AGNSW_AnnRep_01 full - Parliament of NSW
Transcription
AGNSW_AnnRep_01 full - Parliament of NSW
ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2001 1 ART GALLERY OF NEW SOUTH WALES HIGHLIGHTS TABLE OF CONTENTS PRESIDENT’S REPORT 2 DIRECTOR’S REPORT 4 YEAR IN REVIEW 8 AIMS/OBJECTIVES/PERFORMANCE INDICATORS 26 CORPORATE GOVERNANCE 32 LIFE GOVERNORS 34 SENIOR MANAGEMENT PROFILE 34 ORGANISATION CHART 36 FINANCIAL STATEMENTS 41 APPENDICES 62 INDEX 92 GENERAL INFORMATION 93 Bob Carr MP Premier, Minister for the Arts, and Minister for Citizenship Level 40 Governor Macquarie Tower 1 Farrer Place SYDNEY NSW 2000 1 2 NEW ATTENDANCE RECORD SET FOR THE POPULAR ARCHIBALD, WYNNE AND SULMAN PRIZES, WHICH HAD MORE THAN 98,000 VISITORS. 3 DEDICATION OF THE MARGARET OLLEY TWENTIETH CENTURY EUROPEAN GALLERIES IN RECOGNITION OF HER CONTINUING AND SUBSTANTIAL ROLE AS A GALLERY BENEFACTOR. 4 COLLECTION ACQUISITIONS AMOUNTED TO $7.8 MILLION WITH 946 PURCHASED AND GIFTED WORKS ACCESSIONED INTO THE PERMANENT COLLECTION.TOTAL ACQUISITIONS HAVE GROWN BY MORE THAN $83.4 MILLION IN THE PAST 10 YEARS. 5 MORE THAN 1.04 MILLION VISITORS TO OVER 40 TEMPORARY, TOURING AND PERMANENT COLLECTION EXHIBITIONS STAGED IN SYDNEY, REGIONAL NSW AND INTERSTATE. 6 COMMENCED A THREE-YEAR, $2.3 MILLION, NSW GOVERNMENT FUNDED PROGRAMME TO DIGITISE IMAGES OF ALL WORKS IN THE GALLERY’S PERMANENT COLLECTION. 7 DEVELOPED GALLERY WEBSITE TO ALLOW ONLINE USERS ACCESS TO DATABASE INFORMATION ON THE GALLERY’S COLLECTION, INCLUDING AVAILABLE IMAGES AND SPECIALIST RESEARCH LIBRARY CATALOGUE. 8 CREATED A MAJOR NEW FAMILY PROGRAMME, FUNDAYS AT THE GALLERY, IN PARTNERSHIP WITH A FIVE-YEAR SPONSORSHIP FROM THE SUNDAY TELEGRAPH. 9 VISASIA, THE INSTITUTE OF ASIAN CULTURE AND VISUAL ARTS, LAUNCHED BY FORMER PRIME MINISTER HON. PAUL KEATING, AND ITS BUSINESS COUNCIL ESTABLISHED. 10 IN CONJUNCTION WITH THE EXHIBITION PAPUNYA TULA: GENESIS AND GENIUS, THE GALLERY HOSTED A SOTHEBY’S AUCTION OF ABORIGINAL AND TORRES STRAIT ISLANDER ART AND RAISED $1 MILLION FOR THE WESTERN DESERT DIALYSIS APPEAL. Dear Premier, In accordance with the requirements of the Annual Report (Statutory Bodies) Act 1984, we have pleasure in submitting to you the Annual Report for the Art Gallery of New South Wales for the year ended 30th June, 2001, for presentation to Parliament. The annual report of the Gallery, in our opinion, has been prepared in full compliance with the requirements of the Annual Reports (Statutory Bodies) Act and the Annual Reports (Statutory Bodies) Regulations. Yours sincerely, Top: Paul Newton Roy and H.G. (John Doyle and Greig Pickhaver) People’s choice Award 2001 Archibald Prize © Paul Newton Middle: David Gonski, President Art Gallery Trust, Edmund Capon, Director and artist Margaret Olley Bottom: Fundays at the Gallery launch featuring Monica Trapaga David Gonski President 2 Edmund Capon Director Cover: Tjuntupulnga 2000 (detail) Bobby West Tjupurrula, Kenny Williams Tjampitjinpa, Charlie Tjapangati, Warlimpirrnga Tjapaltjarri sand and wamulu, 3.6 x 4 metres © Aboriginal Artists Agency Ltd TWO NEW MAJOR AGNSW PUBLICATIONS, AUSTRALIAN ART IN THE ART GALLERY OF NEW SOUTH WALES AND PAPUNYA TULA: GENESIS AND GENIUS. PRESIDENT’S FOREWORD A year of outstanding artistic achievements by the Art Gallery of New South Wales has been consolidated by major steps towards extending and upgrading the building as a means of offering even greater opportunities to the public for enjoying art and activities connected with it. The first project to be undertaken by the Centenary Fund has been under construction in the year under review and will open before the end of 2001. This is the 100-seat auditorium, which is located directly below the Gallery Shop and beside the main gallery for temporary exhibitions. The new auditorium will provide a first-class venue for the Art Gallery to undertake its role as a centre for discussion and education. This would not have been possible without the generosity of the Centenary Fund patrons and we thank them most sincerely. After a delay while funding was confirmed, the new Asian gallery project is moving ahead. Designs have been prepared for the additional gallery above and connected to the present Asian area, for the extension of conservation studio and display space for contemporary art gallery, the relocation of the restaurant and café with a new functions area. The budget for this project has increased by over $1 million to a new total of $16 million Clearly, as we go into the rebuilding phase, the Trustees understand that is going to be difficult for everybody – those who work at the Art Gallery and our visitors. We know that all at the Art Gallery will do their utmost to minimise disruptions and we are sure that the reward is undoubtedly going to be enormous. During the year, we have received encouraging support from the NSW Government with numerous visits from the Premier, Bob Carr, and also the Treasurer, Michael Egan. We thank them for their interest and assistance in our activities. 2 Roger Wilkins, the newly appointed Director General of the Ministry for the Arts, has also visited us on numerous occasions. We welcome him and thank him for the help he has already given us. We also acknowledge with thanks the assistance we received over many years from Roger’s predecessor, Evan Williams. The Art Gallery has, as in previous years, received enormous assistance from so many people. These include the members of the President’s Council, the Art Gallery Foundation, the Art Gallery Society and their excellent voluntary guides. Without the involvement and commitment of these groups and their members, the Art Gallery would not be the place it is today. I take this opportunity of thanking all Trustees and welcome, as a new Trustee, the well-known and respected Australian artist Imants Tillers. Particular thanks to Mary Turner, who left the Trust this year. Her assistance, especially on regional matters, is much appreciated. ASIAN GALLERY AND ASSOCIATED WORKS Asian gallery Restaurant & café (below) Temporary exhibition gallery Conservation New Asian gallery and associated works by Johnson, Pilton, Walker. Colour highlights show planned new works zones. Above all, I thank the Director and staff of the Art Gallery. Their commitment and expertise are the keys to the vibrancy and relevance of the Art Gallery, its exhibitions and its many related activities. David Gonski President Art Gallery of New South Wales 3 DIRECTOR’S REPORT This reporting year has included many highlights including the Art Gallery’s participation in the 2000 Sydney Olympics Arts Festival with two fantastic Australian and Aboriginal art shows plus the Dead Sea Scrolls presented in Australia for the very first time. The first show being the Australian Icons exhibition featuring 20 key Australian artists and their works all sourced from our permanent Collection – this free exhibition was extended for an additional two months due to it popularity with the visiting public. It’s curator Barry Pearce was also responsible for the Australia Art in the Art Gallery of New South Wales book published this year. The second exhibition was the major temporary exhibition Papunya Tula: Genesis and Genius, curated by Hetti Perkins, which for the first time traced the phenomena of the Papunya Tula art movement out of the small remote community of the same name in the Northern Territory. The other major publication this year was this exhibition’s catalogue featuring more than 150 paintings. This book was awarded the Art Exhibitions Australia Inaugural Award for best catalogue issued through the Art Association of Australia and New Zealand. In additional, the continuing support of two of our most generous benefactors have added two major works to the Collection. A very beautiful painting by the French artist, Pierre Bonnard Bust in profile, red background c.1920 was purchased with funds provided by the Art Gallery of New South Wales Foundation and the Margaret Hannah Olley Art Trust and an exceptionally rare Khmer bronze, Hevajra mandala, from the Bayon period (12th/13th century) was purchased with funds provided by the Edward and Goldie Sternberg Southeast Asian Art Purchase Fund with a special extra contribution provided by Mrs Goldie Sternberg. The Khmer bronze, Hevajra mandala, is the most important work from ancient Cambodia to enter the collection. It is a 4 three-dimensional mandala, or cosmic diagram, of Hevajra. The base is in the shape of an eight-petalled lotus with Hevajra in the centre, originally surrounded by seven dakini or yogini, minor female divinities in Tantric Buddhism, and one erect figure. Typically this Hevajra figure has sixteen arms fanned out like wings and eight heads arranged on three levels in the order of three, four and one head at the top. The hands each hold the correct attributes as ascribed to Hevajra by the Tantric texts. Hevajra’s dance posture symbolises the dynamics of the process of enlightenment, which includes trampling underfoot the four chief evils, personified here by a four headed prostrate figure. The deity Hevajra is the chief deity of the Tantric Buddhist path to enlightenment. The cult of Hevajra flourished in Cambodia between the tenth and thirteenth centuries, only to disappear with the collapse of the Angkor Empire. In 1972, the Art Gallery purchased Self Portrait c.1940 by Pierre Bonnard. This painting is one of the most important paintings in the Art Gallery’s Modern European Collection and has been extensively exhibited and reproduced. Bust in profile, red background, c. 1920 is an fine complement to the Self Portrait as it is an example of the artist’s most recurrent theme depicting candid images of his wife, Marthe, having a bath or in an unposed naked state. These uncontrived poses, lying down, reaching for something, looking in the mirror, etc. give these painting a sensuous voyeuristic feel as if the subject was unaware of the artist’s adoring scrutiny. This painting is essentially a study in form and colour – on one side the distinctive profile of Marthe is silhouetted against an almost abstract background of red and yellow while the illusion of depth is created by the receding sofa on the right hand side. Hevajra mandala 12th – 13th century bronze 39 x 23.5 cm Edward and Goldie Sterberg Southeast Asian Art Purchase Fund 2001 Launch of VisAsia, May 2001 – John Yu, Art Gallery Trustee and Chairperson of VisAsia, Hon. Bob Debus, Minister Assisting the Premier on the Arts, Former Prime Minister Hon. Paul Keating and Kenson Kwok, Director Asian Civilisation Museum, Singapore. Margaret Olley also donated two major etchings to the Art Gallery; After Chardin 2000 by Lucian Freud and Still life with five objects 1956 by Giorgio Morandi. The Morandi print is the second etching by this artist to be donated by Margaret Olley following her 1999 gift of Still life 1933. The major painting by Morandi, Still life 1957 was purchased in 1997 with the assistance of funds provided by the Margaret Hannah Olley Art Trust. On 30 May, 2001, at a special function, these and other examples of Margaret Olley’s extraordinary generosity were recognised by the renaming of the 20th century European galleries on level 2, which is now called the Margaret Olley Twentieth Century European Galleries. A new initiative, VisAsia was launched this year by the Hon. Paul Keating, with major support from the Ipoh Corporation and other corporate donors. The objective of the venture is to further the awareness and appreciation for Asian art and culture, nationally and regionally. VisAsia seeks to establish a network of special interest groups, regional galleries and museum, educational institutions and corporations with a specific interest in the Asian region. A website www.visasia.com.au was established providing global access to the information on exhibitions, lecture courses and other activities from around the region. We have already commenced an education program through a series of lectures courses and in due course we hope to provide scholarships for research, sponsorship of exhibitions, publication of catalogues, brochures, videos etc. all of which are intended to promote the understanding and appreciation of Asian art and culture. Margaret McLenaghan and artist Margaret Olley will double the permanent exhibition space for Asian art as well as provide space for temporary Asian exhibitions. This year we have been busy building the new Centenary Fund Auditorium underneath the bookshop which is due to open in November 2001. As always, my gratitute extends to all the staff and volunteers for their continuing effort and support. This year I would like to express a particular gratitude to Margaret McLenaghan who will be retiring from the Art Gallery in September 2001. Margaret started working in the Public Sector in 1978 and for the past 21 years has been my extremely efficient personal assistant. She will be greatly missed by us all and we wish her great happiness in her retirement. Finally, I would like to thank David Gonski and the other members of the Board of Trustees for their continuing support and to express our gratitude to the generosity and effort of the Art Gallery Foundation and its board of Trustees, The President’s Council, The Centenary Fund and the Art Gallery Society and its Council. Pierre Bonnard Bust in profile, red background (study) c.1920 oil on canvas 46 x 52 cm Purchased with funds provided by the Art Gallery of New South Wales Foundation and the Margaret Hannah Olley Trust 2000 The launch of VisAsia is also a prelude to our building of a new Asian Gallery due to commence in early 2002, which 6 7 YEAR IN REVIEW Some outstanding acquisitions this year have boosted the primary objective of the Art Gallery of New South Wales: developing the collections. New additions range from three important paintings by Sidney Nolan, two 1933 paintings by Ian Fairweather, Pierre Bonnard’s Buste de profil, fond rouge c.1920, to a rare Cambodian Khmer bronze figure of Hevajra with attendant deities. Gifts of art works and donations from individuals, as well as money raised by the Art Gallery Society and the Art Gallery Foundation, have assisted in expanding the collections. Without this help, it would not have been possible to make acquisitions at this level. The value of our art holdings increased this year by $7.78 million with 275 purchased and 671 gifted works being accessioned into the permanent Collections. The value of the Collection has increased by more than $83.35 million in the past ten years. COLLECTIONS AUSTRALIAN ART Three superb Sidney Nolan paintings make a significant addition to what is already a relatively strong holding of this artist’s work. They take another step to representing Nolan at his very best, and add to the themes of his prolific output. Colonial head and Fraser Island, both from 1947, and the nostalgic European landscape Boat 1959, were bought with funds from the Art Gallery Society. Until two 1933 paintings of Chinese subjects by Ian Fairweather came into the collection, this artist’s work was not well represented in that area. Chinese mountain and West Lake, Hangchow were painted the year before Fairweather arrived in Melbourne, where the artists he got to know included Lina Bryans, in whose memory one of these works was donated. 8 Ian Fairweather Chinese Mountain 1933 oil and gouache on cardboard 48.7 x 59 cm Purchased 2001 Such is Margaret Olley’s generosity that she is probably better represented in the Art Gallery as a benefactor than an artist. Purchase of a 1948 painting Still life in green goes some way towards amending that situation – and it is particularly important in that her early paintings are rare because so many were destroyed in a fire at her mother’s house. Seven watercolours by the Australian Impressionist John Peter Russell, who live on Belle-Ile and painted with Monet, form a varied group in approach and subject matter. They were purchased from a private collection in France, and were originally owned by the artist’s daughter. Three artists books and 140 drawings for almost all the paintings made by James Gleeson since 1983 - the most significant and consistent period of his work to date - have been given by the artist. Adding to his work already held by the Art Gallery, they make the most important collection of Gleeson’s drawings in Australia. It includes more than 100 early drawings given in 1993 by Frank O’Keefe and bound this year into an album with funds from the Sir William Dobell Foundation through the Friends of Conservation. Rosemary Madigan, arguably Australia’s most significant figurative carver, has had her representation at the Art Gallery extended through the purchase of Mnemosyne 1976, with funds from the David George Wilson Bequest. Other highlights acquired in the past year include work by the South Australian artist Horace Trenerry, sculptor Rayner Hoff, Charles Blackman and Shay Docking. Ian Fairweather West Lake, Hangchow 1933 oil and gouache on paper on canvas on cardboard 47.5 x 55 cm Gift of Edward Bryans 2001 Far right: Owen Yalandja Yawk Yawk 1999 natural pigments on Kurrajong 261.5 x 12.2 x 8.5 cm Mollie Gowing Aquisition Fund for Contemporary Aboriginal Art 2000 © Owen Yalandja Right: Owen Yalandja Yawk Yawk 1999 natural pigments on Kurrajong 22.7 x 9.8 x 8.4 cm Mollie Gowing Aquisition Fund for Contemporary Aboriginal Art 2000 © Owen Yalandja Left: John Mawurndjul Mardayin Ceremony 2000 natural pigments on eucalyptus bark 170 x 78cm Don Mitchell Bequest Fund 2000 © John Mawurndjul ABORIGINAL AND TORRES STRAIT ISLANDER ART Realisation of the exhibition Papunya Tula: Genesis and Genius provided the opportunity to acquire significant recent paintings by artists who have painted for Papunya Tula Artists over the past 30 years. The Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art purchased a significant body of this work, including major paintings by Turkey Tolson Tjupurrula, Timmy Payungka Tjapangati, Naata Nungarruyi, Walangkura Napanangka and Makinti Napanangka. This Fund also bought two carved and painted figures of Yawk Yawks by Owen Yalandja from Maningrida in central Arnhem Land. Paintings were acquired from Ikuntji (Haasts Bluff) artists Mitjili Naparrula, Long Tom Tjapanangka and Narputta Nangala, and an etching by Alice Nampitjinpa. Other acquisitions include a series of etchings by Walayirti artists Lucy Yukenbarrie, Eubena Nampitjin and Helicopter Tjungurrayi as well as two important paintings based on Kimberley massacres from Jirrawun artists Dirrji (Rusty Peters) and the late Kamaliny Palmentarri (Timmy Timms). A major painting, Mardayin ceremony 2000, by John Mawurndjul from Maningrida was purchased by the Don Mitchell Bequest Fund, which also bought two paintings by Kutuwalumi Purawarrumpatu (Kitty Kantilla) from Melville Island. 10 Dragon ewer, mid 15th century porcelain, moulded with underglaze blue and white decoration 22.3 x 17 x 7.8cm Purchased 2000 Insignia badge for the wife of a 6th rank official, 1736-1795 embroidery, 23.6 x 23.6cm Gift of Judith Rutherford 2001 The first painting by Ningura Naparula to join the collection, Untitled (Wirrulnga) 2000, is a tour de force depicting designs associated with the rockhole site of Wirrulnga, east of the Kiwirrkura community in the Northern Territory. It is the second large painting done by one of the Pintupi women to date. WESTERN/EUROPEAN ART Pierre Bonnard’s Self portrait c. 1940, purchased by the Art Gallery in 1972, was complemented this year by the acquisition of a portrait of his wife Marthe, Buste de profil, fond rouge c. 1920. It is essentially a study in form and colour, and is already proving very popular with the public. George Tjungurrayi is one of the senior Papunya Tula artists and his painting Untitled 2000 is considered a definitive work in terms of its scale. Featuring designs associated with the travels of Tingari men and women across the country, it is typical of this artist whose bold linear compositions evoke sand hills and the marks made on them by the wind. Auguste Rodin’s Burghers of Calais were cast in a limited edition of 12 by the Musee Rodin in 1972 from the original modelling of 1885. Number five of this edition, plus several other Rodin limited edition bronze casts have been given to the Art Gallery. WESTERN / AUSTRALIAN CONTEMPORARY ART Key acquisitions of Australian art included Simryn Gill’s Roadkill 2000, which is made up of small objects found squashed on the roads of various cities and fitted with tiny wheels. They are placed on the floor in a compelling configuration, all heading like lemmings in the same direction towards an unspecified direction. Roadkill embodies the interweaving of humour and politics in her practice. ASIAN ART A Khmer bronze Hevajra mandala of the Bayon period (12th/13th Century) is a rare piece of outstanding quality. Surrounded by six dancing dakinis and one erect figure offering lotus buds, this Hegajra figure has 16 arms fanned out like wings and eight heads arranged on three levels in the order of three, four and one head on top. The acquisition was significantly assisted by the Edward and Goldie Sternberg Southeast Asian Art Purchase Fund. Other highlights in Asian art acquisitions for the year include a dragon ewer from Vietnam; a massive pottery horse from China, dating from the Han dynasty, 1st-2nd Century CE; a colour woodcut, Three lights 1998, by Hasegawa Yuichi; and a Qing dynasty embroidery insignia badge for the wife of a 6th rank Chinese military official. WESTERN/INTERNATIONAL CONTEMPORARY ART British artists Gilbert and George, who have performed their art at the Art Gallery, are now represented in a permanent form by the 30-panel, ink transfer on paper Reaming 1982. Its purchase was funded by the Art Gallery Society. Stephen Willats, another British artist, pioneered the concept of making portraits of people and communities by assembling objects of significance to them and collecting their thoughts on their context. Pat Purdy and the glue sniffers camp 1981, set in a West London housing estate, is considered a seminal work in his development. Two etchings by Lucian Freud enable the Art Gallery to represent this major British artist, whose paintings sell at such high prices that they are out of reach. The etchings are Self portrait: Reflection 1996 and Head of an Irishman 1999. John Young’s Hermit painting #3 is a superb example of his recent work, combining painted copies of found images of nudes with a digital scan of a Chinese landscape painting. It encapsulates the dialectic in his practice between his Hong Kong born Chinese background and experiences growing up in Australia. Geoff Kleem’s 35º 09’ 53” S - 150º 34’ 35” E 2000 and 33º 36’ 52” S - 150º 16’ 05’ E are photographic sculptures with titles derived from the global positioning system. Kleems’ work is distinguished by its ambiguous conceptual nature and references to American minimalism, and these works are significant additions to the Art Gallery’s Collection of works in this style. Mike Parr’s 26 Untitled self-portraits plus portraits of F & C 1981-1996 and 12 Untitled portraits of G 1998-1999 add greatly to the Art Gallery’s breadth and depth of Parr’s drawing work and his self-portrait project. Parr later gave video and photographic work relating to his performances from the early 1970s to now, making the Art Gallery the key repository of his performance works. 11 László Moholy-Nagy An outline of the universe 1930 gelatin silver photograph, vintage 23.9 x 18.2 cm Purchased with funds provided by the Photography Collection Benefactors’ Program 2001 Ken Unsworth gave his 1976 sculpture Propped stone piece, and further Australian acquisitions – all made this year with funds raised by the Contemporary Collection Benefactors – included Department One: The Drawing Room 1993-94 by Aleks Danko, Helga Groves’ Flood 1999 and Peter Callas’ Fish Market, Manaus 1999. PHOTOGRAPHY Australian photographer Tracey Moffatt, now based in New York, has been praised for the breakthrough in content and technique with her Invocations 2000, a series of 13 photo silkscreens printed in an edition of 60 by Gene Licht. Two of these have been bought for the Art Gallery. Well 1986, a cibachrome photograph by Berlin-based Australian Simone Mangos who is also known for her installations, makes a handsome addition to the collection. It was given by Alan Matthews. Gilbert and George Reaming 1982 photo-piece: ink transfer on paper (30 panels) 302 x 302 cm Purchased with funds provided by the Art Gallery Society of New South Wales 2000 © Gilbert and George Sidney Nolan Fraser Island 1947 Synthetic polyer paint on hardboard 76 x 104 cm Purchased with funds provided by the Art Gallery Society of New South Wales 2001 © Lady Nolan Ignacy Witkiewicz - and a contemporary photograph by Adam Fuss from the series My Ghost 2000. ARCHIVE The Art Gallery’s Archive was greatly enriched this year with the donation by the research library’s principal patron, Patrick Corrigan, of more than 400 original drawings and prints for bookplates and Christmas cards by Australian artists including Margaret Preston, Lloyd Rees, Roy de Maistre and Francis Lymburner. The Goethe Institute in Sydney donated 300 monographs and 45 videos on German art and photography of the 19th and 20th Centuries. Baroness Brigitte von Wietersheim gave a fine collection of about 3,000 20th century monographs and other works on German, Dutch and Italian medieval and Renaissance artists. EXHIBITION A gelatin silver photograph by László Moholy-Nagy, An outline of the universe 1930, reflects the utopian vision amongst the European avant garde of the era in which artists would create a “visual order expressive of a new world” where education for the masses would be guaranteed. It was a strong and varied year for exhibitions at the Art Gallery of New South Wales, with more than 1.26 million visitors attracted to over 40 temporary, touring and permanent collection exhibitions staged in Sydney, regional New South Wales and interstate. Purchase of this photograph was funded by the Photography Collection Benefactors Program, as were two other vintage European photographs – Portrait of Grit Kallin, Bauhaus Dessau 1928 by Irene Bayer and Fright 1931 by Stanislaw While Sydney was overflowing with visitors for the 2000 Olympic Games, the Art Gallery was showing two major exhibitions of Australian work: Aboriginal paintings from Papunya Tula and Australian Icons, comprising 19th and 12 Sidney Nolan Boat 1959 Polyvinyl acetate on hardboard 122.5 x 154 cm Purchased with funds provided by the Art Gallery Society of New South Wales 2001 © Lady Nolan Australian Galleries including Tom Roberts Bailed up Australian Icons 4th August 2000 to 31st January 2001 20th century works from the collection. There was also a photographic exhibition spanning 125 years, My City of Sydney. World Without End, the photographic tour de force, was the main event over the summer holiday period and Renoir to Picasso: Masterpieces from the Musee de l’Orangerie – opening a month before the end of the year under review - was showing the promise of continuing to attract large audiences. AUSTRALIAN ART The highlight of the year was Australian Icons: Twenty artists from the Collection. It was timed to coincide with the Olympic Games in Sydney and generously sponsored by ABN AMRO Rothschild, whose support included conservation and restoration of these important works from the collection. Barry Pearce, Head Curator of Australian Art put together more than 300 paintings, sculptures and works on paper presented a powerful panorama of Australian art. From Roberts and Streeton, representing that inspiring moment of national identity first achieved by the Heidelberg school, this exhibition of work by 20 artists went through to major figures of the late 20th century such as John Olsen, Fred Williams and Brett Whiteley. This exciting and refreshing presentation of selected strengths of the collection was free and drew large crowds, resulting in its extension to the end of the calendar year and plans for a companion show. ABN AMRO Rothschild has generously agreed to sponsor a second exhibition in this series for early 2002 which will be entitled Parallel Visions. 14 Between these two major projects, a rehanging in the Dorothy Street Galleries of Twentieth Century Art for a year from February 2001 has taken the opposite direction to the monographic basis of Australian Icons. Entitled Decades, it is structured on a chronological sequence of spaces containing works executed within a decade – 1910-1920, 1920-1930 and so on through to 1970. In addition, for six weeks around the month of May 2001, works from 1970-2000 were exhibited in the ground level project space, enabling the public to see a range of Australian artistic practice to the end of the millennium. The Australian Collection Focus series of exhibitions sponsored by ABN AMRO Rothschild continued to give a high profile to works in the Art Gallery’s Collection. It remains extremely popular – all brochures are sold out – and received wide and positive critical review. Highlights this year included Colin Lanceley’s The dry salvages 1964 and Gemini 1964, John Glover’s Natives on the Ouse River, Van Dieman’s Land 1838 and Russell Drysdale’s Sunday Evening 1941. The Archibald Prize remains the Art Gallery’s great annual crowd-pleaser, attracting a wide range of people not only to see its finalist entries but also those of its companion events, the Wynne, Sulman and Dobell Drawing Prize. The Wynne and Sulman Prizes were sponsored by the Colonial Foundation Charitable Trust. The Dobell Drawing Prize, which was judged by Margaret Olley, and was sponsored by the Sir William Dobell Foundation. Nicholas Harding Portrait of John Bell as King Lear 2001 © Nicholas Harding Winner 2001 Archibald prize Archibald, Wynne and Sulman Prizes 17th March to 15th May, 2001 Head with gold leaf Late Shang (c. 1200-11BCE) Bronze height 42.5cm, width 19.6 cm, weight 2550 g Excavated from Sanxingdui Pit II Sanxingdui: Masks of Mystery 21st December, 2001 to 18th March, 2001 This year the Archibald Prize broke records. It set a new attendance record with 98,000 visitors, and achieved a record level of media coverage nationally on TV and radio, with front page news stories in major newspapers including The Age and The Canberra Times, as well as international attention in Asia and New Zealand. The 2001 Archibald Prize was won by Nicholas Harding for his portrait of John Bell as King Lear. The People’s Choice went to Paul Newton’s Roy and H.G. (John Doyle and Greig Pickhaver). of Papunya, about 250 kilometres west of Alice Springs. They showed why this extraordinary art movement has placed Aboriginal art – some would say Australian art – firmly in the international arena. Artexpress, the annual free exhibition of outstanding works created for the HSC was again extremely popular, attracting more than 100,000 visitors, including 13,030 booked students. It was presented in association with Papunya Tula Artists Pty Ltd, and after it closed an auction of more than 20 donated paintings and four commissioned collaborative canvases were auctioned, raising $1 million for the Western Desert Dialysis Appeal. A series of exhibitions mounted at the Brett Whiteley Studio, organised with help from Wendy Whiteley, included the Brett Whiteley Travelling Art Scholarship, Brett Whiteley Graphics and Affinities: Brett Whiteley and Lloyd Rees. The paintings in this exhibition were drawn from major public collections – many from the Art Gallery’s own Collection – as well as private collections in Australia, Canada, England, Germany, Holland and the USA. Title Deeds: Works from the Aboriginal and Torres Strait Islander Collection was also on display during the Olympic Arts Festival. It was followed by Ochre: bark paintings from the Collection, and then an exhibition of recently acquired paintings. ABORIGINAL AND TORRES STRAIT ISLANDER ART Papunya Tula: Genesis and Genius was the first major exhibition of Aboriginal art, curated by Hetti Perkins, Senior Curator of Aboriginal Art, to trace the phenomena of the Papunya Tula movement from the early 1970s to the present. The exhibition was part of the Art Gallery’s contribution to the Sydney 2000 Olympic Arts Festival. ASIAN ART Sanxingdui: Masks of Mystery brought to Australia for the first time a remarkable exhibition of bronze masks from the sacrificial pits of the ancient Shu kingdom in southwest China, dating from the Bronze Age more than 3000 years ago. They were found accidentally in 1986 by workers digging for earth to make bricks. Some 150 paintings charted the development of the Western Desert art movement which originated in the small community Buried with about 1000 objects in bronze, gold, jade and pottery under a layer of elephant tusks and charred bones, 15 Above: ONCHI Kôshirô A face 1914 colour woodcut 14.7 x 11.1 cm Yasuko Myer Bequest Fund 2000 © ONCHI Kôshirô Hanga: Japanese Creative Prints 28th October, 2000 to 7th February, 2001 Right top: Lalit ragini c.1640 Central India Private collection Indian Paintings 6th April to 11th June, 2001 Opposite: Masterpieces of Victorian Art from John and Julie Schaeffer Collection including sculptures by Frederick, Lord Leighton 12th October, 2000 to 24th June, 2001 there were more than 100 bronze human and semi-human images with large, dramatic eyes, strongly curled nostrils and tight-lipped mouths. Other characteristics were curiously long pupils bulging from their eyes and faces covered with gold leaf. Indian Painting curated by Haema Sivanesan, Assistant Curator, Asian Art featured more than 80 works from the Art Gallery’s growing collection of Indian art, as well as from private collections. Spanning four centuries to the present, this exhibition provided a survey of the diverse, aesthetically rich tradition of painting in India, reflecting the wide range of influence that continues to shape it. Heroes and Villains from Japan’s Floating World curated by Chiaki Ajioka, Curator of Japanese Art presented characters immortalised in Japanese literature, poetry and folklore in paintings, prints and objects. They ranged from 12th Century samurai to popular kabuki actors and sumo wrestlers of the Edo period (1615-1867) when the hedonistic “floating world” flourished. Hanga: Japanese Creative Prints also curated by Chiaki Ajioka, investigated the theme of Western inspiration in the arts of Japan, raising the notion of individuality in a culture known for its conformity. Five decades were represented by a panorama of prints, many of which came from the Art Gallery’s Collection. Much time during the year under review has been spent by Jackie Menizes, Head Curator of Asian art and her team, preparing Buddha: Radiant Awakening, which will run from 10 November 2001 to 24 February 2002. This is an enormous undertaking by the Art Gallery, which is not only bringing images of Buddha from many countries for a major and exclusive exhibition, but is also planning a wide range of public program that, even before it opens, has generating exceptional interest and involvement from local Buddhist community groups. The exhibition will be presented by VisAsia. WESTERN/EUROPEAN ART Renoir to Picasso: Masterpieces from the Musee de l’Orangerie, Paris organised by Terence Maloon, Curator Exhibitions showcased 81 paintings by some of the greatest names in modern French art, including Renoir, Cezanne, Matisse, Monet, Modigliani, Derain, de Chirico, Utrillo, Soutine and Picasso. They came from a legendary collection founded by the Parisian art dealer Paul Guillaume over two decades from 1913 until his death in 1934 at 42. His widow, Domenica, bequeathed the collection to the Musee de l’Orangerie in Paris, where renovations enabled its three-State Australian tour. Masterpieces of Victorian Art from the John and Julie Schaeffer Collection marked the inauguration of the gallery which bears the names of these two generous benefactors. Together with the Art Gallery’s most famous works of the period, they made up what was almost certainly the finest representation of British Victorian painting to be seen in the world. 17 Background: Action Men 2000 Christopher Langton Foreground: Car nuggets; they’re good for you 1998 Patricia Piccinini Plastic Life: Patricia Piccinini and Christopher Langton 16th July to 20th August 2000 Two major events scheduled for the next financial year – for which preparations have been made over the year under review – are Belle-Ile, curated by Ursula Prunster, Museum Educator, which will present work by the Australian Impressionist John Peter Russell in context with colleagues Monet and Matisse, and Australasia’s first intensive exploration of work by the celebrated European artist Anselm Kiefer. CONTEMPORARY ART Phenomena: New Painting in Australia is the first of a series of current painting in this country. It shows that the art of painting is still important in the 21st Century despite the diversions of technology and popular fashion. Fourteen artists from around Australia explored the phenomena of the human imagination in diverse styles. Andersen was the Primary Sponsor and the exhibition will also be seen in the Potter Gallery at the University of Melbourne. The contemporary projects series has seven or eight exhibitions a year to profile the most innovative examples of contemporary art practice with new works created by artists such as Aleks Danko, Patricia Piccinini and Christopher Langton, Stephen Birch, Nigel Helyer, David Sequeira and John Meade. It is unique in Australian State Galleries and evidence of the Art Gallery’s commitment to fostering a critical contemporary culture. Being prepared for opening early in the new financial year is Space Odysseys: Sensation and Immersion described by its 18 Rineke Dijkstra Kolobrzeg, Poland, July 26 1992 1992 type C photograph 153.0 x 129.0 courtesy the artist, Amsterdam World Without End: Photography and the 20th Century 1st December, 2000 to 25th February, 2001 curator, Victoria Lynn, as “an all-encompassing aesthetic experience”. PHOTOGRAPHY World Without End: Photography and the 20th Century, curatored by Judy Annear, Senior Curator of Photography, brought together some 200 works by 42 acclaimed Australian and international artists, including Diane Arbus, Max Dupain, Frank Hurley, Man Ray, Tracey Moffatt and Alfred Stieglitz. In addition, more than 80 publications were exhibited to reflect the broad influence of images in the 20th century on the perceptions and sensibilities of the modern world. This was the first major international photographic exhibition to have been curated and organised from Australia. Among the 40 institutional and private lenders to World Without End were the J. Paul Getty Museum, George Eastman House, the National Gallery in Washington, New York’s Metropolitan Museum of Art and the Museum of Modern Art. A wide range of public programs and a substantial catalogue accompanied the exhibition. Its examination of the imaginative hold that photographs have on artist and audience made it a critical success and a major event in the 2001 Sydney Festival. My City of Sydney, on show during the Sydney Olympic Games, introduced viewers to the harbour city through photographs taken over a century, the earliest from as long ago as 1875. Psalm Scroll. Fragment from the Dead Seas Scroll Psalms and Hymns (chapters 101-105), courtesy Israel Antiquities Authority Dead Sea Scrolls Exhibition 14th July to 15th October 2000 SPECIAL OLYMPIC EXHIBITION An exhibition of those enigmatic manuscripts, the Dead Sea Scrolls, was presented for the first time in Australia by the Art Gallery of New South Wales with the Israel Antiquities Authority. A selection of Dead Sea Scroll fragments was displayed within the context of archaeological fragments from the Khirbet Qumran site, including textile, stone, numismatic and leather artefacts. The presentation of this material was designed to illuminate significant issues about the study of these ancient texts, and their relevance for Judaism and Christianity. ARCHIVE The research library and archive held four exhibitions during the year. The first was devoted to the art of Arthur Murch, drawn from his extensive collection of correspondence, notebooks, teaching diagrams and photographs in the Art Gallery’s Archive. A seasonal exhibition was devoted to Christmas cards by Australian artists. An exhibition dedicated to the Sydney Camera Circle showed the work of Sydney photographers document from 1930 to 1940. The Art Gallery’s Collection of artists’ books provided material for the final exhibition, encouraged by art students’ requests about the book as a medium for art. PUBLICATIONS Two major publications were produced this year by the Art Gallery of New South Wales in addition to its customary output. Both are on the art of Australia and they reinforce the Art Gallery’s strong reputation as an art publisher. Australian Art in the Art Gallery of New South Wales records the many great artists represented in the Art Gallery’s permanent collection. They range from John Glover of the colonial era to artists working today such as William Robinson, Colin Lanceley and Aida Tomescu. Through paintings, sculptures and works on paper, it offers a panorama of non-indigenous Australian art in more than 300 pages with 200 colour plates, which are accompanied by extracts of contemporary letters and journals. Head Curator of Australian art, Barry Pearce, conceived and compiled the volume. He also wrote the introduction and several of the 12 essays, all by Art Gallery staff, which reflect the history and character of collecting in the Art Gallery of New South Wales – in turn echoing the life and times of the nation over more than a century. Papunya Tula: Genesis and Genius records in book form the first major exhibition of Aboriginal art tracing the Papunya Tula movement from the early 1970s to the present. This full colour catalogue features more than 150 paintings – reproductions of all works in the exhibition – and 11 essays, including an interview with artist Turkey Tolson Tjupurrula and accounts by people associated with the Papunya Tula movement over the years. It is distributed in the UK and Europe, as well as Australia, by Thames and Hudson. 