Museum of Western Art, Tokyo, 2010.Leong, Roger. “Adrian: Supersized Glamour.” Gallery of Modern Art,Brisbane, 2011.———. “Fashion and Textiles at the NGV.” In Art Craft Design NationalNetwork in association with Museums Australia Annual Conference.Melbourne, 2010.———. “The Genesis of the Suit.” In Manstyle: Men + Fashion 19-33.Melbourne: National Gallery of Victoria, 2011.———. “Making and Retailing Exclusive Dress in Australia-1940s to1960s.” In Berg Encyclopedia of World Dress and Fashion edited byMargaret Maynard, 132-37. Oxford: Berg, 2010.———. “Rick Owens’s Outfit Spring Summer 2011.” Art Journal of theNational Gallery of Victoria 50 (2011): 147.———. “The Trinitarias Carpet: Persian Masterpiece or MoghulMystery?” In Seminar on Carpets and Culture The JohnstonCollection, East Melbourne, 2010.———. “Wiener Werkstätte Fashion.” In Vienna: Art and Design: Klimt,Schiele, Hoffmann, Loos, edited by Christian Witt-Dörring, WilliamJohnston and Tim Bonyhady. Melbourne: National Gallery ofVictoria, 2011.Hurlston, David. John Davis: Presence. Melbourne: National Gallery ofVictoria, 2010.———. “When You Are the Camera and the Camera Is You.” In AlanConstable: Viewfinder. Melbourne: Arts Project Australia, 2011.Jocic, Laura. “Looking Flash: Clothing in Aotearoa New Zealand.”Textile History 41, no. 1 (2010): 130-31.———. Manstyle / Men + Fashion. Melbourne: National Gallery ofVictoria, 2011.———. “Outrageous Style: The Art and Life of Leigh Bowery.” InThe Costume & Textile Association of New Zealand, 10th AnnualLeong, Roger, and Paola Di Trocchio. Lace in Fashion. Melbourne:National Gallery of Victoria, 2010.Leong, Roger, Solitaire Sani, and Bronwyn Cosgrove. “A HiddenTreasure? The NGV’s Trinitarias Carpet.” In International Conferenceon Carpets. Stockholm 2011.Leong, Roger, and Katie Somerville. “Introduction.” In Manstyle:Men + Fashion Melbourne: National Gallery of Victoria, 2011.Lindsay, Frances. “Christo and Jeanne-Claude: Wook Works at the

123National Gallery of Victoria.” Art Journal of the National Gallery ofVictoria 50 (2011): 116-19.———. “Common Ground.” In Common Ground. Melbourne: Bayside Arts& Cultural Centre, 2011.———. “Compromised Virtue: Moreau’s Biblical Women.” In GustaveMoreau and the Eternal Feminine, 74-77. Melbourne: National Galleryof Victoria, 2010.———. “Emilie Flöge, 1902.” In Vienna: Art and Design. Klimt, Schiele,Hoffmann, Loos, edited by Christian Witt-Dörring, William Johnstonand Tim Bonyhady, 134. Melbourne: National Gallery of Victoria, 2011.———. “Moreau and the Lure of the Femme Fatale.” In Gustave Moreauand the Eternal Feminine, 34-37. Melbourne: National Gallery ofVictoria, 2010.———. “Spring in the Valley of the Mitta Mitta with the Bogong Ranges1866.” In Eugene Von Guérard: Nature Revealed, 251-53. Melbourne:National Gallery of Victoria, 2011.———. “Wiener Werkstatte Jewellery.” In Vienna: Art and Design. Klimt,Schiele, Hoffmann, Loos, edited by Christian Witt-Dörring, WilliamJohnston and Tim Bonyhady, 182-83. Melbourne: National Gallery ofVictoria, 2011.Martin, Matthew. “Art, Faith and Cultural Institutions: Perspectivesfrom and Beyond the Academe.” In Melbourne College of DivinityCentenary Conference. Trinity College, University of Melbourne, 2010.———. “Augustus Welby Northmore Pugin, Pair of Candlesticks “ArtJournal of the National Gallery of Victoria 50 (2011): 124–5.———. “Biedermeier Style as Inspiration.” In Vienna: Art and Design.Klimt, Schiele, Hoffmann, Loos. , edited by Christian Witt-Dörring,William Johnston and Tim Bonyhady, 82-85. Melbourne: NationalGallery of Victoria, 2011.