19 Chinese Dance School of Sydney, Sanxingdui: Masks of Mystery Performance December 2000 Hanga: Japanese Creative Prints embraces five decades of Japanese creativity, with many examples from the Art Gallery’s Collection and new research by the Curator of Japanese art, Chiaki Ajioka. Although Fragrant Space: Chinese Flower and Bird Painting from the Guangdong Provincial Museum exhibition finished at the close of the last financial year, its exhibition catalogue by Art Gallery Curator Liu Yang, with bi-lingual entries, continues to be distributed by Thames and Hudson in Europe, the UK and Australia. Launch of Fundays at the Gallery featuring Monica Trapaga, April 2001. A free programme to explore art through drama, storytelling, music, mine and workshops. Brett Whiteley Graphics 1961-1992 by Hendrik Kolenberg and Affinities: Brett Whiteley and Lloyd Rees by Lou Klepac were also published by the Art Gallery in 2001. Publishing plans for next year include a book on the Art Gallery’s Contemporary art collection, 1968-2002, and an Asian art handbook. All these publications are produced substantially in-house, with design by the Graphics Department. AUDIENCES World Without End: Photography and the 20th Century, the first major international photographic exhibition to be curated and organised from Australia, was the source of a substantial catalogue by the Art Gallery’s Curator Judy Annear. Pre-Raphaelites and Olympians brought together fascinating examples of Victorian art from the John and Julie Schaeffer collection, which are displayed at the Art Gallery alongside paintings from our own Collection and that of the National Gallery of Victoria. Smaller publications include three in the Australian Collection Focus Series. They are Colin Lanceley: The Dry Salvages 196364 and Gemini 1964, written by the artist, Barry Pearce and Deborah Edwards; John Glover: Natives on the Ouse River; and Russell Drysdale: Sunday evening 1941 20 The Art Gallery’s Public Programmes department is seen as a trend-setter amongst Australian art museums for developing existing and new audiences in this specialised field through relevant, stimulating, imaginative and wide-ranging Programmes. In the year under review, overall participation rates at events and programmes were above 200,000, including 83,617 booked students. This means that about one in five visitors to the Art Gallery participated in an education or public programme. Student visitation to major temporary exhibitions over the year remained high at 29,862. The most popular was the Archibald, Wynne and Sulman Prizes exhibition at 12,221, but in the first four weeks only of Renoir to Picasso, 5,534 student visits were recorded. Some of the most successful and innovative programmes during the last 12 months occurred in conjunction with the Olympic Arts Festival. At the time of the Dead Sea Scrolls exhibition, a mutually beneficial professional relationship was forged with ABC TV and Radio National. The Art Gallery’s audience reach was significantly extended through live webcasting of specific programmes, and through ABC marketing and publicity. Broadcaster Dr Rachael Kohn introduced and chaired these events, including an international symposium and a series of dialogue seminars. Another initiative for this exhibition was the Ecumenical Blessing, a unique event of spiritual and cultural significance. It was necessary to repeat many events due to audience demand. temporary exhibitions, and for marketing and educational purposes. The videos also provide important documentation of lectures, performances, art installations, special events and artists’ profiles. Art Gallery videos were seen in regional NSW galleries accompanying touring exhibitions and in NSW schools. They included the 2001 Archibald Prize exhibition, a symposium video for World Without End, the Papunya Tula introductory video and the documentary of the sand-painting at the Art Gallery, the Colin Lanceley Focus Exhibition and Phenomena: New Painting in Australia. During the Papunya Tula exhibition, an international symposium brought together key figures associated with Papunya Tula and Western Desert art: Geoffrey Barden, art teacher at Papunya 1971-72, Professor Fred Miles, Profession and Chair of Anthropology at New York University, Professor Marcia Langton, Chair of Australian Indigenous Studies, University of Melbourne, Dr Vivien Johnson, author and academic, and John Kean producer Australian Studies, Museum of Victoria. The profile of film at the Art Gallery has been significantly raised with curated film programmes covering a diverse range of cinema classics, documentaries, experimental films, animation and shorts. They are screened with major temporary exhibitions and have attracted a new, committed following. Fundays at the Gallery was launched with a five-year sponsorship from The Sunday Telegraph to continue development of the Art Gallery’s children and family programmes. They include Sunday Afternoon for Families and free kids activity booklets for the permanent collections, with the first released this year: The Great Australian Art Hunt. A new education kit for the Australian collection, Aspects of Australian Art includes 16 colour reproductions of key works accompanied by informative text and student activities for years K-12 school groups. Wide-ranging exhibition programmes were developed for Australian Icons, Papunya Tula, Hanga: Japanese Prints, World Without End, Masks of Mystery, the Archibald, Wynne and Sulman Prizes, Denise Green and Renoir to Picasso. Education kits were produced for the six major events and hosted on the Art Gallery’s website. The Audio-Visual department has developed a new capacity to produce professional standard videos for use with Free performances were given of two theatrical pieces produced to complement the Australian collection - By Jingo and Hester 21 – and dance performances with replicas of ancient Chinese bells to go with the Sanxingdui: Masks of Mystery exhibition. As the Art Gallery’s regular formal education courses are conducted on a calendar year basis during the 2000/01 reporting period there were two part years of different Art Appreciation courses held including the diploma lecture series organised in conjunction with the Art Gallery Society; two diploma Contemporary art courses – Conversations with Contemporary Artists, 2000 and Making Connections: Contemporary Art + Everything Else, 2001 and a further two Asian art diploma courses Fifteenth to Twentieth Century 2000 and The Arts of Buddhism 2001. In addition, during this reporting period there was a once-off Australian art lecture series held relating to the Australia Icons Collection presentation. DIGITISATION New equipment for capturing and delivering first class images for all kinds of applications has been installed in space set aside in the sub basement. More than 8,000 images a year can be processed in this facility. The new equipment enables the Art Gallery to scan from transparencies and deliver images electronically or to produce slides, large format transparencies or top quality colour prints in house at a fraction of the cost of laboratory processing – for instance 50 cents for a 35 mm slide from digital format compared with $27 charged commercially. The prime application of digitisation is to replace the film archive of the Art Gallery collection with a permanent digital record. This not only has a longer life than film, it can be exported to the website for access by the public. Audio-visual Services have moved in with Photography Studio Department as a step towards the creation of a media unit that can share digital resources. In April 2001, responsibility for the website was given to the Public Programme department under the newly created position Manager of Information. Improvements by the end of June included more easily accessible listing for all events, and the addition of a mailing list and bulk email facility for alerting interested people to new developments. The entire research library catalogue is on-line – allowing remote access by the public and Art Gallery staff - and almost the entire Collection database, with images available for some works and more to come as the digitisation project proceeds. The Art Gallery’s website achieved number one ranking for Australian art-related sites, according to Hitwise Australia. In the last week of June 2001, the Art Gallery’s share of hits was 12.73%. Plans for next year include E-commerce on the website – purchasing merchandise and booking for events on-line – as well as enhancing the site with video and audio content, and creating a network with other art museum and art-related sites. REGIONAL CONTACT Many works were lent to other institutions for exhibitions around Australia, with particular assistance given this year to Inverell Art Gallery for its Tom Roberts Festival, to Hazelhurst Regional Art Gallery for its Bodyline exhibition – based entirely on Australian figure drawings from the Art Gallery’s Collection – and to Dubbo Regional Gallery for an exhibition on the work of George Lambert mounted in conjunction with celebrations for the Centenary of Federation. 22 Seven portraits by Tom Roberts were lent to the Inverell Art Gallery, highlighting the diversity of his interests in subjects across Australian society and illuminating his distinguished achievement in portraiture. Festival organisers declared the paintings to be integral to the success of the festival, which will continue its impact through a video made of Art Gallery curator Barry Pearce’s lecture which will be shown in local schools and neighbouring Galleries. Inverell Art Society secretary Beth Farrell wrote to Art Gallery Director, Edmund Capon,: “Your undertaking of this loan to our Gallery has confirmed your commitment to establishing ‘regional partnerships’ and we look forward to strengthening this partnership in the future.” More than 50 drawings from the Art Gallery and three from the Brett Whiteley Studio were supplied on loan to Sydney’s newest Regional Gallery, Hazelhurst, which directed its exhibition towards senior secondary students in the Sutherland Shire area to give them the opportunity to study diverse approaches to figure drawing. The George Lambert exhibition, reflecting the regard in which he was held for championing Australian art at the time of Federation, began at the Dubbo Regional Gallery in May 2001, and will tour for more than a year to Galleries in Armidale, Gosford, Albury, Bendigo and Gymea. The 2000 Archibald Prize touring exhibition opened in Dubbo Regional Gallery in July 2001 ahead of Tweed Heads, Lismore then travelled on to Melbourne. Further a field, Fire’s on 1891 by Arthur Streeton was lent to the Victoria and Albert Museum in London for the exhibition Inventing New Britain: The Victorian Vision. The painting was sought for its heroic scale and achievement in capturing the light, heat and colour of Australia; its subject showing the impact of Victorian technology so far from Britain; and for Streeton’s command of a modern subject. Back on home ground, Australian artworks were lent to the National Gallery of Australia for Federation: One Hundred Years of Australian Art, scheduled for an interstate tour after its Canberra showing. The exhibition’s aim was to investigate the way political, social and religious issues have been portrayed in the nation’s art over the 20th century. Two paintings by Fred Williams were lent to the New England Regional Art Museum for its exhibition of Australian landscape to celebrate the Centenary of Federation. Works were also lent to Wollongong City Gallery and approved for exhibitions in the next financial year at the new Coffs Harbour Regional Art Gallery, Global Arts Link, Ipswich, and the Phillips Collection, Washington DC, which wants Pierre Bonnard’s Self portrait c1940 for a proposed exhibition of his work to help “provide a powerful glimpse into the complexities of the artist at the end of an important decade in his career”. In support of regional contact, the Art Gallery library has included all Regional Galleries in its exchange programme. They receive all Art Gallery publications free of charge. George W. Lambert Holiday in Essex 1910 oil on canvas 183.8 x 230.6 cm Purchased with the assistance from the Art Gallery Society of New South Wales and the Marshall Bequest Fund 1981 Frame conservation work by David Bulter, funded by ABN AMRO Rothschild Australian art and exhibition sponsors Australian Icons 4th August, 2000 to 31st January, 2001 SUPPORT The Art Gallery of New South Wales enjoys a wide range of strategic partnerships with the corporate sector through its extensive sponsorship programme. In the past year, a total of $729,000 in cash and in-kind support of $926,000 were secured. This was an increase from the previous year of 27.3% for cash contributions and 87.1% for in-kind contributions. It is the Art Gallery’s objective to develop long-term, mutually beneficial partnerships with major corporations across all its activities. This is achieved through the establishment and maintenance of flexible and dynamic relationships between the Gallery and each sponsor. These relationships ensure that each company’s objectives are met in full. Support for the Art Gallery can be provided as a cash contribution or in kind, or as a combination of both, and is directed largely towards the Art Gallery’s programme of temporary exhibitions. These exhibitions provide high public and media exposure, branding and awareness opportunities, as well as client entertainment in a unique setting. The Art Gallery gratefully acknowledges the continuing support of its Corporate Partners, who provide valuable links between the Art Gallery and the business sector. We also welcome several new corporate partners, including Tower, The Sydney Morning Herald, Westfield, The Australian, the Bass Hotel Group, Merrill Lynch HSBC and The Sunday Telegraph. We look forward to a continuing relationship with these major companies. PRINCIPAL SPONSORS ABN AMRO Rothschild’s substantial support for Australian art at the Art Gallery culminated in the landmark exhibition Australian Icons, which was part of the 2000 Sydney Olympics Arts Festival. The Australian also provided invaluable support as media sponsor for the exhibition. Westfield was principal sponsor of the Dead Sea Scrolls exhibition, which was in the programme for the 2000 Sydney Olympic Arts Festival. Qantas continued its support of Aboriginal and Torres Strait Islander art as principal sponsor of Papunya Tula: Genesis and Genius, also part of the 2000 Sydney Olympic Arts Festival. The Sydney Morning Herald was principal sponsor of World Without End: Photography and the 20th Century, presented as an event in the 2001 Sydney Festival. The Sunday Telegraph became Principal Sponsor of the fiveyear programme, Fundays at the Gallery – a year-long programme of free performances, workshop and activities especially for families and younger children. Andersen were Principal Sponsor of the first of three annual exhibitions, New Painting in Australia. The Colonial Foundation Charitable Trust was principal financial supporter for the 2001 Archibald, Wynne and Sulman Prizes. Merrill Lynch HSBC was the NSW Sponsor for Renoir to Picasso: Masterpieces from the Musee de l’Orangerie, Paris. Tower sponsored Sanxingdui: Masks of Mystery, also part of the 2001 Sydney Festival. 23 The last in the annual Guinness Contemporary Art project series, Fun Five Fun Story, presented the work of five artists from Africa. The following companies provided invaluable support in cash and kind throughout the year as supporting sponsors: JCDecaux, Hotel Inter-Continental Sydney, Bass Hotel Group, CODY Outdoor, The Mode Group, The Seven Network, Bloomberg, Squiz.net, McWilliams Wines, Lion Nathan, Avant Card. VISASIA VisAsia, the Institute of Asian Culture and Visual Arts, was formally launched and its Business Council established in May 2001. VisAsia’s aims are “to further the study, promotion and appreciation of Asian visual arts and culture”. At the launch by former Prime Minister Paul Keating, Art Gallery Director Edmund Capon said the creation of VisAsia “recognises the crusial role which our understanding of Asian culture will play in the development of Asian-Australian relations in the 21st century”. The VisAsia Business Council was established to support the objectives of the Institute and to provide companies with access to business and cultural links in the region. Please see appendices for full membership listing. Membership is by invitation only to the Chairman, CEO or Senior Executives of major companies. This year, there were three new members: Justin Miller, Chairman of Sotheby’s Australia, Robin Dixon, Managing Director of Getronics (Australia) Pty Limited, and Scott Walters, CEO of Merrill Lynch HSBC – please see appendices for a full membership listing. ART GALLERY SOCIETY The Art Gallery Society remains the largest body of arts supporters in the country, and by the end of the financial year its membership had begun to grow again, with visitors to Renoir to Picasso joining up in the hundreds, taking the total membership to more than 31,000 people. The Society provided funds for some major acquisitions during 2000/2001: Gilbert and George’s Reaming 1982, and three important works by Sidney Nolan – Fraser Island 1947, Colonial head 1947 and Boat 1959. The Society’s two volunteer bodies contributed substantially to the work of the Gallery. The Volunteer Guides conducted 29,000 adults (including many overseas visitors) and 12,500 children during the year, and the Task Force provided almost 15,000 hours of voluntary labour on entry desks at exhibitions and functions. The estimated saving to the Gallery was some $1.12 million. For its support to the exhibition Sculpture by the Sea in October, the Task Force has been nominated for a National Year of the Volunteer award. enabling it to help purchase Pierre Bonnard’s Buste de profil, fond rouge c.1920. COMMERCIAL VENUE HIRE The Venue Hire Department, which is responsible for the management of the retail food outlets, Art Gallery functions and corporate functions, achieved a record revenue level during the year with income at $793,000 (up from $672,000 in the previous year). This 29% increase in net revenue from the previous year was the result of a targeted marketing strategy and a strong exhibition schedule. The Dead Sea Scrolls, Archibald, Wynne and Sulman Prizes and Renoir to Picasso exhibitions all provided higher than usual utilisation of the retail food outlets and appealed to corporate clients for functions. Many new corporate clients were secured, adding to those who return to host events year after year in the Art Gallery’s unique and stylish environment. Highlights of the year included two Deutsche Bank Olympic dinner functions and the launch of VisAsia. A sales and marketing plan will be developed to promote the Art Gallery’s new restaurant and refurbished café, due to open in 2003. GALLERY SHOP The Gallery Shop turnover was maintained at last year’s record levels, despite GST implementation – which had an adverse impact on most retail establishments in the early part of the year - shop relocation and modest attendances during the Olympic period. The Conservation Department will gain space in the long run, but for nine months next year the Department’s activities will be curtailed in temporary office accommodation without a studio causing a reuction in loans and limited conservation work on the collection. This project involves issues of building in an operating environment, a constrained site establishment space, a high profile public building and complex Art Gallery exhibition programming requirements. Everything will be kept open as much as possible, however as building construction will be done in business hours it will be noisy with some areas facing reduced natural lighting. AUDITORIUM Work has been undertaken on the new 100-seat auditorium which is the Centenary Fund’s first project. It is located alongside the main temporary exhibition gallery, directly below the new Gallery Shop. It is due to open early in the new financial year, providing the Art Gallery with a wellequipped venue to carry out its role in offering a forum for discussion and education. MARGARET OLLEY The Margaret Olley Twentieth Century European Galleries were named in May 2001 by Art Gallery director Edmund Capon in honour of this artist’s generosity as a benefactor. There are now 93 works that owe their place in the Art Gallery’s permanent Collection due to her generosity. GALLERY ACCESS Fresh schemes have been submitted to the relevant stakeholders to improve pedestrian access to the Domain car park. Key publications this year included Australian Art in the Art Gallery of New South Wales and Papunya Tula: Genesis and Genius. They added to the Art Gallery’s reputation as a major art publisher, with distribution of its publications national and internationally. Jackie Menizes, Art Gallery Head Curator of Asian Art, Christina Chu, Chief Curator Hong Kong Museum of Art, John Yu, Art Gallery Trustee and Chairperson of VisAsia at May 2001 launch of VisAsia In May, 2001 Director Edmund Capon helped celebrate International Year of the Volunteer with many of the Society’s Volunteer Guides thanking them for their valuable contribution to the Art Gallery. CENTENARY FUND The Centenary Fund is limited to 100 patrons who have been invited to contribute $100,000 over a specified period of time. It was launched on 24 February 2000 and its first project – a new auditorium which is critical to the Art Gallery’s role as a forum for discussion and education – is due to be completed in November, 2001. So far, 27 patrons have pledge their support – please see appendices for full membership listing. Despite interruptions to the programme resulting from the Sydney Olympic Games, a surplus of $813,222 was achieved on activities during the year 2000. The Society enhanced its programme of events by establishing a concert series titled Resonate, and marked the Centenary of Federation by devoting its diploma lecture series for 2001 to Australian art. THE PRESIDENT’S COUNCIL The President’s Council, established in 1995, builds business networks and financial support for the Art Gallery’s exhibitions and publications programme, with its members giving high-level business advice. 24 ART GALLERY FOUNDATION The principal objective of the Art Gallery Foundation is to raise funds for investment and apply the derived income to purchase works of art for the Art Gallery’s permanent Collection. This year the Foundation’s capital increased to $13.4 million (compared with $12.5 m in 1999/2000 and $12.2 m in 1998/99), generating more than $1 million and During the year, the Gallery Shop commissioned reprints of AGNSW publications Let’s Face It (revised second edition), Orientalism (1,500 copies for the UK market) and Jeffrey Smart Retrospective (17,000 copies sold) to supply local and international demand. BUILDING ASIAN ART GALLERY AND ASSOCIATED WORKS The project of building a new Asian gallery has recommenced after a break since October 1998 while funding was secured. The budget is now $1 million, design plans have been approved and construction is due to commence in early 2002. The architect is Richard Johnson from Johnson Pilton Walker. Construction underway for the new Centenary Fund Auditorium due for completion in November, 2001. The new Asian gallery will be built directly above the present one, with a linking stairway. The upper level temporary exhibition space will increase to 550 square metres with the relocation of the conservation studio and resturant. The café will be renovated and extended, with its present outdoor area brought indoors and replaced with a new outdoor section. The restaurant will reappear in an exciting new site on the top level with a large function room. 25 STRATEGIES AIM, OBJECTIVES AND PERFORMANCE INDICATORS CHARTER The primary purpose of the Art Gallery, as defined by the Art Gallery of New South Wales Act 1980, is to develop and maintain a Collection of works of art, and to propagate and increase knowledge and appreciation of art. VISION To be the great Australian arts museum reflecting our heritage and vitality, and to be recognised nationally and internationally for our Collection, services and commitment. MISSION To achieve the purpose stated in the charter, the Art Gallery has set itself the following goals: • To acquire, collect and present to the public the finest works of art available, with a special emphasis on the artistic traditions of Australia. • To explore and inspire through our collection and exhibitions, the emotional and intellectual resources of our audiences. • To create a sense of belonging and provide our visitors with an enjoyable and enduring experience. OBJECTIVES Strategies have been developed in the corporate plan 19992005 to meet the following objectives: • Enhance and conserve the State’s art collection and heritage building. • Operate a varied, exciting and active exhibition programme to encourage visitors and expand appreciation of art. • Provide educational and research programmes and services to an ever-broadening public. • Inspire and explore artistic attitude and aspiration. • Operate the Art Gallery in an efficient and effective manner that encourages an increasing level of public visitation. • Ensure effective funding sources for the Art Gallery to support its acquisition program and expansion of services. TARGETS PERFORMANCE OUTCOMES Objective 1 Enhance and preserve the states art collection and heritage building. 1.1 Increase acquisitions of art works 1.2 Maintain high standards of curatorial work and conservation to achieve a ‘centre of excellence’ standard. 26 Increase Collection value by 1% Over $7.8 million of artworks were acquired / gifted this year, an increase of 1%; Total value of the Collection increased by over $63 million to $588 million due to acquisition and appreciation in value of artworks. Develop a major acquisition fund for the year 2005 The acquisition fund amounted to over $300,000, as at 30th June, 2001. Enhance the quality of our Collection with a major work • Acquired Pierre Bonnard’s Buste de profil, fond rouge c 1920. • Acquired a Cambodian Khmer (12th-13th century) bronze figure of Hevajra. Focus acquisitions of works on Collection priority areas The acquisition of 3 major Sidney Nolan works has ensured this prominent Australian artist is represented at his best in his various focus series. Publish a Collection book. Australian Art in the Art Gallery of New South Wales published – major book with 320 pages, with 200 colour images. Curatorial staff to publish information about the Collection. 6 books specifically on the Art Gallery’s Collection published since 1994 featuring major essays by curators. Refer information see Publication listing appendix. Increase staff skills levels – training courses, seminars, conference. • Peter Raissis, Art Gallery Curator, undertook a 3 month internship at Musee du Louvre, Paris. • Edmund Capon, Director awarded a Doctor of Letters honoris causa from University of New South Wales and the Chevalier of arts and letters from the French Government. 1.3. Maintain and refurbish the building in keeping with its heritage value and as a public venue PERFORMANCE OUTCOMES Review and revise Collection information prior to database integration with website. Collection registration database was reviewed and updated to allow over 90% of defined fields of information on works of art held within our Collection to be released for website integration. Focus conservation priorities on permanent Collection to meet in-house developed exhibition programme needs. • ABN AMRO Rothschild sponsorship of the Australian art Collection Exhibition Australian Icons, enabled frame conservation including the magnificent hand carved/glided frame for George Lambert’s Holiday in Essex. • Conservation benefactors also sponsored conservation of Lambert’s The White Glove. • Art Gallery Society continued to sponsor the conservation of the Aboriginal bark painting Collection. • The Art Gallery commissioned a review on the conservation of the contemporary Aboriginal paintings on canvas. Provide professional development, through external or in-house workshops and internships, to representatives from other arts institutions. • Presented an intensive conservation workshop at Te Papa Museum in Wellington, NZ. • A German and a French university student worked Conservation Department internships. • Assisted the Inverell Art Gallery with their Tom Roberts Festival exhibition. • Assisted Hazelhurst Regional Art Gallery with their Bodyline exhibition, based entirely on Australian figure drawings from our Collection. • Assisted Dubbo Regional Gallery with an exhibition of George Lambert works – a Centenary of Federation event • Australian Art Department’s internship continued with students from College of Fine Arts, Sydney; University of Western Sydney; and University of Sydney. Design and build a new 100 seat auditorium providing enhanced public facilities for access to Art Gallery’s education programmes / activities. Construction of the Centenary Fund Auditorium commenced in May to be completed by November 2001 – totally funded by the private sector. Finalise building extension plans to expanded exhibition display area by 10%. NSW Government Capital works funding of $15 million approved. Design plans approved and expression of interest sought for construction tender. However, the construction has been delayed due to Olympic period - work now scheduled to start following completion of the auditorium with the building extension targeted to be completed within 2 years. Implement second year of the five year Total Asset Maintenance (TAM) plan. Maintenance work completed on time and on budget for items such as lifts, escalators, compactus storage, electrical upgrade of plant room, parquet flooring in Asian Gallery, lighting upgrade to display courts 6 and 7; safe and accessible building conditions maintained for both the protection of the Collection and visitors. Upgraded storage facilities Transferred off-site storage to a location with superior security and environmental storage conditions; new lease ensures long term safe housing of equipment and archival records materials Measures of achievement towards these objectives are set out in a chart of key performance indicators following the review of activities in the year to 30 June 2000. KEY PERFORMANCE INDICATORS – 2000/2001 STRATEGIES TARGETS Objective 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand their appreciation of art. 2.1 Exhibit and feature the permanent Collection in as attractive a manner as possible; Provide Temporary Exhibitions. Profile Australian artist from the permanent Collection via ‘focus series’ exhibition programme. • Artists highlighted in focus series included Colin Lanceley, John Glover and Russell Drysdale – all free entry exhibitions. • In addition, this year the Australian Icons exhibition highlighted 20 major Australian artists from our Collection – also free entry. 27 STRATEGIES 2.2 Foster our visitors to encourage loyalty and longer-term commitments. TARGETS Major temporary exhibition programme to include Dead Sea Scrolls; World Without End; Renoir to Picasso. Balance free vs paid exhibition entry to ensure equitable access to art for all visitors by neutralising the impact of the GST and competition on pricing. Provided our visitors with an educational and personally enriching opportunity to view, in many cases for the first time in Australia, major art works with some items entrusted on loan exclusively to the Art Gallery of New South Wales. • Paid entry imposed on only 6 of 38 exhibitions at the Art Gallery. • Ticketed exhibition programme supported cost of all exhibitions. Target for new Art Gallery Society memberships achieved. The Art Gallery Society attracted 2,543 new members during the year keeping the total membership the highest membership level for arts associations within Australia. Capture an increased youth audience. Introduced a successful programme of non-exclusive art activities such as free Sunday lunchtime concerts performed by Students of the Australian Institute of Music. Expand tourism packages / opportunities available to visitors. 2.3 Raise awareness of the Art Gallery and its exhibitions so that the public is keen to attend and be associated with the Art Gallery 2.4 Expand the Art Gallery profile by establishing a ‘centre of excellence’ in Asian arts and maintaining Australian cultural focus 2.5 Lend / Borrow works of art to / from other galleries to make a wide range of art accessible to the public. 28 PERFORMANCE OUTCOMES • Special accommodation / exhibition tickets deals run in conjunction with Sanxingdui Masks of Mystery, World Without End: Photography and the 20th century and 2001 Archibald Prize exhibitions. • Close to 4,000 joint entry tickets sold to the Art Gallery’s World Without End and Full Moon exhibition held at the Museum of Contemporary Art, Sydney. • Family tickets available for all paying exhibitions held at the Art Gallery. Use the Art Gallery’s website to increase public awareness of our activities. • Developed the website functionality to include a register of interested online users to receive, approximately every two weeks, an emailed electronic newsletter ‘Artmail’. • Website visited increased to over 1,000 visitors per day; consistently ranking our site as #1 arts website within Australia. Increase visitor attendance by obtained extensive media coverage for major exhibitions including Archibald Prize and Renoir to Picasso. Record number of visitors attended the 2001 Archibald Prize exhibition and over 57,146 attended the first month of the Renoir to Picasso exhibition (June 2001) – this exhibition continued into July, 2001 and attracted in total of 138,154 visitors. Secure recognition of the Art Gallery’s expertise with regard to Asian art. • Hon. Paul Keating, on behalf of the Art Gallery, officially launched VisAsia in May 2001. • Official VisAsia website launched.– www.visasia.com.au Continue education programme under VisAsia. Fifteen to Twentieth Century Asian art lunch-time lecture series held between February – November 2000. Present Indian Painting, Hanga: Japanese Prints, Sanxingdui: Masks of Mystery and Heroes and Villains from the Floating World exhibitions which featured Asian arts and cultures. • 3 of the 4 exhibitions had free entry to visitors. • Enhanced presentation of exhibition by lecture series lead to a greater audience understanding of cultural significance of these works and / or events leading up to their creation. Borrowed significant art works from international museums for World Without End and Renoir to Picasso exhibitions. • Over 250 works borrowed from over 40 institutions and private lenders enable the presentation of world class temporary exhibitions to the public. • Relationships developed with other international museums and individuals to the point of being able to obtain exclusive art loans never before released to the care and control of an Australian museum. STRATEGIES TARGETS PERFORMANCE OUTCOMES Lend works from our Collection to all requesting institutions. • 160 works lent to other Australian galleries included 105 to various NSW Museum and Galleries Association institutions ensuring increased public access to the Art Gallery’s Collection. • 4 major works lent internationally, including Australian artist Arthur Streeton’s Fire’s On to the Victoria & Albert Museum, London, enhancing the exhibitions presented by these countries. Toured exhibitions to Regional NSW and other Australian locations. • Ensured our Collection was accessible to Regional NSW and the general public in other Australian states; including 56 works from our Collection lent to Hazelhurst Regional Gallery and Arts Centre for their Bodyline exhibition. • Visitor numbers from touring exhibitions totalled 362,880 across Australia. Objective 3 Provide educational and research programmes and services to an ever-broadening public. 3.1 Conduct public programmes to further enjoyment, appreciation and understanding of art. Continue to develop and present comprehensive educational lecture series. • Presentation of academic lecture series including Art History and Appreciation, Contemporary Art and Asian Art courses met public demand for quality art eduction. • Approximately 1 in 5 visitors to the Art Gallery participate in an education or public programme. 3.2 Encourage young people to appreciate, enjoy and understand art through stimulating education programmes. Develop education kits for students based on major exhibitions.. Education Kits were produced for The Dead Sea Scrolls; Australian Icons; Papunya Tula; World Without End and the Archibald, Wynne and Sulman exhibitions. Develop and present education programmes specifically for young people / students. • Education Co-ordinators presented K-6 Student programmes: Art Adventures; Aboriginal Art Programmes; Asian Art Programmes; 7-12 Students programmes Discussion Tours; Workshop Tours; Studio Sessions; Study Mornings; Study Days; Aboriginal Art Programmes and Asian Art Programmes. • Public Programmes had 83,617 booked students. • For the 2nd year, awarded a Brett Whiteley Travelling Arts Scholarship valued at $25,000 plus a three month residency in the Art Gallery’s Paris studio, to an artist under 30 years. Expand website functionality to allow online database interrogation. Website search functionality allows users direct online access to database information about art works held within our collection and all art publications held with our specialist art research library. Reprint major AGNSW publications. Gallery shop commissioned reprints of Let’s Face It (revised second edition); Orientalism (for UK markets) and Jeffrey Smart (over 17,000 copies sold) to supply local and international market demands. 3.3 Disseminate information on art and contribute to scholarship. Objective 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand their appreciation of art. Objective 3 Provide educational and research programmes and services to an ever-broadening public. 4. Inspire and explore artistic attitude and aspiration. Continue encouragement and financial support for Australian artists. A total over $119,200 from art prizes and scholarships awarded to artists supporting their efforts to continue to create new works and participate in the arts community. Present ‘Level 2 Project’ contemporary art exhibition programme. By providing display space in Australia’s most respected arts institution this specially developed exhibition programme brings vital exposure for emerging contemporary artists to a broad audience. 29 STRATEGIES TARGETS PERFORMANCE OUTCOMES STRATEGIES Review issues of permanency for employees Objective 5 Operate the Gallery in an efficient and effective manner that encourages an increasing level of public visitation. 5.1 Manage the Art Gallery operations effectively. 5.2 Meeting customer needs by improving service levels. 5.3 Implement state of the art technology and corporate systems 5.4 Manage staff resources effectively to ensure high employee morale, high skills level and support for continued expansion. 30 TARGETS PERFORMANCE OUTCOMES Employee turnover of permanent staff remained low. Continuous access for the public without industrial action or services disruptions. Opened to the public 363 days this year without disruptions to services in spite of building construction for auditorium being underway. Objective 6 Ensure effective funding sources for the Gallery to support its acquisition programme and expansion of services. Extend opening hours for exhibition programme as required to meet public demand. Taking advantage of daylight savings, opening hours were extended to 8pm for the five Wednesday’s in January 2001 allowing the public greater access to the major temporary exhibition World Without End. 6.1 Effective use of Government funding and improve government relations. Manage operations within Government allocations Continued successful operations and service level outputs within budgetary constraints. Maintain or improve net cost of service per visitor. Net cost of services per visitor decreased to $14.80 compared with $15.20 in the previous 2 years while maintaining staffing at 1999/2000 levels. 6.2 Increase funding from commercial activities, bequests, donations and sponsorships Increase both commercial activities revenues and sponsorship / donations. • Total revenue from sales of goods and services increased from $7.6m (1999/2000) to $8.3 million this year. • Increased sponsorship and donations by $721,000 to just under $2 million. Complete EPA Waste Reduction and Purchasing Policy 3 year review. Implementation of waste reduction strategies improved rubbish disposal processing and assisted environmental conditions with use of recycled products where possible. Negotiate a major sponsorship agreement. 5 year sponsorship deal agreed with Sunday Telegraph for the kids programme Fundays at the Gallery launch in April 2001. Continue commercial activities to support general gallery operations. Provided greater accessibility to the Art Gallery and our total commercial revenue increased by $1.4m (13%). Meet all corporate governance requirements. Effectively managed operations to ensure that all statutory and corporate governance requirements were met and GST requirements were implementated for each of the four entities. Provide multi language version of the Gallery Guide Developed new General Information Brochure in several community languages including Italian, Spanish, French and German 6.3 Manage our Trust, Foundation, Brett Whiteley Foundation, VisAsia entities to comply with statutory requirements 6.4 Enhance returns from Gallery funds, whilst maintaining acceptable risk levels and improve contributions Increase investment returns on Art Gallery Funds • Interest received on Bequests and Special Purpose Funds increased from $545,000 to $657,000. • Achieved a weighted interest rate of 5.9%. • Art Gallery Foundation funds generated over $1 million in net income Participate in the Sydney 2000 Olympic Arts Festival. Presented 3 exhibitions as a major contribution to the 2000 Sydney Olympic Festival visual art program. Commence Digital Imaging and Access IT Project. Stage one of project completed on time and on budget. Purchased an IBM eServer 660 as the platform for the new image repository system. Upgraded finance, human resources and Internet systems to meet new taxation and other federal and state statutory requirements. • Computer systems configured with latest software releases allowing complex analysis reporting which assists management decisions on key areas of financial management and personnel management. • Participate in joint agency e-commerce portal development for integration with our website – due for completeion in October, 2001. Review archive and record management requirements. Worked co-operatively with other national art galleries and museums to develop a common Records Management Thesaurus ensuring compliance with State Record Act 1999. Combine with other Arts Portfolio institutions develop common benchmarks Provided detailed statistical information against key performance indicators to be published by the Council on the Cost and Quality of Government in the 2001 Arts and Culture review. Improve reporting on workers compensation claims. Treasury Managed Fund statistics indicated improved reporting times for workers compensation claims which assists faster return to work of employees. Maintain low instances of employee industrial dispute. Formal grievances were resolved in a timely manner; no major disputes. Provide skills development opportunities to staff. Casual vacancies filled through internal sources where possible; 9 staff were provided with development opportunities under this arrangement. 31 Lachlan Murdoch Chairman and Chief Executive of News Limited; Senior Executive Vice President, and a Director of The News Corporation Limited; Chairman of Queensland Press; a Director of The Herald & Weekly Times Limited, Foxtel and One.Tel.; Deputy Chairman of Star Television Limited. Initial date of appointment was 1st January, 1999 and expiry of current term is 31st December, 2001. CORPORATE GOVERNANCE BOARD OF TRUSTEES The Art Gallery of New South Wales Trust is constituted by Section 5 of the Art Gallery of New South Wales Act, 1980. Section 6 stipulates that: ‘the Trust shall consist of 9 Trustees who shall be appointed by the Governor on the recommendation of the Minister for the Arts and at least two of whom shall be knowledgeable and experienced in the visual arts’. Trustees are appointed for a term not exceeding three years and may serve four consecutive terms. PRESIDENT Mr David Gonski Principal of Wentworth Associates Pty Limited; Chairman of Morgan Stanley Dean Witter Australia Limited; Chairman Coca-Cola Amatil Limited; Director of John Fairfax Holdings Ltd and Westfield Holdings Limited; Trustee of Sydney Grammar School. Initial date of appointment was 1st January, 1997 and expiry date of current term is 31st December, 2003. VICE-PRESIDENT Ms Jillian Broadbent Board Member of the Reserve Bank of Australia; Director of Woodside Petroleum Limited, CocaCola Amatil Limited, and of the Sydney Theatre Company; Member of the Advisory Board of the Salvation Army. Initial date of appointment was 1st January, 1993 and expiry date of current term is 31st December, 2001. MEMBERS Mr John Morschel Chairman of CSR Limited and Deputy Chairman of Leighton Holdings Limited. He is a director of Rio Tinto plc, Rio Tinto Limited, Singapore Telecommunications Limited, Tenix Pty Ltd, and Gifford Communications Pty Ltd. Patron of the Property Industry Foundation. Initial date of appointment was 1st January, 1995 and expiry date of current term is 31st December, 2003. 32 Ms Anne Landa Director since inception in 1984 of the Landa Piano Scholarship; Member of the Quality Review Committee of the Darling Harbour Authority; Advisory Council Member for the Australian Chamber Orchestra; for the College of Fine Arts, University of New South Wales; for the Centre for Immunology, St Vincents Hospital and for the New Children’s Hospital, Westmead. Initial date of appointment was 1st January, 1996 and expiry of current term is 31st December, 2001. Ms Janet Laurence Mixed media installation artist. Former member of SOCOG Cultural Committee (Visual Arts) and Board of Australian Centre of Photography; RAIA Lloyd Rees award for urban design 1995; Rockefeller Fellowship 1996 and Australia Council Fellowships 1992, 1996; Permanent public commissions include the Tomb of the Unknown Soldier in Canberra, The Edge of the Trees at the Museum of Sydney, Stilled Lives, Melbourne Museum, Veil of Trees in the Domain, Sydney, 49 Veils windows for the Central Synagogue in Bondi and environmental art work for the Homebush Bay Olympic site. Initial date of appointment was 1st January, 1997 and expiry of current term is 31st December, 2002. Dr John Yu AC, Hon MD(Syd.), Hon Dlitt (UWS), MB BS DCH (RCP&S), FRACP, FRACMA. Chancellor, University of New South Wales; Chair, Australia China Council of DFAT; Chair, Specialist Advisory Committee of NSW Commission for Children and Young People; Chair, VisAsia; Member of Board of National Australia Day Council, Walter and Eliza Hall Trust, Myer Grace Bros Community Fund; Formerly Chief Executive, Royal Alexandra Hospital for Children. Initial date of appointment was 1st January, 1997 and expiry of current term is 31st December, 2002. Pierce Cody Chairman and Managing Director of Cody Outdoor. Director of The Outdoor Advertising Association of Australia; Member of the Director’s Council of the National Gallery of Victoria; Director of Adcorp; Director and Governor of The Australian Ireland Fund; Member of the Oasis Advisory Board. Initial date of appointment was 1st January 2000 and expiry of current term is 31st December, 2002. Mary Turner OAM. Chair of the Orange Music Association; Member of the Orange Regional Gallery Advisory Committee since 1983; Member of the Music Committee of the Art Advisory Council; Board Member of the Music Council of Australia. Co-Director of the Macquarie Galleries, Sydney (1956-1978); Director of the Murray Crescent Galleries, Canberra (1978-1981). Received an Order of Australia in 1993 ‘for services to the arts, particularly music and painting’. Board member Arts OutWest Inc since 1997-1999. Founder and Managing Trustee of the Godfrey Turner Music Trust, formed in 1989 “to raise the standard of appreciation and practice of music in the region of which the centre is the City of Orange..”; Trustee of the Margaret Henderson Music Trust, established in 1996 “to assist by award of scholarship. outstanding young musicians of Orange to pursue advanced studies in music..’ Initial date of appointment was 1st January, 1998 and expiry of current term is 31st December, 2000. Imants Tillers. Visual artist, widely exhibited internationally. Initial date of appointment was 1st January 2001 and expiry of current term is 31st December 2003. Honorary Solicitors to the Trust: Freehill Hollingdale and Page TRUSTEE MEETINGS AND COMMITTEES ATTENDANCES AT BOARD OF TRUSTEE MEETINGS There were six board meetings of the Trust during the period July, 2000 to June, 2001. Trustee attendances were as follows: David Gonski (President) Jillian Broadbent (Vice President) Pierce Cody Anne Landa Janet Laurence John Morschel Lachlan Murdoch Imants Tillers Mary Turner Dr John Yu 6 4 3 6 2 6 1 3 3 5 (from 1.1.01) (to 31.12.00) Apologies were submitted for all Trustee absences and authorised leave was granted. TRUST COMMITTEES Acquisitions and Loans John Yu, David Gonski (ex-officio), Anne Landa, Janet Laurence Imants Tillers, Edmund Capon - Director, Anthony Bond - General Manager, Curatorial Services, Michael Wardell - Curatorial Services Co-ordinator. Exhibitions David Gonski (ex-officio), Pierce Cody, Janet Laurence, Anne Landa, Greg Daniel, Edmund Capon – Director, Anne Flanagan – General Manager, Exhibitions and Building Services, Anthony Bond – General Manager, Curatorial Services, Erica Drew - Exhibitions Co-ordinator. Finance and Audit Jillian Broadbent (Chairperson), David Gonski, Bruce Cutler, Edmund Capon – Director, Rosemary Senn – General Manager, Finance and Management Services Building John Morschel, David Gonski (ex-officio), Pierce Cody, Edmund Capon - Director, Anne Flanagan - General Manager, Exhibitions and Building Services VisAsia John Yu (Chairperson), Justice Kim Santow, Bob Seidler, Goldie Sternberg, Stephen Menzies, Edmund - Capon, Director, Jackie Menzies - Head Curator of Asian Art, Rosemary Senn - General Manager, Finance and Management Services. Regional John Yu, Imants Tillers, Jillian Broadbent, Mary Turner, David Gonski, Michael Wardell - Curatorial Services Coordinator. Paris Studio Barry Pearce – Head Curator, Australian Art, Victoria Lynn – Curator, Contemporary Art 33 FINANCIAL AND MANAGEMENT SERVICES OTHER GALLERY ENTITIES Financial Reporting The Gallery’s financial soundness is a key priority, which is maintained through rigorous budgetary/expenditure control, stewardship of assets, cash flow management, and revenue enhancement. Our accounting systems enabled timely and effective reporting of financial information to the Board and management. The annual financial statements were completed within the planned 15 working days after the end of the year. Monthly reporting to the Board encompasses operating results, balance sheets, cash flow, debtors and foreign currency reports. During the year we fully integrated the management reporting system with the accounting system enabling us to produce reports within 6-10 working days of the end of the month. These reports enable management, the Board and Government, to monitor financial aspects of the Gallery and take action as needed in a prompt and targeted manner. The Art Gallery is also responsible for managing the activities of its other entities, namely the Art Gallery of New South Wales Foundation, the Brett Whiteley Foundation and the VisAsia Foundation. Each of the Boards meets on a quarterly basis. The support provided includes management, finance, corporate secretariat and general administrative support. Investments Over $13 million of Trust funds are invested in a selection of fixed interest and cash securities. These are spread over 5-6 financial institutions. The Art Gallery also manages investments on behalf of its related entities, namely the Art Gallery of NSW Foundation [$15 million] and smaller amounts [less than $100,000 each] for the Brett Whiteley Foundation and VisAsia entities. Cultural Bequests/Taxation Incentives The Art Gallery maintains a portfolio of over 30 bequests and special funds, valued at $10 million, which have been granted over several years. These contributions have provided a significant resource for acquisitions of artworks and special projects, which would not otherwise have been feasible. Risk Management and Insurance The Art Gallery, as a NSW Government Agency, continues to be insured by the Treasury Managed Fund, a government selfinsurance scheme administered by the GIO. There were no significant claims on this scheme during this financial year. The annual premium amounted to $746,600 reflecting the value of the State asset holdings of the Art Gallery’s permanent art Collection, our heritage building plus art works on loan for temporary exhibitions. Internal Audit Reviews were conducted during the year on Gallery Shop operations, Accounts Receivable, Accounts Payable, Personnel and Payroll Procedures, GST compliance and Chris (payroll) system. Favourable reports were received on all audits with no significant matters arising. All recommendations were carefully considered and implemented where appropriate. The Finance and Audit sub-committee of the Board are advised of audit outcomes to re-affirm the importance of the Board’s role in audit matters. The cost of internal audit work is borne by the Ministry for Arts from a central allocation of funds for the Arts Portfolio. Secretariat Support Corporate secretariat support is provided for the Trust Board and five sub-committees, each of which meet approximately six times a year. Support is also provided for the Boards of the other Gallery entities. 34 Brett Whiteley Foundation David Kent Wendy Whiteley Arkie Whiteley Edmund Capon, Director Barry Pearce, Head Curator, Australian Art VisAsia Board John Yu (Chairperson) Justice Kim Santow Bob Seidler Goldie Sternberg Stephen Menzies Edmund Capon, Director Jackie Menzies, Head Curator of Asian Art He obtained his Master of Philosophy degree in Chinese Art and Archaeology (including language) from the London University School of Oriental and African Studies. Edmund has also completed studies on 20th century painting at the Courtauld Institute of Art, London University. Edmund is recognised as a world expert in his particular field and has published several books and catalogues including Princes of Jade (1974); Art and Archaeology in China (1977); Qin Shihuang: Terracotta Warriors and Horses (1982); and Tang China: Vision and Splendour of a Golden Age (1989), as well also many selected articles for Australian and international newspapers and professional art journals. Mr Capon was made a Member of the Order of Australia in 1994. In 2000 he was awarded a Doctor of Letters honoris casua from University of New South Wales and a Chevalier of arts and letters from the French Government He is also a member of the Advisory Council of the Asia Society AustralAsia Centre and a member of the Council of Australian Art Directors (CAAMD). SENIOR MANAGEMENT PROFILE Anthony Bond General Manager, Curatorial Services Anthony Bond joined the Art Gallery in 1984 as Curator of Contemporary Art. In January, 1995 he was appointed to the position of General Manager, Curatorial Services to oversee the curatorial staff together with responsibility for the overall management of Curatorial Services Departments: Conservation, Registration, Public Programmes, Library and the Photography Studio. This is coupled with his role as Head Curator, Western Art with special responsibility for 20th Century and contemporary International collections. He was formerly Director of Wollongong City Gallery and Assistant Director of Art Gallery of Western Australia. Mr. Bond has published extensively and continues to maintain a strong commitment to 20th Century International art through collection development and curating thematic exhibitions. In 1999 his book Body that accompanied the exhibition of that name at the Art Gallery in 1997 was awarded the inaugural Power institute award for the best book of Art history, an award offered through the AAANZ. In 1999 he was invited to Direct Trace, the inaugural Liverpool Biennial of Contemporary Art in England. His academic qualifications include B.Ed (Hons) from the University of London and he is currently undertaking a Ph.D at The University of Sydney. He is a member of various committees including the Executive Committee of the AAANZ, Australia 2002 committee at ARCO Madrid, City of Sydney Sculpture Walk Selection Committee, Australian Center for Photography (Chair), Bundanon Trust Residency Committee and serves on Academic advisory panels and acts as external assessor at several Universities. He also acts as an assessor for the Australian Research Foundation (visual arts) Edmund Capon, AM Director Edmund Capon has been the Director of the Art Gallery of New South Wales since 1978. For five years before leaving London he held the position of Assistant Keeper, Far Eastern Section at the Victoria and Albert Museum, having started at that Museum in 1966 in the Textile Department specialising in Chinese textiles and costume, and European tapestries. He has also managed a commercial gallery in London primarily concerned with modern British paintings and sculpture. Anne Flanagan General Manager, Exhibitions and Building Services Anne Flanagan joined the Art Gallery in March 1992. Her academic background includes visual arts, interior design and education. For the last fifteen years she has worked within arts organisations initially at the Crafts Council of NSW, Powerhouse Museum, Biennale of Sydney, Australian Bicentennial Authority and then at the Historic Houses Trust of NSW before joining the Art Gallery. Foundation Art Gallery of New South Wales Foundation produces a separate Annual Report available from the Art Gallery. The Art Gallery acknowledges the significant support of the following individuals by awarding Life Governors membership. Life Governors Franco Belgiorno-Nettis AC CBE Joseph Brender AO Ken Cowley AO James Fairfax AO Michael Gleeson-White AO Mollie Gowing Shosuke Idemitsu James Leslie AC, MC Frank Lowy AO Rupert Murdoch AC Kenneth Myer (the late) AC, DSC J. Hepburn Myrtle (the late) CBE Margaret Olley AO Max Sandow AM John and Julie Schaeffer Goldie and Edward Sternberg (the late) AM Fred Street Diana Walder OAM Neville Wran AC, QC Ms Flanagan is responsible for the exhibition programme including design, development and financial management, building services including capital and maintenance programmes and all security services within the Art Gallery. Rosemary Senn General Manager, Finance and Management Services Rosemary Senn is a Fellow of the Australian Society of Certified Practising Accountants and holds a Degree of Commerce with the University of Melbourne. She also holds qualifications in company directorship and taxation matters. She has been with the Art Gallery for close to three years and prior to that she worked for a major listed corporation, doing business both domestically and internationally over several years. Ms Senn is the Art Gallery’s chief financial officer, and is also responsible for other management services, which include corporate secretariat services for the Trust and other Art Gallery entities, human resources management, corporate services, administration and information technology. Also included in her responsibilities is the Gallery Shop and Copyright services. Jane Westbrook General Manager, Business Development Jane Westbrook joined the Art Gallery in April 1999. She has over 20 years experience in senior arts management in a wide range of cultural institutions, including the Sydney Opera House, the British Council, the Australia Council and the Powerhouse Museum. She holds Masters and First Class Honours degrees from the University of New South Wales and was awarded a Churchill Fellowship. Ms Westbrook is responsible for the Art Gallery’s Business Development activities, which includes sponsorship and fundraising, as well as all aspects of Marketing, including public relations, advertising and promotions, venue management and tourism. From March, 2001 when Belinda Hanrahan returned to the Art Gallery to manage the Marketing Division, Jane Westbrook has focused exclusively on sponsorship and fundraising as General Manager, Development. Belinda Hanrahan Manager, Marketing (from March 2001) Belinda Hanrahan initially joined the Art Gallery in November 1992 where she had responsibilities for marketing and business development until September 1998, rejoining the Art Gallery in March 2001. She holds a Bachelor of Commerce from the University of New South Wales and has twenty years experience in marketing management. Prior to joining the Art Gallery, Belinda worked in marketing management for Unilever and Johnson & Johnson for ten years, later forming her own marketing training consultancy for a major employer organisation. As Marketing Manager, Belinda is responsible for advertising and promotions, publicity, tourism and visitor service for the Art Gallery and its exhibitions 35 ORGANISATIONAL STRUCTURE The Art Gallery’s organisational structure was modified slightly this year to split Business Development and Marketing into separate function areas. There are currently five major functions of the Art Gallery’s operations: • Curatorial services • Finance and Management services • Building and Exhibition services • Business Development • Marketing A General Manager heads each of the first four function areas and a Manager heads the Marketing Department. Art Gallery staffing has been organised into activity Departments under these four major functions and each Department Manager reports to their responsible General Manager. STAFF PROFILE Average over 12 months 30/6/01 Building and Security Services Curatorial Services Staff Curatorial Staff Exhibitions/Display Corporate Services Commercial Services Marketing 61 43 25 20 18 13 13 Total 193 ORGANISATION CHART GENERAL MANAGER CURATORIAL SERVICES AUSTRALIAN Paintings & Sculpture Prints, Drawings & Watercolours Aboriginal & Torres Strait Islander WESTERN EUROPEAN ART pre – 1900 Contemporary Photography ASIAN Japan China South-East Asia India Conservation Registration Library Public Programmes Curatorial Services Photography Studio GENERAL MANAGER FINANCE & MANAGEMENT SERVICE Human Resources Finance Administration and Copyright Corporate Secretariat Information Technology Gallery Shop DIRECTOR GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES Gallery Services Building Management Exhibitions Workshop Installation Security Graphics GENERAL MANAGER BUSINESS DEVELOPMENT Venue Management Membership Services Sponsorship MANAGER MARKETING Publicity Information Desk and Tourism 36 Advertising / Promotions ART GALLERY OF NEW SOUTH WALES FINANCIAL REPORTS WORKS OF ART ACQUIRED (COMMULATIVE) Exhibition Admission revenue Artworks Purchased Donations of Artworks/funds to acquire artworks Total Works of Art Acquired $'m $'m $'m $'m $3.7 $1.5 $4.3 $9.5 $8.4 $1.0 $7.9 $8.9 0.54 0.51 1.05 1991-92 * 1 $7.4 $0.8 $1.0 $2.3 $4.2 $3.2 $5.3 $2.8 $8.2 0.18 0.57 0.75 1992-93 * 2 $16.9 $16.3 $2.3 $0.9 $3.7 $7.0 $9.3 $1.6 $8.2 $9.8 0.43 0.48 0.91 1993-94 * 3 $11.5 $20.1 $19.9 $2.8 $1.5 $4.3 $8.6 $11.3 $1.9 $10.4 $12.4 0.35 0.63 0.99 1994-95 * 4 $10.9 $23.2 $20.4 $2.9 $3.1 $6.3 $12.4 $8.0 $2.9 $7.4 $10.3 0.40 0.59 0.99 1995-96 1.16 5 0.45 0.56 1.01 1996-97 1.23 6 0.27 0.65 0.92 1997-98 1.08 7 0.30 0.65 0.95 1998-99 1.17 8 0.26 0.64 0.90 1999-2000 1.03 9 0.28 0.72 1.00 2000-2001 1.26 10 $'m $'m 153 $8.6 $29.1 $9.9 $1.3 $11.2 38% $0.4 167 $3.0 $17.2 $8.5 $1.4 $9.8 57% $485.0 $1.0 157 $10.1 $27.0 $8.7 $2.1 $10.7 40% $11.70 $518.0 -$2.0 170 $12.1 $32.2 $10.7 $1.5 $12.2 38% $11.00 $524.0 -$0.5 187 $9.5 $32.8 $11.0 $1.4 $12.4 38% $13.10 $606.0 $0.8 197 $7.6 $31.3 $12.9 $2.9 $15.8 50% $13.2 $23.7 $15.5 $2.5 $2.6 $5.4 $10.5 $5.0 $1.2 $4.3 $5.5 $17.60 $616.0 $0.4 189 $10.8 $37.0 $13.6 $4.2 $17.8 48% $16.2 $26.1 $19.2 $2.4 $2.1 $5.4 $9.9 $9.3 $4.1 $7.2 $11.3 $15.20 $641.8 -$0.3 186 $7.2 $33.3 $13.6 $2.2 $15.8 47% $14.5 $26.1 $17.5 $2.7 $3.8 $5.1 $11.6 $5.9 $0.3 $3.7 $4.1 $15.20 $712.8 -$1.0 193 $8.6 $33.1 $13.6 $3.5 $17.1 52% $13.7 $24.6 $16.0 $2.1 $3.0 $5.7 $10.8 $5.2 $0.9 $4.3 $5.2 $14.80 $780.8 $1.2 193 $12.3 $39.4 $13.8 $4.4 $18.2 46% $14.8 $27.1 $21.2 $2.5 $3.8 $6.1 $12.3 $8.9 $1.6 $6.2 $7.8 Employees - Effective Full time (EFT's) $'m Total Revenue Number $0.8 $474.0 $10.90 $'m $'m $'m $'m Net Surplus $'m $477.8 $13.40 Net Cost of Services per visitor * Data not available % Net cash flows $'m $10.50 Government funding as a % of total revenues Net Assets $ million million million Sponsorships and contributions Other Commercial Activities/other misc Revenue from Commercial activities $18.0 $14.2 $9.9 Total Attendances - Incl Touring/Studio Bequest/Special funds income $'m $20.5 $10.0 million Total Revenue from commercial and private sources $'m $11.0 Attendances - Paid exhibitions Attendances - Free access - Main Total Attendances - Main Building Operating Expenses $'m ATTENDANCES Net Cost of Services (exc. Bequests) 1 $'m 00 -2 00 Recurrent appropriation 20 $'m WORKS OF ART ACQUIRED Capital appropriation/Other Total Govt Grants Financial Summary ART GALLERY OF NEW SOUTH WALES NET COST OF SERVICES PER VISITOR REVENUE AND GOVERNMENT FUNDING $90.0 $312.5 $116.2 $24.9 $141.1 45% $125.8 $222.5 $171.4 $24.8 $23.3 $48.7 $96.8 $74.6 $21.0 $62.4 $83.4 3.48 5.99 9.46 Total 6.92 $9.0 $31.2 $11.6 $2.5 $14.11 45% $12.6 $22.3 $17.1 $2.5 $2.3 $4.9 $9.7 $7.5 $2.1 $6.2 $8.3 0.35 0.60 0.95 Average p.a. 1.15 39 38 REVENUES AND OPERATING EXPENSES REVENUE RECEIVED OVER TEN YEARS TO 2000/01 $312 Million Main Building ART GALLERY OF NEW SOUTH WALES TRUST STATUTORY FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001 ART GALLERY OF NEW SOUTH WALES TRUST STATEMENT IN ACCORDANCE WITH SECTION41C(1C) OF THE PUBLIC FINANCE AND AUDIT ACT, 1983 In accordance with a resolution of the Board of Trustees of the Art Gallery of New South Wales we state that: 40 (a) the accompanying financial statements have been prepared in accordance with the provisions of the Public Finance and Audit Act 1983, the Financial Reporting Code for Budget Dependent General Government Sector Agencies, the applicable clauses of the Public Finance and Audit (General) Regulation 1995, applicable Accounting Standards, other mandatory reporting requirements and the Treasurer’s Directions (b) the financial statements and notes thereto exhibit a true and fair view of the financial position as at 30 June 2001 and the operations for the year then ended; and (c) at the date of signing we are not aware of circumstances that would render the financial statements misleading or inaccurate. D.M. GONSKI PRESIDENT E.G CAPON DIRECTOR J.R. BROADBENT HON. TREASURER R. SENN GENERAL MANAGER FINANCIAL & MANAGEMENT SERVICES 41 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST STATEMENT OF FINANCIAL PERFORMANCE STATEMENT OF FINANCIAL POSITION For the year ended 30 June 2001 As at 30 June 2001 Notes Expenses Operating expenses Employee related Other operating expenses Maintenance Depreciation and amortisation 2(a) 2(b) 2(c) 2(d) Total Expenses Less: Retained Revenue Sale of goods and services Investment Income Grants and contributions Other revenue 3(a) 3(b) 3(c) 3(d) Total Retained Revenue Gain(loss) on disposal of non current assets 4 Actual 2001 $'000 Budget 2001 $'000 Actual 2000 $'000 12,948 11,543 1,372 1,192 12,737 9,852 750 1,300 12,142 9,299 1,393 1,719 27,055 24,639 24,553 8,336 145 3,761 9 10,414 55 3,034 - 7,655 165 3,012 7 12,251 13,503 10,839 26 - 9 NET COST OF SERVICES BEFORE BEQUESTS AND SPECIAL FUNDS Bequests and Special Funds 14(b) NET COST OF SERVICES AFTER BEQUESTS AND SPECIAL FUNDS 14,778 11,136 13,705 (8,913) - (5,178) 5,865 11,136 8,527 ASSETS Current Assets Cash Receivables Inventories Other financial assets Total Current Assets Non-Current Assets Property Plant and Equipment - Land and Buildings - Plant and Equipment - Collection Assets Total Property, Plant and Equipment Other financial assets Total Non-current Assets Total Assets LIABILITIES Current Liabilities Payables Employee entitlements and other provisions Total Current Liabilities Notes Actual 2001 $'000 Budget 2001 $'000 Actual 2000 $'000 6 7 8 9 1,347 1,523 1,577 10,598 15,045 279 7,548 1,725 1,385 10,937 126 1,556 1,385 7,548 10,615 10 173,228 4,939 587,647 765,814 2,996 768,810 783,855 172,579 4,986 529,138 706,703 5,490 712,193 723,130 171,216 4,686 524,181 700,083 5,490 705,573 716,188 1,946 1,119 3,065 2,614 953 3,567 2,460 953 3,413 780,790 719,563 712,775 216,993 563,797 780,790 171,390 548,173 719,563 161,311 551,464 712,775 9 12 13 Net Assets Government Contributions Recurrent appropriation Capital appropriation Acceptance by the Crown Entity of employee entitlements and other liabilities 13,824 2,978 13,824 7,420 13,630 2,320 1,396 18,198 1,217 22,461 1,153 17,103 12,333 11,325 8,576 Net increase(decrease) in asset revaluation reserve 55,682 - 62,352 TOTAL REVENUES, EXPENSES AND VALUATION ADJUSTMENTS RECOGNISED DIRECTLY IN EQUITY 55,682 - 62,352 5 SURPLUS/(DEFICIT) FOR THE YEAR FROM ORDINARY ACTIVITIES EQUITY Reserves Accumulated funds Total Equity 14 14 The accompanying notes form part of these statements NON-OWNER TRANSACTION CHANGES IN EQUITY TOTAL CHANGES IN EQUITY OTHER THAN THOSE RESULTING FROM TRANSACTIONS WITH OWNERS AS OWNERS 68,015 11,325 70,928 The accompanying notes form part of these statements 42 43 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST 2001 SUMMARY OF COMPLIANCE WITH FINANCIAL DIRECTIVES For the year ended 30 June 2001 Supplementary Financial Statements 2000 7,420 - 2,978 - 192 13,451 - - 192 13,451 - - - 1,828 1,520 - - - - 2,320 EXPENDITURE/ NET CLAIM ON CONSOLIDATED FUND $000 13,824 - CAPITAL APPROPRIATION $'000 13,829 - EXPENDITURE/ NET CLAIM ON CONSOLIDATED FUND $000 - RECURRENT APPROPRIATION $'000 Appropriation Act - EXPENDITURE/ NET CLAIM ON CONSOLIDATED FUND $000 * Additional Appropriations - CAPITAL APPROPRIATION $'000 * s21A PF&AA - special appropriations - EXPENDITURE/ NET CLAIM ON CONSOLIDATED FUND $000 * s24 PF&AA - transfers of functions between departments RECURRENT APPROPRIATION $'000 * s26 PF&AA - Commonwealth specific purpose payments ORIGINAL BUDGET APPROPRIATION/ EXPENDITURE * * * Section 22 - expenditure for certain works and services Treasurer's Advance - - - 13,829 - - - 13,824 - - - 7,420 - - - 2,978 - - - 13,643 - - - 13,643 - - - 3,348 - - - 2,320 OTHER APPROPRIATIONS / EXPENDITURE * - 2,320 - 3,348 - 13,643 - 13,643 2,320 2,978 13,643 7,420 2,978 13,824 13,824 13,829 - - - - - - - - Transfers from other agency (section 26 of the Appropriation Act) Total Appropriations[subtotal 2]Expenditure/Net Claim on Consolidated Fund [Total 1] (includes transfer payments) Amount drawndown against appropriation [Total 3] Liability to Consolidated Fund* [Total 4] Actual 2001 $'000 Budget 2001 $'000 Actual 2000 $'000 Payments Employee related Other (10,777) (13,760) (10,601) (14,976) (10,031) (9,518) Total Payments (24,537) (25,577) (19,549) 9,169 145 4,728 9,240 520 2,780 7,373 165 3,299 14,042 12,540 10,837 Cash Flows from Government Recurrent appropriation Capital appropriation Cash reimbursement from the Crown Entity 13,824 2,978 514 13,824 7,420 361 13,630 2,320 376 Net Cash Flows from Government 17,316 21,605 16,326 6,821 8,568 7,614 68 29,739 (5,112) (8,420) 22 20,919 (5,072) (30,295) - (24,498) (5,600) (8,420) (8,629) 1,221 126 148 131 (1,015) 1,141 1,347 279 126 Notes CASH FLOWS FROM OPERATING ACTIVITIES Receipts Sale of goods and services Interest received Other Total Receipts NET CASH FLOW FROM OPERATING ACTIVITIES 16 CASH FLOWS FROM INVESTING ACTIVITIES Proceeds from sale of Land and Buildings, Plant and Equipment and Collection Assets Proceeds from sale of investments Purchases of Land and Buildings, Plant and Equipment and Collection Assets Purchases of investments NET CASH FLOWS FROM INVESTING ACTIVITIES NET INCREASE/(DECREASE) IN CASH Opening cash and cash equivalents The accompanying notes form part of these statements 6 CLOSING CASH AND CASH EQUIVALENTS 45 44 The summary of compliances based on the assumption that Consolidated Fund moneys are spent first (except where otherwise identified or prescribed). For the year ended 30 June 2001 The expenditure/net claim on Consolidated Fund was lower than the Capital Appropriation due to the late commencement of the Gallery's building extension program STATEMENT OF CASH FLOWS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. (i) 1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (a) Reporting Entity The Art Gallery of NSW Trust, as a reporting entity comprises all the activities Under its control, including the Gallery's commercial activities of exhibitions, merchandising, venue hire, and catering. An exception to the above is when appropriations are unspent at year-end. In this case, the authority to spend the money lapses and generally the unspent amount must be repaid to the Consolidated Fund in the following financial year. As a result, unspent appropriations are accounted for as liabilities rather than revenue. Other entities associated with the Gallery but not under its direct control and hence not consolidated, include the Art Gallery Foundation, the Brett Whiteley Foundation and VisAsia Foundation. The reporting entity is consolidated as part of the NSW Total State Sector and as part of the NSW Public Accounts. (b) Basis of Accounting The agency's financial statements are a general purpose financial report which has been prepared on an accrual basis and in accordance with: • applicable Australian Accounting Standards; • other authoritative pronouncements of the Australian Accounting Standards Board (AASB); • Urgent Issues Group (UIG) Consensus Views; the requirements for the Public Finance and Audit Act and Regulations; and • the Financial Reporting Directions published in the Financial Reporting Code for Budget Dependent General Government Sector Agencies or issued by the Treasurer under section 9(2)(n) of the Act. Where there are inconsistencies between the above requirements, the legislative provisions have prevailed. In the absence of a specific Accounting Standard, other authoritative pronouncement of the AASB or UIG Consensus View, the hierarchy of other pronouncements as outlined in AAS 6 "Accounting Policies" is considered. With the exception of Land and Buildings and the majority of Collection assets, the financial statements are prepared in accordance with historical cost convention. (e) (ii) Sale of Goods and Services Revenue from the sale of goods and services comprises revenue from the provision of products or services i.e. user charges. User charges are recognised as revenue when the agency obtains control of the assets that result from them. (iii) Investment income Interest revenue is recognised as it accrues. Employee Entitlements (i) Wages and Salaries, Annual Leave, Sick Leave and On-costs Liabilities for wages and salaries, annual leave and vesting sick leave are recognised and measured as the amount unpaid at the reporting date at current pay rates in respect of employees' services up to that date. Unused non-vesting sick leave does not give rise to a liability, as it is not considered probable that sick leave taken in the future will be greater than the entitlements accrued in the future. The outstanding amounts of payroll tax, workers' compensation insurance premiums and fringe benefits tax, which are considered consequential to employment, are recognised as liabilities and expenses where the employee entitlements to which they relate have been recognised. All amounts are rounded to the nearest one thousand dollars and are expressed in Australian currency. 46 (c) Change to Accounting Policy There were no changes to Accounting policies during the 2000/2001 financial year. (d) Revenue Recognition Revenue is recognised when the agency has control of the good or right to receive, it is probable that the economic benefits will flow to the agency and the amount of revenue can be measured reliably. Additional comments regarding the accounting policies for the recognition of revenue are discussed below. Parliamentary Appropriations and Contributions from Other Bodies Parliamentary appropriations and contributions from other bodies (including grants and donations) are generally recognised as revenues, when the agency obtains control over the assets comprising the appropriations/contributions. Control over appropriations and contributions are normally obtained upon the receipt of cash. (ii) Long Service Leave and Superannuation The Gallery's liabilities for long service leave and superannuation are assumed by the Crown Entity. The Gallery accounts for the liability as having been extinguished resulting in the amount assumed being shown as part of the non-monetary revenue item described as "Acceptance by the Crown Entity of Employee Entitlements and other Liabilities". Long service leave is measured on a nominal basis. The nominal method is based on the remuneration rates at year-end for all employees with five or more years of service. It is considered that this measurement techniques produces results not materially different from the estimate determined by using the present value basis of measurement. 47 NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. The superannuation expense for the financial year is determined by using the formulae specified in the Treasurer's Directions. The expense for certain superannuation schemes (i.e. Basic Benefit and First State Super) is calculated as a percentage of the employee's salary. For other superannuation schemes (i.e. State Superannuation Scheme and State Authorities Superannuation Scheme), the expense is calculated as a multiple of the employees' superannuation contributions. (f) (g) Insurance The Gallery's insurance activities are conducted through the NSW Treasury Managed Fund Scheme for self-insurance for Government agencies. The expense (premium) is determined by the Fund Manager based on past experience. Accounting for the Goods and Services Tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except: • • (h) 48 the amount of GST incurred by the agency as a purchaser that is not recoverable from the Australian Taxation Office is recognised as part of the cost of acquisition of an asset or as part of an item of expense. receivables and payables are stated with the amount of GST included. Acquisitions of Assets The cost method of accounting is used for the initial recording of all acquisitions of assets controlled by the agency. Cost is determined as the fair value of the assets given as consideration plus the costs incidental to the acquisition. NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. (i) Property, Plant and Equipment Land was valued by the Department of Public Works and Services at 30 June 2000. The amount of the revaluation was brought to account in the books of the Gallery. Land is valued on an existing use basis. The building was revalued as at 30 June 1997 at replacement cost by B.H. Hazelwood, Executive Quantity Surveyor, State projects, Department of Works and Services. Plant and equipment items are not revalued and are carried at depreciated original cost which is considered to approximate replacement cost. (ii) Collection All works valued at $500,000 or more are revalued annually. All other works are revalued on a rolling five-year basis, by identifying “sign post” works within each category to facilitate the allocation of related percentage valuation movement across that class/group of works. (iii) Library Collection The Library collection is revalued on an annual basis using the four most valuable categories of the collection. The policy is to value all the remaining categories at least once during the five-year period. In accordance with Treasury policy, the gallery has applied the AAS38 “Revaluation of Non-Current Assets” transitional provisions for the public sector and has elected to apply the same revaluation basis as the preceding reporting period, while the relationship between value and the existing valuation basis in the NSW public sector is further examined. It is expected, however, that in most instances the current valuation methodology will approximate fair value. When revaluing non-current assets by reference to current prices for assets newer than those being revalued (adjusted to reflect the present condition of the assets), the gross amount and the related accumulated depreciation is separately restated. Assets acquired at no cost, or for nominal consideration, are initially recognised as assets and revenues at their fair value at the date of acquisition. Fair value means the amount for which an asset could be exchanged between a knowledgeable, willing buyer and a knowledgeable, willing seller in an arm' s length transaction. Conversely, where assets are revalue to market value and not by reference to current prices for assets newer than those being revalue, any balances of accumulated depreciation existing at the revaluation date in respect of those assets are credited to the asset accounts to which they relate. The net asset accounts are increased or decreased by the revaluation increments or decrements. Where settlement of any part of cash consideration is deferred, the amounts payable in the future are discounted to their present value at the acquisition date. The discount rate used is the incremental borrowing rate, being the rate at which a similar borrowing could be obtained. The recoverable amounts test has not been applied, as the gallery is a not-forprofit entity whose service potential is not related to the ability to generate net cash flows. (i) Plant and Equipment Plant and Equipment costing $5,000 and above individually are capitalised. Revaluation increments are credited directly to the asset revaluation reserve, except that, to the extent that an increment reverses a revaluation decrement in respect of that class of asset previously recognised as an expense in the surplus/deficit, the increment is recognised immediately as revenue in the surplus/deficit. (j) Revaluation of Physical Non-Current Assets Each class of physical non-current assets is included in a five year revaluation plan, based on the estimated written down replacement cost of the most appropriate modern equivalent replacement facility having a similar service potential to the existing assets. Land is valued on an existing use basis, subject to any restrictions or enhancements since acquisition. The Art Gallery building is a heritage asset valued at replacement cost (not subject to write down) equivalent to a building closely resembling the existing facility. Collection assets are also heritage assets valued at replacement cost, which is current market buying price. Revaluation decrements are recognised immediately as expenses in the surplus/deficit, except that, to the extent that a credit balance exists in the asset revaluation reserve in respect of the same class of assets, they are debited directly to the asset revaluation reserve. Revaluation increments and decrements are offset against one another within a class of non-current assets, but not otherwise. 49 NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. (k) (l) Assets Not Able to be Reliably Measured The agency does not hold any assets other than those recognised in the Statement of Financial Position. NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. (r) Depreciation of Non-Current Physical Assets Depreciable assets include plant and equipment, permanent exhibition fit out and Motor vehicles. The agency receives monies and gifts in specie in a trustee capacity for various trusts as set out in note 14(b). As the Gallery is restricted in the use of these funds, they are not brought to account in the financial statements until after calculation of the Net Cost of Services before Bequest and Special Funds. The aggregate of contributions received for the year has been recognised as revenue in the ‘Bequest and Special Funds’ Revenue and Expenditure Statement in Note 14(b). These revenues provide for expenditure in the current year and in future years. Any revenues unspent in the current year have been carried forward for appropriate expenditure in future years. Depreciation is provided for on a straight-line basis for all depreciable assets so as to write off the depreciable amount of each asset as it is consumed over its useful life to the entity. Land and heritage assets comprising the Art Gallery building and collection assets are not depreciable assets. All material separately identifiable component assets are recognised and depreciated over their shorter useful lives, including those components that in effect represent major periodic maintenance. (s) Trustee benefits No Trustee of the Gallery has received or become entitled to receive a benefit because of a contract made by the Gallery or a related body with the Trustee or with a firm of which the Trustee is a member, or with a company in which the Trustee has a substantial interest. (t) Taxation status The activities of the Gallery are exempt of income tax. The Gallery is registered for GST/ABN purposes and has gift deductible recipient status. (u) Services provided at no cost Where material contributions are made to the Gallery at no charge an expense is recorded in the accounts to reflect activities at the Gallery and is offset by an equivalent revenue entry. Refer to notes 2a, 2c and 3c. i. Volunteer Services Volunteers make a substantial and integral contribution to the operation of the Gallery. Volunteer guides provide guided tours of the Gallery's permanent and temporary exhibitions to the public and primary aged children. Additional assistance is provided to the Gallery's library and study room. Depreciation rates are listed below. For Plant and Equipment each asset's effective life is assessed and a depreciation rate of 7%, 14% or 20% is applied. Depreciation Rates for each class of depreciable assets are as follows: Plant and Equipment Motor Vehicles Furniture and Fittings Office Equipment Computer Equipment Catering Equipment Other Equipment (m) (n) Rate 7-20% 20% 20% 33% 33% 20% 20% Maintenance and repairs The costs of maintenance are charged as expenses as incurred, except where they relate to the replacement of a component of an asset, in which case the costs are capitalised and depreciated. (o) 50 ii. Building Maintenance The Department of public works is undertaking a programme of restoring heritage buildings, including the Gallery. The cost of these works is being borne by the Department of public works and the Gallery will not incur any costs. Leased Assets The agency does not have any assets, which are subject to finance leases. Operating lease payments are charged to the Statement of Financial Performance in the periods in which they are incurred. Receivables Receivables are recognised and carried at the original invoice amount less a provision for any uncollectible debts. An estimate for doubtful debts is made when collection of the full amount is no longer probable. Bad debts are written off as incurred. (p) Inventories Inventories are stated at the lower of cost and net realisable value. The cost is calculated using the “latest purchase price” of each stock item. (q) Investments Marketable securities and deposits are valued at lower of cost and recoverable amount. Bequests and Special Funds This note is considered to cover conditions of contributions and also covers restricted assets. (v) Payables These amounts represent liabilities for goods and services provided to the agency and other amounts, including interest. Interest is accrued over the period it becomes due. (w) Reclassification of financial information As a result of applying AAS1 Statement of Financial Performance" and AAS36 "Statement of Financial Position", the format of the Statement of Financial Performance (previously referred to as the Operating Statement) and the Statement of Financial Position has been amended. As a result of applying these Accounting Standards, a number of comparative amounts were represented or reclassified to ensure comparability with the current reporting period. 51 NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. ART GALLERY OF NEW SOUTH WALES TRUST NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS (x) Budgeted Amounts The budgeted amounts are drawn from the budgets as formulated at the beginning of the financial year and with any adjustments for the effects of any additional appropriations, s21A, s 24 and/or s 26 of the Public Finance and Audit Act 1983. The budgeted amounts in the Statement of Financial Performance and the Statement of Cash Flows are generally based on the amounts disclosed in the NSW Budget Papers (as adjusted above). However, in the Statement of Financial Position, the amounts vary from the Budget Papers, as the opening balances of the budgeted amounts are based on carried forward actual amounts ie per the audited financial statements (rather than carried forward estimates). (y) Programme Statement The Gallery operates one programme ñ Art Gallery of New South Wales. The objective of the programme is to develop and maintain collections of art works for the benefit of the community and to increase knowledge and appreciation of art. 2 EXPENSES (a) Employee related expenses comprise the following specific items: Salaries and wages (including Recreation Leave) Superannuation Long Service Leave Workers' Compensation Insurance Payroll tax and fringe benefit tax Value of volunteer services (refer also Note 3c) Other (b) (c) (d) 52 Other operating expenses Auditor's remuneration -audit or review of the financial reports Cost of sales Bad and doubtful debts Travel and Accommodation Operating lease rental expense - minimum lease payments Insurance Consumables Exhibition fees and related costs Fees- General professional Freight, packing and storage Marketing and promotion Printing/Graphics Property Expenses Other Maintenance Routine maintenance Maintenance undertaken free of charge Refer Note 3c Depreciation and amortisation expense Plant and Machinery Furniture, Fixtures and Fittings Computer Equipment Office equipment and other sundry 2001 $'000 2000 $'000 9,568 1,002 338 173 678 1,123 66 12,948 8,803 855 250 265 644 1,248 77 12,142 31 1,849 689 29 1,828 2 442 145 508 1,712 1,410 700 589 1,490 301 1,221 898 11,543 64 698 657 549 490 418 1,100 796 1,148 1,078 9,299 723 649 1,372 897 496 1,393 794 49 193 156 1,192 943 367 206 203 1,719 53 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS 2001 $'000 3 REVENUES (a) Sales of goods and services Sale of goods Merchandise, Book and Publication Sales 2000 $'000 6 (c) Rendering of Services Admission fees Venue hire and catering Other Total Rendering of Services 2,450 793 866 4,109 2,098 672 602 3,372 Cash (per Statement of Financial Position) 1,347 126 Closing Cash and Cash Equivalents (per Statement of Cash flows) 1,347 126 Total Revenue 8,336 7,655 806 319 249 164 1,538 236 365 373 597 1,571 15 15 1,523 1,556 1,577 1,577 1,385 1,385 Current Other Loans and Deposits 10,598 7,548 Non-Current Other Loans and Deposits 2,996 5,490 13,594 13,038 Investment Income Interest 145 145 165 165 1,126 643 134 86 1,123 649 3,761 604 495 65 104 1,248 496 3,012 CURRENT ASSETS-RECEIVABLES Sale of Goods and services Accrued Income Other debtors Prepayments Total Grants and contributions Less: Provision for doubtful debts Total Receivables 8 CURRENT- INVENTORIES Other revenue Workers compensation recovery 5 126 For the purpose of the Statement of Cash Flows, cash includes cash on hand, and cash at bank. CURRENT INVENTORIES Stock on hand 4 1,347 4,283 Sponsorship - cash Sponsorship - in kind Donations - cash Grants - Other Value of Voluntary Services-Note 2(a) Services provided at no charge-Note 2(c) (d) 2000 $'000 4,227 7 (b) CURRENT ASSETS - CASH Cash at bank and on hand 2001 $'000 GAIN/(LOSS) ON DISPOSAL OF NON-CURRENT ASSETS Property, Plant and Equipment Proceeds from Disposal Written down value of assets disposed NET GAIN/LOSS ON DISPOSAL OF NON CURRENT ASSETS 9 9 7 7 68 42 22 13 26 9 9 CURRENT/NON-CURRENT ASSETS- OTHER FINANCIAL ASSETS Reconciliations Reconciliations of the carrying amounts of each class of non-current other financial assets at the beginning and end of the current and previous financial year are set out below ACCEPTANCE BY THE CROWN ENTITY OF EMPLOYEE ENTITLEMENTS AND OTHER LIABILITIES The following liabilities and/or expenses have been assumed by the Crown Entity or other government agencies Other Loans and Deposits Superannuation Long service leave Payroll Tax 54 995 338 63 1,396 847 250 56 1,153 Carrying amount at start of year Additions Disposals Other Movements-Transfer to Current Assets 5,490 (2,494) 2,996 2,500 2,996 (6) 5,490 55 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS 10 11 NON CURRENT ASSETS - PROPERTY, PLANT AND EQUIPMENT 2001 $'000 RESTRICTED ASSETS 2000 $'000 Included in the cash and investments are restricted use assets (refer also note 14a) Current Assets Non-current Assets Land and Buildings Land - At Valuation Buildings-At Cost Buildings-At Valuation Work in Progress 10,925 4,378 157,405 520 173,228 10,925 2,886 157,405 171,216 Art and Library Collections At Cost At Valuation Total Property, Plant and Equipment At Net Book Value The Gallery continues to derive service potential and economic benefits from the following fully depreciated assets Plant and Equipment 16,429 11,490 4,939 15,031 10,345 4,686 14,982 572,665 587,647 7,198 516,983 524,181 765,814 700,083 10,261 2001 Plant and Equipment Collection of Artworks Trade Creditors Capital Creditors 13 Depreciation written back on disposal of assets 524,181 7,784 55,682 - 700,083 11,283 (89) 55,682 (1,192) 47 Carrying amount at end of year 173,228 4,939 587,647 765,814 Net revaluation increment less revaluation decrements Depreciation Expense 1,513 947 2,460 Employee entitlements Recreation leave Accrued salaries and wages 807 312 1,119 657 296 953 14 CHANGES IN EQUITY Bequests and Accumulated Special Funds Funds General Fund Asset Revaluation Reserve Total Equity Total 4,686 1,487 (89) (1,192) 47 Disposals 1,943 3 1,946 CURRENT LIABILITIES - EMPLOYEE ENTITLEMENTS AND OTHER PROVISIONS (a) 171,216 2,012 - Additions 1,841 8,238 10,079 CURRENT LIABILITIES - PAYABLES Balance as at 1 July 2000 Carrying amount at start of year 7,961 2,996 10,957 3,901 Reconciliations Reconciliations of the carrying amounts of each class of property, plant and equipment at the beginning and the end of the current and previous financial year are set out below. Land & Buildings 2000 $'000 These funds represent donations and bequests held by the Gallery to be used in accordance with the deed of trust or other documents governing these funds. 