———. “Dagobert Peche: The Later Years of the Wiener Werkstätte.”In Vienna: Art and Design. Klimt, Schiele, Hoffmann, Loos., edited byChristian Witt-Dörring, William Johnston and Tim Bonyhady, 212-17.Melbourne: National Gallery of Victoria, 2011.———. “Decorative or Devotional: Joseph Willem’s Chelsea Pieta.” InFire and Form: The Influence of the Baroque on Ceramics in England1660-1760. English Ceramic Circle Symposium. . Victoria and AlbertMuseum, London, 2011.———. “The Dr Robert Wilson Collection of Nineteenth-CenturyCeramics and Glass.” The Ceramics and Glass Circle of AustraliaNewsletter no. 173 (2011): 4–11.———. “French Decorative Arts in the Age of Chopin.” National Galleryof Victoria, 2010.———. “Japanese Art and the Vienna Secession.” In Vienna: Art andDesign. Klimt, Schiele, Hoffmann, Loos., edited by Christian Witt-Dörring, William Johnston and Tim Bonyhady, 76-77. Melbourne:National Gallery of Victoria, 2011.———. “Jutta Sika.” In Vienna: Art and Design. Klimt, Schiele, Hoffmann,Loos. , edited by Christian Witt-Dörring, William Johnston and TimBonyhady, 118-19. Melbourne: National Gallery of Victoria, 2011.———. “Koloman Moser Armchair, 1903.” In Vienna: Art and Design.Klimt, Schiele, Hoffmann, Loos., edited by Christian Witt-Dörring,William Johnston and Tim Bonyhady, 226-27. Melbourne: NationalGallery of Victoria, 2011.———. “Koloman Moser, the Enchanted Princesses Corner Cabinet,1900.” In Vienna: Art and Design. Klimt, Schiele, Hoffmann, Loos., edited by Christian Witt-Dörring, William Johnston and TimBonyhady, 132-33. Melbourne: National Gallery of Victoria, 2011.———. “Otto Wagner, Chair for Dr Karl Lueger, 1904.” In Vienna: Artand Design. Klimt, Schiele, Hoffmann, Loos., edited by Christian Witt-Dörring, William Johnston and Tim Bonyhady, 46-47. Melbourne:National Gallery of Victoria, 2011.———. “Otto Wagner’s Pupils.” In Vienna: Art and Design. Klimt,Schiele, Hoffmann, Loos. , edited by Christian Witt-Dörring, WilliamJohnston and Tim Bonyhady, 64-67. Melbourne: National Gallery ofVictoria, 2011.———. “Relics of Another Age: Art History, the Decorative Arts and theMuseum.” The Journal of Art Historiography 3 (2010).———. “Religious Sculptures in Chelsea Porcelain.” Ceramics and GlassCircle of Australia, Melbourne, 2010.———. “The Viennese Style.” In Vienna: Art and Design. Klimt, Schiele,Hoffmann, Loos. , edited by Christian Witt-Dörring, WilliamJohnston and Tim Bonyhady, 166-69. Melbourne: National Galleryof Victoria, 2011.———. “Wiener Werkstätte Gitterwerk.” In Vienna: Art and Design. Klimt,Schiele, Hoffmann, Loos. , edited by Christian Witt-Dörring, WilliamJohnston and Tim Bonyhady, 172-75. Melbourne`: National Gallery ofVictoria, 2011.Martin, Matthew, and Sophie Matthiesson. “Images of the ChristChild.” National Gallery of Victoria, Melbourne, 2010.Matthiesson, Sophie. “Anton Sminck Pitloo’s Castellamare 1830-1837.” In Eugene Von Guérard: Nature Revealed. Melbourne: NationalGallery of Victoria, 2011.———. “Gustave Moreau and the Exotic.” In Gustave Moreau and theEternal Feminine. Melbourne: NGV 2010.———. “Rome and the Nazarene Painters.” (2010).———. “The Turban and the Bride: A Mystery Portrait from BiedermeierTrieste.” Lyceum Club, 2010.———. “Weaving Past into Present: Gustave Moreau and the Lady andthe Unicorn Tapestry Cycle.” In Gustave Moreau and the EternalFeminine Symposium. NGV 2010.