12 Plant and Equipment At Cost Accumulated Depreciation at Cost 2001 $'000 541,385 10,079 551,464 161,311 712,775 3,420 8,913 12,333 - 12,333 - - - 55,682 55,682 61 7,454 520 (61) (7,454) (520) - - - 11,455 878 12,333 55,682 68,015 552,840 10,957 563,797 216,993 780,790 Changes in Equity-other than transactions with owners as owners Surplus/Deficit for the year Increment on revaluation of Collection Assets Other Increases/(Decreases) Transfer to/(from) General Fund Plant and Equipment Collection of Artworks Total Depreciation written back on disposal of assets 164,995 2,296 3,925 - 5,950 468 (110) (1,719) 97 460,532 5,222 58,427 - 631,477 7,986 (110) 62,352 (1,719) 97 Carrying amount at end of year 171,216 4,686 524,181 700,083 2000 Carrying amount at start of year Additions Disposals Net revaluation increment less revaluation decrements Depreciation Expense 56 Art Acquisitions Land & Buildings Other Capital Expenditure Total Balance as at 30 June 2001 57 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS Bequests and Accumulated Special Funds Funds General Fund 2000 Balance as at 1 July 1999 2000 533,297 2000 9,591 542,888 16 Asset Revaluation Reserve Total Equity 2000 2000 98,959 641,847 Net Cash flow from Operating activities Net Gain/Loss sale of non-current assets Depreciation Gifts of Works of art Recurrent appropriation Capital appropriation Acceptance by Crown Entity of employees entitlements and other liabilities Increase(decrease) in accounts payable (Increase)decrease in receivables (Increase)decrease in inventories Increase(decrease) in employee entitlements Changes in Equity-other than transactions with owners as owners 3,398 5,178 8,576 - 8,576 - - - 3,925 58,427 3,925 58,427 400 (5,090) - - - - Other Capital Expenditure (400) 5,090 - - - - Total 8,088 488 8,576 62,352 70,928 541,385 10,079 551,464 161,311 712,775 Surplus/Deficit for the year Increment on revaluation of Land and Buildings Collection Assets Other Increases/(Decreases) Transfer to/(from) General Fund Art Acquisitions Balance as at 30 June 2000 (b) Bequests and Special Purpose Funds 2001 $'000 2000 $'000 2,064 6,171 253 10 8,498 657 (11) 9,144 1,368 2,914 203 531 5,016 545 49 5,610 Net cost of services after bequests and special funds 17 Donations of works of art Capital bequests Expendable bequests Interest received Other income Total Income Other Surplus for the year 15 29 202 231 8,913 44 388 432 5,178 BUDGET REVIEW Net Cost of Services The actual net cost of services before Bequests and Special Funds was higher than budget by $3.6M This was due to lower than expected revenue from the Gallery's commercial activities including bookshop, functions and exhibitions and also due to increased expenses in relation to employee expenses and operating costs. Assets and Liabilities Net Assets increased by $61.2M against budget due to increased income from Bequests and Special funds and revaluation of the Gallery's collection assets. 2000 $'000 (6,821) (26) 1,192 (6,171) 13,824 2,978 (7,614) (9) 1,719 (2,914) 13,630 2,320 1,396 (514) 33 (192) 166 1,153 580 (174) (246) 82 5,865 8,527 NON-CASH FINANCING AND INVESTING ACTIVITIES Donations of works of art - brought to account by creating an asset and crediting non cash donations 6,171 2,914 1,123 1,248 643 629 495 496 The following items are brought to account as expenses in the operating statement and are credited as income in the form of non-cash sponsorships, non-cash donations or services provided free of charge Voluntary services provided Advertising, freight, accommodation, travel and similar expenses Maintenance (Dept of Public Works) Expenditure Prizes and Scholarships 2001 $'000 The following non-cash transactions are included in the financial accounts for the year Revenue Donations for purchase of works of art RECONCILIATION OF CASH FLOWS FROM OPERATING ACTIVITIES TO NET COST OF SERVICES AFTER BEQUESTS AND SPECIAL FUNDS 18 FINANCIAL INSTRUMENTS Cash Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances and paid monthly at the normal commercial rate of such deposits. Receivables All trade debtors are recognised as amounts receivable at balance date. Collectability of trade debtors is reviewed on an on going basis. Debts which are know to be uncollectible are written off. A provision for doubtful debts is raised when some doubt as to collection exists. The credit risk is the carrying amount (net of any provision for doubtful debts). No interest is earned on trade debtors. The carrying amount approximates net fair value. Sales are made on 30 day terms. Cash Flows (a) Operating Operating cash outflows were lower than planned by $1.7M due largely to an under expenditure in Capital Works resulting in a decrease in the inflow of funds from Government. (b) Investing Investing cash flows were $2.8M lower due to the late commencement of the Gallery's building extension program. 58 59 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS Other Financial Assets The Gallery has placed funds in Trustee approved bank deposits and can be placed "at call" or for a fixed term. The interest rate payable on such deposits is negotiated initially and is fixed for the term of the deposit. 20 At call Less than one year One to five years Greater than five years EXPENDITURE COMMITMENTS (a) Capital Commitments Aggregate capital expenditure for building improvements and digitisation project contracted for at balance date and not provided for: 2001 $'000 2001 $'000 2000 $'000 2000 $'000 Carrying Net Fair Carrying Net Fair Amount Value Amount Value 10,598 2,996 13,594 10,598 2,996 13,594 4,800 8,238 13,038 4,800 8,238 13,038 The deposits at balance date were earning an average interest rate of 5.5% (2000 6.3%), whilst over the year the weighted average interest rate was 5.9% (2000 6.2%) on a weighted average balance during the year of $12,722,180 (2000 $11,193,942). Bank Overdraft The Gallery does not have any bank overdraft facility Trade Creditors and Accruals The liabilities are recognised for amounts due to be paid in the future for goods or services received, whether or not invoiced. Amounts owing to suppliers (which are unsecured) are settled in accordance with the policy set out in Treasurer's Direction 219.01. If trade terms are not specified, payment is made no later than the end of the month following the month in which and invoice or statement is received. Treasurer's Direction 219.01 allows the Minister to award interest for late payment. No Ministerial direction was given, nor did the Gallery incur any interest expense in relation to the late payment of invoices for the financial years ended 2001 and 2000. Not Later than on year Later than one year and not later then 5 years Later then 5 years Total (including GST) 2001 $'000 2000 $'000 1,272 1,272 332 332 Contingent Assets The total "Capital Commitments" above include input tax credits of $115,000 that are expected to be recoverable from the Australian Taxation Office. (b) Other Expenditure Commitments Aggregate other expenditure payable in relation to exhibition agreements and computer network outsourcing contracted for at balance date and not provided for: Not Later than on year Later than one year and not later then 5 years Later then 5 years Total (including GST) 659 659 194 210 404 Contingent Assets The total "Other Expenditure Commitments" above include input tax credits of $1,200 that are expected to be recoverable from the Australian Taxation Office. (c) Operating Lease Commitments OLYMPIC COSTS (a) An $80,000 loan which was received from SOCOG to underwrite the Dead Sea Scrolls exhibition has been repaid as planned. Future non-cancellable operating lease rentals not provided for and payable: (b) During the Olympics, the number of overseas guests visiting the Gallery was higher than normal Senior Gallery staff escorted these guests through the Gallery. This tour included a brief look at the Exhibitions as well as the permanent collection. There was no additional cost involved other than normal salaries. Some of these efforts will have a beneficial effect for the Gallery when we seek to borrow works of art for future exhibitions. Not Later than on year Later than one year and not later then 5 years Later then 5 years Total (including GST) c) Additional staff were used on the information desk at a cost of $1,700. Three full time staff were seconded to the Games as volunteers during the Games period, at a cost of approximately $5,000. Additional payments made to Front of House and Gallery Security Offices was $1.50 per hour, with a total cost of $10,000 which was re-imbursed by the Ministry for the Arts. Lease rentals (including GST) are payable to the lessor monthly in advance. The Gallery possesses an option to renew the lease for a further two years. (d) Other Costs totalling $15,000 were incurred in relation to payments to Gallery Guides and Multilingual guides The total "Operating Lease Commitments" above include input tax credits of $22,000 that are expected to be recoverable from the Australian Taxation Office. 107 160 267 - Contingent Assets End of audited financial statements 60 61 APPENDICES PURCHASES AUSTRALIAN ART Earle Backen (Australia, b.1927), set of 9 states of one etching: Composition, 1957 etching, aquatint, scraping out, burnishing, softground, open bite, black ink on ivory wove paper; Composition, 1957 etching, aquatint, burnishing, softground, red and yellow ink on cream wove paper; Composition, 1957 etching, aquatint, softground, burnishing, blue, yellow and orange ink on ivory wove paper; Composition, 1957 etching, aquatint, softground, burnishing, red ink on ivory wove paper; Composition, 1957 etching, aquatint, softground, burnishing, orange and grey/green ink on ivory wove paper; Composition, 1957 etching, aquatint, softground, burnishing, red/brown, aquamarine ink on ivory wove paper; Composition, 1957 etching, aquatint, softground, burnishing, purple, orange, grey/green ink on ivory wove paper; Composition, 1957 etching, aquatint, softground, burnishing, black ink on ivory wove paper; Composition, 1957 etching, aquatint, softground, burnishing, brown ink on ivory wove paper. Purchased with funds provided by the Arthur Boyd Acquisition Fund 2000 Earle Backen (Australia, b.1927), 7 prints: Impression, 1967 engraving, sugarlift aquatint on copper plate, brown ink on ivory wove paper; Landscape with light construction, 1965 drypoint, engraving, open bite, stopping out, aquatint, black and brown ink on ivory wove paper; London series - Smithfield, 1977 photo-etching, aquatint, coloured inks on three plates on white wove Arches paper; Ecce homo, 1960 engraving, scraping out, burnishing on copper plate, black, red and blue ink on cream wove paper; Metamorphosis of the city, 1961 engraving, black ink on ivory laid paper; Contrasts/Obelisks, 1987 etching, aquatint, black ink on white wove paper; Thunder, 1959 soft ground, engraving, aquatint, stopping out, open bite, deep etch, black and yellow ink on ivory wove paper. Purchased with funds provided by the Arthur Boyd Acquisition Fund 2000 George Baldessin (Australia, b.1939,d.1978), George Baldessin, 2000 (printed) six folded sheets with additional cover sheet, six original etchings on ivory Arches paper. Purchased 2001 Robert Barnes (Australia, b.1947), Bedroom, 1999 oil on canvas. Margaret Hannah Olley Art Trust 2001 Rupert Bunny (Australia, b.1864,d.1947) Self portrait, 1890s sanguine on buff wove paper with blue fibre. Accessioned 2000 Kevin Connor (Australia, b.1932), Three figures, 1964 pen, brush and 62 black ink. Purchased with funds provided by the Arthur Boyd Acquisition Fund 2000 Janet Dawson (Australia, b.1935), 2 drawings: Italian landscape drawing, 1960 charcoal on thick ivory wove paper; Italian landscape drawing, 1960 charcoal on thick ivory wove paper Purchased with funds provided by the Arthur Boyd Acquisition Fund 2001 Ian Fairweather (United Kingdom; Australia, b.1891,d.1974), Chinese mountain, (1933) oil and gouache on cardboard. Purchased 2001 Nicholas Harding (Australia, b.1956), Margaret Olley, 2000 etching, roulette, black ink on white wove paper. D G Wilson Bequest Fund 2000 Rayner Hoff (Australia, b.1894,d.1937), The kiss, 1923 plaster. Purchased 2000 from the collection of Stanley Cecil Chamberlain with funds provided by the 1000 Club Jennifer Keeler-Milne (Australia, b.1961), Visibility/Invisibility, 2000 charcoal. Purchased with funds provided by the Art Gallery Society of New South Wales 2000 George W. Lambert (Australia, b.1873,d.1930), The wool wagon, (1921) pencil on ivory paper. D G Wilson Bequest Fund 2001 Rosemary Madigan (Australia, b.1926), 1 sculpture and 1 sketchbook: Mnemosyne, 1976 bronze with green patina on a slate base; Sketchbook, (1981) bound sketchbook: 26 leaves, 26 life studies of male model in black fibre-tipped pen on white wove paper. D G Wilson Bequest Fund 2000 Herbert McClintock (Australia, b.1906,d.1985), Seated worker, 1957 pen and black ink, watercolour on light grey laid paper. Purchased with funds provided by the Arthur Boyd Acquisition Fund 2001 Sallie Moffatt (Australia, b.1968), Urban landscape II, 2000 charcoal on paper. Purchased with funds provided by the Art Gallery Society of New South Wales 2000 Sidney Nolan (Australia; United Kingdom, b.1917,d.1992), 3 paintings: Colonial head, 1947 synthetic polymer paint on hardboard; Fraser Island, (1947) synthetic polymer paint on hardboard; Boat, 1959 polyvinyl acetate on hardboard. Purchased with funds provided by the Art Gallery Society of New South Wales 2001 Margaret Olley (Australia, b.1923), Still life in green, 1948 oil on hardboard. Jean Cameron Gordon Bequest in memory of her mother Mary Gordon 2001 John Peter Russell (Australia, b.1858,d.1930), 7 watercolours: Storm, Belle Ile, 1905 watercolour, gouache on heavy wove buff paper; Landscape with houses in distance, circa 1907 pen and black ink, watercolour, gouache on heavy wove buff paper; Landscape with houses, 1907 pencil, watercolour on off white wove paper; Les Aiguilles, Belle Ile, 1910 pencil, watercolour, gouache on off-white wove paper; Cliffs, Belle Ile, 1906 pencil, watercolour on ivory machine wove paper on thick card album page; Landscape, Matlock, 1905 pencil, watercolour on ivory wove paper; recto: View through trees; verso: (Head of a woman in profile), 1919 recto: pencil, watercolour on ivory wove paper verso: watercolour on ivory wove paper. Jean Cameron Gordon Bequest in memory of her mother Mary Gordon 2000 Horace Trenerry (Australia, b.1899,d.1958), Morning mists, circa 1945-circa 1947 oil on canvas on cardboard. Edward Stinson Bequest 2001 Brett Whiteley (Australia, b.1939,d.1992), Woman in bath IV, 1964 oil, collage, tempera and polyvinyl acetate emulsion on board. Purchased with funds provided by the Art Gallery Society of New South Wales 2000 SUB TOTAL 44 WORKS ABORIGINAL ART Florence Ashley (Australia), 7 seed necklaces, (1996) threaded seeds. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Lucy Ashley (Australia), 6 seed necklaces, (1996) threaded seeds. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Judy Baypangala (Australia, b.1941), 5 twined open weave dillybags, (1996) twined pandanus spiralis leaves, natural dyes, bush string handle. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Bidingal (Australia), 2 coil-woven baskets with bush string handles, (1996) coil-woven pandanus spiralis leaves, natural dyes, bush string loop handle. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Birraynu (Australia), 14 seed necklaces, (1996) threaded seeds. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Guyula (Australia), 1 mat and 1 basket: Circular closed and open weave, fringed mat, (1996) woven pandanus spiralis leaves, natural dyes; Coil-woven basket with handle, (1996) coil-woven pandanus spiralis leaves, natural dyes, coil-woven handle, flat base. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Helicopter (Australia, b.circa 1937), Yalkoora Soak, 1999 etching. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Wilson Lanydjura (Australia, b.1955), Morning Star Pole, 1997 wood, feathers, bark fibre string and natural pigments. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 John Mawurndjul (Australia, b.1952), Mardayin ceremony, 2000 natural pigments on eucalyptus bark. Don Mitchell Bequest Fund 2000 Eubena Nampitjin (Australia, b.circa 1925), Untitled, 1999 etching. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Alice Nampitjinpa (Australia, b.1945), Tali (sandhills) at Talaalpi, 1999 etching. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Narputta Nangala (Australia), Karrkurutinytja, 1999 synthetic polymer paint on linen. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Makinti Napanangka (Australia), Untitled, 2000 synthetic polymer paint on linen. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Walangkura Napanangka (Australia, b.circa 1938), Kutungka Napanangka at Papunga, 1999 synthetic polymer paint on canvas. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Mitjili Napurrula (Australia, b.circa 1945), Untitled, 1999 synthetic polymer paint on linen canvas. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Ningura Napurrula (Australia, b.circa 1938), Untitled (Wirrulnga), 2000 synthetic polymer paint on linen canvas. Patricia Lucille Bernard Bequest Fund 2001 Naata Nungurrayi (Australia, b.circa 1932), Untitled, 1999 synthetic polymer paint on linen canvas. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Tim Tjapangarti Payungka (Australia, b.circa 1942,d.2000), Tingari cycle at Wilkinkarra, 1996 synthetic polymer paint on canvas. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Rusty Peters (Australia, b.1935), Chinaman’s Garden Massacre at Springvale Station, 2000 natural pigments on linen canvas. Purchased with funds provided by J.S. Watkins Memorial Fund 2001 Kutuwalumi Purawarrumpatu (Australia, b.circa 1928), 2 paintings: Untitled, 2000 natural pigments on paper; Untitled, 2000 natural pigments on linen canvas. Don Mitchell Bequest Fund 2001 Timmy Timms (Australia, b.circa 1915,d.2000), Bedford Downs Massacre, 2000 natural pigments on canvas. D G Wilson Bequest Fund 2000 Long Tom Tjapanangka (Australia, b.circa 1929), Kanpaarka (Centipede) Tjukurrpa, 1994 synthetic polymer paint on linen canvas. Patricia Lucille Bernard Bequest Fund 2001 George Tjungurrayi (Australia, b.circa 1945), Untitled, 2000 synthetic polymer paint on linen canvas. Purchased 2000 Turkey Tolson Tjupurrula (Australia, b.circa 1938), Straightening the spears, 1999 synthetic polymer paint on linen canvas. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 Unknown (Australia), 3 coil-woven baskets with bush string handle, (1996) coil-woven pandanus spiralis leaves, natural dyes, bush string loop handle. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 1 twined tight weave dillybag and 4 twined open weave dillybags, (1996) twined pandanus spiralis leaves, natural dyes, bush string handle. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 4 closed and open weave, fringed conical mats, (1996) woven pandanus spiralis leaves, natural dyes, bush string. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 6 ovoid closed and open weave, fringed mats, (1996) woven pandanus spiralis leaves, natural dyes. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 8 circular closed and open weave, fringed mats, (1996) woven pandanus spiralis leaves, natural dyes. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), Circular open weave, fringed mat, (1996) woven pandanus spiralis leaves, natural dyes. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), Knotted string bag, (1996) spun string, natural dyes, sheet bend knots. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 20 string looped bags with twined string handles, (1996) bush string, natural dyes. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 13 back harnesses, (1996), bushstring, Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 13 headbands, (1996), bushstring, Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 18 twined dillybags, (1996) twined pandanus spiralis leaves, brown synthetic polymer paint. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), Bark food and water container, (1996) bark. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), 2 string of painted snail shells, (1996) snail shells, natural pigments. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Unknown (Australia), Woven pandanus sail, (1996) woven pandanus spiralis leaves. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Wanapuyngu (Australia), Coil-woven basket with handle, (1996) coilwoven pandanus spiralis leaves, natural dyes, handle. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Rosie Wudarn (Australia), Twined alternating open and closed weave dillybag, (1996) twined pandanus spiralis leaves, natural dyes, bush string handle. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1997 Lucy Yukenbarri (Australia, b.1934), Untitled, 1999 screenprint. Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 2000 SUB TOTAL 154 WORKS MODERN AND CONTEMPORARY ART Marina Abramovic (Yugoslavia, b.1946) and Ulay (Germany, b.1943), I. A Performance Anthology 1975-1980 [volumes 1-3] II. Modius Vivendi 1979-1986 [volumes 4-5] III. Continental Videoseries 1983-1986 [volumes 6-7], 1975-1986 7 VHS-PAL videos. Purchased 1996 Jean-Pierre Bertrand (France, b.1937), Bright yellow green no.1, 2000 Flemish medium on paper, plexiglass, steel frame. Purchased 2000 David Bomberg (England, b.1890,d.1957), The garden and tower of the sacristy, Cuenca Cathedral, 1934 oil on canvas. Purchased 2000 Pierre Bonnard (France, b.1867,d.1947), Bust in profile, red background (study), circa 1920 oil on canvas. Purchased with funds provided by the Art Gallery of New South Wales Foundation and the Margaret Hannah Olley Art Trust 2000 Peter Callas (Australia, b.1952), 1 digital print from the series Um Novo Tempo (A new time), 1999: Fish Market, Manaus 1999 digital print. Purchased with funds provided by the Contemporary Collection Benefactors’ Program 2000 Aleks Danko (Australia, b.1950), Department One: The drawing room, 1993-1994 Chinese linen, ink on paper, plywood column and photographic floods. Purchased with funds provided by the Contemporary Collection Benefactors’ Program 2000 Lucian Freud (Germany; England, b.1922), Self Portrait: Reflection, 1996 etching on Somerset textured white paper. Purchased 2000 Gilbert and George (Italy/England b.1943, England b.1942), Reaming, 1982 Photo-piece: ink transfer on paper [30 panels]. Purchased with funds provided by the Art Gallery Society of New South Wales 2000 Simryn Gill (Malaysia; Australia, b.1959), Roadkill, 2000 found objects, toy wheels. Purchased with funds provided by the Contemporary Collection Benefactors’ Program 2001 Helga Groves (Australia, b.1961), Flood, 1999 triptych: woven monofilament fishing line stretched onto wooden frames. Purchased with funds provided by the Contemporary Collection Benefactors’ Program 2000 Geoffrey Kleem (Australia, b.1953), 2 light jet photographs, wood, steel from the series International Trash, 2000: 35° 09’ 53” S - 150° 34’ 35” E, 2000 light jet photograph, wood, steel; 33° 36’ 52” S 150° 16’ 05” E, 2000 light jet photograph, wood, steel. Purchased with funds provided by the Contemporary Collection Benefactors’ Program 2000 Vik Muñiz (Brazil; United States of America, b.1961), 1 silver dye bleach photograph (Ilfochrome) from the series Pictures of Dust, 2000: Richard Serra, Prop, 1968... (Picture of Dust), 2000 silver dye bleach photograph (Ilfochrome). Don Mitchell Bequest Fund 2001 Mike Parr (Australia, b.1945), 28 drawings: 26 drawings each titled Untitled self portrait from the series 26 Untitled self portraits 1981-1996, 1981 pencil on paper; Portrait of F, 1995 pencil on paper; Portrait of C, 1995 pencil on paper. Purchased with funds provided by the Contemporary Collection Benefactors’ Program 2000 Slave Pianos (Michael Stevenson, New Zealand/Germany b.1964 and Danius Kesminas, Australia b.1966), Slave Pianos collectable: in memoriam George Maciunas, 1999 framed archive material. Purchased 2000 Stephen Willats (England, b.1943), Pat Purdy and the glue sniffers camp, 1981 12 photographic prints, photographic dye, gouache, Letraset text, ink, felt tip pen and found objects from the Lurky Place. Purchased 2000 John Young (Australia, b.1956), Hermit painting #3, Winter-Spring 1999 diptych: vutak digital scan and oil on canvas. Purchased with funds provided by the Contemporary Collection Benefactors’ Program 2000 SUB TOTAL 55 WORKS PHOTOGRAPHY Irene Bayer (United States of America, b.1898,d.1991), Portrait of Grit Kallin, Bauhaus Dessau, 1928 gelatin silver photograph. Purchased with funds provided by Jill Hawker 2001 Pat Brassington (Australia, b.1942), Lunch, 2000 pigment print. Purchased with funds provided by the Photography Collection Benefactors’ Program 2000 Max Dupain (Australia, b.1911,d.1992), Illustration for Kelvinator advertisment, 1936 gelatin silver photograph. Purchased with funds provided by the Photography Collection Benefactors’ Program 2000 Adam Fuss (England; United States of America, b.1961), from the series My Ghost, 2000 daguerreotype. Purchased with funds provided by Amanda and Andrew Love, Lisa and Egil Paulsen, Mike Hawker, Michael Magnus, James Erskine, David Coe, Michael and Katharine Hughes, Maryanne Pagent, Photo Technica, Photo King Professional Lab, Wheen Family, and the Photography Collection Benefactors’ Program 2001 Henry King (Australia, b.1855,d.1923), 2 albumen photographs: Australian Aboriginal NSW (woman), circa 1870-1880 Australian Aboriginal NSW (man), circa 1870-1880 Purchased with funds provided by the Photography Collection Benefactors’ Program 2000 Robert McFarlane (Australia, b.1942), Charles Perkins on bus home after visit to Tranby, Glebe, circa 1965 gelatin silver photograph. Purchased with funds provided by the Photography Collection Benefactors’ Program 2000 Tracey Moffatt (Australia, b.1960), 2 photo silkscreens, printed in colour ultraviolet inks on textured Somerset satin paper from the series Invocations, 2000 Purchased 2000 László Moholy-Nagy (Hungary; United States of America, b.1895,d.1946), An outline of the universe, 1930 gelatin silver photograph. Purchased with funds provided by the Photography Collection Benefactors’ Program 2001 Jacky Redgate (England; Australia, b.1955), 2 type C photographs from the series Untitled Day, 2000: London c1965, 2000 London c1970, 2000 Purchased with funds provided by Cosway Australia on behalf of Bevan and Bronwyn Towning, Rebecca Dee, David Bradbury, Robert and Judith Harley, Mark and Pam Rudder, John and Simonetta Frey 2001 Stanislaw Witkiewicz (Poland, b.1885,d.1939) with Jozef Jan Glogowski (Poland, b.1893,d.1969), Fright, 1931 gelatin silver photograph. Purchased with funds provided by Penelope Seidler, Josef and Jeanne Lebovic, Graham and Mary Beirman, Michael Carr, Barbara Flynn and William Grounds, Paul and Becky Urla, Roslyn and Tony Oxley, The Freedman Foundation, Rhonda Rose and the Photography Collection Benefactors’ Program 2001 SUB TOTAL 13 WORKS 63 ASIAN ART CAMBODIA Khmer, Hevajra mandala, 12th century-13th century bronze. Edward and Goldie Sternberg Southeast Asian Art Purchase Fund 2001 Khmer, Bayon style, Nimbus surmounted by a dancing ‘hevajra’, late 12th century-early 13th century, Angkor period 802 – 1431 bronze. Purchased 2000 CAMBODIA / LAOS Khmer, 2 wine jars: 12th century-13th century stoneware with dark brownblack glaze; 12th century-13th century stoneware with greenishbrown glaze. D G Wilson Bequest Fund 2001 CHINA Model of a horse and rider, 550 -577, Northern Qi 550 – 577, Northern dynasties 386 – 581 China grey earthenware with some paint and gilding. Purchased 2000 DING Yanyong (People’s Republic of China, b.1902,d.1978), Guangdong, The Eight Immortals, 1978 hanging scroll; ink and colour on paper. Purchased 2000 probably Shaanxi Province, Chinese Buddhist stele, late 5th century, Northern Wei 386 – 535, Northern dynasties 386 – 581 sandstone. Edward and Goldie Sternberg Chinese Art Purchase Fund 2001 JAPAN Arita ware, Shaving dish with flower design, late 17th century-early 18th century, Edo (Tokugawa) period 1615 – 1868 porcelain with underglaze blue, overglaze enamel and gold. Purchased 2000 VIETNAM Hoi An, Dragon ewer, mid 15th century porcelain, moulded, with underglaze blue and white decoration. Purchased 2000 SUB TOTAL 9 WORKS GRAND TOTAL OF PURCHASED WORKS: 275 GIFTS AUSTRALIAN ART ANONYMOUS GIFT IN MEMORY OF LINA BRYANS Ian Fairweather (United Kingdom; Australia, b.1891,d.1974), West Lake, Hangchow, (1933) oil and gouache on paper on canvas on cardboard NANCY BORLASE Nancy Borlase (Australia, b.1914), Night of the full moon, 1960 oil, tempera on hardboard FRED CRESS Fred Cress (Australia, b.1938), The visit, 1982 synthetic polymer paint on canvas SIR WILLIAM DOBELL ART FOUNDATION Nicholas Harding (Australia, b.1956), Eddy Avenue (3), 2001 black ink on two sheets on white wove paper LAURIS ELMS AM OBE Shay Docking (Australia, b.1928,d.1998), Ploughed fields at Mirboo North near Thorpedale, Victoria, 1955 pencil, watercolour, gouache GWEN FROLICH Charles Blackman (Australia, b.1928), (Sunbathers), circa 1953-circa 1954 charcoal on thin buff wove paper HELEN GLAD IN MEMORY OF HER MOTHER JANE GLAD (LINDSAY) AND DAVID BRIAN David Brian Wilson (Australia, b.1946,d.1998), (Dead) hawk, 1996 oil on canvas JAMES GLEESON James Gleeson (Australia, b.1915), 142 drawings and 3 artist’s books: Study for ‘Land fall’, 1982 charcoal on light green laid paper; Study for ‘Activated still-life’, 1983 charcoal on light grey-green laid paper; Study for ‘Games in a bad-weather creche’, 1983 charcoal on ivory wove paper; Study for ‘Locus Ganesa’, 1983 charcoal on ivory wove paper; Study for ‘Lapsed exemplars’, 1984 charcoal on white wove Arches Satine paper; Study for ‘Garden with excised maze’, 1984 charcoal on ivory wove paper; Study for ‘The coast near Coolum augmented by a 64 recollection of Mazeppa’, 1985 charcoal, collage on ivory laid paper; Study for ‘The moonrise sharpshooter’, 1985 charcoal on white wove paper; Study for ‘Fortforms torn by skyquakes’, 1985 charcoal on ivory wove paper; Study for ‘Depot for used shadows’, 1988 charcoal, collage on white wove paper; Study for ‘The dance’, 1988 charcoal, collage on white wove paper; Study for ‘They arrived at evening, not a moment too soon’, 1988 charcoal, collage on white wove paper; Study for ‘Divisions’, 1988 charcoal, collage on white wove paper; Study for ‘Sea hints’, 1988 charcoal, collage on white wove paper; Study for ‘A parley of Totems’, 1988 charcoal, collage on white wove paper; Study for ‘Guarding against euphoria’, 1989 charcoal, collage, wash on white wove paper; Study for ‘Ludus Electrica’, 1989 charcoal on white wove paper; Study for ‘Windgrids’, 1989 charcoal on white wove paper; Study for ‘Morning strategies’, 1989 charcoal on white wove paper; Study for ‘Estuary’, 1989 charcoal, collage on white wove paper; Study for ‘Study for ‘Sky divisions gathering’, 1989 charcoal, collage on white wove paper; Study for ‘The theatre’, 1989 charcoal on white wove paper; Study for ‘The Ear of Dionysos’, 1989 charcoal, collage on white wove paper; Study for ‘The time of the hammer’, 1990 charcoal on white wove paper; Study for ‘The green oracle’, 1990 charcoal, collage on white wove paper; Study for ‘The cloud quarry’, 1990 charcoal, squared with pencil on white wove paper; Study for ‘Clouded answers’, 1990 charcoal, collage, squared with pencil on white wove paper; Study for ‘The prepared grove’, 1990 charcoal, collage, pencil, squared with pencil on white wove paper; Study for ‘An autumn incident’, 1991 charcoal, collage on white wove paper; Study for ‘Genesis’, 1991 charcoal, collage, squared with pencil on white wove paper; Study for ‘The nest’, 1991 charcoal, collage, white pastel on white wove paper; Study for ‘The equation’, 1991 charcoal, collage on white wove paper; Study for ‘The beginning of the rain’, 1991 charcoal, collage on white wove paper; Study for ‘Dawn Toccata’, 1991 charcoal, collage on white wove paper; Study for ‘Homeward returning’, 1991 charcoal, collage on white wove paper; Study for ‘Deployed energies’, 1991 charcoal, collage on white wove paper; Study for ‘Re-articulations’, 1991 charcoal, collage on white wove paper; Study for ‘The dark star’, 1991 charcoal, collage on white wove paper; Study for ‘Storm warning’, 1991 charcoal, collage on white wove paper; Study for ‘Games of the sun’, 1991 charcoal, collage on white wove paper; Study for ‘Strange visitation’, 1991 charcoal, collage on white wove paper; Study for ‘The screen of seeming’, 1991 charcoal, collage on white wove paper; Study for ‘Caught in a lunar synthesis’, 1991 charcoal, collage on white wove paper; Study for ‘Metamorphosis’, 1991 charcoal, collage on white wove paper; Study for ‘Threads in the pattern’, 1991 charcoal, collage on white wove paper; Study for ‘The chrysalis dreams of empire’, 1991 charcoal, collage on white wove paper; Study for ‘The waiting garden’, 1991 charcoal, collage on white wove paper; Study for ‘Fossils of the devious air’, 1991 charcoal, collage on white wove paper; Study for ‘At the start of the long river’, 1992 charcoal, collage on white wove paper; Study for ‘The authority of the shell’, 1992 charcoal, collage on white wove paper; Study for ‘The pool’, 1993 charcoal, collage on white wove paper; Study for ‘The onset’, 1993 charcoal, collage on white wove paper; Study for ‘Aurora sapiens’, 1994 charcoal, collage on white wove paper; Study for ‘Quasirecollections of a Venetian winter’, 1994 charcoal, collage on white wove paper; Study for ‘The message arrives’, 1995 charcoal, collage on white wove paper; Study for ‘Deposits in the sunbank’, 1995 charcoal, collage on white wove paper; Study for ‘An unpredictable evening’, 1995 charcoal, collage on white wove paper; Study for ‘What is the question’, 1995 charcoal, collage on white wove paper; Study for ‘At the unfolding’, 1995 charcoal, collage on white wove paper; Study for ‘Bird calls at a fitful beginning’, 1995 charcoal, collage on white wove paper; Study for ‘Checkpoint’, 1995 charcoal, collage on white wove paper; Study for ‘Behind the curtain’, 1995 charcoal, collage on white wove paper; Study for ‘The vital mist’, 1995 charcoal, collage on white wove paper; Study for ‘The irregular behaviour of a setting sun’, 1995 charcoal, collage on white wove paper; Study for ‘Parnassus Interchange’, 1995 charcoal, collage on white wove paper; Study for ‘An ordered flow’, 1995 charcoal, collage on white wove paper; Study for ‘Guardian posts’, 1995 charcoal, collage on white wove paper; Study for ‘A trick of memory’, 1995 charcoal, collage on white wove paper; Study for ‘The judgement’, 1995 charcoal, collage on white wove paper; Study for ‘The oration’, 1995 charcoal, collage on white wove paper; Study for ‘A tentative calm’, 1995 charcoal, collage on white wove paper; Study for ‘A coded message’, 1995 charcoal, collage on white wove paper; Study for ‘The conference’, 1995 charcoal, collage on white wove paper; Study for ‘A disrupted cliff’, 1995 charcoal, collage on white wove paper; Study for ‘A coded signal’, 1995 charcoal, collage on white wove paper; Study for ‘A decision of the clouds’, 1996 charcoal, collage on white wove paper; Study for ‘In the range of memory’, 1996 charcoal, collage, wash on white wove paper; Study for ‘Reluctant Adam’, 1996 charcoal, collage on white wove paper; Study for ‘The fallacy of autumn’, 1996 charcoal, collage on white wove paper; Study for ‘Reliable evidence’, 1996 charcoal, collage on white wove paper; Study for ‘Break-out’, 1996 charcoal, collage on white wove paper; Study for ‘Evading the thought wardens’, 1996 charcoal, collage on white wove paper; Study for ‘An occurrence observed by daynight’, 1996 charcoal, collage, pencil on white wove paper; Study for ‘A sybil travelling incognito’, 1996 charcoal, collage on white wove paper; Study for ‘An event in the Islands’, 1996 charcoal, collage on white wove paper; Study for ‘In the eye of the beholder’, 1996 charcoal, collage on white wove paper; Study for ‘A sudden decision’, 1996 charcoal, collage, wash on white wove paper; Study for ‘On the verge of becoming’, 1996 charcoal, collage on white wove paper; Study for ‘Exit right, laughing’, 1996 charcoal, collage on white wove paper; Study for ‘The colonists arrive’, 1997 charcoal, collage on white wove paper; Study for ‘Compound echoes’, 1997 charcoal, collage, pencil on white wove paper; Study for ‘Dictates of the Uncertainty Principle - even’, 1997 charcoal, collage, pen and black ink on white wove paper; Study for ‘Ambiguous evidence’, 1997 charcoal, collage on white wove paper; Study for ‘Echoes from a lost garden’, 1997 charcoal, collage on white wove paper; Study for ‘Within a waiting grove’, 1997 charcoal, collage on white wove paper; Study for ‘Carnival’, 1997 charcoal, collage on white wove paper; Study for ‘Apprehended transitions’, 1997 charcoal, collage on white wove paper; Study for ‘A guarded beach’, 1997 charcoal, collage on white wove paper; Study for ‘A nightattack’, 1998 charcoal, collage on white wove paper; Study for ‘An unusual concurrence’, 1998 charcoal, collage on white wove paper; Study for ‘Iphegenia in Aulis’, 1998 charcoal, collage on white wove paper; Study for ‘The dream of Galileo’, 1998 charcoal, collage on white wove paper; Study for ‘Cythera Revisited’, 1998 charcoal, collage on white wove paper; Study for ‘A guarded beach’, 1998 charcoal, collage on white wove paper; Study for ‘Aspiring echoes’, 1998 charcoal, collage on white wove paper; Study for ‘Headland’, 1998 charcoal, collage on white wove paper; Study for ‘Arriving with the night’, 1998 charcoal, collage on white wove paper; Study for ‘The gathering’, 1998 charcoal, collage on white wove paper; Study for ‘A memory bank’, 1998 charcoal, collage on white wove paper; Study for ‘Enclave’, 1998 charcoal, collage on white wove paper; Study for ‘A darkness constrained’, 1998 charcoal, collage on white wove paper; Study for ‘A memory mis-remembered’, 1998 charcoal, collage on white wove paper; Study for ‘The seer’, 1998 charcoal, collage on white wove paper; Study for ‘The prediction’, 1998 charcoal, collage on white wove paper; Study for ‘Illusion masters’, 1998 charcoal, collage, black ink on white wove paper; Study for ‘Where the weather lives’, 1998 charcoal, collage on white wove paper; Study for ‘Time seed’, 1999 charcoal, collage on white wove paper; Study for ‘The watching eye of night’, 1999 charcoal, collage on white wove paper; Study for ‘A cool resonance’, 1999 charcoal, collage on white wove paper; Study for ‘The growing anvil’, 1999 charcoal, collage on white wove paper; Study for ‘The soft geometry of chance’, 1999 charcoal, collage on white wove paper; Study for ‘The cloak’, 1999 charcoal, collage on white wove paper; Study for ‘The riddle of the clouds’, 1999 charcoal, collage on white wove paper; Study for ‘Connections’, 1999 charcoal, collage on white wove paper; Study for ‘A haven for unemployed shadows’, 1999 charcoal, collage, pencil, black fibre-tipped pen on white wove paper; Study for ‘Pandora’s gateway’, 1999 charcoal, collage on white wove paper; Study for ‘Meeting places’, 1999 charcoal, collage on white wove paper; Study for ‘Reinforcements’, 1999 charcoal, collage, black fibre-tipped pen, pen and white ink on white wove paper; Study for ‘Possible jeopardy’, 1999 charcoal, collage on white wove paper; Study for ‘Visitors’, 1999 charcoal, collage on white wove paper; Study for ‘A session of the secret court’, 1999 charcoal, collage on white wove paper; Study for ‘An unclassifier resort’, 2000 charcoal, collage on white wove paper; Study for ‘A quorum of entities’, 2000 charcoal, collage on white wove paper; Study for ‘Three guardians two active, one retired’, 2000 charcoal, collage on white wove paper; Study for ‘The home-coming of Agamemnon’, 2000 charcoal, collage on white wove paper; Study for ‘A beckoning terminus’, 2000 charcoal, collage on white wove paper; Study for ‘An invisible place made manifest’, 2000 charcoal, collage on white wove paper; Study for ‘Dramatis personae’, 2000 charcoal, collage on white wove paper; Study for ‘Rising to the night’, 2000 charcoal, collage on white wove paper; Study for ‘The citadel attacked’, 2000 charcoal, collage on white wove paper; Study for ‘A discourse at Olympus’, 2000 charcoal, collage on white wove paper; Study for ‘A congregation’, 2000-2001 charcoal, collage on white wove paper; (Artist’s book), late 1970s-1983 artist’s bound book: 15 leaves, 28 drawings on 30 pages, pen and black ink, wash, collage, frottage on paper; (Artist’s book), late 1970s artist’s bound book: 15 leaves, 28 drawings on 30 pages, pen and black ink, wash, collage, frottage on paper; (Artist’s book), late 1970s artist’s bound book: 1 leaf folded in the ‘accordian’ style to form 26 pages, pen and black ink, wash, collage, frottage on paper PETA PHILLIPS Janet Dawson (Australia, b.1935), Study for ‘Foxy night’ series, 19781979 pencil, black ink wash, white gouache on white wove paper, folded NANCY GOLDFINCH Nancy Goldfinch (Australia, b.1911), 2 paintings: From Vaucluse, 1939 oil on canvas; Merrigang Street, Bowral, 1937 oil on canvas THEA PROCTOR MEMORIAL FUND Theo Scharf (Australia; Germany, b.1899,d.1987), 17 etchings from the series ‘Night in a city’, circa 1923: Dusk, circa 1923 etching, black ink on cream laid paper; Saturday evening, circa 1923 etching, black ink on cream laid paper; Promenade, circa 1923 etching, black ink on cream laid paper; Closing time, circa 1923 etching, black ink on cream laid paper; Railway station, circa 1923 etching, black ink on cream laid paper; Restaurant II, circa 1923 etching, black ink on cream laid paper; Cinema, circa 1923 etching, black ink on cream laid paper; The music lovers, circa 1923 etching, black ink on cream laid paper; The concert, circa 1923 etching, black ink on cream laid paper; Burglars, circa 1923 etching, black ink on cream laid paper; Cabaret, circa 1923 etching, black ink on cream laid paper; After the concert, 1923 etching, black ink on cream laid paper; Restaurant III, 1923 etching, drypoint, black ink on cream laid paper; Street girl, circa 1923 etching, black ink on cream laid paper; The lovers, 1923 etching, black ink on cream laid paper; The revelers, circa 1923 etching, drypoint, black ink on cream laid paper; Dawn, circa 1923 etching, black ink on cream laid paper PAM HALLANDAL Pam Hallandal (Australia, b.1929), My mother, 1979 (drawn on wood) 1999 (cut) 2000 (printed) woodcut, black ink on thin white Korean mulberry paper KRISTEN HEADLAM Kristen Headlam (Australia, b.1953), 10 prints from the The Blake suite; ‘Oh Rose’, 1996: O Rose I, 1996 drypoint, aquatint in black and pink ink on ivory wove paper; O Rose II, 1996 drypoint, aquatint in black and pink ink on ivory wove paper; O Rose III, 1996 drypoint, aquatint in black and pink ink on ivory wove paper; O Rose IV, 1996 drypoint, aquatint in black and pink ink on ivory wove paper; O Rose V, 1996 drypoint, aquatint in black and purple ink on ivory wove paper; O Rose VI, 1996 drypoint, aquatint in black and crimson ink on ivory wove paper; O Rose VII, 1996 drypoint, aquatint in black and pink ink on ivory wove paper; O Rose VIII, 1996 drypoint, aquatint in black and red ink on ivory wove paper; O Rose IX, 1996 drypoint, aquatint in black and purple ink on ivory wove paper; O Rose X, 1996 drypoint, aquatint in black and crimson ink on ivory wove paper NORMAN AND DAPHNE MILLS Ethleen Palmer (Australia, b.1908,d.1965), 1 drawing and 6 prints: Study for ‘Burnt out, circa 1952 pencil, watercolour, pastel, gouache on ivory wove paper; Burnt out, 1952 colour screenprint on ivory wove paper; Long reef, 1950 colour screenprint on thick buff paper; The breaking wave, 1949 colour screenprint on ivory wove paper; ‘At peace that eve...’, 1949 colour screenprint on thick buff paper; The dead trees, 1949 colour screenprint on cream wove paper; (Leaping deer), circa 1944-1958 colour screenprint on thick buff paper TRANSFERRED FROM THE NEW SOUTH WALES STATE GOVERNMENT Sydney Long (Australia, b.1871,d.1955), The boatshed, Narrabeen Lakes, 1942 oil on canvas MARGARET HANNAH OLLEY ART TRUST Amanda Robins (Australia, b.1961), 2 drawings: Linen dress, 2000 charcoal, black and white pastel on white Arches paper; Francisco Lezcano riding the unicycle, 2001 black, grey, white and ochre pastel on white wove paper, laminated onto canvas SHIRLEY PURSLEY A.H. Fullwood (Australia, b.1863,d.1930), 2 prints: Cumberland Street, Sydney, 1920s etching, dark brown ink on brown paper; First Treasury Building in Australia (Sydney 1823), 1923 etching, black ink on ivory wove paper Hilda Rix Nicholas (Australia, b.1884,d.1961), Costume de Fête, Finistère, 1925-1926 coloured pastel on ivory wove paper ALAN AND JANCIS REES Lloyd Rees (Australia, b.1895,d.1988), 21 associated proofs and early states of the portfolio Tribute to light, 19871988: Western sky, 1987-1988 lithograph; Western sky, 1987-1988 five-colour lithograph; The two peaks, Southern Tasmania, 1988 lithograph; The two peaks, Southern Tasmania, 1988 two-colour lithograph; The boat race, 1987-1988 lithograph; The boat race, 1987-1988 four-colour lithograph; Sunshine in Victoria, 1988 lithograph, umber ink on grey paper; Sunshine in Victoria, 1988 lithograph; Sunshine in Victoria, 1988 lithograph; Tribute to Jørn Utzon, 1988 lithograph; Tribute to Jørn Utzon, 1988 two-colour lithograph; Tribute to Jørn Utzon, 1988 lithograph, black ink on cream paper; Tribute to Jørn Utzon, 1988 lithograph, black ink on ochre ‘Bemboka’ paper; Tribute to Jørn 65 Utzon, 1988 lithograph; Summer morning, Tasmania, 1988 lithograph, black ink on ‘Bemboka’ paper; Summer morning, Tasmania, 1988 lithograph, black ink on ochre ‘Bemboka’ paper; Summer morning, Tasmania, 1988 lithograph, black and cream ink on ochre ‘Bemboka’ paper; Spring morning, 1988 lithograph; Spring morning, 1988 five-colour lithograph; recto: Veteran tree, Bruny Island; verso: Veteran tree, Bruny Island, 1988 lithograph; Veteran tree, Bruny Island, 1988 lithograph Lloyd Rees (Australia, b.1895,d.1988), Breezy day, Lane Cove River, 1980 lithograph, black ink on white Johannot paper MRS VERONICA ROWAN Jean Bellette (Australia, b.1909,d.1991), 5 drawings: Four figures, pencil and brown oil paint on cream wove paper; Woman lying on her side, circa 1944 brown ink and wash on cream wove paper; Two drawings of a man’s head, circa 1944 pencil on cream wove paper; Three figures, circa 1944 pencil and ink on cream wove; Landscape, charcoal Rupert Bunny (Australia, b.1864,d.1947), Seated female nude, black ink on cream wove paper Douglas Dundas (Australia, b.1900,d.1981), Drawings of street scenes (Balmain?) (recto and verso), pen, ink and pencil on cream wove paper Moya Dyring (Australia, b.1908,d.1967), 2 drawings: Two figures in boat fishing on lake, brown ink and wash on cream laid paper; Man and woman on back of cart, brown ink and wash on cream laid paper André Masson (France, b.1896,d.1987), Untitled (crayfish), aquatint on white wove paper Godfrey Miller (Australia, b.1893,d.1964), 10 drawings: Ship, pencil on cream wove paper; Horse, pencil on cream wove paper; Abstract forms, pencil on cream wove paper; Reclining figure, pencil on cream wove paper; Figure study back view, pencil on white wove paper; Figure study - back view, pencil on white wove paper; Reclining figure (recto) Seated figure (verso), pencil on cream wove paper; Reclining female figure (recto) Seated female figure (verso), pencil on cream wove paper; Figure drawing (recto) Top half of drawing of female nude signed ‘A. Black’ (verso), pencil on cream wove paper; Reclining figure (recto) Drawing of shoes (probably not by Miller) (verso), pencil on cream wove paper Jacques Murray (France), 21 drawings: Souvenir, pen and brown ink on cream wove paper; Une femme se des habitant, pen and brown ink on cream wove paper; Canard, pen and brown ink on cream wove paper; Vase (recto) Abstract drawings (verso), pen and brown ink on cream wove paper; Profile, pen 66 and brown ink on cream wove paper; Homme entrant dans l’eau, pen and brown ink on cream wove paper; L’homme et sons ombre, pen and brown ink on cream wove paper; Tête d’animale, pen and brown ink on cream wove paper; Plant forms (recto and verso), pen and black ink on cream wove paper; Portrait (recto and verso), blue pen on brown laid paper; Plant forms (recto and verso), gouache on black wove paper; Man’s reclining head with blindfold, etching on cream wove paper; Sleeping dog, screenprint on cream wove paper; Abstract, colour monotype on cream wove paper; Fish, 1936 colour etching using two plates on cream wove paper; Still life (recto and verso), ink and gouache on cream wove paper; Still life (recto and verso), ink and gouache on cream wove paper; Still life, ink and gouache on cream wove paper; Still life, ink and gouache on cream wove paper; Still life, ink and gouache on cream wove paper; Still life, ink and gouache on cream wove paper Sir Eduardo Paolozzi (Scotland, b.1924), Untitled (abstract), lithograph on cream wove paper B Rakoczi (active 1952), Untitled (Man riding rooster), 1952 lithograph on white laid paper Alan Reynolds (United Kingdom, b.1909,d.1979), 2 prints: Untitled (landscape), lithograph on white wove paper; Untitled (landscape) (recto) Untitled (figures in landscape) (verso), lithograph on white wove paper Len Reynolds (Australia), Portrait of man, pencil on cream wove paper Ceri Richards (Wales, b.1903,d.1971), 3 prints: Untitled (woman at piano), lithograph on cream wove paper; Untitled (park and town square), lithograph on white Rives paper; Untitled (interior), 1950 lithograph on cream wove paper Michel Seuphor (France; Belgium, b.1901) after Piet Mondrian (Netherlands, b.1872,d.1944), Textuel Manifesto, circa 1951 lithograph on cream wove paper Jeffrey Smart (Australia, b.1921), 3 drawings: Staircase with street lights and dome in the background, black fibre-tipped pen on Japanese cream wove paper; Staircase with figures, streetlights and dome in the background, black fibre-tipped pen on Japanese cream wove paper; Explanation note of drawings, pencil on Japanese cream wove paper David Strachan (Australia; England, b.1919,d.1970), 120 drawings: Figure drawing, pencil on cream wove paper; Figure Drawing (recto) Figure working on printing plate (verso), blue fibre-tipped pen and pencil on cream wove paper; Male nude with boy, pencil on cream wove paper; Man holding shield and figure drawing of woman, pencil on cream wove paper; Woman with bowl of fruit and drawing of blacksmith, collage, pencil on cream wove paper; Standing figure of a woman (recto) [chalk tracing] (verso), pencil and yellow chalk; Figure at window, back view, pencil on cream wove paper; Figure drawings (recto and verso), pen and ink on cream wove paper (folded in half); Head of a man, pencil on cream wove paper; Head of a man, pen and black ink on cream wove paper; Head of a man, brown and black ink on cream wove paper; Head (recto) Woman’s torso, sitting (verso), pencil on cream wove paper; Study of a young man, brown and black ink on cream wove paper; Figure and head studies, brown ink on white wove paper; Drawings of man’s head and a fish, pencil on cream wove paper; Three male nudes (recto) Writing (verso), blue ball-point pen on white wove paper; Figure crouching, brown ink on white wove paper; Two figures in front of arched windows, black ink on cream wove paper; Four Figures (recto) Head of a man (verso), charcoal and pencil on cream wove paper; Couple at window (recto) Study of man’s torso and hands holding pipe (verso), charcoal and pastel on cream wove paper; Female nude back view, pen, ink and wash on cream ruled wove paper; Two male and a female nude, pencil on brown wove paper; Figure studies, pencil on Johannot paper; Portrait of a woman (recto) Still life study (verso), pencil on brown wove paper; Male nude lying down, pencil on white wove paper; Two drawings of a woman - one crouching, one resting head on arms holding flower, pencil on white wove paper; Female nude (possibly student life drawings), pencil on cream wove paper; Seated female nude (recto) Nude studies (verso), pencil on cream wove paper; Nude study back view (recto) Male nude seated on chair (verso), pencil on cream wove paper; Male torso and legs, pencil on brown wove paper; Woman lying on her side, pencil on white wove paper; Man and woman lying (recto) Figure lying (verso), pencil on cream wove paper; Two figures one embracing the other, blue ball-point pen on white wove paper; Male figure crouching (recto) Figure bending (verso), pencil on white wove paper; Seated male nude, pencil on white wove paper; Male nude lying on his side, pencil on white wove paper; Male figure (recto) Tonal washes (verso), brown ink, wash and pastel on cream wove paper; Male figure back view, brown and blue ink and wash; Boy standing, brown and blue ink and wash; Head of a man, pencil on white wove paper; Tracing of a man’s head (recto) Monotype of man’s head (verso), pencil and colour monotype on cream wove paper; Study of woman’s head, pencil on cream wove paper; Portrait study of man, pen and black ink on cream wove paper; Figure with arm shielding head, pencil on white wove paper; Figure drawing, pencil on white wove paper; Head (recto) Abstract head (verso), pencil and conte crayon on cream wove paper; Man behind bars (recto) Drawing of figure and of hands (verso), (1950) blue ink on Velin de Johannot paper (page from Accent and Hazard); Sheet of various drawings, black ink on white wove paper; Row boats on beach (recto and verso), ink, watercolour and charcoal on thin cardboard; Drawing of villa, pencil on cream wove paper; Village (Kerdruc?) at the foot of a hill (recto) Drawing of a woman (verso), circa 1953-circa 1955 pencil, charcoal on cream paper; Church interior, Kerdruc Brittany, circa 1953circa 1955 pencil and watercolour wash on cream wove paper; Village street with cathedral spire, Kerdruc, Brittany, circa 1953-circa 1955 pencil on cream wove paper; Tracing of church interior, Kerdruc Brittany (?), circa 1953-circa 1955 pencil on white wove paper; Abstract study of tree lined street, charcoal on white wove paper; St. Malos Church, pencil on cream wove paper; St Eulalia Church (?), Brittany, circa 1953-circa 1955 black fibre-tipped pen and pencil; Interior of a church, Kerdruc, circa 1953-circa 1955 pencil on cream wove paper; Study for ‘Concarneau’ (recto and verso), 1955 ink, wash, charcoal on brown wove paper; Building (Kerdruc?), circa 1953 pencil on cream wove paper; Outlines of figures and drawings of rowboats, pencil on cream wove paper; Study for painting ‘Kerdruc’, 1953 pencil and ink on cream wove paper; Street Scene, Kerdruc (?), circa 1953-circa 1955 pencil on cream wove paper; Three female figures, charcoal, pencil and black fibre-tipped pen on cream wove paper; Study for the ‘Metamorphosis (the Dead Man)’ in ‘Accent and Hazard’, (1950) pencil on cream wove paper; Study for ‘Man holding a dead bird’ illustration for the poem ‘The criminal’ in ‘Accent and Hazard’, (1950) brown ink on cream wove paper; Study for ‘The criminal’ in ‘Accent and Hazard’ (recto) Figure with outstretched arms (verso), (1950) blue ink and pencil on cream wove paper; Drawing for ‘The criminal’ in ‘Accent and Hazard’, (1950) blue ink on white wove paper; Flower bouquet, Studies for ‘Accent and Hazard’, (1950) pencil on cream wove paper; Tracing for ‘The Blind man’ in ‘Accent and Hazard’, 1951 pencil, pen and ink and scraping out on cream wove paper; Drawing of dividers with surrealist motif, 19521953 pencil on cream wove paper; Face behind divider with buildings in the background, 1952-1953 pencil on cream wove paper; Two faces behind divider, 1952-1953 pencil on cream wove paper; Cathedral, Façade of Notre Dame, circa 1952 pencil on cream wove paper; Cathedral, Façade of Notre Dame, 1952-1953 pencil on white wove paper; Cathedral (Notre Dame) with scaffolding, 1952-1953 pencil on cream wove paper; Woman with Cathedral in background, 1952-1953 pencil on cream wove paper; Woman and chair with cathedral in the background, 1952-1953 pencil on cream wove paper; Woman and chair, circa 1952 charcoal, ink on cream wove paper; Woman and chair, circa 1952 pencil on cream wove paper; Woman and chair, circa 1952 blue ink pen, pencil and wash on cream wove paper; Woman and chair, circa 1952 black fibre-tipped pen and pencil on cream wove paper; drawing for An Angel bearing a palm branch, circa 1952 pencil on cream wove paper; study for Angel bearing a palm branch (recto) study for etching ‘A hand holding dividers’ (verso), circa 1952 pencil on cream wove paper; Study for ‘Crossed arms’, circa 1952 pencil on cream wove paper; Drawing for ‘A Kerosene lamp and two stars’, circa 1952 pencil and black pen on cream wove paper; Torch and palm branch, pencil on cream wove paper; Study for etching ‘The fisher family’, circa 1952 pencil on cream wove paper; Study for the etching ‘The fisher family’, circa 1952 pencil on brown wove paper; Drawing for ‘Two figures holding a block of stone’, circa 1952 pencil on cream wove paper; Man reaching for Axe (recto) Hammer (verso), circa 1952 pencil on cream wove paper; Figure and mule ploughing land, circa 1952 pencil on cream wove paper; Hands holding engraving tool, circa 1952 pencil on cream wove paper; Figure drawing (recto) Man carrying boxes on shoulder (verso), circa 1952 pencil on cream wove paper; Man carrying boxes on shoulder (recto and verso), circa 1952 pencil on cream wove paper; Drawing for the painting ‘The fisher family ‘, 1945 pencil and black ink on cream wove paper; Drawing for the painting ‘The fisher family ‘, 1945 pencil and black ink on cream wove paper; Sheet of various drawings in three sections; Mother and child, leaf and plant studies, pencil, pen and ink on cream wove paper; Donkey, pencil on cream wove paper; Dog, conte crayon on cream wove paper; Donkey, pencil on cream wove paper; Donkey, pencil on cream wove paper; The nativity, black ball-point pen on cream wove paper; Female nude, black ball-point pen on cream wove paper; Man leaning on lamp post with woman in doorway, black ballpoint pen on cream wove paper; Man cooking, black ball-point pen on cream wove paper; Reclining male nude with fig leaf, black ball-point pen on cream wove paper; Two male nudes and woman in coat, black ballpoint pen on cream wove paper; Large man in saloon, black ball-point pen on cream wove paper; Three women with babies at their feet (recto) ‘The Hermitage’ (verso), black ball-point pen on cream wove paper; Woman next to bath, black ball-point pen on cream wove paper; Three figures, black ball-point pen on cream wove paper; Figure outside buildings (figure on a stage set?), pencil on cream wove paper; Abstract form, charcoal on white wove paper; Flowers and abstract form in a vase (recto and verso), pencil on white wove paper; Vase with abstract form (recto) Abstract form (verso), charcoal on white wove paper; Tree, pencil on cream wove paper; Flower study, charcoal David Strachan (Australia; England, b.1919,d.1970), 2 sketchbooks: Sketchbook (Thirty-four sketches of circus figures, female figures, abstract landscapes), bound sketchbook: 31 leaves, 34 drawings, mixed media on cream wove paper; Album of sketches, circa 1937-circa 1938 bound album of twenty-eight sheets with two loose sheets David Strachan (Australia; England, b.1919,d.1970), 14 prints: Head of a man, colour monotype on cream wove paper; Untitled (bird flying over pond with fish), etching and aquatint on cream wove paper; Christmas card with figure and bird, etching and aquatint; Christmas card with vase of flowers in front of landscape, etching and aquatint; Print based on the painting ‘Flowers with a face and pheasant’, etching and aquatint; Christmas card with faces of three sailors, etching on cream wove paper; Christmas card with woman’s face, flowers and bird, etching on cream wove paper; Cathedral, Façade of Notre Dame, (1953) etching and aquatint on cream wove paper; Cathedral, Façade of Notre Dame, (1953) etching and aquatint on cream wove paper; Cathedral, Façade of Notre Dame, (1953) etching and aquatint on Velin de Johannot paper; Cathedral, Façade of Notre Dame, (1953) etching and aquatint on Velin de Johannot paper; Cathedral, Façade of Notre Dame, (1953) etching and aquatint on Velin de Johannot paper; Cathedral, Façade of Notre Dame, (1953) etching and aquatint on cream wove paper; Cathedral, Façade of Notre Dame, (1953) etching and aquatint on Velin de Johannot paper David Strachan (Australia; England, b.1919,d.1970) and Jacques Murray (France), 4 prints: Proof for book cover of ‘Accent and Hazard’, colour etching on cream wove paper; Proof for book cover of ‘Accent and Hazard’, (1950) colour etching on cream wove paper; Proof for the figure in ‘The Muse’ from ‘Accent and Hazard’, (1950) etching on Velin de Johannot paper; The Fisher Family (recto) Early proof for the figure in ‘The muse’ in ‘Accent and Hazard’ (verso), (1950) colour etching (recto) on cream wove paper; etching (verso) on cream wove paper David Strachan (Australia; England, b.1919,d.1970), Printing plate for ‘The Blind Man’, poem and vignette,1951 zinc plate David Strachan (Australia; England, b.1919,d.1970), 2 paintings: Man in singlet and hat (Study for figure in Hill End Landscape), 1966 synthetic polymer paint and pastel on cream wove paper; Study for ‘Head of a girl’, 1947, circa 1947 oil on paper Jacques Villon (France, b.1875,d.1963), Untitled (abstract), colour lithograph PENELOPE SEIDLER Dick Watkins (Australia, b.1937), Untitled, 1970 synthetic polymer paint on canvas SYDNEY ORGANISING COMMITTEE FOR THE OLYMPIC GAMES (SOCOG) 8 prints from the portfolio The Sydney 2000 Olympic Fine Art Collection, 1998: Gordon Bennett (Australia, b.1955), Home decor (Counter composition) Black Swan, 1998 five colour lithograph from 5 aluminium plates on white wove paper; Brian Blanchflower (England; Australia, b.1939), Nocturne, 1999 aquatint on steel, stencil on off-white Magnani 300 gsm paper; Louise Forthun (Australia, b.1959), The red bridge, 1999 aquatint on copper in red ink on off-white Somerset 300 gsm paper; Fiona Hall (Australia, b.1953), Bloodline, 1999 four colour photolithograph from 4 aluminium plates on white Arches Satin 300 gsm paper; Bea Maddock (Australia, b.1934), Gathering, 1999 coloured inkwash stencil with letterpress, photoetching, engraving, roulette on zinc, on white Magnani cotton paper; Queenie McKenzie (Australia, b.1925,d.1998), Gija people, 1998 colour etching on off-white Arches 270 gsm paper; Imants Tillers (Australia, b.1950), The year two thousand, 1998 colour woodcut and linocut, from four blocks, on Fabriano 290m gsm paper; GUAN Wei (China; Australia, b.1957); Under the Southern Cross, 1999 colour lithograph, four colours on off-white Somerset 300 gsm paper AIDA TOMESCU Aida Tomescu (Romania; Australia, b.1955), 10 prints from the series Ithaca, 1997: Ithaca I, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca II, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca III, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca IV, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca V, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca VI, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca VII, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca VIII, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca IX, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper; Ithaca X, 1997 softground etching, hard ground etching, drypoint, black ink on white Fabriano 290 gsm paper ELLEN WAUGH Douglas Watson (Australia, b.1920,d.1972), 1 lithograph, 2 etchings and 14 drawings: Old age pensioner, London, lithograph, black ink on ivory wove paper; Self portrait, etching, brown ink on buff wove paper; Self portrait, etching, black ink on ivory laid paper; (Young man’s head in profile), pencil on ivory machine wove paper; recto: (Seated man) verso: (Portrait of a young man), pencil on ivory wove paper; (Portrait of a young man gazing upwards), pencil on buff wove paper; Frilled lizard, pen and brown ink, grey wash on pink wove paper; (Reclining female nude), black conté on ivory laid paper; recto: (Standing female nude with robe) verso: (Group of figures), pencil on ivory wove paper; (Standing female nude with chair), pen and black ink, brown conté on buff wove paper; recto: (Male nude from rear, bending forwards) verso: (View of the top of a tower), recto: pencil on buff laid paper verso: pencil, watercolour on buff laid paper; recto: (Young man in cap, seated) verso: (Man in coat and top hat from rear), pencil on ivory laid paper; (Head of a woman), pencil on ivory laid paper, with traces of sanguine; (Figure in a coat and two figures in background), reed pen and brown ink, wash on ivory wove paper; (Study of a courtyard with Gothic monument), pencil, carbon pencil on thick ivory wove (watercolour) paper; (Study of a doorway), pencil on ivory machine wove paper; (Japanese soldiers), pen and black and purple inks, watercolour on ivory wove paper FRED WILLIAMS Fred Williams (Australia, b.1927,d.1982), 2 prints: Hillock, 1978 lithograph, black ink on BFK Rives paper; Murray River landscape, 1975 lithograph, black and ox blood ink from two plates on Aquarelle Arches Satiné paper BEQUEST OF THERESE WINTER Francis Lymburner (Australia, b.1916,d.1972), The fortune teller, pen and black ink, wash on ivory wove paper SALVATORE ZOFREA Salvatore Zofrea (Australia, b.1946), 1 drawing, 2 prints and 2 prints block & plates: Self portrait, 1965 pencil on pink laid paper on cardboard; The 67 kiss, 2000 woodcut, black ink on white hitachi paper; Stephanie, 2000 woodcut, black ink on white hitachi paper; Woodblock for ‘Stephanie’, 2000 kauri pine woodblock bonded to particle board; Woodblock for ‘The kiss’, 2000 kauri pine woodblock bonded to particle board Salvatore Zofrea (Australia, b.1946), 31 woodcuts from the suite Appassionata, 1994-1999: The boy frightened by the sea, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; The clock tower at Messina, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; The Arabs at Port Said, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Through the Suez Canal, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; The Customs Chocolate Heart, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Catching the Manly ferry, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; My mother and father together again, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Selling vegetables door to door, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Painting the Mona Lisa at school, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; With my mates at Manly Dam, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; My dream of painting with Leonardo, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Working at Paddy’s Markets, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Attending an opera - Aïda, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; The windows of Amsterdam, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; My mother’s hands, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; The dream - discovering the Psalms, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Death of my mother, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Self portrait with cigarette, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Portrait of my mother, Seaforth, 19941999 woodblock print; black ink on heavy white Japanese Hitachi paper; The lagoon, Papeete, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; My first life class, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; The Crows Nest Bargain Centre, 1994-1999 woodblock print; black ink on heavy 68 white Japanese Hitachi paper; My paintings on the chook yard shed, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; My first one man show, 19941999 woodblock print; black ink on heavy white Japanese Hitachi paper; The watertrap, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Ironing at the factory, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Working at Coles, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Love at the railway station, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Las Ramblas, Barcelona, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; The bordello, Barcelona, 1994-1999 woodblock print; black ink on heavy white Japanese Hitachi paper; Gaudi’s ‘La Sagrada Familia’, 19941999 woodblock print; black ink on heavy white Japanese Hitachi paper Salvatore Zofrea (Australia, b.1946), 31 woodcuts for the Appassionata suite, 1994-1999: The boy frightened by the sea, 1994-1999 Kauri pine woodblock; The clock tower at Messina, 1994-1999 Kauri pine woodblock; The Arabs at Port Said, 1994-1999 Jelutong woodblock; Through the Suez Canal, 1994-1999 Jelutong woodblock; The Customs Chocolate Heart, 1994-1999 Magnolia woodblock; Catching the Manly ferry, 1994-1999 Jelutong woodblock; My mother and father together again, 1994-1999 Magnolia woodblock; Selling vegetables door to door, 1994-1999 Magnolia woodblock; Painting the Mona Lisa at school, 1994-1999 Jelutong woodblock; With my mates at Manly Dam, 1994-1999 Kauri pine woodblock; My dream of painting with Leonardo, 1994-1999 Magnolia woodblock; Working at Paddy’s Markets, 1994-1999 Kauri pine woodblock; Attending an opera - Aïda, 1994-1999 Jelutong woodblock; The windows of Amsterdam, 1994-1999 Magnolia woodblock; My mother’s hands, 19941999 Jelutong woodblock; The dream - discovering the Psalms, 1994-1999 Magnolia woodblock; Death of my mother, 1994-1999 Magnolia woodblock; Self portrait with cigarette, 1994-1999 Jelutong woodblock; Portrait of my mother, Seaforth, 1994-1999 Magnolia woodblock; The lagoon, Papeete, 1994-1999 Magnolia woodblock; My first life class, 1994-1999 Magnolia woodblock; The Crows Nest Bargain Centre, 1994-1999 Kauri pine woodblock; My paintings on the chook yard shed, 1994-1999 Kauri pine woodblock; My first one man show, 1994-1999 Jelutong woodblock; The watertrap, 1994-1999 Kauri pine woodblock; Ironing at the factory, 1994-1999 Kauri pine woodblock; Working at Coles, 19941999 Jelutong woodblock; Love at the railway station, 1994-1999 Magnolia woodblock; Las Ramblas, Barcelona, 1994-1999 Magnolia woodblock; The bordello, Barcelona, 1994-1999 Magnolia woodblock; Gaudi’s ‘La Sagrada Familia’, 19941999 marine ply woodblock Salvatore Zofrea (Australia, b.1946), 2 drawing books of preliminary studies for the Appassionata suite, 19941999: Drawing book for Appassionata: book no. 4, 1994-1999 42 pages of drawings 20 leaves/40 pages of white Arches paper 2 buff fly leaves, one at front, one at back of book; Drawing book for Appassionata: book no. 5, 1994-1999 41 pages of drawings 20 leaves/40 pages of white Arches paper 2 buff fly leaves, one at front, one at back of book SUB-TOTAL OF GIFTED AUSTRALIAN ART WORKS: 523 INTERNATIONAL ART EUROPEAN ART BEFORE 1900 ACCESSIONED 2000 Rembrandt van Rijn (Netherlands, b.1606,d.1669), 3 prints: The Virgin and Child with the cat and snake, 1654 etching; Samuel Manasseh Ben Israel, Jewish author, 1636 etching; The Agony in the Garden, circa 1657 etching and drypoint ANONYMOUS GIFT Dame Elisabeth Frink (England, b.1930,d.1993), Horse and rider, 1985 bronze Auguste Rodin (France, b.1840,d.1917), 5 sculptures: Masque d’Iris Moyen, 1890-1891 (modelled) 1979 (cast) bronze; Monument à Whistler, 1904 (modelled) 1983 (cast) bronze; Invocation, 1886 (modelled) 1985 (cast) bronze; Second Maquette for the Burghers of Calais, 1885 (modelled) 1972 (cast) bronze, six separate pieces; HENDRIK KOLENBERG Alphonse Legros (France; England, b.1837,d.1911), Lord Frederick Leighton PRA, 1837-1911 etching SUB-TOTAL OF GIFTED EUROPEAN ART BEFORE 1900 WORKS: 10 MODERN AND CONTEMPORARY ART GEOFF AND VICKI AINSWORTH Ernesto Neto (Brazil, b.1964), Untitled, 1999 Lycra tulle and polystyrene DOROTHEE ALTENBURG Kasimir Malevich (Russia, b.1878,d.1935), Untitled, circa 1915 pencil NICOLA COSTANTINO Nicola Costantino (Argentina, b.1964), Chicken-balls, 1999 polyester resin AMANDA AND ANDREW LOVE John Young (Australia, b.1956), Cloud and generic flower study #2, Summer-Autumn 1998 NECO scan and oil on canvas. CAZNEAUX FAMILY Harold Cazneaux (New Zealand; Australia, b.1878,d.1953), Getting ready for bed, 1914 gelatin silver photograph MARGARET OLLEY Lucian Freud (Germany; England, b.1922), After Chardin, 2000 etching on Somerset textured white paper Giorgio Morandi (Italy, b.1890,d.1964), Still life with five objects, 1956 etching BRIAN AND NANCY FINCH Henri Mallard (Australia, b.1884,d.1967), 2 gelatin silver photographs: The black sail, 1952 Still life, 1959 MIKE PARR Mike Parr (Australia, b.1945), 4 type C photographs: Blackleg (Mama/Papa), 1993 (printed 2001) 4 type C photographs Mike Parr (Australia, b.1945), 3 type C photographs: Cathartic action: social gestus No. 5, 1977 (printed 2001) 3 type C photographs Mike Parr (Australia, b.1945), 4 gelatin silver photographs: Intergration 3 (leg spiral), 1975 (printed 2001) 4 gelatin silver photographs Mike Parr (Australia, b.1945), 3 videos: Mike Parr performances, 1972-1975 colour and black and white video, sound 39 minutes 30 seconds duration; Family under water, 1978 black and white video, sound 30 minute repeater; Pushing a camera over a hill, 1971 black and white video, sound 30 minute repeater Mike Parr (Australia, b.1945), Portrait of M & F, 1996 (printed 2001) gelatin silver photograph Mike Parr (Australia, b.1945), 75 programs and investigations, 1971 type set text Mike Parr (Australia, b.1945), 12 drawings each titled Untitled portrait of G from the series 12 Untitled portraits of G, 1998 pencil on paper Mike Parr (Australia, b.1945), 12 photographs: The unword performance (11 female sexual organs), 1996 12 gelatin silver photographs Mike Parr (Australia, b.1945), The wax bride, 1998 mixed media KEN UNSWORTH Ken Unsworth (Australia, b.1931), Propped stone piece, 1976 19 river stones, wood and mirrors SUB-TOTAL OF GIFTED MODERN AND CONTEMPORARY ART WORKS: 48 PHOTOGRAPHY PATSY W. ASCH Edward Weston (United States of America, b.1886,d.1958), Guadalupe de Rivera, Mexico, 1924 (printed later) gelatin silver photograph JOAN BAINES Olive Cotton (Australia, b.1911), 4 gelatin silver photographs: untitled nude (back view), 1941 untitled nude (standing on rocks), 1941 untitled nude (sitting on rocks), 1941 untitled nude (reclining), 1941 ALAN MATTHEWS Simone Mangos (Australia; Germany, b.1959), Well, 1986 cibachrome photograph SUB-TOTAL OF GIFTED PHOTOGRAPHY WORKS: 9 TOTAL OF GIFTED INTERNATIONAL ART WORKS: 68 ASIAN ART BHUTAN ALEX BIANCARDI 2 shawls (‘jangshem kira’), 20th century cotton, dyes; supplementary weft weave BURMA ALEX BIANCARDI Amarapura, ‘Acheik’ design fragment of a sarong, 20th century silk, dye; interlocking tapestry weave CHINA BEQUEST OF ALEX BIANCARDI Manchu people, Open crown woman’s hat, late 19th century satin with cotton lining decorated with coral beads on stiffened cotton appliqué and embroidered ribbon edging J H MYRTLE COLLECTION Jingdezhen ware, Jingdezhen, Jiangxi Province, ‘Chicken coop’ water pot, circa 18th century, Kangxi 1662 – 1722, Qing dynasty 1644 – 1911 porcelain with ‘peach bloom’ glaze decoration Jingdezhen ware, Jingdezhen, Jiangxi Province, Dish with floral decoration, 1723-1735, Yongzheng 1723 – 1735, Qing dynasty 1644 – 1911 China porcelain with ‘rouge de fer’ (iron red) decoration Jingdezhen ware, Jingdezhen, Jiangxi Province, Tea bowl, 17961820, Jiaqing 1796 – 1820, Qing dynasty 1644 – 1911 porcelain with ‘rouge de fer’ (iron red) enamel decoration JUDITH RUTHERFORD Insignia badge for the wife of a 5th rank military official, 1723-1735, Yongzheng 1723 – 1735, Qing dynasty 1644 – 1911 embroidery Insignia badge for the wife of a 6th rank official, 1736-1795, Qianlong 1736 – 1795, Qing dynasty 1644 – 1911 embroidery MR RONALD SHEN Sichuan Province, A massive earthenware horse, 1st century-2nd century, Han dynasty 206 BCE - 220 CE buff-grey earthenware with a chestnut coloured glaze and some green glaze splashed on the mane; modelled with minimal harness detail DR JOHN YU & DR GEORGE SOUTTER Longquan ware, Zhejiang Province, Vase, 1368-1644, Ming dynasty 1368 – 1644 celadon INDIA BARBARA BEIBOER-ALLEN Puri, Orissa, Circular painting of the Jagannatha trinity, early 20th century-mid 20th century gouache on cotton (‘pata’) Puri, Orissa, Jagannatha, Balabhadra and Subhadra, circa 1880 gouache on paper with varnish over Puri, Orissa, Jagannatha, Balabhadra and Subhadra enshrined in a temple, circa 1930 gouache on cotton (‘pata’) with varnish over Puri, Orissa, The Jagannatha trinity, circa 1900 gouache on paper Puri, Orissa, The Jagannatha trinity enshrined in a temple, early 20th century-mid 20th century gouache on cotton (‘pata’) with red gouache or lacquer on verso BEQUEST OF ALEX BIANCARDI Gujarat, made for the Indonesian market, ‘patola’ shouldercloth, 9th century silk, natural dyes; double ‘ikat’ Mumbai, Maharashtra, ‘tanchoi’ silk sari, circa 1950 silk, dyes; discontinuous supplementary weft weave Pochampalli, Andhra Pradesh, ‘ikat’ sari, circa 1970 silk, dyes; warp ‘ikat’ with weft ‘ikat’ border PUTLI GANJU Putli Ganju (India, b.1977), Bihar, Khovar/Sohrai, Hunting scene (with cattle and snake), 2000 ochre and PVA glue on industrial MDF board MICHAEL HOBBS Deccan, Girl holding a parrot, circa 1680, Deccani Mughal circa 1590 circa 1800 album leaf; gouache with gold on paper North India, Cyrus administering justice, circa 1600, Mughal circa 1526 - circa 1857 opaque watercolour with gold on paper DR. J MASSELOS Rajasthan, Cloth painting, 19th century cloth INDONESIA BEQUEST OF ALEX BIANCARDI Bali, Royal sarong, 20th century silk, natural dyes, metallic thread; supplementary weft weave Bali, Shouldercloth, 20th century silk, natural dyes; weft ‘ikat’ and supplementary weft weave Bali, Skirtcloth, 20th century silk, natural dyes, metallic thread; supplementary weft weave (songket) Bali, Skirtcloth or hanging with ‘wayang’ figures, 20th century cotton, natural dyes, supplementary weft weave Cirebon, Java, Peranakan Chinese people, 5 Shouldercloths (‘slendang’), 20th century silk, natural dyes; batik Flores, Lio people, Woman’s skirtcloth (‘lawo redu’), 20th century handspun cotton, natural dyes; warp ‘ikat’ Lampung, Sumatra, Paminggir people, 2 ceremonial cloths (‘tampan’), 19th century handspun cotton, natural dyes; supplementary weft weave; early 20th century handspun cotton, natural dyes; supplementary weft weave Lampung, Sumatra, Ceremonial cloth (‘tatibin’), 20th century handspun cotton, natural dyes; supplementary weft weave Lampung, Sumatra, Kauer people, Woman’s ceremonial skirt (‘tapis’), late 19th century-early 20th century cotton, natural dyes, lead-backed mirror pieces (‘cermuk’); satin stitch and couched embroidery Lombok, Ceremonial cloth, circa 1985 handspun cotton, natural dyes; supplementary weft weave Lombok, Man’s skirtcloth (‘kereng’), 20th century cotton, natural dyes; supplementary weft weave Palembang, Sumatra, Malay people, ‘kain songket’ shouldercloth, skirtcloth, 20th century silk, gold thread, natural dyes; supplementary weft weave (‘songket’) Palembang, Sumatra, Malay people, Man’s headcloth (‘ikat kepala’; ‘tengkuluk’), 20th century silk, gold metallic thread, natural dyes; weft ‘ikat’, supplementary weft weave Palembang, Sumatra, Malay people, Waistcloth; shouldercloth (‘kain limar’), 20th century, silk, natural dyes; weft ‘ikat’ Pasemah-Bengkulu, Sumatra, Shouldercloth or waistsash, 20th century silk metallic thread, natural dyes, lace edging, silver casing; supplementary weft weave Roti, Man’s textile, 20th century handspun cotton, natural dyes; warp ‘ikat’ Savu, 2 Men’s cloth (‘selimut’), 20th century cotton, natural dyes; warp ‘ikat’ Sumatra, Batak people, Carrying cloth (‘ulos mangiring’), 20th century handspun cotton, natural dyes; warp ‘ikat’ with supplementary weft weave Sumatra, Batak people, Headcloth, 20th century handspun cotton, natural dyes; twill weave with supplementary weft design at centre and at ends Sumatra, Malay people, Headcloth, 20th century silk and gold thread, cotton backing; supplementary weft weave, tapestry weave border Sumatra, Man’s waistcloth, 20th century silk, silver and gold thread; supplementary warp weave Sumatra, Sarong, 20th century cotton, metallic thread; supplementary warp weave Sumatra, Shouldercloth, waistsash (‘tengkuluk; pelung’), 20th century cotton, metallic thread, natural dyes, silk; supplementary weft weave Sumatra, Skirtcloth, 20th century silk and gold thread; continuous supplementary weft weave Sumatra, Batak people, Trapping, circa 1940 beadwork on cotton stitched to leather with tassled and beaded edging strung on timber frame and decorated with shells and coins Sumba, Man’s shawl or mantle (‘hinggi’) with design of heraldic lions, circa 1975 cotton, dyes; warp ‘ikat’ and supplementary warp weave Sumba, Woman’s skirtcloth, 20th century cotton, dyes; warp ‘ikat’ and supplementary warp weave Sumbawa, Semawa people, brocade tube skirt (‘tembe’ or ‘kere’), 20th century cotton, dyes, metallic thread; supplementary weft weave Tenganan, Bali, Ceremonial cloth (‘geringsing’), 20th century silk, natural dyes; double ‘ikat’ Tenganan, Bali, Ceremonial cloth (‘geringsing sanen empeg’), 20th century cotton, natural dyes; double ‘ikat’ Tenganan, Bali, Ceremonial cloth (‘kamben geringsing’), 20th century cotton, natural dyes; double ‘ikat’ Tenganan, Bali, Waistsash, breastcloth, circa 1900 silk, natural dyes; weft ‘ikat’ Toraja, Sulawesi, Dutch manufactured for the Toraja market, sacred heirloom banner (‘sarita’), 20th century cotton, indigo dyes; paste resist dyeing Toraja, Sulawesi, Shawl, 20th century cotton, dyes; block printed JAPAN KLAUS NAUMANN HASEGAWA Yûichi (Japan, b.1945), Three lights, 1998, Heisei period 1989 - colour woodcut with silver SATÔ TAKUMI SATÔ Takumi (Japan, b.1962), Tsunami Boy 2000, 2000 five pieces; stoneware with colour slips MRS PHYLLIS WARNOCK IN MEMORY OF DR LEONARD I WARNOCK Unknown (Japan), (Gold and silver mines in Sado Island), 18th century, Edo (Tokugawa) period 1615 – 1868 hand scroll; ink and colour on paper Unknown (Japan), (Portrait of poet lio SÔGI), 18th century, Edo (Tokugawa) period 1615 – 1868 hanging scroll; ink and colour on silk Utagawa school (Japan), (Courtesan parading), early 19th century, Edo (Tokugawa) period 1615 – 1868 hanging scroll; ink and colour on silk LAOS BEQUEST OF ALEX BIANCARDI Champasak Province, Shawl or scarf (‘pha beang’), 20th century silk, cotton, dyes; supplementary weft weave Houa Phan, Ceremonial cloth, possibly the end panel of a ceremonial shawl, 20th century silk, cotton, indigo, dyes; supplementary weft weave Hmong people, Square textile, 20th century cotton, indigo dye; batikresist dyeing 69 Northern Laos, End panel of a ceremonial shawl (‘pha beang’), 1960s-1970s silk, cotton indigo, dyes; supplementary weft weave Sam Nua, Tai Nuea people, 2 Meditation cloths: circa 1900 silk, cotton, dyes; supplementary weft weave; 20th century silk, cotton, dyes; supplementary weft weave Sam Nua, Tai Nuea people, Meditation cloth with border design of animals, 20th century silk, cotton, natural and synthetic dyes; supplementary weft weave Sam Nua, Tai Nuea people, Meditation cloth with design of snakes (‘nak’), circa 1900 silk, cotton, dyes; supplementary weft weave KARMA PHUNTSOK Karma Phuntsok (Tibet, b.1952), Chairman Mao, 2000 synthetic polymer paint on canvas MALAYSIA UZBEKISTAN on handmade, yellow paper Imperial edict, [Edict to recognise Deity of Uai Dung], 1888, Nguyen dynasty 1802 – 1945 calligraphy over block-printed design of silver dragon on handmade, yellow paper BEQUEST OF ALEX BIANCARDI Sarawak, Iban people, Blanket (‘pua’), 20th century handspun cotton, natural dyes; warp ‘ikat’ BEQUEST OF ALEX BIANCARDI ‘Ikat’ wrap or blanket, 20th century silk with cotton lining; warp ‘ikat’ TOTAL OF GIFTED ASIAN ART WORKS: 81 GRAND TOTAL OF ALL GIFTED WORKS: 671 VIETNAM TIBET BEQUEST OF ALEX BIANCARDI Scarf (‘kata’), 20th century silk; continuous supplementary weft weave ANDREW AND ANN PROCTOR Imperial edict, [Edict to add honorary titles], 1846, Nguyen dynasty 1802 – 1945 calligraphy over block-printed design of black dragon LOANS WORKS OF ART LOANED TO THE GALLERY REN Xun Mynas, pine tree and chrysanthemum 1884 hanging scroll; ink and colour on paper On loan from The Isabella Bacon Collection Juan Davila Interior with waterlilies 1992 oil, enamel and collage on canvas Private collection, Sydney Mike Parr Dirty Manna 2000 colour woodcut, 14 sheets Private collection, Sydney Colin McCahon The days and nights in the wilderness showing the constant flow of light passing through the wall of death 1971 synthetic polymer paint on canvas Private collection, Sydney Sean Scully Maesta 1983 oil on canvas Private collection, Sydney Leon Kossoff Kilburn Underground 1987 oil on board Private collection, Sydney Anselm Kiefer Left wing: Right wing 1991 diptych: emulsion, red earth and foxgloves on canvas in a glazed steel frame Private collection, Sydney Jason Brooks Natasha 1999 synthetic polymer paint on canvas Private collection, Sydney Ross Bleckner Behaviour 1999 oil on linen Private collection, Sydney 70 Ross Bleckner Red Flowers 1998 oil on linen Private collection, Sydney Jason Martin Interval oil on aluminium? Private collection, Sydney Hiroshi Sugito Elephant & Buckle 1999 diptych: acrylic, pigment and graphite on paper on canvas Private collection, Sydney Yves Klein ANT 75 1960 dry pigment in synthetic resin on canvas Loan of Rotraut Klein-Moquay and Daniel Moquay Yves Klein ANT 54 1960 dry pigment in synthetic resin on canvas Loan of Rotraut Klein-Moquay and Daniel Moquay Yves Klein Nouveau realist manifest 1960 dry pigment in synthetic resin on canvas Loan of Rotraut Klein-Moquay and Daniel Moquay Yves Klein Relief IKB 16c (Maquette for the Gelsenkirchen theatre) 1958 dry pigment in synthetic resin on bronze mounted on primed board Loan of Rotraut Klein-Moquay and Daniel Moquay Yves Klein Drip painting 1957-1961? dry pigment in synthetic resin on canvas Loan of Rotraut Klein-Moquay and Daniel Moquay Roman Opalka Detail 3531681-3546420 1965 synthetic polymer paint on canvas Loan of Rotraut Klein-Moquay and Daniel Moquay Christian Boltanski Monument to the Lycee Chases 1987-1989 11 gelatin silver photographs in tin frames, electric fittings, cable and bulbs Private collection, Sydney Stephan Balkenhol Chickens on a screw wood, synthetic poloymer paint Private collection, Sydney Jason Brooks Cross 1999 watercolour Private collection, Sydney Patricia Piccinini 100:613.3 1998 type C photograph On loan from the collection of Michèle Asprey and Lindsay Powers Leon Kossoff Kings Cross, Spring 11 oil on board Private Collection WORKS OF ART LOANED BY THE GALLERY NATIONAL PORTRAIT GALLERY Heads of the People 1st July 2000 - 9th October 2000 Tom Roberts Aboriginal head - Charlie Turner 1892 oil on canvas on paperboard BUNDABERG ARTS CENTRE Fiona Foley Bundaberg Arts Centre 4/7/00 - 8/8/00 Hervey Bay Regional Gallery 23/11/02 - /12/02 Fiona Foley Men’s Business 1987 crayon, charcoal Fiona Foley Men’s Business 1987 crayon, charcoal HISTORIC HOUSES TRUST OF NEW SOUTH WALES MUSEUM OF SYDNEY Harbour 5th August 2000 - 3rd December 2000 Melvin Vaniman Circular Quay 1903 platinum photograph David Moore Children fishing on Vaucluse waterfront circa 1949 (printed 1984) gelatin silver photograph David Moore ‘Himalaya’ enters Sydney Harbour at dawn 2 1950 (printed 1984) gelatin silver photograph David Moore Painting the ‘Himalaya’ 1950 gelatin silver photograph Francois Ruh (after Henri Matisse) Polynesia 1956 tapestry Judy Watson Red Tides 1997 pigment and pastel on canvas Michael Johnson After Sirius 1987 - 1988 oil on canvas John D. Moore Sydney Harbour 1936 oil on canvas Roland Wakelin Berry’s Bay 1919 oil on paperboard Jessie Traill Stars of heaven and earth, Sydney Harbour 1921 etching and aquatint Brett Whiteley Sydney Harbour by night 1981 linocut (edition 3/20) QUEENSLAND ART GALLERY Urban Dingo:The art of Lin Onus 1948-1996 Museum of Contemporary Art, Sydney 11/8/00 - 30/10/00 Queensland Art Gallery 24/11/00 - 4/3/01 Museum of Victoria 6/4/01-29/7/01 Lin Onus Fruit Bats 1991 95 fibreglass polychromed bats, hills hoist, wooden discs MUSEUM AND ART GALLERY OF THE NORTHERN TERRITORY Garma 1st September 2000 - 15th November 2000 Trevor Nickolls Garden of Eden 1982 synthetic polymer paint on canvas S.H. ERVIN GALLERY ‘State of Waratah’ 1st September 2000 – 8th October 2000 Muriel Cornish D’oyley with waratah design 1919 embroided linen Eirene Mort Tablecloth with waratah design circa 1910 hand stencilled and embroidered organdy Madelaine King Curtain frieze with waratah, thistle, clover and rose motif 1910 hand stencilled linen Unknown Jardiniere, N.S.W. native flora decoration circa 1892-1902 porcelain Ellis Rowan Waratahs, New South Wales (1882) watercolour, opaque white highlights 76.1992 Margaret Preston Waratahs circa 1949 colour stencil, gouache on thin black card Margaret Preston Woodblock for ‘Banksia in a round vase’, Waratahs in the same round vase woodblock MUSEUM OF CONTEMPORARY ART 12/9/00 – 9/10/00 John Coburn Nourlangie NT 1989 diptych: oil on canvas NEWCASTLE REGIONAL ART GALLERY Robert Barnes Survey Exhibition 7th October 2000 – 12th November 2000 Robert Barnes Studio interior 1993 oil on canvas HAYWARD GALLERY, LONDON Know Thyself: The Art and Science of the Human Body from Leonardo to Now 12th October 2000 - 7th January 2001 François Sallé The anatomy class at the Ecole des Beaux-Arts 1888 oil on canvas NATIONAL LIBRARY OF AUSTRALIA Nora Heysen Retrospective 25th October 2000 - 28th January 2001 Nora Heysen Self portrait 1932 oil on canvas Nora Heysen Corncobs 1938 oil on canvas Nora Heysen Dr Lister Reid 1975 red conte with some black chalk NATIONAL GALLERY OF AUSTRALIA The Art of Tony Tuckson National Gallery of Australia 4/11/00 - 11/2/01 Art Gallery of South Australia 23/3/01 - 20/5/01 Tasmanian Museum and Art Gallery 8/6/01 - 5/8/01 Ballarat Fine Art Gallery 7/9/01 - 21/10/01 Hazelhurst Regional Gallery 15/12/01 - 10/2/02 Museum of Modern Art at Heide 23/2/02 - 21/4/02 Tony Tuckson Untitled (pale yellow with charcoal lines) 1973 synthetic polymer paint on composition board Tony Tuckson Number 44 drawing 1962 oil on composition board UNIVERSITY ART MUSEUM/ BRISBANE CITY GALLERY Lawrence Daws 16/11/00 – 14/1/01 Lawrence Daws Night sea journey IV 1994 oil on canvas Lawrence Daws The recluse 1996 oil on canvas ART GALLERY OF SOUTH AUSTRALIA Modern Australian Women: paintings and prints 1925-1945 Art Gallery of South Australia 24/11/00 – 25/2/01 Art Gallery of Western Australia 12/4/01 – 3/6/01 National Gallery of Australia 14/7/01 – 26/8/01 SH Ervin Gallery 6/9/01 – 21/10/01 Ballarat Fine Art Gallery 2/11/01 – 30/12/01 Margaret Preston Implement blue 1927 oil on canvas on paperboard Grace Cossington Smith The lacquer room circa 1935 oil on paperboard on plywood Thea Proctor *first 3 venues only The picnic circa 1925 pencil, watercolour, gouache on buff paper UNIVERSITY ART MUSEUM Monochrome Painting in Australia 4th December 2000 - 18th February 2001 Ian Burn Blue reflex 1966-67 auto lacquer, epoxy base, plywood panel 1315.1990 BRISBANE CITY GALLERY RESONATING: Denise Green Brisbane City Gallery 18/1/01 – 4/3/01 AGNSW 31/3/01 – 29/4/01 Denise Green Vowel 1978 oil and wax stick on canvas ART GALLERY OF WESTERN AUSTRALIA Robert MacPherson AGWA 25th January 2001 – 18th March 2001 MCA 1st April 2001 – 21st November 2001 Robert Macpherson Group 9 (Scale from the tool) 1976-1977 oil on canvas [seven panels] Robert Macpherson Mayfair: Summer farm, firty five signs for Micky Monsour 1993 synthetic polymer paint on masonite Robert MacPherson 20 Frog Poems 1987-1989 metl-stik on wood, beehives installation HAZELHURST REGIONAL GALLERY AND ARTS CENTRE Bodyline 3rd February 2001 – 8th April 2001 George Baldessin MM of