124Scholarly PublIcatIonsand Papers by NGV Staff(cont’d)Matthiesson, Sophie, and John Payne. “A Companion Panel forAntonio Vivarini’s ‘Garden of Love’.” NGV 2011.Pang, Mae Anna. “China’s Foremost Collector: Emperor Qianlong(R.1736-1795).” In Powerful Patrons. Art Gallery of New SouthWales, 2010.———. “In Search of Immortality: Provisions for the Afterlife.” ArtJournal of the National Gallery of Victoria 50 (2011): 98-102, 56.———. “Life, Death & Magic:2000 Years of Southeast Asian AncestralArt.” Art and Australia 48, no. 2 (2010): 358.Polidori, Elisabetta. “From Canton with Love: Historic Investigationand Conservation Treatment of Chinese Export Paintings from thePitti Palace Museum of Florence.” In Contributions to the 6th AICCMBook, Paper & Photographic Materials Symposium, 64-71, 2010.Ryan, Judith. “Desert Mob: “The Power of Unsettling Surprise”.” InDesert Mob 2010. Alice Springs: Araluen Arts Centre, 2010.———. “Imagination and Reality: The Visionary Landscapes of BillyBenn.” In Billy Benn 123-45. Alice Springs: IAD, 2011.———. Living Water: Art of the Far Western Desert Melbourne: NationalGallery of Victoria, 2011.Somerville, Katie. “100 Dresses, Fashioning Fashion, New ZealandFashion Design.” Art and Australia 48, no. 4 (2011).Taylor, Elena. “Kinetic Cubism: Frank Hinder’s Four-in-One-Bird(Moving) and Sydney Modernism.” Art Journal of the National Galleryof Victoria 50 (2011): 54-63.van Wyk, Susan. Deep Water: Photographs 1860-2000. Melbourne:National Gallery of Victoria, 2011.———. “A History of Photography.” National Gallery of Victoria, 2011.———. “International Photography at the NGV.” Monash Gallery ofArt, 2011.———. Luminous Cities: Photographs of the Built Environment.Melbourne: National Gallery of Victoria, 2010.———. “Thomas Struth’s Pergamon Museum.” Art Bulletin of Victoria49 (2010).Vaughan, Gerard. “Buying Antiquities in 18th Century Rome andNaples: Charles Townley as Tourist and Collector.” The JohnstonCollection, Melbourne, 2011.———. “Castle Rock, Cape Schanck 1865.” In Eugene Von Guérard: NatureRevealed, 216-17. Melbourne: National Gallery of Victoria, 2011.———. “The Cult of the Queen Empress: Royal Portraiture in ColonialVictoria.” Art Journal of the National Gallery of Victoria (2011): 29-44.———. “Foreword.” In The Duldig Studio a History, 1. Melbourne: DuldigStudio, 2011.———. “From the Verandah of Purrumbete 1858; Purrumbete fromacross the Lake 1858.” In Eugene Von Guérard: Nature Revealed, 186-87. Melbourne: National Gallery of Victoria, 2011.———. “A Good Place to Start: Radio Inspires a Volume of TranscendentObjects.” Australian Book Review (2011): 47-48.———. “Gustav Klimt Study for the Three Ages of Woman, C.1905.”In Vienna: Art and Design. Klimt, Schiele, Hoffmann, Loos, edited byChristian Witt-Dörring, William Johnston and Tim Bonyhady, 160-61.Melbourne: National Gallery of Victoria, 2011.———. “North-East View from the Northern Top of My Kosciusko 1863.”In Eugene Von Guérard: Nature Revealed, 256-57. Melbourne: NationalGallery of Victoria, 2011.———. “Reflections on Von Guérard, His Patrons and the Art Market.”In Scientific perspectives and the landscapes of Eugene von Guérard,National Gallery of Victoria, Melbourne, 2011.———. “Tea Trees near Cape Schanck, Victoria 1865.” In Eugene VonGuérard: Nature Revealed, 218-19. Melbourne: National Gallery ofVictoria, 2011.Whitfield, Danielle. “Decorated Man: Extravagance and Display.” InManstyle / Men + Fashion, 53-67: NGV, 2011.Wilson, Louise. “An Overview of Art Paper Supply in Melbourne from1940-1990.” In Contributions to the 6th AICCM book, paper andphotographic materials symposium. Melbourne, 2010.