Rue St. Denis 1976 charcoal, conté, sanguine Annette Bezor Rosie as Eve 1983 pastel Rupert Bunny Female nude, seated on floor, back view 1930s pencil, pen and ink Rupert Bunny Self portrait 1890’s sanguine Jean Bellette Resting girl circa 1946 pencil Charles Blackman Bather 1 1967 conté, charcoal John Brack Study for ‘Nude with two chairs’ no 2 1957 charcoal Grace Cossington Smith Margaret Smith, the artist’s sister circa 1917 pencil Noel Counihan Seated figure III 1978 charcoal Fred Coventry Self portrait 1927 pencil Grace Crowley Composition study: seated female nude (1932) pencil William Dobell Nude male, sitting back circa 1930 pencil William Dobell Self portrait 1937 pencil,brush and ink William Dobell Joshua Smith 1943 silverpoint Russell Drysdale Female nude 1937 pencil, watercolour Russell Drysdale Model, George Bell School (Wolf Cardamatis) (1939) pencil Douglas Dundas The cosmopolitan (Kleber Claux) 1931 pencil Brian Dunlop Nude 1962 pencil Ian Fairweather Seated figure (1949) pencil, gouache on cardboard Rah Fizelle Life study:seated female nude circa 1940 sanguine Cedric Flower Portrait of Francis Lymburner 1947 pencil Donald Friend Head of a woman 1945 pen and ink, wash Pam Hallandal Self portrait (1996) charcoal, pastel Weaver Hawkins Seated female nude 1921 pencil, watercolour Nora Heysen Standing female nude, Central School, London circa 1935 sanguine George Noel Johnston Self portrait 1931 sanguine George Lambert A Study of a trooper on horseback in full riding orders, for ‘The charge of the 4th Light Horse Brigade at Beersheba’ (1918)-(1920) pencil George Lambert Study of soldier for ‘The charge of the 4th Light Horse Brigade at Beersheba’ (1918)-(1920) pencil Lionel Lindsay Female nude 1917 pencil Lionel Lindsay Life drawing – standing male nude in helmet, seen from behind 1917 pencil Norman Lindsay Bacchanal or The vintage festival (1905) pencil, pen and ink Francis Lymburner Nude (the vulture) circa 1942 pen and ink Francis Lymburner Cedric Flower circa 1944 pen and ink, wash Frank Medworth Portrait of Weaver Hawkins 1940 pen and ink, coloured Godfrey Miller Study for ‘Nude and the moon’ circa 1954-59 pencil 71 Arthur Murch The mailman (Harry Tilmouth) 1933 pencil John Olsen (Copulating couple) 1993 charcoal, pastel John Olsen Seated female nude, back view 1993 charcoal, pastel John Olsen Seated female nude from side, with a dog 1994 charcoal, pastel Desiderius Orban Male nude, seated on a chair 1907 pencil on brown paper Mike Parr 16 untitled self portraits 1981-85 pencil on sixteen sheets of typing paper Adelaide Perry Portrait of John Passmore circa 1933 pencil Adelaide Perry Nude study – woman, back view 1930’s pencil Thea Proctor Reclining nude, Dora circa 1961 pen and ink, wash Hugh Ramsay (Standing male nude, back view) circa 1897 charcoal, white chalk Oliffe Richmond Seated nude III 1950’s pencil Oliffe Richmond Man with pole 1950’s pencil Tom Roberts Louis Buvelot 1886 pen and ink Dorothy Thornhill Figure on a chaise longue 1941 pencil Wendy Sharpe Helen 1994 pastel, charcoal Wendy Sharpe Tania 1993 charcoal, pastel Joshua Smith Standing male nude with robe and towel late 1920s pencil Eric Wilson Seated female nude, front view circa 1938 conté Eric Wilson Seated female nude, back view, London circa 1939 conté Brett Whiteley Her 1978 ink, oil, felt tipped pen, collage Brett Whiteley Bathroom drawing 1964 charcoal 72 NATIONAL GALLERY OF AUSTRALIA EXHIBITION Monet and Japan National Gallery of Australia 10th March 2001 - 11th June 2001 Art Gallery of Western Australia 29th June 2001 - 16th September 2001 Claude Monet Port-Goulphar, Belle-Isle 1887 oil on canvas (AGWA ONLY) Katsushika HOKUSAI Shichirigahama in Sagami Province from the series Thirty-six views of Mt. Fuji circa 1829-33 colour woodcut Utagawa HIROSHIGE Full blossom at Arashiyama from the series Famous places of Kyoto circa 1834 colour woodcut TATE GALLERY Stanley Spencer Exhibition 22nd March 2001 – 24th June 2001 Stanley Spencer The Scrap Heap 1944 oil on canvas DRILL HALL GALLERY Peter Purves Smith ANU Drill Hall Gallery 8/3/01- 15/4/01 Lawrence Wilson Gallery 1/5/01-15/6/01 Benalla Art Gallery 2/7/01 – 15/8/01 Museum of Modern Art at Heide 3/9/01 – 15/10/01 Peter Purves Smith New York (1936) oil on canvas Peter Purves Smith Head 1937 pastel, charcoal, pencil on cardboard Peter Purves Smith From a window in Pimlico (Battersea Power Station) 1940 pencil, watercolour, gouache ART EXHIBITIONS AUSTRALIA The Gold Exhibition National Museum of Australia, Canberra 13/3/01 – 24/6/01 Museum of Victoria, Melbourne 18/7/01 – 21/10/01 Julian Ashton The prospector 1889 oil on canvas on hardboard Origin: China Seated Maitreya 14th Century gilt bronze NATIONAL GALLERY OF AUSTRALIA Drawn to Painting. Leon Kossoff: drawings and prints after Nicolas Poussin 17th March 2001 – 27th May 2001 Leon Kossoff From Cephalus and Aurora by Poussin no 3 1983 oil on board MUSEO NACIONAL CENTRO DE ARTE REINA SOFIA, MADRID Picasso: las grandas series y los maetros del pasado (1953-1973) 26th March 2001 – 18th June 2001 Pablo Picasso Femme nue dans un rocking-chair 1956 oil on canvas THE UNIVERSITY OF SYDNEY 18th and 19th Century Prints and Drawings from the University Collection 28th March 2001 – 11th May 2001 William Hogarth Time Smoking a Picture circa 1761 black chalk on white laid paper William Hogarth Time Smoking a Picture 1761 engraving, mezzotint POWERHOUSE MUSEUM Visions of a Republic: The work of Lucien Henry 3rd April 2001 – 14th October 2001 Lucien Henry Self Portrait oil on canvas Lucien Henry Devil’s Coach House, Fish River Caves 1883 oil on canvas Lucien Henry Waratah 1887 oil on wood VICTORIA & ALBERT MUSEUM, LONDON Inventing New Britain: The Victorian Vision 5th April 2001 – 29th July 2001 Arthur Streeton Fire’s on 1891 oil on canvas PERC TUCKER REGIONAL ART GALLERY Landscape as Metaphor Perc Tucker 27/4/01-10/6/01 Rockhampton Art Gallery 18/6/01-22/7/01 Toowoomba Art Gallery 28/7/01 – 16/9/01 Queensland University of Technology Art Museum 8/11/01- 20/1/02 ANU Drill Hall Gallery February 2002 – March 2002 Broken Hill City Gallery 9/5/02 – 10/6/02 Flinders Art Museum 17/6/02 – 30/7/02 Trevor Nickolls The Garden of Eden 1982 synthetic polymer paint on canvas INVERELL ART SOCIETY Tom Roberts Festival 26th April 2001 – 6th May 2001 Tom Roberts Aboriginal head – Charlie Turner 1892 oil on canvas on paperboard Tom Roberts Adagio circa 1893 oil on paperboard Tom Roberts Percy F. S. Spence 1896 oil on canvas on paperboard on hardboard Tom Roberts Portrait of Florence circa 1898 oil on canvas on paperboard Tom Roberts Portrait of Mr T.P. Purves 1900 oil on canvas Tom Roberts Grey lady (Mrs Ince) circa 1910-1912 oil on canvas Tom Roberts Self portrait 1924 oil on canvas DUBBO REGIONAL GALLERY People and Destiny: George Lambert and Federation Dubbo Regional Gallery 4/5/01 – 11/8/01 Albury Regional Arts Centre 4/1/02 – 27/1/02 Bendigo Art Gallery 9/2/02 – 24/3/02 Hazelhurst Regional Art Gallery 6/4/02 – 2/6/02 Bathurst Regional Art Gallery 5/7/02 – 18/8/02 George W. Lambert Equestrian group 1905 oil on canvas George W. Lambert Hugh Ramsay (circa 1902) oil on canvas George W. Lambert Sketch for ‘La croix de guerre’ circa 1922 oil on canvas (2 panels) George W. Lambert Across the black soil plains 1899 oil on canvas George W. Lambert A bush idyll (1896) oil on canvas George W. Lambert Sketch for ‘The mask’ circa 1911 oil on canvas George W. Lambert Self portrait oil on wood George W. Lambert Miss Helen Beauclerk 1914 oil on canvas George W. Lambert Still life (Pan) 1911 oil on canvas George Lambert The shop 1909 oil on canvas George Lambert The white Glove 1921 oil on canvas George Lambert The red Shawl 1913 oil on canvas The following works on paper were lent to the first and last venues only George W. Lambert Head of a man (William B. Beattie) (1898) pencil George W. Lambert Sweet July 1900 wash, opaque white highlights George W. Lambert The letters 1901 pencil, pen and black ink George W. Lambert Mrs James Crockett 1927 pencil George W. Lambert She would remind him 1902 watercolour, opaque white highlights George W. Lambert Recumbent figure 1927 pencil BRISBANE CITY GALLERY Thancoupie Brisbane City Gallery 3rd May 2001 – 24th June 2001 Cairns Regional Gallery 14th July 2001 – 25th August 2001 Thancoupie Mosquito Corroboree stoneware Thancoupie Cammbel and Paour Exchange Teeth stoneware LAKE MACQUARIE CITY ART GALLERY Well Connected 5/5/01 – 10/6/01 William Dobell Margaret Olley 1948 oil on hardboard William Dobell The sleeping Greek (1936) oil on canvas on hardboard William Dobell Self portrait 1932 oil on panel William Rose February no.3 1957 pen and black and coloured inks on ivory machine wove paper GEELONG ART GALLERY William Buckley: Rediscovered Geelong Art Gallery 11/5/01 –10/7/01 Mornington Peninsula Regional Gallery 20/7/01 – 26/8/00 Jan Senbergs Otway night 1994 synthetic polymer paint on canvas MUSEUM OF MODERN ART AT HEIDE Heidelberg to Heide 26th May 2001 – 5th August 2001 Arthur Streeton Still glides the stream and shall forever glide 1890 oil on canvas Walter Withers The Storm oil on hardboard E Phillips Fox Heidelberg oil on canvas on hardboard MOSMAN ART GALLERY A Century of New Zealand Artists in Australia 9th June 2001 – 17th August 2001 Frances Hodgkins Woman seated in a rocking chair watercolour, wash, charcoal James R. Jackson Morning, Middle Harbour oil on canvas Godfrey Miller Unity in blue circa 1948-52 oil, pen and ink on canvas Godfrey Miller Nude and the moon 1954-59 oil, pen and ink on canvas Kathleen O’Connor Nursemaids in the Luxembourg Gardens circa 1923 oil on paperboard Chris O’Doherty Untitled group (Coogee; Hobart, Tasmania; Princes highway between Ballina and Grafton; Dunedin, New Zealand; Hume Highway between Gundagai and Yass; Coogee Beach; Invention, Princes Highway near Mullumbimby) synthetic polymer paint on cardboard Maud Sherwood Reflections circa 1919 watercolour Maud Sherwood White and yellow flowers circa 1933 oil on paperboard Helen Stewart Chrysanthemums oil on paperboard Roland Wakelin Pastoral 1947 oil on paperboard Adele Younghusband Gum trees 1937 colour linocut Elioth Gruner On the Murrumbidgee 1929 oil on canvas HISTORIC HOUSES TRUST / MUSEUM OF SYDNEY Peter Kingston 22nd June 2001 – 25th November 2001 Peter Kingston Shag shed resumption, Walsh Bay 1998-1999 charcoal on two sheets of white wove paper SUMMARY OF WORKS BORROWED BY OTHER INSTITUTIONS • MUSEUM AND GALLERIES ASSOCIATION OF NSW INSTITUTIONS = 105 • OTHER AUSTRALIAN INSTITUTIONS = 55 • INTERNATIONAL INSTITUTIONS = 4. 73 VISITORS EXHIBITIONS 2000/2001 EXHIBITIONS Date Department Exhibition Title British Collection – Works on paper Dead Sea Scrolls • Plastic Life: Patricca Piccinini and Christopher Langton Australian Icons Papunya Tula: Genesis and Genuis • Aleks Danko – Songs of Australia Vol.9: Uh-oh the Chinese are coming (takeaway mix) My City of Sydney Selected works from the Collection Brett Whiteley Graphics Masterpieces of Victorian Art from the John and Julie Schaeffer Collection Contemporary Collection Operation Art Hanga: Japanese Prints Ochre: Bark Collection Nigel Helyer, Metamorphoses Guinness 2000: Fun Story Fun Five World Without End: Photography and the 20th Century • Stephen Birch – Woodsprites Sanxingdui: Masks of Mystery • Australian Collection Focus Series no 8: Colin Lanceley: The Dry Salvages 1963-64 and Gemini 1964 Contemporary Collection Benefactors Acquisitions Art Express Contemporary Collection Sydney Camera Circle Affinities: Brett Whiteley & Lloyd Rees Decades: The Australian Collection David Sequeira – Projects Archibald, Wynne & Sulman Prizes • Dobell Drawing Prize Australian Collection Focus Series no. 9: John Glover Natives on the Ouse River, Van Diemen’s Land 1838 Denise Green Indian Painting John Meade – Propulsion Artist’s Books Collection Exhibition Heroes and Villains from the Floating World Renoir to Picasso: Masterpieces from the Musée de l’Orangerie • Contemporary abstraction from the Collection New Painting in Australia Australian Collection Focus Series no 10: Russell Drysdale Sunday evening 1941 8.7.00 14.7.00 16.7.00 4.8.00 18.8.00 26.8.00 – – – – – – 20.8.00 15.10.00 20.8.00 31.01.01 12.11.00 8.10.00 International International Western – Contemporary Australian Aboriginal Western – Contemporary 2.9.00 2.9.00 9.9.00 12.10.00 14.10.00 24.10.00 28.10.00 2.11.00 15.11.00 15.11.00 1.12.00 9.12.00 21.12.00 1.1.01 – – – – – – – – – – – – – – 22.10.00 5.11.01 4.2.01 24.6.01 3.12.00 5.11.00 7.2.01 1.4.01 4.2.01 7.1.01 25.2.01 14.1.01 18.3.01 25.3.01 Western – Photography Aboriginal Australian Western Western – Contemporary Exhibition Asian Aboriginal Western – Contemporary Western – Contemporary Western – Photography Western – Contemporary Asian Australian 17.1.01 26.1.01 26.1.01 29.1.01 10.2.01 19.2.01 25.2.01 17.3.01 17.3.01 31.3.01 – – – – – – – – – – 4.3.01 25.3.01 18.2.01 27.4.01 8.7.01 9.9.01 22.4.01 15.5.01 15.5.01 24.6.01 Western – Contemporary Public Programmes Western – Contemporary Library Australian Australian Western – Contemporary Australian Australian Australian 31.3.01 6.4.01 29.4.01 7.5.01 11.5.01 19.5.01 1.6.01 6.6.01 23.6.01 30.6.01 – – – – – – – – – – 29.4.01 11.6.01 3.6.01 20.7.01 2.9.01 29.7.01 29.7.01 24.6.01 12.8.01 23.9.01 Western Asian Western – Contemporary Library Aboriginal Asian Western Western – Contemporary Western /Australian Australian Ticketed AGNSW Tours AGNSW Catalogue • • • • • • • • • • MONTH July August September October November December January February March April May June TOTAL TOTAL VISITORS 1996/97 126,453 150,593 75,816 90,945 81,647 59,312 124,466 125,980 81,649 92,476 136,228 85,875 TOTAL VISITORS 1997/98 86,712 79,541 67,863 76,853 74,083 62,639 109,782 116.724 102,436 100,478 98,402 100,037 TOTAL VISITORS 1998/99 76,333 65,489 43,356 48,226 58,774 152,012 220,369 182,183 92,777 100,271 71,583 56,943 TOTAL VISITORS 1999/2000 60,969 57,015 77,132 86,532 56,432 98,737 151,067 127,839 97,926 90,537 72,115 88,853 1,231,440 1,075,550 1,168,316 1,029,730 TOTAL VISITORS 2000/2001 104,106 92,450 100,541 74,843 67,265 101,554 129,619 130,340 120,651 118,141 83,538 137,875 DOMAIN 2000/2001 79,486 79,407 86,773 66,100 59,176 50,770 82,405 86,708 109,284 103,356 69,425 122,698 WHITELEY STUDIO 2000/2001 708 532 464 559 516 384 757 1,031 915 554 844 702 TOURING 2000/2001 23,912 12,511 13,304 8,184 7,573 50,400 46,457 42,601 10,452 14,231 13,269 14,475 995,588 7,966 257,369 1,260,923 • • • • • • • PAID EXHIBITIONS PROGRAMME FOR 2000/01 MONTH(S) Dead Sea Scrolls July – Oct Papunya Tula Aug – Dec World Without End Dec – Feb Masks Of Mystery Dec – Feb 2001 Archibald, Wynne & Sulman Mar – May Renoir To Picasso June (only) TOTAL 52,469 23,083 38,142 10,693 98,349 57,146 TOTAL 279,882 • PREVIOUS YEAR TOTALS COMPARISONS 1991/92 1,047,967 1992/93 748,455 1993/94 914,785 1994/95 988,527 1995/96 1,155,216 1996/97 1,232,440 • • Visitors 1996/97 to 2000/01 • • • • • • • • • • 2000/2001 EXHIBITIONS TOURS Date Exhibition Venue 12.7.00 – 19.9.00 8.7.00 – 27.8.00 6.9.00 – 8.10.00 14.10.00 – 28.11.00 8.12.00 – 4.2.01 National Library of Australia Dubbo Regional Art Gallery Twee River Regional Art Gallery Lismore Regional Art Gallery George Adams Gallery, Centre for the Performing Arts National Gallery of Victoria Migration Museum Dubbo Regional Art Gallery 6.3.01 – 17.6.01 11.9.00 – 6.1.01 4.5.01 – 12.8.01 City/State Exhibition Title Attendance Figures Canberra, ACT Dubbo, NSW Murwillumbah, NSW Lismore, NSW Melbourne, Vic Olive Cotton Archibald Archibald Archibald Archibald 21,519 2,909 * 3,061 * 4,280 * 33,651 * Melbourne, Vic Adelaide, SA Dubbo, NSW Dead Sea Scrolls Salvatore Zofrea: Appassionate People & Destiny: George Lambert and Federation 50,791 18,850 + 2,540 # Visitor numbers include visitors to private functions *Tour organised in association with the Museums and Galleries Association of New South Wales + Tour organised in association with New England Regional Art Gallery # Works drawn from AGNSW Australian Icons Exhibition for Regional Tour, Managed by Dubbo Regional Art Gallery 74 75 Bronwyn Oliver, Aida Tomescu, Judith Wright, amongst others. SPONSORSHIP AND PHILANTHROPY Support for the Art Gallery can be provided as a cash contribution or in kind, or as a combination of both and is directed largely towards the Art Gallery’s programme of temporary exhibitions. These exhibitions provide high public and media exposure, branding and awareness opportunities and client entertainment in a unique setting. The Art Gallery of New South Wales gratefully acknowledges the continuing support of its Corporate Partners, who provide valuable links between the Art Gallery and the business sector. We also welcome several new corporate partners, including Tower, the Sydney Morning Herald, Westfield, The Australian, the Bass Hotel Group, Merrill Lynch HSBC and The Sunday Telegraph. We look forward to a continuing relationship with these major companies. PRINCIPAL SPONSORS FOR 2000/2001 • Westfield was Principal Sponsor of the Dead Sea Scrolls exhibition, which was part of the 2000 Olympic Arts Festival and later toured to the National Gallery of Victoria • ABN AMRO Rothschild’s substantial support for Australian art at the Art Gallery culminated in the landmark exhibition, Australian Icons, which was part of the Art Gallery’s exhibition programme for the 2000 Olympic Arts Festival. The Australian also provided invaluable support as Media Sponsor for the exhibition. • Qantas continued their support of Aboriginal and Torres Strait Islander art at the Gallery as Principal Sponsor of Papunya Tula: Genesis and Genius, also presented as part of the 2000 Olympic Arts Festival • The final annual Guinness Contemporary Art project, Fun Five Fun Story, presented the work of 5 international artists from Africa • Sanxingdui: Masks of Mystery was proudly sponsored by Tower • The Sydney Morning Herald was Principal Sponsor of World Without End: Photography and the 20th Century, presented as part of the 2001 Sydney Festival • The Colonial Foundation Charitable Trust was Principal Financial Supporter for the 2001 Archibald, Wynne and Sulman Prizes • The Sunday Telegraph became Principal Sponsor of Fundays at the Gallery -a 5-year programme of special events and activities designed for younger children and their families. • The first of 3 annual exhibitions, New Painting in Australia was proudly sponsored by Andersen. The exhibition will also tour to the Ian Potter Gallery in Melbourne. 76 • Merrill Lynch HSBC was the NSW Sponsor for Renoir to Picasso: Masterpieces from the Musée de L’Orangerie exhibition. SUPPORTING SPONSORS FOR 2000/2001 The following companies also provided invaluable support in cash and kind throughout the year: JCDecaux, Hotel Inter-Continental Sydney, Bass Hotel Group, CODY Outdoor, The Mode Group, The Seven Network, Bloomberg, Squiz.Net, McWilliam’s Wines, Lion Nathan, Avant Card. CENTENARY FUND The Centenary Fund was launched on 24 February 2000. Its first project is to build a new auditorium due to be completed in 2001. The auditorium is a critical facility for the Art Gallery to fulfil its role as a forum for discussion and education. Centenary Fund patrons are an exclusive group. Membership is limited to 100 who have been invited to contribute $100,000 each over a specified period of time. Membership as at 30th June, 2001: Alex and Vera Boyarsky, Jillian Broadbent and Olev Rahn, David & Michelle Coe, Kenneth Coles & Rowena Danziger, Jenny Ferguson, David Gonski, In memory of Aida Gordon, Yvonne & Christopher Gorman, Alex Holland, Peter & Sharon Ivany, Nettie & Peter Joseph OAM, Anne Landa, John & Michelle Landerer, Geoffrey & Deborah Levy, Elizabeth Longes, David Lowy, John & Jane Morschel, Mrs Kerry Packer, Bridget Pirrie & Stephen Grant, John L Sharpe, Brian Sherman, Gene Sherman, Geoffrey Susskind, Malcolm & Lucy Turnbull, Michael & Eleanora Triguboff, Orli Wargon, Phillip Wolanski. THE PRESIDENT’S COUNCIL The President’s Council, established in 1995, provides an excellent opportunity to build business networks and financial support for the Gallery’s exhibitions and publications programme. Membership is for 3 years and is by invitation only. It is extended to the Chairman, CEO or Senior Executives of major companies, some of which are also sponsors of the Gallery’s exhibitions. The President’s Council provides high-level business advice to the Gallery on a wide range of issues and its programme of activities and events has proved to be a very useful environment in which to forge new business relationships. This year, Mr Justin Miller, General Manager, Sotheby’s Australia, Mr Robin Dixon, Managing Director, Getronics (Australia) Pty Limited and Mr Scott Walters, Chief Executive Officer, Merrill Lynch HSBC joined as new members of the President’s Council. The Art Gallery of New South Wales salutes the President’s Council members, not only for their financial support but also for their guidance and advice. PRESIDENT’S COUNCIL MEMBERSHIP AT 30TH JUNE, 2001 Mr Peter Young, ABN AMRO Mr David Baffsky, Accor Asia Pacific Mr Roger Allen, Allen & Buckeridge Mr Chris Knoblanche, Andersen Mr Chris Anderson, Cable & Wireless Optus Mr Pierce Cody, CODY Outdoor Ms Deeta Colvin, Colvin Communications International Mr Chris Gorman, Dentat Pty Limited Mr Ken Borda, Deutsche Bank AG Mr Bruce Cutler, Freehills Mr Robin Dixon, Getronics (Australia) Pty Limited Mr Ian Tsicalas, Howard Smith Limited Mr Greg Daniel, Issues & Images Group Mr Peter Ivany, Ivany Investment Group Ms Angela Clark, JCDecaux Australia Mr Fred Hilmer, John Fairfax Holdings Limited Mr Scott Reid, JP Morgan Mr Daniel Gauchat, Korn/Ferry International Mr Peter Smedley, Mayne Nickless Limited Mr Scott Walters, Merrill Lynch HSBC Australia Mr Neville Miles, MTM Funds Management Ltd Mr Geoff Dixon, Qantas Airways Limited Mr Richard J Lee, Rothschild Australia Mr Justin Miller, Sotheby’s Mr Guido Belgiorno-Nettis, Transfield Pty Ltd Mr Philip Coleman, UBS Warburg Australia Ltd Professor Steve Burdon VISASIA SPONSORS Ipoh Limited continued their 3-year commitment as Founding Sponsor of VisAsia and the VisAsia Business Council was established. VISASIA BUSINESS COUNCIL A VisAsia Business Council was established in May 2001 to support the aims and objectives of VisAsia and to provide companies with access to business and cultural links in the region. Inaugural members of the Business Council are: IBM Asia Pacific, Qantas Airways Limited, Sing Tao Newspaper Group, Stamford Hotels and Resorts, State of the Arts, University of Technology Sydney, Valiant Hire VISASIA BENEFACTORS Gordon Darling Foundation; Goldie Sternberg. COLLECTION BENEFACTORS ASIAN COLLECTION BENEFACTORS Peter M Elliot AUSTRALIAN COLLECTION BENEFACTORS Lou Klepac CONSERVATION COLLECTION BENEFACTORS Geoff Ainsworth, Charles & Deidre Aronson, Sir William Dobell Art Foundation, Sam & Susan Ballas, Pamela Bell, Nicole Berger, Bill & Annette Blinco, Candice Bruce and Mr Michael Whitworth, Elizabeth Callanan, Adrian & Evan Cardiacos, Michael Carr, John & Rosemary Clarke, Gianni & Mrs Elena Cocco, Patrick Corbally Stourton, Noel Dan and Mrs Adrienne Dan, Peter Debnam, Stella Downer, Peter English, Gwen Frolich, Ross Gibson, Eric Hawley Glen Weston, Robert Gould, Bill Gregory, Mr Neville and Mrs Margo Gruzman, Ken & Di Handley AO, Sally Hardy, Sue Hewitt, W Hinds, Alex Holland, Fraser Hopkins, Andrew Horsley, Pamela Jennings, Poppy & Iphy Kallinikos, Colin & Elizabeth Laverty, Diana Macarther-Stanham, Greg MaInnes, Jenny Manton, Robyn & Mitchell Martin-Weber, Justin Miller, Paul Milliss, Michael Musgrave, Bruce Newey, Tim Olsen, Michael Pascalis, Theo & Mrs Marianne Penklis, Alex Popov and Mrs Chris Adams, Demetrios & Effie Prevedoros, Brian Regan, Andrew & Andrea Roberts, Greg & Elizabeth Sanderson, Peter & Christa Satouris, Leo Scholfield, Andrew Shapiro, Peter & Cathy Snowball, David & Nikki Stein, Kevin Troy, Carolyn Ward, Suzanne Waterhouse, Richard & Shirley Watkins, Eva & Mr Heinz Wicki, Ray Wilson & James Agapitos. CONTEMPORARY COLLECTION BENEFACTORS The Contemporary Collection Benefactors (CCB) program, launched in 1993, was established to support the development of the Gallery’s permanent collection by raising funds for the acquisition of contemporary Australian art. In return for contributing to the Gallery’s collection, Contemporary Collection Benefactors are more closely involved in the contemporary art scene, allowing special access to the most recent directions in the world of contemporary art and culture. To date, CCB funds have acquired important works by the following artists for the Gallery’s collection: Howard Arkley, Marion Borgelt, Janet Burchill, Adam Cullen, Jeff Gibson, Bill Henson, Tim Maguire, CONTEMPORARY COLLECTION BENEFACTORS AS AT 30TH JUNE, 2001 WERE: James Agapitos, Mathew Alderson, John Armati, Kate Armati, Angela Arnold, Michele Asprey, Dr David Austin, Christine Banks, Richard Banks, Fiona Beith, Michelle Belgiorno-Nettis, Dr Mark Bloch, Peter Briggs, Candice Bruce, Thomas Bucich, Stephen Buzacott, Andrew Cameron, Joseph Catanzariti, Mark Clark, David Dossetor, Dr Elizabeth Dossetor, Cameron Dunlop, Carmel Dwyer, Helen Eager, Peter English, Warwick Evans, Paul Ferman, Sandra Ferman, Barbara Flynn, Allan Fraser-Rush, Robert Gould, Dr Andrew Gowers, Stephen Grant, Ginnie Green, Linda Gregoriou, Giovanna Gromo, Evelyn Hawkins, Ian Hill, Doris Hobbs, Michael J Hobbs, Christopher Hodges, Darryl Hodgkinson, Katherine Hodgkinson, Peter Keel, Annette Larkin, Dr Colin Laverty, Elizabeth Laverty, Bruce Liu, Irene Liu, Amanda Love, Andrew Love, Viviane Martin, Brenda May, Robert May, Roger McIlroy, Fiona McIntosh, Ross McLean, A J Meagher, F M Meagher, Tim Olsen, Lisa Paulsen, John Pearson, Bridget Pirrie, Lindsay Powers, Dr Dick Quan, Amber Richmond, Gary W Sands, Alyson Schoer, Harry Seidler, Penelope Seidler, Morna Seres, Serioso Pty Limited GGHA Investment Trust, Vivienne Sharpe, Brian Sherman, Dr Gene Sherman, Fiona Sinclair-King, Gabrielle G Upton, Ivan Wheen, Karel Wheen, Michael Whitworth, Julie Williams, Renee Williamson-Noble, Ray Wilson, Virginia Zanarini. CONTEMPORARY COLLECTION BENEFACTORS DINNER SPONSORS The 8th Annual CCB Dinner and Art Auction was generously sponsored by Macquarie Bank, and supported by Bvlgari, ABSOLUT Vodka, Splitrock, Yerring Station, Greengrocer.com.au, Annandale Galleries, Yuill Crowley Gallery, Gabrielle Pizzi, Roslyn Oxley9 Gallery, Tim Olsen Gallery, Gitte Weise Gallery, Martin Browne Fine Arts and Sherman Galleries. EUROPEAN COLLECTION BENEFACTOR Mr & Mrs Binnie LIBRARY COLLECTION BENEFACTORS Mr and Mrs Binnie, Jean Campbell, Licia Cattani, Pat Corrigan, Michael and Mary Whealan Trust. PHOTOGRAPHY COLLECTION BENEFACTORS INDIVIDUAL FELLOW Kate Armati CORPORATE MEMBERS Getty Images Australia, Young & Rubicam CORPORATE BENEFACTORS Photo Technica, Tiffany & Co. FOUNDING BENEFACTORS Sandra & Paul Ferman, David & Deirdre Greatorex, Richard King SUPPORTING BENEFACTORS Anonymous, Australian Financial Review, Graham and Mary Beirman, Martin Browne, Ken Coles, Cheryl Collins Design, Patrick Corrigan, Sally Dan-Cuthbert, Erin Flaherty, The Freedman Foundation, Ginny and Leslie Green, Amanda Harkness, Evelyn Hawkins, Michael and Jill Hawker, Lachie Hill, Naomi Kaldor, Charles Latimer, Josef and Jeanne Lebovic, Amanda and Andrew Love, Russell Mills, David Moore, Roslyn and Tony Oxley, Lisa and Egil Paulsen, Photo King, Philip and Elizabeth Ramsden, Reg and Sally Richardson, Penelope and Harry Seidler, Dr Philip and Kate Sharp, Lisa Simons, John D. Swainston, Worling Saunders. SUSTAINING BENEFACTORS Richard Bailey, Robert Dein, Barbara Flynn, John and Simonetta Frey, GrantPirrie, Michele Mossop, Janet Oakley, Ivan and Karel Wheen. DONORS John Dymond, Gary Heery. PHOTOGRAPHY COLLECTION BENEFACTORS SPONSOR LKS Landor. PHOTOGRAPHY COLLECTION BENEFACTOR DINNER SPONSORS Tiffany & Co., McWilliams Wines, LKS Landor, Pommery, Nikon, Kodak, Photo Technica, Tony Warrilow, Roslyn Oxley9 Gallery, The Australian Financial Review, Josef Lebovic Gallery, Stills Gallery, Chapter & Verse, Danny Dekker Photography, Allen & Unwin, Getty Images, GrantPirrie, Anonymous, Peter Cousens, The ARC Factory, Levi’s, Aria Restaurant, MG Garage Restaurant, Marque Restaurant, Poppy Industries, John Freida, Simon Johnson, Bistro Moncur, Aqua Luna Restaurant & Bar, Ristorante Riva, Bistro Lulu, Sean’s Panorama, Lynwood Stores, David Moore, Billy Kwong, Just Jeans, Bills Darlinghurst GRANTS / PARTNERSHIPS Australia Council; Australia India Council; Australian Research Council SPIRT (Strategic Partnerships with Industry – Research and Training) with the University of Western Sydney; Cinemedia; Gordon Darling Foundation; The Ian Potter Foundation through their Art Museum Collections Accessibility Initiative (AMCAI); Japanese Commemorative Association; New South Wales Centenary of Federation Grants Programme. VOLUNTARY WORK Regular long-standing volunteers most notably Mollie Gowing, Elizabeth Callanan and Patricia James, provided greatly appreciated and vital support to day-to-day operations of the Australian Art Department as well as special projects. PUBLICATION LISTINGS 1999-2000 ASIAN ART • Fragrant Space: Chinese Flower and Bird Painting of the Ming and Qing Dynasties from the Guangdong Provincial Museum exhibition catalogue, 144 pages. Published by AGNSW 2000. Authors: Edmund Capon and Liu Yang. Essays, bibliography and notated checklist with full colour illustrations. AUSTRALIAN ART • Australian Collection Focus Series no. 5: Grace Cossington Smith: The Lacquer Room 1935-1936, 10 pages, full colour, published by the AGNSW, 1999. Authors: Deborah Edwards & Vivienne Webb. • Jeffrey Smart exhibition catalogue, 212 pages published by the AGNSW, 1999. Authors: Edmund Capon with contributions by Barry Pearce and Peter Quartermaine. Essays, biographical notes, bibliography and checklist with full colour illustrations. • Australian Collection Focus Series no. 6: George Baldessin: Occasional images from a city chamber 1975. 8 pages, duotone, published by the AGNSW, 1999. Author: Anne Ryan. • ’This Vital Flesh’: The sculpture of Rayner Hoff and his school exhibition catalogue. 111 pages, published by AGNSW, 1999. Author: Deborah Edwards, with essay by Professor Virginia Spate. Essays, biographical notes, bibliography and checklist with full colour illustrations. • Australian Collection Focus Series no. 7: Les Sauvages des la mer Pacifique, 48 pages, published by AGNSW and National Gallery of Australia 2000. Authors: Vivienne Webb, Roger Butler, Susie Bioletti, Ranson Davey, Rose Peel, & Martin Terry. Essays, biographical notes, bibliography and checklist with full colour illustrations. • Salvatore Zofrea: Appassionata woodcuts exhibition catalogue, 96 pages published by the AGNSW, 2000. Authors: Hendrik Kolenberg and Anne Ryan. Essay, artist’s commentaries, biographical notes, bibliography and checklist with black & white illustrations. INTERNATIONAL ART EUROPEAN ART BEFORE 1900 • Michelangelo to Matisse: Drawing the Figure exhibition catalogue. 254 pages, published by AGNSW 1999. Editors: Terence Maloon & Peter Raissis. Essays by Terence Maloon, Louise Marshall, Jennifer Milam, Peter Kohane, Barry Pearce & Peter Raissis. Artist’s biographies & checklist with full colour illustrations. INTERNATIONAL MODERN AND CONTEMPORARY ART • Living Here Now: Art + Politics, Australian Perspecta 1999, 92 pages, colour and black and white, published by the AGNSW, 1999. Commissioned by Wayne Tunnicliffe, edited by Nicola Teffer and Wayne Tunnicliffe. Contributors: Wayne Tunnicliffe, Nikos Papastergiadis, Hetti Perkins, Robert Schubert, Nicholas Tsoutas, Robyn Ravlich, Blair French, Amanda McDonald Crowley, Kathleen Caper, Melissa Chiu, Felicity Fenner, Linda Michael, Caroline Butler-Bowdon, Benjamin Gennochio, Maurice O’Riordan, Jacqueline Phillips, Julianne Pierce. • Voiceovers, 5th Guinness Contemporary Art Project, 48 pages, colour, published by the AGNSW, 1999. Author Victoria Lynn. • Uncertain Ground: essays between art and nature, 192 pages, colour and black and white, published by the AGNSW, 1999. Edited by Martin Thomas. Contributors: Victoria Lynn, Martin Thomas, Allen S.Weiss, Virginia Madsen, Stephen Muecke, Susan Best, Frances Dyson, Michael Taussig, Jane Goodall, Julie Roberts, Paul Carter, Jacqueline Millner. • Flow/Arus, Contemporary Electronic Media Art from Australia and Malaysia, 55 pages, colour, published by the AGNSW and the National Art Gallery, Malaysia, 2000. Authors Zanita Annuar and Wayne Tunnicliffe. • Passing Time, Moët & Chandon Exhibition 2000, 33 pages, colour, 77 published by the AGNSW, 2000. Author; Victoria Lynn AGNSW Contemporary Projects Managing Curator and catalogue commissioner: Wayne Tunnicliffe • Michael Goldberg, The Well-Built Australian, 6 pages, colour and black and white, published by the AGNSW, 1999. Author Nicholas Tsoutas • Horst Kiechle and Margaret Roberts, Exit, 6 pages, colour and black and white, published by the AGNSW, 1999. Author: Anita Fricek • Joan Brassil, The Breath of Psyche, 6 pages, colour and black and white, published by the AGNSW, 1999. Author Dr Susan Best. • Neil Emmerson, (surrender, penance, IWYS), 6 pages, colour and black and white, published by the AGNSW, 2000. Author: Robert Schubert AGNSW Contemporary Projects Managing Curator and catalogue commissioner: Michael Wardell • Patricia Piccinini and Christopher Langton, Plastic Life, 6 pages, colour and black and white, published by the AGNSW, 2000. Author Jacqueline Milner PHOTOGRAPHY • Light Pictures: the photographs of Nakayama Iwata & Yasuzo Nojima 12 foldout pages duotone, published by AGNSW 1999. Author: Judy Annear • Olive Cotton, exhibition catalogue. 64 pages, published by AGNSW, 2000. Editor: Judy Annear. Author: Helen Ennis, Essay, biographical notes, bibliography, checklist of works and duotone illustrations. EDUCATION • Four quarterly editions of the Gallery’s Exhibitions and Events bulletin. • Two six monthly Education Posters for schools. • A new permanent collection education kit Adventures in Asia. • A second edition of Diversity: A Celebration of Art and Culture, the collection education Kit for the Gallery’s Indigenous collection, was printed to meet constant demand. Adventures in Asia and Diversity were possible due to generous donations from Kate Anderson, the Public Programmes’ Benefactor. • Three education kits were produced for major temporary exhibitions including, Jeffrey Smart, Michelangelo to Matisse and an updated Archibald Prize kit. • A free children’s drawing activity booklet was produced for the Michelangelo to Matisse exhibition. BRETT WHITELEY STUDIO • Brett Whiteley’s Paris, 4 pages, full colour, published by AGNSW 1999. Author: Barry Pearce. • Brett Whiteley nudes, 4 pages, full colour, published by AGNSW 1999. Author: Barry Pearce. • Whiteley with Words, 8 pages, full colour, published by AGNSW, 2000. Author: Bruce James. 78 LIBRARY and ARCHIVES • Guide to the Papers of Tony Tuckson (1921-1973) AGNSW Manuscript Guides No. 2., 42 pages. Published by AGNSW 1999. Compiled by Steven Miller. 2000-2001 Editors: Hetti Perkins & Hannah Fink, with essays by Paul Sweeny, Hetti Perkins, Hannah Fink, Vivien Johnson, Geoffrey Bardon, R.G.Kimber, John Kean, Daphne Williams, Fred R. Myers, Paul Carter & Marcia Langton. Artists biographies by Ken Watson. Chronology, bibliography & checklist with full colour illustrations. ASIAN ART • Hanga: Japanese Creative Prints exhibition catalogue, 111 pages. Published by AGNSW 2000. Authors: Ajioka Chiaki, Kuwahara Noriko, Nishiyama Junko. Essays, Artists notes, and checklist full colour illustrations. • Masks of Mystery exhibition catalogue, 110 Pages. Published by AGNSW 2000. Authors: Edmund Capon and Liu Yang. Essays and notated checklist with full colour illustrations. • Indian Painting exhibition poster catalogue, full colour. Author: Haema Sivanesan. Essay and checklist. • Heroes and Villains from Japan’s Floating World. Exhibition brochure, 8 pages. Published by AGNSW 2001. Author: Ajioka Chiaki. Essay, glossary and checklist with full colour illustrations. AUSTRALIAN ART • Australian Art in the Art Gallery of New South Wales, 304 pages, published by the AGNSW, 2000. Introduction by Barry Pearce, with essays introducing 12 chapters by staff members Helen Campbell, Deborah Edwards, Ursula Prunster, Anne Ryan, Vivienne Webb and Natalie Wilson. Biographical notes, artists’ quotes, extensive bibliography. • Australian Collection Focus Series no. 8: Colin Lanceley: The Dry Salvages 1963-64 and Gemini 1964, 12 pages, full colour, published by the AGNSW, 2001. Authors: Barry Pearce, Colin Lanceley, Deborah Edwards. • Australian Collection Focus Series no. 9: John Glover: Natives on the Ouse River, Van Diemen’s Land 1838, 8 pages, full colour, published by the AGNSW, 2001. Authors: Vivienne Webb, Paula Dredge. • Australian Collection Focus Series no.10: Russell Drysdale: Sunday evening 1941, 8 pages, full colour, published by the AGNSW, 2001. Author: Helen Campbell. • Colin Lanceley speaks at the Art Gallery of New South Wales (video), 4 hour/1 hour versions, published by the Art Gallery of New South Wales, 2001. Produced by Deborah Edwards and Art Gallery of New South Wales Audio Visual Services. ABORIGINAL AND TORRES STRAIT ISLANDER ART • Papunya Tula: Genesis and Genius exhibition catalogue. 320 pages, published by AGNSW in association with Papunya Tula Artists, 2000. INTERNATIONAL ART EUROPEAN ART BEFORE 1900 • Victorian Watercolours exhibition brochure, 11 pages, published by AGNSW 2000. Author: Peter Raissis. Essay, checklist and full colour illustrations. • Dead Sea Scrolls exhibition catalogue. 119 pages published by AGNSW in association with The Israel Antiquities Authority. Essays by Michael E. Stone, Ayala Sussmann and Ruth Peled, Ada Yardeni, Pnina Shor & Emanuel Tov. Glossary, bibliography & catalogue listing with full colour illustrations. • Masterpieces of Victorian Art from The John and Julie Schaeffer Collection exhibition brochure, 6 pages, published by AGNSW 2000: Author Edmund Capon. Essay, checklist and full colour illustrations. • Pre-Raphaelites and Olympians. Selected Works of Victorian Art from the John and Julie Schaeffer Collection and the Art Gallery of New South Wales, 64 pages, published by AGNSW 2001. Author: Richard Beresford. Essays, full colour illustrations with notated captions. INTERNATIONAL MODERN AND CONTEMPORARY ART • Fun Five Fun Story: The 2000 Guinness Contemporary Art Project Video catalogue. Published by AGNSW 2000. Compiled by Pascale Marthine Tayou • Phenomena, New Painting in Australia I exhibition catalogue. 47 pages published by AGNSW 2001. Author: Michael Wardell. Essay, biographical & bibliographical notes and checklist with full colour illustrations AGNSW Contemporary Projects Managing Curator and catalogue commissioner: Michael Wardell • Dale Frank, 6 pages, colour and black and white, published by the AGNSW, 2000. Author Blair French • Aleks Danko, Songs of Australia volume 9: Uh-oh the Chinese are coming (takeaway mix), 6 pages, colour and black and white, published by the AGNSW, 2000. Author Melissa Chiu. • Nigel Helyer, Metamorphoses, 6 pages, colour and black and white, published by the AGNSW, 2000. Author Michael Goldberg AGNSW Contemporary Projects Managing Curator and catalogue commissioner: Wayne Tunnicliffe • Stephen Birch, Woodsprites, 6 pages, colour and black and white, published by the AGNSW, 2000. Author: Russell Storer • David Sequiera, Projects, 6 pages, colour and black and white, published by the AGNSW, 2000. Author: Dr Peter McNeil • New Releases - Recent International Video, curated by Emil Goh, 2 pages, black and white, published by the AGNSW, 2000. Authors: Emil Goh, Leah Grycewicz, Panos Couros. • John Meade, Propulsion, 6 pages, colour and black and white, published by the AGNSW, 2000. Author: Stephen Zagala • Carsten Nicolai, snow.noise, 6 pages, colour and black and white, published by the AGNSW, 2000. Author Sophie Forbat. AGNSW PUBLICATIONS FOR SALE The following 32 AGNSW publications are available in the Art Gallery Shop. • AGNSW Collections, Capon et al. softbound $60.50 hardbound $88.00 • AGNSW Handbook, James softbound $22.00 slipcased $33.00 • Arthur Boyd Retrospective, Pearce softbound $44.00 • Australian Art in the AGNSW, Pearce et al. softbound $68.00 hardbound $90.00 • Australian Drawing, Kolenberg softbound $33.00 • Australian Prints, Kolenberg softcover $38.50 • Australian Watercolours, Kolenberg softbound $33.00 • Brett Whiteley Art and Life, Pearce softbound $44.00 • Classic Cézanne, Maloon softbound $15.00 • Dancing to the Flute, Menzies softbound $44.00 • Dead Sea Scrolls, softbound $25.00 • Dobell, Pearce & Kolenberg softbound $33.00 • Donald Friend, Pearce hardbound $60.50 • Fragrant Space, Yang softbound $33.00 • From Music Hall to Landscape Fred Williams Drawings and Prints, Ryan & Kolenberg softbound $33.00 • Gamarada, softbound $27.50 • Hanga, Ajioka et al softbound $25.00 • Jeffrey Smart Retrospective, Capon & Pearce softbound $45.00 hardbound $66.00 • Lion among Painters, Yang softbound $27.50 • Margaret Olley, Pearce hardbound $55.00 • Masks of Mystery, Liu softbound $27.00 • Olive Cotton, Ennis & Donohue softbound $30.80 • Orientalism, Prunster (ed) softbound $44.00 • Papunya Tula, Perkins (ed) softbound $50.00 hardbound $90.00 • Phenomena, Wardell softbound $20.00 • Pre-Raphaelites and Olympians, Beresford softbound $20.00 • Raynor Hoff, Edwards softbound $30.80 • Rosalie Gascoigne, Edwards softbound $27.50 • Salvatore Zoffrea, Kolenberg & Ryan softbound $33.00 • World Without End, Annear softbound $35.00 • Yiribana, Neal softbound $38.50 • 52 Views of Rudy Komon Raymond (ed) softbound $33.00 PHOTOGRAPHY • My City of Sydney, exhibition brochure. 8 foldout pages, published by AGNSW, 2000. Author: Michael Wardell. Essay, bibliography and checklist of works with duotone illustrations • World without End: Photography and the twentieth century, exhibition catalogue. 182 pages, published by AGNSW, 2000. Editors: Judy Annear and Erica Drew Authors: Judy Annear and Nicola Teffer. Essay, biographies, bibliography, timeline, deskcase, checklist of works with full colour illustrations. EDUCATION • Exhibitions and Events bulletin: four quarterly editions. • Two six monthly Education Posters and a new collection focused Education Programmes 2001 booklet were produced for teachers. • Education Kits were produced for the major exhibitions including: The Dead Sea Scrolls, Australian Icons, Papunya Tula, World Without End, and the AWS, and Public Programmes contributed to the development of the 2000 Biennale of Sydney and Renoir to Picasso education kits. All education publications were hosted on the Gallery’s website. ART PRIZES AND GRANTS AWARDED ART PRIZES The 2001 Archibald, Wynne and Sulman Prize competitions, supported by the Colonial Foundation, was held in March 2001. A total of 1891 entries were received, 82 of which were selected for display. The Dobell Prize for Drawing, sponsored by the Sir William Dobell Art Foundation, was held in conjunction with the Archibald, Wynne and Sulman competitions. Of the 541 entries received, 40 were selected for display. THE ARCHIBALD PRIZE The prize of $35,000 for portraiture was awarded to Nicholas Harding for his work entitled John Bell as King Lear. The Archibald Prize: People’s Choice competition, asks the viewing public to vote for their favourite entry, was won by Paul Newton for his work Roy & H.G.. Newton received $2,500 as did the Art Gallery patron whose vote for the winning entry was drawn from a barrel containing all votes cast. THE WYNNE PRIZE The prize of $15,000 for an Australian landscape or figure sculpture was awarded to Aida Tomescu for her work entitled Platra. THE SIR JOHN SULMAN PRIZE The prize, judged by artist Wendy Sharpe, of $10,000 was awarded to Euan Macleod for his work entitled Exquisite Corpse with Fire. THE DOBELL PRIZE FOR DRAWING The $10,000 prize, judged by Margaret Olley, was awarded to Nicholas Harding for his work entitled Eddy Avenue 3. GRANTS AND SCHOLARSHIPS STUDIOS IN PARIS The Art Gallery allocates tenancy to two art studios, the Moya Dyring Studio and the Dr Denise Hickey Memorial Studio, it leases at the Cite Internationale des Art in Paris. The studios were occupied during the year by Claudia Damichi, Virginia Coventry, Deborah Porch, Susan Andrews, Andrew Cooks, Martin Thomas, Stephen Eastaugh and Peter Raissis. THE BASIL AND MURIEL HOOPER SCHOLARSHIP These scholarships, valued at $6,000 each, are available each year to fine art students attending recognised schools in New South Wales to assisted with the costs of fees, materials and general living expenses. Three half scholarships were awarded to Samuel Smith, Hayden Fowler and Izabela Pluta. THE ELIOTH GRUNER PRIZE The prize of $1,500 for the best landscape in oil by an art student was awarded for 2000 to Gina Bruce. THE ROBERT LE GAY BRERETON MEMORIAL PRIZE This prize aims to promote and encourage the art of draughtsmanship, is available each year to art students. The 2000 prize of $1,200 was awarded to Samuel Wade. DYASON BEQUEST Administered under the terms of the will of the late Miss Anthea Dyason, the bequest provides grants to Australian art students who have already won travelling scholarships so as to enable them to better study architecture, sculpture or painting in countries other than Australian and New Zealand. Awards of $5,000 were made to Marcel Cousins and Kirsty Martinsen. BRETT WHITELEY TRAVELLING ART SCHOLARSHIP An annual scholarship was established during 1998/99 to provide young artists with an opportunity to travel to Europe and further their artistic interests. The scholarship includes a financial award and access to the Art Gallery’s Paris Studio for a period of three months. It is a memorial to the artist, the late Brett Whiteley who in his youth was encouraged in his artistic endeavours by winning a similar scholarship. Special thanks are given to Beryl Whiteley, the mother of the artist for providing the generous donation to fund the scholarship. The 2000 scholarship of $25,000 was awarded to Alice Byrne. BRETT WHITELEY STUDIO • Brett Whiteley Graphics 1961-1992, 8 pages, duotone, published by AGNSW, 2001. Author: Hendrik Kolenberg. • Affinities: Brett Whiteley & Lloyd Rees, 8 pages, full colour, published by AGNSW, 2001. Author: Lou Klepac. LIBRARY AND ARCHIVES • Guide to the Papers of Arthur Murch, AGNSW Manuscript Guides No. 3., 34 pages. Published by AGNSW 2000. Compiled by Steven Miller. STAFF LIST DIRECTOR Edmund Capon A.M., M. Phil EXECUTIVE ASSISTANT TO THE DIRECTOR Margaret McLenaghan CURATOR EXHIBITIONS Terence Maloon B.A. (Hons), Dip. Art & Design CURATOR DIRECTORATE Michael Wardell B. A. HEAD CURATOR OF WESTERN ART CURATOR OF TWENTIETH CENTURY INTERNATIONAL ART GENERAL MANAGER CURATORIAL SERVICES Anthony Bond B. Ed. (Hons) CURATOR CONTEMPORARY AUSTRALIAN ART Wayne Tunnicliffe B.A. (Hons) M.A., M. Art Admin STUDY ROOM COORDINATOR Denise Mimmocchi B.A. (Hons) PROJECT OFFICER Natalia Bradshaw B.A. SENIOR CURATOR EUROPEAN ART, PRE-1900 Richard Beresford B.A. (Hons) MBA PhD SENIOR CURATOR PHOTOGRAPHY Judy Annear, B.A. CURATOR INTERNATIONAL PRINTS AND DRAWINGS Peter Raissis, B.A. (Hons) ASSISTANT CURATOR, PHOTOGRAPHY Natasha Bullock B.A. (Hons), Postgrad. Dip (Art Curatorship & Museum Management) ASSISTANT CURATOR, CATALOGUING & DOCUMENTATION Judy Peacock B.A., Grad. Dip. App. Sc., M. Art Admin 79 HEAD CURATOR ASIAN ART Jackie Menzies, B.A., (Hons), M.A. MANAGER, INFORMATION Jonathan Cooper Dip. Art Ed. ASSISTANT REGISTRAR Susie Quinn B.A. (Fine Arts), Grad. Dip. Art History CURATOR JAPANESE ART Chiaki Ajioka B.A., M.A, PhD MUSEUM EDUCATOR (TERTIARY/CONTEMPORARY ART) George Alexander B.A. (Hons) REGISTRATION ASSISTANT Peter Duggan B. A. (Fine Arts), M.A. MUSEUM EDUCATOR (SECONDARY SCHOOLS) Jo Foster B.A., Dip. Ed. SENIOR PHOTOGRAPHER Jenni Carter ACCOUNTING CLERK (CASUAL) Merle Passmore ASSISTANT CURATOR Haema Sivanesan, B.Arch. (Hons) MUSEUM EDUCATOR (PRIMARY SCHOOLS) Jennifer Keeler-Milne B. Ed., Grad Dip Fine Arts, M.A. (Art Admin) PHOTOGRAPHER Ray Woodbury CLERICAL OFFICER Graeme Callaghan PROJECT OFFICER Akiko Takesui MUSEUM EDUCATOR (PRIMARY SCHOOLS) Vickie Kalocsay B. Ed., B. A.