125

126 DIsclosureIndexThe Annual Report of the Council of Trustees of the National Gallery of Victoria is prepared in accordance with all relevant Victorian legislation.This index has been prepared to facilitate identification of the NGV’s compliance with statutory disclosure requirements.Requirement Legislation Page RefMINISTERIAL DIRECTIONS: REPORT OF OPERATIONSCharter and purposeManner of establishment and the relevant Ministers FRD 22 40Objectives, functions, powers and duties FRD 22 16Nature and range of services provided FRD 22 4, 16Management and structureOrganisational structure FRD 22 42Financial and Other InformationWorkforce data / application of employment and conduct FRD 22 85Summary of the financial results of the year FRD 22 46, 47Significant changes in financial position during the year FRD 22 46, 47Operational and budgetary objectives and performance against objectives FRD 22 46, 47Major changes or factors affecting performance FRD 22 46, 47Subsequent events FRD 22 82Application and operation of Freedom of Information Act 1982 FRD 22 96Compliance with building and maintenance provisions of Building Act 1993 FRD 22 99Statement on National Competition Policy FRD 22 99Application and operation of the Whistleblowers Protection Act 2001 FRD 22 100Details of consultancies over $100,000 FRD 22 99Details of consultancies under $100,000 FRD 22 99Disclosure of major contracts FRD 12 73, 99Statement of availability of other information FRD 22 101Occupational health and safety FRD 22 100Disclosure index FRD 10 126Victorian Industry Participation Policy disclosures FRD 25 101Environmental Performance FRD 24B 97, 98Attestation on Compliance with Risk Management Standard SD 4.5.5 101Financial statements required under Part 7 of the Financial Management Act 1994 FRD 24BCompliance with Australian accounting standards and other authoritative pronouncements SD 4.2 (c) 57Compliance with Ministerial Directions SD 4.2 (c) –Rounding of amounts SD 4.2 (d) 61Accountable officer’s declaration SD 4.2 (c) 52Statement of financial performance SD 4.2 (b) 53Statement of financial position SD 4.2 (b) 54Statement of cash flows during the year SD 4.2 (b) 56Other disclosures in notes to the financial statementsDisclosure of ex-gratia payments FRD 11 –Disclosure of parliamentary appropriations FRD 13 63Responsible person and executive officer disclosures FRD 21 81Superannuation liabilities and disclosure FRD 23 72LegislationPage RefFreedom of Information Act 1982 96Building Act 1983 99Whistleblowers Protection Act 100Victorian Industry Participation Policy Act 2003 101Information Privacy Act 2000 99Multicultural Victoria Act 2004 92Disability Act 2006 96