(Fine Arts) PROJECT OFFICER Kathryn Gfeller Dip. Fine Arts MUSEUM EDUCATOR Bronwyn Clark-Coolee Dip. Teaching, Post. Grad. Dip. Vis. Arts, M.V.A. CURATOR CHINESE ART Yang Liu, B.A., M.A., PhD ASIAN PROGRAMMES COORDINATOR Ann MacArthur B.A., MIM HEAD CURATOR AUSTRALIAN ART Barry Pearce Dip. Art Ed. CLERICAL OFFICER Joan Radkevitch CURATOR AUSTRALIAN ART Deborah Edwards, B.A. (Hons), M. Phil. BOOKINGS OFFICER Karin Kruger ASSISTANT CURATOR AUSTRALIAN ART Vivienne Webb B.A. (Hons) SLIDE LIBRARIAN/BOOKINGS OFFICER Meredith Williams B.A. ASSISTANT CURATOR AUSTRALIAN ART Helen Campbell, B.A. (Hons), Grad. Dip. (Museum Studies) COORDINATOR BRETT WHITELEY STUDIO Barbara Konkolowicz, B.A. Dip. Ed. SENIOR CURATOR AUSTRALIAN PRINTS DRAWINGS AND WATERCOLOURS Hendrik Kolenberg Dip. Ed. AUDIO-VISUAL COORDINATOR Laurence Hall B.A. (Com) ASSISTANT CURATOR AUSTRALIAN PRINTS DRAWINGS AND WATERCOLOURS Anne Ryan B.A. (Hons), M. Art Admin. AUDIO-VISUAL COORDINATOR Alex Smythe B.A. (Vis Arts) ASSITANT CURATOR AUSTRALIAN ART Natalie Wilson B.A. (Visual Arts), MA HEAD OF CONSERVATION Alan Lloyd CURATOR ABORIGINAL AND TORRES STRAIT ISLANDER ART Hetti Perkins, B.A. ASSISTANT CONSERVATOR Mathew Cox ASSISTANT CURATOR ABORIGINAL & TORRES STRAIT ISLANDER ART Ken Watson, B.A. (Hons) ASSISTANT CURATOR ABORIGINAL & TORRES STRAIT ISLANDER ART Cara Pinchbeck COORDINATOR OF ABORIGINAL PROGRAMMES Angela Martin B.A, Dip. Ed. COORDINATOR OF ABORIGINAL PROGRAMMES Lenoma Jackson HEAD LIBRARIAN Susan Schmocker B.A., Dip. Lib. SENIOR LIBRARIAN/TECHNICAL SERVICES Kay Truelove, B.A., Dip Lib. LIBRARIAN Robyn Louey, B.L. Arch, Grad. Dip. IM (Lib) LIBRARY TECHNICIAN Vivian Huang Assoc. Dip. Arts ARCHIVIST Steven Miller, B.A. (Hons), B. Theol., Grad. Dip. IM (Arch) ASSISTANT CONSERVATOR, MOUNT CUTTING Bill Lamont SENIOR CONSERVATOR, PAINTINGS Stewart Laidler Dip. Con CONSERVATOR, PAINTINGS Paula Dredge B. App. Sc. (Con), B.A. (Fine Arts) SENIOR CONSERVATOR, WORKS ON PAPER Rosemary Peel B.A. (Fine Arts) SENIOR CONSERVATOR, OBJECTS Donna Hinton M.A. Applied Science (Con) Dip. Museum Tech. CONSERVATOR, OBJECTS Jolanta Grzedzielska, B.A. (Cons), M.A. App. Sc. SENIOR CONSERVATOR, FRAMES Malgorzata Sawicki M.A. (Cons) CONSERVATOR, FRAMES Basia Dabrowa, M.A. (Con) CONSERVATOR, FRAMES David Butler SENIOR CONSERVATOR ASIAN ART Sun Yu, B.A. (Art History) ASSISTANT CONSERVATOR ASIAN ART Yang Yan Dong HEAD PUBLIC PROGRAMMES Brian Ladd Dip. Fine Art, Dip. Ed. HEAD REGISTRAR Ljubo Marun B.A. (Hons) PhD MUSEUM EDUCATOR (CURATOR - SPECIAL PROJECTS) Ursula Prunster B.A. (Hons), M.A. REGISTRAR (STORAGE) Emma Smith B.A., Grad. Dip Decorative Arts MUSEUM EDUCATOR (COORDINATOR PROGRAMMES) Liz Gibson B.A. Ed, M.A. (Arts Admin) 80 COPYRIGHT OFFICER - DIGITISATION Donna Brett BVA PHOTOGRAPHER - DIGITISATION Diana Panuccio CLERK - DIGITISATION Deborah Jones GENERAL MANAGER EXHIBITIONS AND BUILDING MANAGEMENT Anne Flanagan Dip. Int. Design, Dip. Ed., Dip. Ed. Vis Arts. EXHIBITIONS PROJECT REGISTRAR Anna Hayes B.A., M.A. PROJECT OFFICER Erica Drew B.A. (Hons) EXHIBITIONS ASSISTANT Stefanie Tarvey TICKETING SUPERVISOR Diana Curtis PURCHASING AND EXPENDITURE SUPERVISOR Maria Gutzinger ACCOUNTING CLERK Viva Chelvadurai MANAGER INFORMATION AND TECHNOLOGY Maurice Cirnigliaro M. Bus. (Information Technology) MANAGER HUMAN RESOURCES Donna Grubb HUMAN RESOURCES COORDINATOR Shirley Dunshea B. Bus. HUMAN RESOURCES OFFICER Sean Foyel B. Bus. MANAGER, ADMINISTRATION AND STRATEGY Trish Kernahan ADMINISTRATIVE SERVICES OFFICERS Michelle Berriman Dip.H.E., B.A. (Hons), Deborah Spek, Adrienne Vaughan-Smith Dip. Fine Arts GENERAL MANAGER, BUSINESS DEVELOPMENT Jane Westbrook B.A. (Hons), M.A. COPYRIGHT OFFICER Cherith Devenish B. Juris., L.L.B., B.A. (Hons) MEMBERSHIP SERVICES MANAGER Jane Wynter, B.A. L.L.B. IMAGE REPRODUCTION OFFICER Alice Livingstone B. Ed, M.A. MERCHANDISING MANAGER GALLERY SHOP Brian Turner VENUE MANAGER James Vaughan B. Ec. BUSINESS DEVELOPMENT COORDINATOR Leanne Primmer DEVELOPMENT MANAGER Melissa Hankinson M.M.(Arts Management), BCA ASSISTANT SHOP MANAGER Gillian Williamson, B. Sc. MANAGER, MARKETING Belinda Hanrahan B.Comm. SUPERVISOR Sandra Christie B.A. (Hons). Grad. Dip. Elec. Imag. PUBLICITY OFFICERS Jan Batten, Claire Martin B.A. (Hons), Dip Marketing, STOCK & SALES OFFICERS Rita Briguglio, Bill Burke, Denise Faulkner B.A (Fine Arts), Dot Kolentsis Dip. Vis.Art, Grad.Dip.Vis. Art. Cassandra Willis TOURISM COORDINATOR Janelle Prescott SALES REPRESENTATIVE Joanna Knight ADMINISTRATION SERVICES SUPERVISOR Louise Fischer B.A., M.A. MARKETING COORDINATOR Kylie Wingrave B.A. (Vis. Arts), B. Comm WEEKEND COORDINATOR Jonquil Temple BOOKINGS/INFORMATION OFFICER Kerri Coombes TICKETING OFFICER Prue Watson MANAGER, SECURITY SERVICES George Alamanos DEPUTY MANAGERS, SECURITY SERVICES Jacques Michel, Jeff Browne SENIOR GALLERY SERVICE OFFICERS Christine Gracie, Peter Howlett, Frank Flores GALLERY SERVICE OFFICER Hilarion Aldaba, J.P., Freddi Alam, Arthur Boucas, Alan Boyd, Kevin Callope, Anthony Caracoglia, George Caruana, J.P., Ashton Johnston, Steve Davies, Romeo Domingo, Tony Fletcher, Terry Forde, David Grech, Cheryl Gross, Phillip Hill-Travis, Peter Humphreys, Janak Kadian, B.A., Nicholas Karydis, John Kavallaris, Rayson Light, Ramon Lozada, Patrick McBride, Jamil Mati, Ray Nguyen, Trish Noonan, Judy O’Neil, Peter Rawlins, Sharat Sharma, Jason Simpson, Suzanne Slavec, Joan Standfield, Mary Thom, Peter Tsangarides, Russell Ward, Paul Woolcock, Heifen Zhu, B. Eng. SECURITY OFFICERS Tom Casey, Emilio Cruz, Craig Knott, Brett Morris, David Paine, JP, Bob Partridge, Brian Reynolds, Peter Rozario MANAGER ENGINEERING SERVICES Don Alderson MANAGER BUILDING SERVICES Phil Johnstone MAINTENANCE OFFICER Rob Schumacher STAFF PUBLICATIONS, PRESENTATIONS AND RELATED ACTIVITIES PLANT ASSISTANT Jan Krycki LIGHTING SUPERVISOR John Powis INSTALLATION OFFICERS Brett Cuthbertson, John Freckleton, Alan Jobson, Nickoulas Rieth, Simm Steel STORES OFFICER Steve Peters, J.P. SENIOR DISPLAY TECHNICIAN (PAINTING) Michael Brown SENIOR DISPLAY TECHNICIAN (CARPENTRY) Bill Viola DISPLAY TECHNICIANS (CARPENTRY) Gary Bennett, Alan Hopkinson, Ram Mudaliar GENERAL MANAGER FINANCE AND MANAGEMENT SERVICES Rosemary Senn, B. Comm., FCPA, MAICD Dip. PROJECT OFFICER Jackie Bullions REGISTRAR (EXHIBITIONS) Ross Clendinning B. Ed. MANAGER ACCOUNTING AND SYSTEMS Ray Lovat M.N.I.A. REGISTRAR – CATALOGUE & DOCUMENTATION Jesmond Calleja B.A. ASSISTANT ACCOUNTANT Bernadine Fong, B. Bus. (Banking & Finance) Chiaki Ajioka, (Curator, Japanese Art) ‘Hanga’, Imprint vol.35, no.3, Print Council of Australia, Spring 2000 ‘Hanga’, LOOK, Oct. 2000, AGS ‘Hanga’, Across the Sea, no.38, Japan Cultural Centre, Sydney, Oct. 2000 ‘Death and the samurai’ LOOK magazine, May 2001 Presentation Access Asia Program organised by UTS, July 2000 Lunchtime talk ‘Seasons in Japanese landscape prints’ for Monet & Japan exhibition, NGA, April 2001 George Alexander (Coordinator of Contemporary Art and Tertiary Programmes) Lecture at Hazlehurst Regional Gallery on Contemporary Art Helped selection process for Art Express Overview of Contemporary Art in LOOK Magazine, Sydney. Lecture for Christie’s group organised by Robin Wallace-Crabbe Steering Committee for AAANZ Conference, “Conducting Bodies” Catalogue Essay for Rosemary Laing’s groundspeed (Gitte Weise Gallery) Catalogue Essay for Victor Rubin’s Reconciling Images of the Indigenous (Boutwell Draper Gallery) Two pieces for HEAT magazine (ed Ivor Indyk) (Issue #7, Issue #11) A collaboration for writer and photographer (which was shortlisted for the prize) in SIGLO magazine (ed. Martin Ball & Cassandra Pybus) #13. A series of five readings broadcast for the ABC ARTS TODAY Radio National Program (prod. Michael Cathcart) on territory, travel and contemporary Australian art, called Connecting Flights. (Weekly extracts broadcast 16– 20 May 2001) An image and text work for ABADDON magazine #2 (ed. Andres Vaccari) Judy Annear (Senior Curator Photography) Co-editor (with Ewen McDonald) and co-ordinator (with Pluto Press & UTS) of publication What is this thing called photography? Australian photography 1975-1985 (book launch Sept. 1, 2000) Guest curator, Ulay: Performing Light restrospective, De Appel, Amsterdam Oct. 2000 Richard Beresford (Senoir Curator, European Art pre 1900) “Getting better: A major painting by John Everett Millais”, LOOK, June 2001. “Images of Devotion”, LOOK, April, 2001. Taught a semester course on The Materials and Techniques of Old Master Paintings at the University of Sydney. Anthony Bond (Head Curator, International Art) Guest Curator for a retrospective of Peter and Lezlie Tilley at Maitland, Muswellbrook, Taree and Campbelltown regional galleries in 2000/2001. AAANZ Conference papers Published by Victoria University Wellington NZ Dec. 2000. Metaphors of the earth, a paper presented at Echigo Tsumari Triennial in Japan on 24 July 2000 and at New England Regional Gallery 3rd September 2000. Newcastle University 14/7/00 Lecture on German Art after 1945. (also given to gallery society) MoS Lecture to Education Department curriculum group 5/8/00 Interpretation/(re)presentastion: to theme or not to theme. Participated in Media City curators workshops Seoul and delivered a paper Interpretation/ (re)presentation 4/10/00 Chaired Biennale forum at AGNSW 18/9/00 Horizon Transcendant images from Turner to Turrell at RLA Conference University of Sydney 2/2/01. Curatorial strategies in collecting for Kings school yr 12 students 7/2/01 Memory and things a lecture for Newcastle University. 7/3/01 Contemporary collection Themes for teacher trainers AGNSW. 14/3/01 To Theme or not…. A paper presented at the AAANZ conference Brisbane Dec 9th 2000 Launch Refracting vision a Power publication on Michael Fried at Glebe books 27/10/00 Present a paper on curatorial themes connecting British show, Boundary rider, Body and Trace for High School teachers. Focus Fest. 11/11/00 Open Leslie and Peter Tilley survey 81 show that I curated at Maitland Region Gallery 29/10/00 Opening address of Fun Five AGNSW 14/11/00 Open Tin Sheds exhibition on spiritual in art 2/2/01 Open the exhibition of the Tilleys at Muswellbrook Open the exhibition of the Tilleys at Taree Dobell exhibition at Newcastle University Gallery 16/3/01 Open Bashir Makhoul exhibition at UTS Gallery July 2001-08-20 Launch the Millenium gate by PhilYung Ahn at the 15th anniversary celebrations for Kwachon city 7/10/00. M.C. opening of Whitely studio exhibition 8/9/00 Prepared and served dinner for 100 guests at Echigo Tsumari Triennial's Australian night 24/7/00. Treasurer AICA, Australia (Association Internationale des critiques d'art) Member of the executive committee of AAANZ. Chair of steering committee for AAANZ conference 2001. Industry Partner and investigator for a major ARC project (SPIRT) in conjunction with University of Sydney, Macquarie University and NAVA. Committee member of ARCO 2002 Committee with Australia Council Audience Development Programme. Member of Advisory Committee to City of Sydney Sculpture Walk. Assessor for ARC grants, Fine Arts. Member of Bundanon Trust Residency committee. Member of the University of Newcastle Faculty of Arts Gallery Committee. Member of Advisory panel for ISIS Art and Science conference Sydney 2001 through COFA NSW University. External assessor for RMIT, Sydney College of the Arts and COFA. Advisor to Broken Hill City Council on feasibility of Sully building as a new Regional Gallery site. Natasha Bullock (Assistant Curator Photography) Co-curator (with Sarah Bond), Look See: five contemporary painters at Monash University Gallery, Melbourne. 27 March to 12 May, 2001 and author of catalogue essay ‘Moving through space’. Co-curator (with Sarah Bond), In the bag: a contemporary investigation at Platform, Spencer Street Station, Melbourne, 4 March to 5 April, 2001. ‘Cutting out the bad bits’, Kate Cotching, review, LIKE Art Magazine, Summer 2001 ‘Rabbit Drawings (Drawings by Kirsty Whitten)’, review, LIKE, Art Magazine, Autumn 2001 82 Jesmond Calleja (Registrar, Cataloguing and Documentation) Meet Me in St. Louis? – Or was it the St. Louis blues, American Association of Museums Annual Meeting and MuseumExpo, Spirit of Community, Journal of the Australian Registrars Committee, Vol. 37, Winter Issue, June 2001, pg. 22-28. Delivering Documentation: Changing the Face of audience participation, International Council of Museums, CIDOC – International Committee for Documentation newsletter, Vol. 10, July 2000, pg. 8-11. National Collecting – Managing the symptoms and side effects, Museums Australia Conference, opening address for the Australian Registrars Committee seminar, Kamberra Wine Centre, Lyneham, Canberra, 23 April 2001. Chaired Risk Management sessiont, Australian Registrars Committee seminar The Balancing Act: Access and preservation in Museums, National Gallery of Australia, 5 Oct. 2000. President of the Australian Registrars Committee at the Annual General Meeting, Melbourne, Nov. 2000. Helen Campbell (Assistant Curator, Australian Art) 'Out of Sydney: City and hinterlands', in Australian Art in the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 2000, pp185-186 'Drysdale in focus', Look, July, 2001, pp22-23 Russell Drysdale: Sunday evening 1941,brochure for Australian Collection Focus Series no. 10, Art Gallery of New South Wales, Sydney, 2001 Public talk on Russell Drysdale: Sunday evening 1941, Australian Collection Focus exhibition, 27 July Bronwyn Clark-Coolee ((Education Officer) Tutor and Lecturer, Theories and Histories of Art Practice, Sydney College of the Arts, University of Sydney Johathan Cooper (Manager of Information, Public Programmes) Interviewed Canadian tapestry artist Sola for educational video production 17 Oct. 2000 Spoke on panel at Microgroove Conference ("Inclusion and Access in the Arts", part of the Paralympic Arts Festival), 25 October 2000 Gave presentation on Dead Sea Scrolls exhibition and public programmes to staff at Auckland Museum, New Zealand, 3 November 2000 Consulted on professional committee: Disability Awareness Training for Arts & Cultural Industries, organised by Accessible Arts, February – April 2001 Judged Royal Easter Show Art Competition (Miniatures division) 30 March 2001 Article "La Erotiko de Desegnado" (The Erotics of Drawing), in Monato May 2001 (FEL, Antwerp) Paula Dredge (Conservator, Paintings) Lecture to COFA Art History and Conservation students on paintings conservation. A workshop with Richard Beresford’s Art History Sydney University students on making pigments. Collaborative research with Richard Wuhrer & M.R. Phillips Microstructural Analysis Unit, University of Technology, Sydney looking at paint samples from Claude Monet, Port-Goulphar, Belle-Ile for research for Belle-Ile exhibition. Paper presented at national conference of Scanning Electron Microscopy and invited for publication in journal. Deborah Edwards (Curator, Australian Art) ‘Australian Sculpture (Aboriginal and European)’, 500 word essay, Fitzroy Dearborn Dictionary of World Sculpture, Chicago, 2001. ‘Transported/Transplanted. Fiona Hall. A Folly for Mrs Macquarie’, 2000 word article, Art and Australia, forthcoming. Obituary, Robert Klippel, 1, 000 word article, Sydney Morning Herald, 20 June 2001; Obituary Robert Klippel, 1,000 word article, Art and Australia, forthcoming; Robert Klippel interview, Radio National, June, 2001. Member: Sydney City Council Curatorial Committee, 2000-2001 Australian art aural history/video project: taped interviews with Jocelyn Plate, Robert Klippel, Ben Gascoigne, Diana Medworth, Colin Lanceley, Rosemary Madigan, Mrs Jean Campbell, Corinne and Arthur Cantrill 2000-01 Lecture ‘Master Sculptors: Bertram Mackennal and Robert Klippel’, Australian Icons, Sept.2000 Lecture ‘Modernism’, art students, College of Fine Arts, Sydney, May 2001 Lecture ‘Sydney Modernism’, Art Gallery Society Diploma series ‘Engaging Australia’, May 2001 Lecture ‘Picasso’s Large Bathers’, Curator’s Choice lecture series; ‘Renoir To Picasso: Masterpieces from the Musee de l’Orangerie, Paris’, AGNSW, June 2001 Seminar paper, ‘Australian Women Sculptors’, Modern Australian Women exhibition conference, Art Gallery of South Australia, Adelaide, February 2001 Supervisor: COFA Master of Arts students (2) Supervisor: student intern programme – COFA/ UWS (4) Preparatory research, Curator, exhibition National Portrait Gallery, Canberra 2002/3 Louise Fischer (Administrative Services Supervisor) Represented the Art Gallery at the conference of PAINT, a national project to establish a uniform recordkeeping system for Australian art galleries and museums, Canberra, 29 Nov. - 1 Dec. 2000. Co-hosted the steering committee meeting of PAINT at the Art Gallery of New South Wales, 23- 24 April 2001. Jo Foster, (Co-ordinator Secondary Schools’ Programmes) Presented lecture on ARTEXPRESS to members of Museums Australia Education Group. Member of Museums Australia Education Group Member of Art Education Society Consulted regularly with Art Gallery Focus Groups for Visual Arts and History teachers. Liz Gibson, (Public Programmes) Member, Museums and Galleries Foundation of NSW Advisory Committee Trustee, William Fletcher Trust for Young Artists Donna Hinton (Conservator, Objects) Conducted a series of series of specialist lectures at the University of NSW course on Conservation and Collection Management. Assisted Campbelltown Art Gallery – advice regarding cons of bark paintings. Vickie Kalocsay (Public Programmes, Acting Children’s Co-ordinator) Judged the 2001 Royal Easter Show children’s art competition Judged the Gardeners Road Public School Art Competition. Consulted regularly with years K-6 Teacher’s Focus Group. Trish Kernahan (Manager Administration and Strategy) Project Manager for the Visitor Services Agencies joint e-commerce Portal project. Hendrik Kolenberg (Senior Curator, Australian Prints, Drawings & Watercolours) ‘A tribute to Hector Gilliland’ in Robyn Martin-Weber (editor) Hector Gilliland Sydney: Beagle Press, 2000 Lecture, ‘Brett Whiteley’s prints’ Brett Whiteley Studio, Sydney 15 October 2000 Judged ‘Jeffrey Smart figure drawing award’, National Art School, Sydney 28 November 2001 Judged ‘David Wilson award’, Julian Ashton Art School, Sydney, 30 November 2001 Opened exhibition ‘George Davis’ Salamanca Collection Gallery, Hobart 13 July 2000 Opened exhibition ‘Australian identities in printmaking’ Wagga Wagga Regional Art Gallery, 20 October 2000 Opened the new Adelaide Perry Gallery (and an exhibition of her work), Presbyterian Ladies College, Croydon 1 June 2001 Opened exhibition ‘Salvatore Zofrea, Appassionata Woodcuts’ Drill Hall Gallery, Australian National University 7 June 2001 Brian Ladd (Head, Public Programmes) Convenor, National Heads of Education and Public Programmes Meeting, AGNSW, 1 September 2000 Member, Curriculum Committee for new Bachelor of Visual Arts and Design Course, Australian Catholic University. Tour Lecturer, Art Treasures of Spain and Portugal, for Art Gallery Society, 16 September –11 October 2000 Regular Visual Arts Presenter, ABC Radio 2BL Member, NSW Carnivale Council Spoke on copyright issues at Museums Australia National Conference, Canberra, 23 April 2001 Judge, Royal Agricultural Art Society Art Exhibition Judge, New Children’s Hospital, Operation Art Awards Individual radio interviews about Gallery exhibitions and events, 2SERFM, 2SM, 2CH, 2MMM, 2JJJ, 2MBSFM, 2ESR. Yang Liu (Curator of Chinese Art) “The Discovery of Mass: A Footnote to the Stylistic and Iconographic Innovation in Chinese Buddhist Sculpture”, Orientations, vol. 31, Sept. 2000. “The Theme of Fo & Dao: New Evidence in Northern Dynasties Religious Sculpture in China”, paper presented in Taoism and the Arts of China, Art Institute of Chicago, 2-3 Dec. 2000. “Images of Mystery: Chinese Bronze Figures of the late Second Millennium BCE”, Craft Arts, No.50, 2000. “Strange Faces from the Bronze Age of China”, Carter’s Antiques & Collectables, No. 6, Nov. 2000. “The Symbolism of Flowers and Birds in Chinese Painting”, Oriental Art, Vol XLVI, No. 5, 2000. “The False Face of an Ancient Society: Bronze Masks from Sanxingdui”, TAASA REVIEW, No. 9, Dec. 2000. “Leaning upon an Armrest: Gu Kaizhi’s Vimalakirti and a Popular Daoist Iconographic Formula”, paper presented in The Admonition Scroll: Ideals of Etiquette, Art and Empire from Early China, British Museum, 15 – 24 June, 2001. Interview with radio ABC in Melbourne regarding the exhibition Fragrant Space, 10 July, 2000. “Chinese Flower and Bird Painting of the Ming and Qing Dynasties”, a lecture delivered at the National Art School, 9 August, 2000. Two floor talks on Chinese civilization to the students from Sydney University, 13 Oct. 2000. Lecture on Sanxingdui Bronzes dilivered to the Tasks Force of the Art Gallery of New South Wales, 20 Nov. 2000. Interview with SBS regarding the exhibition Masks of Mystery, 13 Dec. 2000. Interview with TVB (Australia) regarding the exhibition Masks of Mystery, 5 Jan. 2001 Interview with REUTERS regarding the exhibition Masks of Mystery, 10 Jan. 2001 Talk on Masks of Mystery presented at the Art Gallery Society’s function, 22 Jan. 2001 Robyn Louey (Librarian/Cataloguer) Represented the Art Gallery in Melbourne at Kinetica (National Bibliographic Database) annual user group meeting, 28 & 29 August 2000 Ann MacArthur, (Co-ordinator, Asian Programmes) Editor, 1. 'Studies of Asia Programs in the Arts, Literacy and Civics' at Linking Latitudes 2001 Studies of Asia in the School Curriculum Conference and Fieldwork, Shanghai China April 2001 'Kimono Culture' at National Gallery of Art, Canberra Lunchtime Lecture Series Vice-President, The Asian Arts Society of Australia Secretary, Australaian Institute of Eastern Music Associate Investigator, 'Museums, Cultural Diversity and Audience Development: A Case Study BUDDHA' Strategic Partnerships with Industry - research and Training Scheme Grant Consultant to Association of Independant Schools on MUGHALS WARRIORS AND MONUMENTS, a teacher resource to support the implementation of Asia-related history and Civics and Citizenship units of work in junior secondary classrooms Judge Dhammakya International Society of Australia Children's Painting Prize Coordinated Teacher Professional Development Days in Asian Art for the Association of Independent Schools, the Catholic Education Office, Sydney, the University of Western Sydney, Nepean and Access Asia Network groups Coordinated symposia 'Lands of Gold' for The Asian Arts Society of Australia and Dr Kapila Vatsyayan for theTemenos Foundation Coordinated 62 Asian artist workshops for 1800 primary, secondary and tertiary groups Directed performance programme with Chinese Dancing School of Sydney in conjunction with the exhibition Masks of Mystery from China's Ancient Shu Kingdom (18 performances of ancient Chinese bells and dance) Conducted visits to and consultations with Buddhist temples and societies as part of audience research for the exhibition BUDDHA Radiant awakening including Nantien Temple, Wollongong; Dhammakaya International Society of Australia, Burwood; Wat Pa Buddharangsee, Leumeah; Cambodian Buddhist Society of New South Wales, Cabramatta; Phuoc Hue Temple, Wetherill Park; Tien Hau Temple, Canley Vale; Wat Phrayortkeo Dhammayanaram, Edensor Park; Nantien Temple, Parramatta; Hwa Tsang Monastery, Homebush West; Buddhanet; the Buddhist Library, Sydney Zen Centre; Vajrayana Institute Jackie Menzies (Head Curator, Asian Art) Devised and implemented 26 week lecture course 'The Arts of Buddhism' for VisAsia; involvement in the structure and launch of VisAsia; member of Board of VisAsia, as well as continuing membership of Nicolson Museum Committee and Morrissey Bequest Committee, University of Sydney. President of The Asian Arts Society of Australia (TAASA) until retirement in March 2001. Opened various events and exhibitions including the Sydney International Antiques Fair at the Showground; 'un-finished business' (Noelene Lucas and Debra Porch) at Casula Powerhouse Arts Centre; the Oriental Painting Society of Australia. Hosted VisAsia luncheon for visiting Vietnamese delegation from Danang. Lectured to many groups at gallery and elsewhere, including Gallery guides, COFA Museum Studies students, and Australia-Japan Group; liaised with various community groups in regard to Buddhist activities; examiner of doctoral thesis. Industry partner team member for Strategic Partnerships with Industry for Research and Training (SPIRT) with the University of Western Sydney, for research into audience development. Steven Miller (Archivist) “An Artist for all Seasons,” Look, July 2000, p.14. “The Sydney Camera Circle,” Look April 2001, p.15. “Artists’ books,” Look May 2001, p.14. Public lecture on ‘The Rediscovery of Manuscripts and the Realignment of Thought,” as part of Dead Sea Scrolls Lecture Programme, 6 Sept. 2000. Public lecture on ‘Holman Hunt’s Light of the World’ to celebrate dedication of John and Julie Schaeffer courts at the Art Gallery of New South Wales, 20 Nov. 2000. Lecture on ‘Christmas cards by Australian artists’ to Art Gallery Society, 27 Nov. 2000. Lecture to Photography Collection Benefactors on ‘The Sydney Camera Circle,’ 27 March 2001 Lecture to students of Museum Management Diploma, University of NSW, on role of the Art Gallery’s Archive, 11 May 2001. Represented the Art Gallery as one of four members on the Advisory Panel for the New South Wales Centenary of Federation of Grants Programme, administering the Archiving, Cataloguing and Preservation of Historical Materials Grants. Made official visit to the James Hardie Fine Arts Library, State Library of Queensland, as part of a survey of Australian art libraries, Brisbane, July 2000. Represented the Art Gallery at the conference of PAINT, a national project to establish a uniform recordkeeping system for Australian art galleries and museums, Canberra, 29 Nov. - 1 Dec. 2000. Co-hosted the steering committee meeting of PAINT at the Art Gallery of New South Wales, 23- 24 April 2001. Represented AGNSW in Perth on the occasion of the visit of Sydney’s Blake Prize to that city and gave two public lectures in connection with the exhibition, 16 & 17 June 2001. Barry Pearce (Head Curator, Australian Art) Visited Tweed Heads Regional Gallery re exhibition loans from Australian collection, 22 July 2000 Couriered paintings back from Guggenheim Gallery, New York, having given informal talk on 19th century Australian art to staff, 11 - 17 September Opened Robert Barnes retrospective, Newcastle Region Art Gallery, 6 October, 2000 Keynote lecture on Donald Friend for two-day Donald Friend conference to mark the publication of his diaries, National Library of Australia, Canberra, 23 Feb. 2001 Attended opening of new Museum of Australia, Canberra, 11 March 2001 Attended and gave speech at official opening of Tom Roberts Festival, Inverell, Inverell Art Gallery, 27 April 2001 and gave major public lecture on the artist at the Gallery, 28 April 2001 Visited Lake Macquarie Regional Art Gallery with Premier's Department delegation to attend inaugural exhibition of the Gallery, 14 June 2001 Hetti Perkins, (Curator of Aboriginal and Torres Strait Islander Art) ‘Covering Ground: The Corporeality of Landscape’, (with Hannah Fink,) Art in Australia, Olympic Issue, Vol 38 No 1, Sept. 2000. pp.75-83 ‘Papunya Tula: Genesis and Genius’ (with Ken Watson) Australian Art Collector, Issue 13, July-Sept. 2000 83 Peter Raissis (Curator, European Prints, Drawings & Watercolours) Conducted tutorials for first-year art history students, University of Sydney, on European Old Master paintings at AGNSW. Oct. 2000 Lecture to Sydney Medieval and Renaissance Society on European paintings at AGNSW. Nov. 2000 Anne Ryan (Assistant Curator, Australian Prints, Drawings & Watercolours) Australian prints for group of American printmaking students 30 Jan. 2001 Australian prints for AGNSW Teacher Lecturers 6 March 2001 Colonial Australian prints, drawings & watercolours for University of Sydney Fine Arts Honours class 12 April 2001 Printmaking techniques for University of Sydney Fine Arts Honours class 27 April 2001 Australian prints and drawings in the AGNSW collection 1st Year UNSW College of Fine Arts Art History & Theory 11 May 2001 Co-judge Waverley Art Prize 4 July 2000 Judge, inaugural COFA Alumni Works on Paper Prize, UNSW College of Fine Arts 12 June 2001 Co-judge for ‘Emerging artists’ at the Sydney International Works on Paper Fair 12 June 2001 Judge, Fairfield Art Prize – 21 June 2001 Spoke at the Official Opening of the Hastings District Regional Art Gallery, Port Macquarie, NSW 12 Oct. 2000 Opened Canson Student Printmaking Award, UNSW College of Fine Arts 20 Nov. 2000 Opened exhibition Blueprint, Blue Mountains printmakers at Gallery Lane, Leura NSW 3 Feb. 2001 Malgorzata Sawicki (Senior Conservator, Frames) The Visit of the Queen of Sheba to King Solomon’ by Edward Poynter, 1884-1890. The frame revisited. – AICCM Bulletin. Research into Non-traditional Gilding Techniques as a Substitute for Traditional Matt Water Gilding Method. - Preprints of the 13th Triennial Meeting of the ICOM Committee for Conservation, Rio de Janeiro, Brazil, Sept. 22-28, 2002. Compensation of Losses on Gilded Surfaces – Review of Current Methods and Practices – presented at the AICCM Gilded Objects Conservation Special Interest Group 84 seminar on the Compensation of Losses in Gilded Surfaces: In-gilding and In-painting Using Traditional and Modern Materials and Methods, Town Hall, Melbourne, 9 Oct. 2000. Research into Non-traditional Gilding Techniques as a Substitute for Traditional Matt Water Gilding Method. – presented at the AICCM Gilded Objects Conservation Special Interest Group seminar on the Compensation of Losses in Gilded Surfaces: In-gilding and In-painting Using Traditional and Modern Materials and Methods, Town Hall, Melbourne, 9 Oct. 2000. Research into Non-traditional Gilding Techniques as a Substitute for Traditional Matt Water Gilding Method. – presented at the Conservation of Gilded Wooden Objects course, the Te Papa Museum, Wellington, New Zealand, 29-2 Feb. 2001. Research into Non-traditional Gilding Techniques as a Substitute for Traditional Matt Water Gilding Method – PhD research project, University of Western Sydney Nepean – continuing. Interview for the Polish TV regarding 1999 Conservator of the Year award. – Nov. 2000. Interviews for the SBS Polish Radio on the Gallery’s exhibitions: Providing training to Ms Anke Schmitt, a third year polychrome sculpture conservation student at the University of Applied Science in Hildesheim, Germany. Theory research group, Faculty of the Built Environment, University of New South Wales. Images of Empire: the vision of the British Raj. Lecture in the Arts of Asia lecture series, Aug.2000. Collection focus exhibition and member of the organising committee for the symposium Lands of Gold, October 2000, held in conjunction with The Asian Arts Society of Australia. Co-ordinated Treasures from the Hoi An hoard. Workshops on Vietnamese ceramics, held in conjunction with Ebay and The Asian Arts Society of Australia. Oct. 2000. The intervention of ornament. Preliminary research paper for postgraduate research group, Department of History, University of Sydney. Nov. 2000 The life of the Buddha Shakyamuni. Lecture in the Arts of Buddhism lecture series, March 2001. “Indian Painting” in LOOK, March 2001, p20-1. Susan Schmocker (Head Librarian) Paper presented at ARLIS/ANZ conference in Canberra, 19-22 Oct. 2000.’Security in Art Libraries: a balancing act of access and preservation’. Lecture to students of Library and Information Management, Charles Sturt University, on role of Research Library and Archive, Oct., 2000. Chair of ARLIS/ANZ, NSW Chapter. Wayne Tunnicliffe (Curator of Contemporary Australian Art ) Curatorial Residency at the Tate Gallery, London and travelling until Nov. 2000. Contemporary Australian Art, lecture, Tate Britain, London, July 2000 Nude Salon Art Prize Judging, Sydney Gay and Lesbian Mardi Gras, Feb. 2001 Contemporary Collection lecture, Asprey/Powers, Feb. 2001 Cite des Arts Paris Studio Judging, June 2001 Sentimental flowers and amorous bouquets, Renoir to Picasso Public Lecture, June 2001 Haema Sivanesan (Co-ordinator, Centre for Asian Art Studies) Member of Management and Events committees, The Asian Arts Society of Australia. Member, History and Theory Research Group, Faculty of the Built Environment, University of New South Wales. Co-ordinator, Arts of Asia 15th –20th century, Feb.-Nov. 2000. Co-ordinator, Arts of Buddhism lecture series, March – Oct. 2001. (Hi)stories in Indian architecture. Paper presented for the History and Kay Truelove (Senior Librarian, Technical Services) Represented the Art Gallery in Melbourne at Kinetica ( National Bibliographic Database) annual user group meeting, 28 & 29 August 2001. Represented the Art Gallery at Kinetica focus group meeting at State Library of NSW, May 2001. Represented Art Gallery at the Data Library (Library’s software) annual user group meeting, 20.April 2001. Michael Wardell (Co-ordinator of Curatorial Services) ‘Ailment, argot, and artifice in the work of Farrell & Parkin’ Seminar paper for Liminal Body Symposium organised by Australian Centre of Photography and the University of NSW to be held at the College of Fine Arts. 9 Sept. 2000. Introduced René Block’s lecture Fluxus Music – The everyday Event. AGNSW, Television interview, ABC Coast to Coast for their profile on Howard Taylor Organised The Barbara Blackman Temenos Foundation Lecture Clement Salaman Marsilio Ficino: Man of the Millennium AGNSW Selected successful applicants for The 2000 Dyason Bequest. August 2000 Member of judging panel for the Moya Dyring Studio & Dr Denise Hickey Memorial Studio, Cité Internationale des Arts, Paris. Member of the Judging panel for The Basel and Muriel Hooper Scholarship. Member of the Judging panel for The Eliot Gruner Prize. AGNSW representative in the Regional Consultation Group set up by the Museums and Galleries Foundation. AGNSW representative in the Arts Portfolio Centenary of Federation taskforce set up by the NSW Ministry for the Arts. AGNSW representative in the Heritage Collections Committee set up by the NSW Ministry for the Arts. Steering Committee for AAANZ, NSW Chapter, Conference, Conducting Bodies: Affect, & Memory. Ken Watson (Assistant Curator of Aboriginal and Torres Strait Islander Art) ‘Papunya Tula: Genesis and Genius’ (with Hetti Perkins) Australian Art Collector, Issue 13, July- Sept. 2000 Vivienne Webb (Assistant Curator, Australian Art) Lecturer for the course ‘Approaches to Australian Art’ at College of Fine Arts, University of New South Wales, March – June 2001 ‘Les Sauvages de la Mer Pacifique: an Australian view’ in The wallpaper history review, 2001 Member of judging panel for the Warringah Art Prize, 2 July 2000 Supervision of student interns from COFA, University of NSW and the University of Western Sydney Natalie Wilson (Assistant Curator, Australian Art) Floor talk, ‘Melbourne art in the 1930s and 1940s’, in conjunction with the exhibition Albert Tucker: Australian Gothic at S.H. Ervin Gallery, 4 March 2001 ADMINISTRATIVE AND STATUTORY ITEMS CODE OF CONDUCT The Code of Conduct was reviewed in 2001 and an updated version is now in place at the Art Gallery. A full copy of the revised code appears as a separate appendix. COPYRIGHT The Art Gallery clears copyright for hundreds of images every year, which are reproduced in exhibition catalogues, education kits, promotional material and shop merchandise. Developing more of our exhibitions in-house has also increased the volume of copyright clearances required. The increasing use of the Internet and electronic delivery of services will pose further challenges on copyright issues, which will need to be addressed. A policy document covering copyright and image reproduction activities was developed within the Art Gallery. A licence initiative is being negotiated with Viscopy covering permissions use of images on our website. In the coming year, the Art Gallery together with other State galleries, will work towards national standardisation of copyright policy. ELECTRONIC SERVICE DELIVERY The Art Gallery’s website (www.artgallery.nsw.gov.au) provides up to date information on exhibitions and events, publications, organisation structure, annual report, membership category details and provides access to the Collection and Research Library databases. Search capabilities enables user ease of access to database information not previously available to the public. Users can sign up to received regular e-newsletters. The Art Gallery progressed a joint ecommerce portal initiative in conjunction with the Royal Botanic Gardens, Centennial Parklands and Tourism New South Wales. This system will be launched in September, 2001 enabling our Internet customers to purchase merchandise, book tickets for events, apply for venue hire or join one of our membership programs. These initiatives also ensures compliance with the NSW Government’s Electronic Service Delivery requirements. ENERGY MANAGEMENT Energy management of both electrical and gas supply is being monitored constantly to identify usage anomalies. Ongoing programmes for the building management control system are in place to achieve savings in consumption. However, power costs have risen due to increased rates for electrical supply negating consumption savings. The monitoring and regular maintenance to the gas fired boilers and steam generators has kept gas consumption to contracted levels with no additional charges. GST IMPLEMENTATION Training of staff and upgrade to systems were undertaken in timely fashion to enable a smooth cut-over on 1 July. All registrations for GST and related tax reforms were undertaken on behalf of all the Art Gallery entities as a group, although each one is registered individually. The Art Gallery submitted its Business Activity Statement electronically. An audit of the GST compliance indicated a fully satisfactorily implementation. INDUSTRIAL RELATIONS There were no major industrial disputes with minor issues being resolved satisfactory, one with the assistance of legal counsel. No time was lost due to industrial disputation. INFORMATION TECHNOLOGY During the year, the Art Gallery’s ‘help desk’ and network management was undertaken through an outsourcing agreement in conjunction with three other government entities. Whilst the performance of the network has been satisfactory recently, its potential to significantly impact the productivity of the Art Gallery, has prompted the decision to bring the function in-house when the contract expires in August 2001. With fast technological change, there is a need to increase the level of investment in the IT infrastructure. The Art Gallery submitted its IT Strategy Plan to the Office of Information Technology and is working closely with them to secure funds to enable the implementation of the plan. OCCUPATIONAL HEALTH & SAFETY No. of work related injuries: 9 No. of work related illnesses: 1 Prosecutions under the OH&S Act, 1983: Nil PAYMENT PERFORMANCE AGED CREDITOR ANALYSIS AT THE END OF EACH QUARTER - 2000/2001 Quarter September Quarter December Quarter March Quarter June Quarter Current (ie within due date) Less than 30 days overdue Between 30 and 60 days overdue Between 60 and 90 days overdue More than 90 days overdue $ $ $ $ $ 619,649 623,501 642,248 982,612 5,742 3,077 - 17 16,402 3,135 574 2,063 - - ACCOUNTS PAID ON TIME WITHIN EACH QUARTER TOTAL ACCOUNTS PAID ON TIME Quarter September Quarter December Quarter March Quarter June Quarter Target% 100 100 100 100 Actual % 100 100 99.68 100 TOTAL AMOUNT PAID $ $ 3,510,205 3,166,450 3,864,301 2,064,328 3,510,205 3,166,450 3,876,707 2,064,328 There was no instance where penalty interest was paid PRIVACY MANAGEMENT PLAN AND PERSONAL INFORMATION The Art Gallery has developed a Privacy Management Plan in response to Section 33 of the Privacy and Personal Information Protection Act 1998. This Act aims to protect individuals against the inappropriate collection, storage, use and disclosure of personal information by NSW Public Sector Agencies. The Plan outlines how the Art Gallery complies with the Act. For information on the Plan, contact the Privacy Contact Officer, Human Resource Services, Art Gallery of New South Wales, Art Gallery Road, The Domain, Sydney, NSW 2000, phone (02) 9225 1795 or fax (02) 9221 6226. RECORDS MANAGEMENT The Art Gallery took an active role in a national galleries and museums records management project (“PAINT”), which during the year developed a standard thesaurus and will continue next year with the development of a standard disposal schedule. This initiative ensures the Art Gallery’s compliance with State Records Act, 1999 requirements. magazines amongst those items being recycled. Approximately 58% of primary paper products are recycled equating to 2.5 tonnes of paper per year. Approximately 50% of packaging is recycled. The Art Gallery purchases recycled general paper items and Envirocopy photocopying paper. The Art Gallery has an arrangement with the Children’s Cancer Council to collect toner cartridges for recycling. The Conservation Department sends off cuts of wood and materials to Long Bay Gaol for use by prisoners in recreational activity. The Gallery Shop and the Research Library reuse cardboard boxes for packaging for orders and interlibrary loans. Saff are encouraged to use the White and Yellow pages on the Internet which has reduced our requirements for telephone books by 50%. The Art Gallery also functions as a venue with catering on-site. Soft drinks and juices are purchased in recyclable glass containers and a number of suppliers already deliver products in refillable containers. The catering company, recycles all glass bottles. USE OF CONSULTANTS In the past financial year, the Art Gallery spent $140,816 engaging sixteen consultancies. No consultancy firm was paid more than $30,000. WASTE REDUCTION AND PURCHASING STRATEGIES The Art Gallery’s commitment to the reduction of waste products has seen paper recycling baskets situated in every department with general office paper, newsprint and 85 EEO STATISTICS from the Gallery Shop. The Art Gallery also publishes a bi-monthly bulletin and monthly calendar of events free of charge. REPRESENTATION OF EEO GROUPS WITHIN SALARY LEVELS (as at 30 June 2001) Numbers used reflect equivalent full time (EFT) staffing numbers. Total Staff (number) Below $26,802 $26,802 – $39,354 $38,356 – $49,799 $49,800 – $64,400 Greater than $64,400 (non-SES) SES Total Respondents Men Women Aboriginal & Torres Strait Islander People People from racial, ethinic, Ethno-religious minority groups People whose language first spoken as a child was not English People with a disability 0% 93% 95% 100% 100% 0% 59% 40% 34% 57% 0% 41% 60% 66% 43% 0% 3% 2.5% 2.3% 4.8% 0% 35% 30% 23% 19% 0% 26% 28% 23% 14% 0% 1% 3% 0% 0% 0% 0% 0% 0% 0% 1 100% 100% 0% 0% 0% 0% 0% 0% 193 96% 49% 51% 3% 29% 24% 1% 0% REPRESENTATION OF EEO GROUPS BY EMPLOYMENT BASIS (as at 30 June 2001). Numbers used reflect head count of staff. Staff Responding to EEO data form Men Women Aboriginal & Torres Strait Islander People People from racial, ethinic, Ethno-religious minority groups People whose language first spoken as a child was not English People with a disability People with a disability requiring adjustment at work Permanent Full-time Permanent Part-time Temporary Full-time Temporary Part-time SES Casual 155 14 7 17 1 26 98% 100% 86% 76% 100% 88% 59% 14% 14% 0% 100% 33% 41% 86% 86% 100% 0% 66% 2% 7% 0% 8% 0% 0% 30% 14% 33% 31% 0% 18% 25% 14% 17% 31% 0% 12% 1% 0% 0% 0% 0% 1% 0% 0% 0% 0% 0% 0% Total Estimated Sub Group Total 219 95% 47% 53% 2% 27% 22% 1% 0% 208 103 116 4 59 48 2 0 STAFF PROFILE Average over 12 months Numbers used reflect equivilent full time (EFT) staff numbers. Building and Security Services Curatorial Services Staff Curatorial Staff Exhibitions / Display Corporate Services Commercial Services Marketing Total EFT 30/6/99 58 42 26 19 19 14 8 EFT 30/6/00 63 42 26 19 19 15 9 EFT 30/6/01 61 43 25 20 18 13 13 186 193 193 FREEDOM OF INFORMATION – STATEMENT OF AFFAIRS The following Statement of Affairs is presented in accordance with the Freedom of Information Act, 1989, section 14 (1) (b) and (3). The Art Gallery's (FOI Agency No. 376) statement is correct as at 30 June 2001 The Art Gallery received two formal requests for information under the Freedom of Information Act, 1989 during 2000-2001. No requests were 86 carried over from the previous financial year. One request was withdrawn and the second request was completed. Both requests were classified as “other” requests. The Art Gallery regularly receives representations from the public concerning its operations. The Gallery endeavours to make the collection and associated information as accessible to the public as is possible. The Art Gallery welcomes public interest and participation in its activities. DOCUMENTS HELD BY THE ART GALLERY Art Gallery of NSW Act, 1980; Accounts Manual; Agendas and Minutes of Meetings; Collections Management Policy; Administrative Procedures Manuals; Education Policy; Annual Report; Exhibitions Resource Manager, Art Gallery of New South Wales, Art Gallery Road, The Domain, Sydney NSW 2000. Arrangements can be made to obtain copies of documents, or to inspect People with a disability requiring adjustment at work 0 85 42 44 21 Total Staff FOI PROCEDURES Applications for access to Art Gallery documents under the Freedom of Information Act should be made in writing and directed to: Human Policy; EEO Annual Report; Copyright Policy; Filming & Photography Policy; Corporate Plan; Financial reports; Human Resources Policies; Ministerial Correspondence DOCUMENTS AVAILABLE FOR PURCHASE The Art Gallery publishes a range of catalogues and books. The publication prices are continually reviewed and prices are available them by contacting the Human Resource Manager on telephone (02) 9225 1795. CODE OF CONDUCT Staff of the Art Gallery of New South Wales will perform their duties with the highest standards of personal integrity and honesty. Staff at all times will be aware of their responsibilities to: • Care for and ensure the safety of the collections. • Provide a timely and competent service to all members of the public. • Support their colleagues and coworkers in a responsible and ethical manner. • Support implementation of government policy, effectively and impartially. Staff have the normal rights of employees, under common law and within the provisions of legislation. CONFLICT OF INTEREST Staff should avoid private, financial or other interest or undertaking that could directly or indirectly compromise or conflict with the performance of their duties. In many cases, only the individual person will be aware of the potential for conflict. The onus is therefore on individuals to notify senior officers if a potential or actual conflict of interest arises. Example: A staff member is selected to participate on a selection committee, knowing that a family member has applied for the position. Solution: The staff member should declare their relationship regarding the applicant to the Convenor of the panel, and if appropriate, withdraw from the Selection Committee. ACCEPTANCE OF GIFTS OR BENEFITS Staff should not accept a gift or benefit if it could be seen by the public, knowing the full facts, as intended or likely to cause individuals to do their job in a particular way, or deviate from the proper course of duty. Common sense and a professional approach must be applied in all circumstances where gifts, hospitality, entertainment or other benefits are offered All offers of gifts or benefits made either directly or indirectly to a staff member are to be reported to the relevant General Manager. The General Manager is responsible for keeping a list of gifts accepted by staff at the Art Gallery. Example: There are frequent attempts by suppliers of goods and services to government to “sweeten a deal” by offering gifts or benefits, which may include expensive function tickets or other expensive gifts. Solution: If such an offer is made, the staff member must report the entire incident to the relevant General Manager and action taken to exclude the supplier from further dealings with the Art Gallery. Example: Staff undertaking negotiations involving overseas governments or organisation may experience the custom of gift exchange as part of a cultural approach to business dealings. Under most circumstances, it would cause offence to refuse to exchange gifts. Solution: The local customs are observed and all such gifts are reported to the relevant General Manager. Generally, gifts of significance become Art Gallery property. PERSONAL AND PROFESSIONAL BEHAVIOR Staff should perform all duties associated with their positions diligently, impartially, conscientiously, in a civil manner and to the best of their ability. In the performance of their duties staff should: • Act in such a way that the Art Gallery will be held in high regard by the community. • Concern themselves with the safety of the collections at all times. • Provide all necessary and appropriate assistance to members of the public, in particular, information about the Art Gallery and its collections. • Treat members of the public and other staff members with courtesy and with sensitivity to their rights. • Keep up to date with advances and changes in their area of expertise. • Comply with relevant legislative, industrial and administrative requirements. • Maintain adequate documentation to support decisions. • Strive to obtain value for Art Gallery money spent and avoid waste and extravagance in the use of Art Gallery resources. • Not take or seek to take improper advantage of official information gained in the course of employment. Staff should not harass or discriminate in work practices on the grounds of sex, marital status, pregnancy, age, race, colour, nationality, ethnic or national origin, physical or intellectual impairment, sexual preference, or religious or political conviction when dealing with their colleagues and members of the public. All staff should understand and apply Equal Employment Opportunity principles. should only disclose other official information or documents acquired in the course of employment when required to do so by law in the course of duty, when called to give evidence in court, or when prior approval has been given by the Director. FAIRNESS AND EQUITY Staff should deal with all matters in accordance with approved procedures, promptly and without discrimination. There is an obligation to treat every issue reasonably and fairly and with a view to meeting the principles of natural justice. USE OF OFFICIAL FACILITIES AND EQUIPMENT It is expected that staff will be: • Efficient and economical in the use and management of Art Gallery resources. • Scrupulous in the use of Art Gallery property and services and not permit abuse by others. Art Gallery facilities and equipment should only be used for private purposes when official permission has been given. GUIDE TO ETHICAL DECISION MAKING The following five points should be used by staff as a measure of the ethical content of decisions. Is the decision or conduct lawful? Is the decision or conduct consistent with government policy and in line with Art Gallery objectives and values? What will the outcome be for the decision maker, their colleagues, the Art Gallery and other agencies? Do these outcomes raise a real or apparent conflict of interest or lead to private gain at public expense? Can the decision or conduct be justified in terms of the public interest and would it withstand public scrutiny? PUBLIC COMMENT AND THE USE OF OFFICIAL INFORMATION Public comment includes public speaking engagements, comments on radio and television and expressing views in letters to newspapers or in books, journals or notices or where it might be expected that the publication or circulation of the comment will spread to the community at large. Whilst staff, as members of the community, have the right to make public comment and to enter into public debate on political and social issues, there are some circumstances in which public comment is inappropriate. These circumstances would be where there is an implication that the public comment, although made in a private capacity, is in some way an official comment of the Art Gallery or the Government. Staff can disclose official information, which is normally given to members of the public. Staff OUTSIDE EMPLOYMENT The prior approval of the Director is required before staff of the Art Gallery may engage in any form of paid employment outside their official duties. In all cases when outside employment is considered, staff should give their Art Gallery employment first consideration, and no work for personal financial gain should be undertaken it if conflicts with the purposes of the Art Gallery or could raise doubts over their professional integrity or could given rise to a situation of conflict of interest. POST SEPARATION EMPLOYMENT Staff members are advised that they need to avoid offers of employment that require the use of confidential Art Gallery information or intellectual property. Former employees are not entitled to use confidential information gained while employed by the Art Gallery. Staff members must be careful in their dealings with former employees and ensure that no confidential information is passed on, particularly information that may benefit former employees. POLITICAL PARTICIPATION Staff have the right to engage in political activity so long as this activity does not take place during normal working hours and Art Gallery policy is not violated or compromised. Participation in political matters should not bring staff into conflict with their duties with the Art Gallery and if such a conflict does arise, the staff member may have to either 87 cease political activity or withdraw from areas of duty where the conflict of interest arises. THE GALLERY COLLECTIONS Staff with responsibility for the collections should ensure that all artworks accepted either temporarily or permanently, are acquired in accordance with the established procedures of the Art Gallery and are properly and fully documented. Staff should allow scholars access to the collections of the Art Gallery, subject to there being no possibility of damage being caused to artworks. Staff employed to conduct scholarly research related to collections should recognise that there is an obligation to make available to the Art Gallery the results of that research within a reasonable time after completion of the work, or during the process of that research if appropriate. REPORTING OF CORRUPT CONDUCT, MALADMINISTRATION AND SERIOUS AND SUBSTANTIAL WASTE OF PUBLIC RESOURCES These issues are dealt with in a separate policy – “Corruption Prevention Policy” – available on the common Policy directory network site. If a staff member believes that they have information relating to these areas, they may make a protected disclosure under the Corruption Prevention Policy. The nominated Disclosure Officers include: The Disclosure Co-ordinator – Rosemary Senn - 9225 1716 General Manager, Curatorial Services – Tony Bond - 9225 1786 General Manager, Building and Exhibitions – Anne Flanagan – 9225 1799 Human Resources Manager – Donna Grubb – 9225 1795 or The Director Edmund Capon. If a staff member would feel more comfortable providing information to an external authority they may do so to the following organisations: For corrupt conduct, the Independent Commission Against Corruption can be contacted on 02 9318 5999 or freecall 1800 463 909. For maladministration, the NSW Ombudsman can be contacted on 9286 1000 or Freecall 1800 451 524. For serious and substantial waste of public resources, the Auditor General’s Office can be contacted on 9285 0155. RELEVANT LEGISLATION All staff should be familiar or at least aware of the following legislation: Anti-Discrimination Act 1977; Crimes Act 1900; Freedom of Information Act 1989; Independent Commission Against Corruption Act 1988; Industrial Relations Act 1996; Occupational Health and Safety Act 1983; Ombudsman Act 1974; Privacy and Personal Information Act 1998; Protected Disclosures Act 1994 Public Finance and Audit Act 1983; Public Sector Management Act 1988; State Records Act 1998; and Art Gallery of New South Wales Act 1980. FURTHER INFORMATION For further information about the Code of Conduct please speak to your Manager, General Manager or contact Human Resources staff. Mr Peter Raissis 3 March to 15 June 2001 France and Austria Undertake 3 month internship at the Musee du Louvre. Mr Brian Turner 20 March to 10 April 2001 UK and France Attend Book Fair and buy in titles for major exhibitions. Ms Ann MacArthur 14 to 25 April 2001 China Present paper at Linking Latitudes 2001: Shanghai and China. Ms Judy Annear 27 May to 17 June 2001 Japan and Europe Resolve content and logistics of Man Ray exhibition. Ms Erica Drew 4 to 17 March 2001 UK, France, Singapore Courier return of vintage photos from World Without End exhibition and discuss future exhibitions. Ms Paula Dredge 20 to 30 March 2001 UK and France Act as Courier for Fire’s on by Arthur Streeton to V & A Museum, UK and inspect works for Belle Ile exhibition in France. Mr Jesmond Calleja 5 to 10 May 2001 USA Attend American Association of Museums Annual Meeting and MuseumExpo. Mr Tony Bond 5 June to 6 July 2001 Europe and Thailand Accompanying Contemporary Collection Benefactors to Venice Biennale and Basle Art Fair. Ms Ursula Prunster 11 to 24 May 2001 France To promote the Gallery’s forthcoming Belle Ile exhibition. Mr Alan Lloyd 12 to 22 June 2001 Europe and Singapore Courier Femme nue dans un rocking chair by Picasso. Ms Gillian Williamson 17 to 23 May 2001 USA Attend Museum Store Association Conference. Dr Liu Yang 15 to 24 June 2001 UK Present paper at symposium Taoism and the Arts of ChiGu Kaizhi’s Vimalakirti. Ms Anna Hayes 6 to 14 March 2001 USA Courier return works of art on loan for World Without End exhibition. Mr Stewart Laidler 16 to 29 March 2001 Spain and UK Courier delivery of Femme nue dans un rocking chair by Picasso to Madrid. Mr Alan Lloyd 22 March to 3 April 2001 China Condition check return of works on loan for Masks of Mystery exhibition. Mr Edmund Capon 26 to 28 March 2001 Hong Kong Negotiate major exhibition on Gusta. OVERSEAS TRAVEL SUMMARY IMPLEMENTATION OF ROYAL COMMISSION INTO ABORIGINAL DEATHS IN CUSTODY Mr Richard Beresford 22 June to 14 August 2000 UK, France, Holland, Belgium, Germany, Switzerland, USA Finalise negotiations for Claude to be held in early 2003 Dr Chiaki Ajioka 26 September to 5 October 2000 Japan Condition check works of art for exhibition Hanga: Japanese Creative Prints. Ms Paula Dredge 30 June to 12 July 2000 USA To act as courier for return of The Widower by Tissot from Yale Centre for British Art Mr Edmund Capon 29 September to 4 October 2000 Hong Kong and Vietnam To negotiate first exhibition of medieval Vietnamese art to be sent out of that country. Ms Jackie Menzies 7 November to 2 December 2000 UK, Germany, Switzerland, USA Urgent research for Buddha exhibition. Mr Barry Pearce 1 to 12 July 2000 UK and Egypt Accompany Margaret Olley for opening of her exhibition and research future exhibitions. Mr Tony Bond 3 to 8 October 2000 Korea To take part in an international curators workshop Curatorshop: Past, Present, and Future. Ms Erica Drew 12 to 16 November 2000 Germany Courier five vintage photographic works for World Without End exhibition. Ms Emma Smith 7 to 14 July 2000 Switzerland Courier return of Drei Badande by Kirchner from Museo d’arte Moderna. Mr Peter Raissis 3 to 12 October 2000 UK Courier The Anatomy Class at the Ecole de Beaux-Arts by Salle to the Hayward Gallery in London. Mr Alan Lloyd 28 November to 10 December 2000 China Condition check works on loan and oversee packing works for Masks of Mystery exhibition. Mr Tony Bond 15 to 29 July 2000 Japan Present a paper at Echigo-Tsumari Triennial Conference Ms Judy Annear 11 to 21 October 2000 Holland and UK To participate in major retrospective of Ulay’s photographic work, and to negotiate works for major exhibition in 2002. Dr Liu Yang 29 November to 11 December 2000 USA Present paper at symposium Taoism and the Arts of China. Ms Jackie Menzies 27 August to 19 September 2000 Japan, Korea and Thailand. Attend workshop on Korean Painting and negotiate loans for Buddha exhibition Mr Barry Pearce 10 to 18 September 2000 USA Courier return of loans to Guggenheim Museum and to negotiate works for major exhibition Romanticism. 88 Mr Edmund Capon 28 October to 22 November 2000 USA, UK, France, Germany and Italy To negotiate loans for Buddha, Nolan Retrospective and Late Picasso exhibitions and hold discussions on Papunya Tula show for Rome. Mr Jonathan Cooper 29 October to 5 November 2000 New Zealand Attend ICOM/CECA Conference in Christchurch then to Auckland to give presentation on Dead Sea Scrolls exhibition. Mr Hendrik Kolenberg 1 to 17 December 2000 France Visit owner (with Paris Dealer) of collection of drawings and watercolours by J P Russell and further research Lloyd Rees’ French sketchbook drawings for exhibition. Ms Anne Flanagan 8 to 22 December 2000 Europe Research current design methods and new ways with light in museums overseas. Mr Ross Clendinning 14 to 20 December 2001 Japan Condition check works on loan for Masks of Mystery exhibition. Ms Emma Smith 9 to 20 January 2001 UK Courier return of The Anatomy Class at the Ecole de Beaux Arts. Recommendation number 56 & 300 The Art Gallery of New South Wales projects that introduce Aboriginal and Torres Strait Islanders and others to the history and culture of Indigenous peoples of Australia included: • The continued acquisition, exhibition, conservation of Aboriginal art and commitment to making the collection accessible to the widest possible audience. • The growth of exhibitions programmes and public programmes associated with the Yiribana Gallery, one of the largest spaces for the display of Aboriginal art in the southern hemisphere. • During the year there were exhibitions in Yiribana curated from the Art Gallery’s Collection reflecting the diversity of Aboriginal and Torres Strait Islander art. Major thematic exhibitions Ochre: bark paintings from the collection and Title Deeds: Works from the Aboriginal and Torres Strait Islander collection were collection based. The Olympic Arts Festival exhibition Papunya Tula: Genesis and Genius was the major AGNSW exhibition for the Olympic period and was a critical success. The exhibition Paintings from the Collection, concentrating mainly on recent acquisitions, began in May 2001 and is currently on display. Works from the Aboriginal and Torres Strait Islander collection were also included in the exhibitions Australian Icons and Decades. • For the fifth consecutive year the Art Gallery in conjunction with the Department of School Education, the Aboriginal Education Consultative Group and the Board of Studies staged the successful Reconciliation exhibition. This exhibition featured artworks by Aboriginal and nonAboriginal students from primary and Ms Paula Dredge 11 to 20 January 2001 USA Courier return of Head of Peasant by van Gogh. Ms Malgorzata Sawicki 29 January to 2 February 2001 New Zealand Present a session at Conservation of Gilded Objects course at the Te Papa Museum in Wellington. Mr Tony Bond 9 to 26 February 2001 Spain, France, UK and Austria Negotiate for ARCO 2002 Australia Focus. Follow up on Keifer and Self Portraits exhibition. Mr Wayne Tunnicliffe 2 to 6 March 2001 New Zealand Research NZ Contemporary Projects exhibition and attend 1st Auckland Triennial of Contemporary Art. secondary schools throughout New South Wales on the theme of Reconciliation. • NAIDOC Week in July 2000 was celebrated by a programme of school holiday activities held in Yiribana. A film program was organised as part of the NAIDOC Week activities. • There was a continuing consolidation of links with Indigenous education institutions, courses in Aboriginal Studies and Aboriginal units and art courses at tertiary level. AGED AND DISABILITY PLAN AGED AND DISABILITY PLAN The Art Gallery is developing an updated Disability Plan that will incorporate strategies across six major areas including physical access, promotion of positive community attitudes; staff training; information about services; employment; and complaints. The Art Gallery’s commitment to equal access for all people is reflected in our policy as detailed below. GUARANTEE OF SERVICE The Art Gallery recognise that the public has the right to expect that services will be provided without discrimination. In particular we will provide access service for visitors with special needs, including the disabled. We will seek to continuously improve our service to visitors and welcome feedback directly to staff and through regular surveys. PHYSICAL DISABLED VISITORS Two dedicated Disabled Parking spaces are available at the rear of the Gallery for visitors with disabilities. Special arrangements are also made for bus parking. Access to these spaces is via the service road on the southern side of the Art Gallery. From the rear of the Art Gallery access to all exhibitions, displays, public and administrative areas is by way of ramps and lifts, suitably signposted. There are two public Disabled Parking spaces available at the front of the Art Gallery. The Art Gallery’s Domain Theatre has access space designed for wheel- chair users. DEAF AND HEARING IMPAIRED VISITORS Severely and Profoundly Deaf Visitors In 1997 the Gallery implemented free monthly Auslan guided tours. We regularly book sign-language interpreters for advertised guided tours, and particularly in association with Deaf Awareness Week. Groups of deaf people making bookings are provided with sign-language interpreters free of charge. In 1996 the Art Gallery implemented at TTY telephone number (9225-1711). This number is listed in the Telstra TTY directory. Hearing Impaired Our Domain Theatre provided AudioInduction Loop facilities for all lectures and films. An FMMicrophone System for hearing-aid users is available on request for guided tours. VISUALLY IMPAIRED VISITORS A major refurbishment of the elevator servicing Level 1, Ground Floor and Upper Level has seen the installation of voice notification of floor and access details. GENERAL Communications The Art Gallery’s Internet website (www.artgallery.nsw.gov.au) launched last year has capacity for large print screen versions of all information. Staff Training Information and awareness sessions are held for staff and Volunteer Guides, with particular reference to 89 servicing visitors with special needs. Some Volunteer Guides and staff have undertaken introductory courses in sign-language. We have designated an Education Officer to manage the Art Gallery’s programmes and facilities for people with disabilities. Helpers General entry to the Art Gallery is free to all visitors. However, where charges are made for special exhibitions, helpers accompanying visitors with disabilities are admitted free of charge. Information and Publicity Our information publication exhibitions / events is freely available from our Information Desk. This booklet contains information for visitors with special needs. Currently the Bulletin is posted to over 4,000 interest individuals or organisation. Employment Practices The Art Gallery ensures equal opportunity principles are used for recruitment and general employment practice. NEW STRATEGIES TO IMPROVE SERVICES Ramp Access The Art Gallery engaged heritage architects to design wheel chair ramp access to the front of the Gallery. These plans were rejected by the Heritage Council and a further scheme was developed which was then rejected by Art Gallery Trustees. The design process proved that it was problematic to layer a contemporary ramp to the heritage building and the Art Gallery Trust recommendation was to develop a second entrance that provided for disabled access, schools and/or a second entry and improved visitor facilities. WOMEN’S ACTION PLAN The Annual Reports (Statutory Bodies) Amendment (Women’s Action Plan) Regulation 1997 requires that agencies provide information about their implementation of the Government’s Action Plan for Women. A) WHOLE OF GOVERNMENT APPROACH The Art Gallery is firmly supportive of a whole of government approach in meeting the broad policy outcomes of the NSW Government’s Action Plan for Women. It is recognised that all areas of NSW Public Sector have a role in improving the economic and social participation of women by integrating the needs and concerns of women as part of normal business. The Art Gallery is committed to the advancement of women in all forms of cultural and artistic life and is aware of the need to identify and redress discrimination against women in delivering services and programmes to the public. From an organisational perspective, the Art Gallery acknowledges the needs and interests of women as a direct occupational group and is supportive of strategies and initiatives that assist the advancement of women in the workplace. B) WOMEN’S INTERESTS AND THE ARTS While the majority of exhibitions staged by the Art Gallery include works of art created by women artists the following exhibitions related to women’s lives and history and/or featured work by specific women artists: • Olive Cotton (13 May 2000 – 2 July 2000) Olive Cotton is recognised as one of Australia’s leading twentieth century photographers, well know for such images as the compelling modernist Tea cup ballet and Glasses. • Biennale of Sydney 2000 (26 May 2000 – 30 July 2000) The work of woman artists featured prominently in this preeminent contemporary art event. Yoko Ono’s work Ex It was a focal piece in the Art Gallery’s main court and the Biennale also featured work by Louise Bourgeois, Sophie Calle, Rosemary Gascoigne, Tracey Moffatt and Mariko Mori • Piccinini and Langton: Plastic Life (15 July 2000 – 20 August 2000) Patricia Piccinini is a young Melbourne artist whose photographic work focuses on her concern with the natural and the artificial in contemporary society. • Australian Icons – (4 August 2000 – 29 October 2000) Margaret Preston, Grace Cossington Smith • My City of Sydney (2 September 2000 – 22 October 2000) Christine Cornish, Viva Jillian Gibb Christine Godden, Fiona Hall, Tracey Moffatt • Papunya Tula: Genesis and Genius (18 August 2000 – 12 November 2000) In this first major exhibition of the Papunya Tula movement, a section was devoted to representing woman artists and their important contribution to this movement. • World without End Photography and the Twentieth century (2 December 2000 – 25 February 2001) Diane Arbus, Zoe Beloff, Pat Brassington, Nancy Burson, Rineke Dijkstra, Wendy Ewald, Sue Ford, Florence Henri, Carol Jerrems, Grit Kallin-Fischer, Dora Maar, Tracey Moffatt, Yva (Else Simon) • Denise Green (31 March 2001 – 28 April 2001) This was the second survey exhibition of the Australian born artist who lives in New York. The Art Gallery also administers two bequests which conditions stipulate are only open to women. These bequests are the John and Elizabeth Newnham Pring Memorial Prize for ‘the best landscape executed in watercolours by a women artists’ and a capital fund in the name of Viktoria Marinov with income used to purchase works of art for the permanent collection ‘by female artists under the age of 35 years.’ C) ACHIEVEMENTS UNDER KEY OBJECTIVES IN THE ACTION PLAN FOR WOMEN The following achievements have been made under the two key objectives that are relevant to the Gallery in the Government’s Action Plan for Women: • Promoting workplaces that are equitable, safe and responsive to all aspects of women’s lives The Art Gallery’s performance under this key objective is documented in the equal employment opportunity (EEO) statistics listed in a separate appendix of this report which provides information of EEO groups within salary levels and employment basis. The Art Gallery is committed to employment of staff based on selection on merit principles and the Art Gallery workforce is currently made up of 53% women. Under employment on merit the employees benefit by having their capabilities fully utilised and their skills expanded. Of the four General Manager positions, three are currently filled by women and 66% of middle management positions are occupied by women which is indicative of the Art Gallery's commitment to the advancement of women based on merit. Further, approximately 13 % of women took advantage of the Art Gallery's flexible work practices such of part time work, job sharing, working from home, part time leave without pay and the career break scheme in order to effectively balance workplace priorities with family and personal commitments. The Art Gallery as a whole benefits in the long term by being adaptable and responsive to changing community need and expectations. * Promoting the position of women in all aspects of society The Art Gallery of New South Wales: • has maintained a general free admission policy to ensure the broadest range of the community, including the financial disadvantaged often being women, have access to the State’s fine art collection and associated education programmes. • delivers an exhibition programme that is representative of women artists’ contribution to the history of art and reflects the lives and achievements of women in society. • administers awards and scholarships which are open to women that are designed to assist in the professional development of Australian artists. • recognises the traditional gender imbalances on decision-making bodies and the implications of representation on strategic outcomes. There are three women on the nine member Board of Trustees. D) SPECIFIC COMMITMENTS UNDER THE ACTION PLAN FOR WOMEN There are no specific commitments in the plan which refers to the Art Gallery of New South Wales. E) FURTHER INFORMATION ON WOMEN’S STRATEGIES For further information on women specific and other programmes managed by the Art Gallery of New South Wales, please telephone 92251700. ETHINIC AFFAIRS PRIORITIES STATEMENT The Art Gallery is committed to the principles of cultural diversity as outlined in Section 3 of the Ethnic Affairs Commission Act, 1979. The Government’s three Key Result areas are: Social Justice; Community Harmony; and Economic and Cultural Opportunities and to this meet these objectives the Art Gallery has developed an Ethnic Affairs Priority Statement (EAPS) which includes two main objectives: • Integrate EAPS principles into the Art Gallery’s policies, plans and procedures • Build the Art Gallery’s Collection and Services to reflect and promote cultural diversity and harmony The Art Gallery’s statement is incorporated by the Ministry for the Arts, as a key agency, into a Ethnic Affairs Agreement on behalf of the entire arts portfolio. ETHNIC AFFAIRS PRIORITY OUTCOMES • In May 2001, VisAsia was launched to promote and cultivate a better understanding and enjoyment of Asian Visual Arts and Culture. The Art Gallery recognises the crucial role which our understanding of Asian culture will play in the development of Asian Australian relations in the 21st century. • 22% of Art Gallery staff are from non English speaking backgrounds. This compares favourably with the national population figure of 15.5% (Australian Bureau of Statistics 1996 Census). • Increased the number of community languages available to assist Gallery staff and visitors via the Community Language Allowance Scheme. As at 30th June, 2001 the Art Gallery had staff officially recognised as able to offer assist Polish, German, Hindi, Cantonese and Italian. • Due to the on-going staff freeze, the Art Gallery did not increase membership of recruitment selection panels with a person from a cultural diverse background to the targeted 60%. • Circulated the annual calendar of significant religious and holy days to all supervisors to enable scheduling of staff commitments to meet religious obligations. • The Art Gallery’s Guide Map is available in Japanese, Mandarin and Korean, languages. • The exhibitions and associated educational public programmes reflected and promoted cultural diversity and harmony. This year the programme included:• Papunya Tula: Genesis & Genius (18 August 2000 – 12 November 2000) A highlight of the Sydney Olympics arts festival, this Aboriginal art exhibition traced the phenomenon of the Papunya Tula movement from the early 1970s to the present. • Biennale of Sydney 2000 (26 May 2000 – 30 July 2000) Forty-nine artists from twenty-nine countries participated in this pre-eminent contemporary art event of the southern hemisphere. All five continents were represented and to make the exhibition more accessible, entry was free of charge at all venues. • Dead Sea Scrolls (14 July 2000 – 15 October 2000). The most controversial archeological discovery of the 20th century, the Scrolls provide us with a much deeper understanding of the various approaches to Judaism current at that time and of their relevance to the history of religious traditions in the Western World. • Hanga: Creative Japanese Prints (28 October 2000 – 14 January 2001) This exhibition focused on the Creative Print, a new concept of ‘prints as art’ that emerged at the beginning of the 20th century which is not familiar outside Japan • Fun Story Fun Five: Five International Artists from Africa (15 November 2000 – 7 January 2001) Celebrating the young and vibrant street culture across Africa, the exhibition included wild fashion design and performance, film, photography and installation art. • Sanxingdui: Masks of Mystery: (22 December 2000 – 18 March 2001) This exhibition featured Bronze Masks from the Sacrificial pits of the kings of Ancient China discovered when local farmers digging a well hit upon these relics. • Visasia conducted regular lunchtime lectures as a part of the Gallery's ongoing commitment to cross cultural arts education. ETHNIC AFFAIRS PRIORITY GOALS FOR 2001/02 • Continued encouragement of staff participation in the Community Language Allowance Scheme and extend range of languages currently represented. • Develop new General Information Brochure in several community languages including Italian, Spanish, French and German. • Continue the reflection and promotion of cultural diversity and harmony in the Art Gallery’s exhibitions and associated educational programme. The 2001/02 programme will included the following exhibitions:• Buddha: Radiant Awakening As Buddhism has evolved over time among different cultures, there emerged a multitude of Buddhas. This exhibition of sculptures, paintings and textiles with images from the three main schools of Theravada, Mahayana and Vajrayana (or Tantric) will stress the pervading universality of Buddha across all times and across geographical, cosmic and virtual space. • Belle Isle. Works by Claude Monet, Henri Matisse and the Australian Impressionist John Peter Russell, all of whom met, became friends and painted on the storm-tossed island of Belle-Île, off the coast of Brittany, France. PLEDGE OF SERVICE OUR CUSTOMERS The Art Gallery of New South Wales endeavours to provide each of our visitors with an experience that exceeds expectations and inspires repeat visits. GUARANTEE OF SERVICE We aim to ensure that all visitors enjoy themselves, will want to return and will recommend the Art Gallery to friends and relatives as a world standard venue for the enjoyment and study of art. The Art Gallery recognise that the public has the right to expect that services will be provided without discrimination. In particular we will provide access service for visitors with special needs, including the disabled. We will seek to continuously improve our service to visitors and welcome feedback directly to staff and through regular surveys. CUSTOMER SERVICE The Art Gallery aims to provide the highest levels of service to all visitors. Visitor feedback provides management with valuable information to improve Gallery procedures and services. Written complaints are handled promptly and professionally and are responded to within two weeks. Visitor suggestions have also led to the introduction of new services, such as improved signage and simpler printed guides. Telephone enquiries are addressed promptly within two working days, wherever possible. Visitors can offer suggestions and provide feedback at the Information Desk at the main entrance to the Art Gallery. CUSTOMER COMPLAINTS The Art Gallery had over 995,000 visitors (up from 900,000 last year) to the Domain site during 2000/2001. During the year we received 508 comments from Art Gallery visitors (223 complaints 1999/2000). The Art Gallery has revised our calculations of complaints incorporating a broader view of visitor comments as well as formal complaints. The bulk of the complaints concerned visitor facilities, such as the lack of EFTPOS / ATM facilities within the building and difficulties associated with access at the front entrance to the Art Gallery for visitors with special needs. These issues are being addressed as part of the Art Gallery’s Strategic Plan. Complaints can be recorded in the visitor’s complaint journal available to the public at the ground level information desk. These records are regularly reviewed by the Director and referred to relevant Department Managers for action, if required. 90 91 INDEX access 93 acquisitions of works of art australian 8,62,64 aboriginal & torres strait islander 10,62 asian 10,64,69 international 11,63,68 photography 12,63,68 administrative and statutory items 85 aged and disability plan 89 aims and objectives 26 appendices 62 art gallery foundation 35 art gallery society 24 art prizes, grants and scholarships 79 audiences 20 audit opinion 40 building 25 brett whitely studio centenary fund 2,24,76 code of conduct 85,86 collection benefactors 76 commercial facilities 93 consultants 85 customer conplaints 91 contact details 93 copyright 85 corporate governance 32 cultural bequests / taxation incentives 34 digital imaging project 22 director’s report 4 electronic service delivery 85 equal employment opportunity 86 energy management 85 ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION ethnic affairs priorities statement 91 exhibitions australian 14,74 aboriginal & torres strait islander 15,74 asian 15,74 international 17,74 photography 18,74 financial summary 38 financial statements 40 freedom of information 86 gallery shop 25 grants received 77 gst implementation 85 guided tours 93 highlights 5 industrial relations 85 information technology 85 internal audit 34 insurance 34 investment 34 letter of transmission 4 life governors 34 loans to the gallery 70 loans by the gallery 70 membership 24,93 occupational health & safety 85 olympics 60 organisation structure 36 other gallery entities 34 overseas travel 88 parking 93 performance measures 26 photography 93 Pledge of service 91 president’s council 24,76 president’s foreword 2 privacy management plan 85 publications available for sale 79 publications by staff 19,77 public transport 93 records management 85 risk management 34 research library 93 regional contact 22 royal commission into Aboriginal deaths in custody 89 senior management profile 34 staff list 79 staff activities 81 sponsors 23,76 support 22 trustees 32 venue hire 25 visasia 6,24,33,76 visitors 75 visitors with special needs 93 waste reduction 85 women’s statement 90 year in review 8 ACCESS The Art Gallery of New South opens every day except Easter Friday and Christmas Day between the hours of 10am and 5pm. General admission is free. Entry fees may apply to a limited number of individual major temporary exhibitions. GUIDED TOURS The Volunteer Guides of the Art Gallery Society of New South Wales offer a range of free guided tours of the Art Gallery’s collection and major exhibitions. General Tours: Daily, one hour tours revealing highlights of the collection and the Art Gallery. Monday 1pm and 2pm; Tuesday to Friday 11am, 12 noon, 1pm and 2pm; Saturday 1pm and 2pm; Sunday 11am, 1pm, and 2pm. Yiribana Tours (Aboriginal and Torres Strait Islander Gallery) Tuesday to Friday 11am; Saturday 1pm; Sunday 11am and 1pm. Asian Gallery: Wednesday and Saturday 2pm. Private Groups: Tours tailored to the needs of groups during the Art Gallery hours or with private evening functions are also available. Enquiries telephone (02) 9225-1800. PHOTOGRAPHY Photography of the Art Gallery’s permanent collection, with the exception of works in the Yiribana gallery, is allowed by members of the public providing no flash or tripods are used. Quality photographs of Gallery’s collection including works from the Yiribana gallery or a photograph of works not in the Art Gallery’s permanent collection can be obtained from the Gallery’s Image Reproduction Officer. Photography for publication or other commercial purposes is allowed only after written application to the Art Gallery. Enquires telephone (02) 9225-1798. MEMBERSHIP COMMERCIAL FACILITIES You are invited to join the Art Gallery Society of New South Wales and share in the many pleasures of membership. Stay informed about what’s on in the Art Gallery, choose from over two hundred special events and enjoy membership privileges and priorities all year long. Enquiries telephone (02) 9221-1878. The Gallery Shop is opened daily from 10am to 5pm. The finest range of art books in Australia is available at the Gallery Shop, which also specialises in school and library supply. The Gallery Shop stocks an extensive range of art posters, cards, replicas and giftware. Enquires telephone (02) 9255-1718. The Art Gallery’s Harbour Café is situated on Lower Level 1 and is open daily from 10am to 4pm. The Brasserie, located on the Upper Level, is open each day between 12pm and 4pm. For Brasserie bookings phone (02) 9225-1819. Art Gallery facilities are also available for private exhibition viewings and functions in the evening. Enquiries telephone the Art Gallery’s Venue Manager on (02) 9225-1836. ART RESEARCH LIBRARY The Art Gallery’s Research Library is open Monday to Friday between 10am and 4pm, excluding public holidays. The Library is located on Ground Floor Level and has the most comprehensive collection of Fine Art books in New South Wales. Enquiries telephone (02) 9225 1785. An Opinion, Conservation and Identification Service, operating from the Library, is provided free every 92 Thursday 10am to 12 noon (excluding valuations). The Study Room for Prints, Drawings and Photography is on Level 2, adjacent to the Prints, Drawings and Watercolours gallery. Open to the public weekdays from 10am to 4pm, excluding public holidays. The Study Room Assistant will attend to and supervise visitors. Appointments are advisable but not essential. School groups are welcome. Enquires telephone (02) 9225-1758. EXHIBITIONS / EVENT INFORMATION The free tri-monthly publication, exhibitions/events, is available in the Art Gallery. This booklet details current exhibitions, public programmes events including a film programme and school education activities being staged by the Art Gallery. Also, now online – artmail an email newsletter covering exhibitions, courses, lectures, special events, films and workshops. Registration is via the Join Us section of the website www.artgallery.nsw.gov.au or email [email protected] and let us know you want to subscribe. VISITORS WITH SPECIAL NEEDS A limited number of wheelchairs are available at the Gallery’s rear entrance, where there is a ramp and an elevator giving access to most parts of the Gallery. Two parking spaces for the disabled have been designated in the Gallery’s car park close to the rear entrance but it is advisable to confirm availability by telephoning (02) 9225-1775. The Domain Theatre is fitted with an audio induction loop system and an FM-transmitter system used for guided tours if requested. Sign Language Tours are now conducted for deaf people, using Australian sign language, on the last Sunday of every month at 1.30pm (excluding December/January). The service is free apart from entry fees to exhibitions, if applicable. PARKING There is limited metered parking outside the Art Gallery and additional metered parking down Mrs Macquarie’s Road. The Domain Parking Station is open daily with a Special Discount Rate of $11 per day (on weekdays) for visitors to major exhibitions with admission charges, just have your parking ticket stamped at the entrance to the exhibition. CONTACT INFORMATION Physical and postal address: Art Gallery of New South Wales Art Gallery Road The Domain NSW 2000 Electronic communications: Administration switchboard (02) 9225-1700 Information Desk (02) 9225-1744 Recorded What’s On Information (02) 9225-1790 TTY number (02) 9225-1808 General facsimile (02) 9221-6226 Website: www.ag.nsw.gov.au e-mail: [email protected] BRETT WHITELEY STUDIO The Brett Whiteley Studio, located at 2 Raper Street Surry Hills, and is open Saturday and Sunday 10am to 5pm except Christmas Day. On Thursday the studio is open by appointment for education tours groups. Admission is $7 and $4 concession. Enquires telephone (02) 9225-1740. NUMBER OF COPIES / COST 500 copies printed at an average cost of $48 per copy. PUBLIC TRANSPORT Bus Service: The 441 Bus route includes the Art Gallery as a stop en route through to the Queen Victoria Building in the city. The service is every 20 minutes on weekdays and every 30 minutes on weekends. Please call the STA on 131 500 for details. Trains: Closest train stations to the Art Gallery are the St James or Martin Place stops. 2001 ANNUAL REPORT Coordinator - Trish Kernahan Design - Ward Walker Design Editor - Jill Sykes Art Photography - Jenni Carter