2013/2014 - Art Gallery of South Australia

ANNUAL REPORT
of the
ART GALLERY OF SOUTH AUSTRALIA
for the year
1 July 2013 – 30 June 2014
North Terrace
ADELAIDE SA 5000
Phone: 8207 7075
www.artgallery.sa.gov.au
ISSN 0728-7925
ABN 52 290 987 817
2
The Hon Jack Snelling, Minister for the Arts
Sir, I have the honour to present the seventy-first Annual Report of the Art Gallery of South Australia for the
Gallery’s 134th year, ended 30 June 2014
Michael Abbott, AO QC, Chairman
Art Gallery Board 2013–14
Chairman
Mr Michael Abbott AO QC
Members
Mr Andrew Gwinnett (Deputy Chair) (until 7 February 2014)
Emeritus Professor Anne Edwards AO
Ms Frances Gerard (until 18 July 2013)
Ms Sandra Sdraulig AM
Mrs Sue Tweddell
Mrs Tracey Whiting (until 25 June 2014)
Mr Robert Whitington QC
Mr Neil Balnaves AO (from 15 August 2013)
Mr John Phillips (from 8 February 2014)
3
4
TABLE OF CONTENTS
Principal Objectives
6
Major Achievements 2013–2014
7-9
Key Challenges Facing the Gallery
10
Strategic Goals 2012–2015
11-12
Resources and Administration
13-33
Collections
34-42
APPENDICES
Appendix A
Charter and Goals of the Art Gallery of South Australia
43
Appendix B1
Art Gallery Board
45
Appendix B2
Art Gallery of South Australia Foundation Council and Contemporary
Collectors Committee
45-46
Appendix B3
Art Gallery Organisational Chart
47-54
Appendix B4
Art Gallery Staff and Volunteers
55-58
Appendix C
Staff Public Commitments
59-63
Appendix D
Conservation
64-65
Appendix E
Donors
66-67
Appendix F
Acquisitions
68-83
Appendix G
Inward Loans
83-92
Appendix H
Outward Loans
93-96
Appendix I
Exhibitions and Public Programs
Appendix J
Schools Support Services
Appendix K
Gallery Guide Tour Services
109-115
Appendix L
Gallery Publications
116-117
Appendix M
Annual Attendances
118
Appendix N
Information Statement
119
Appendix O
Financial Statements
97-107
108
121-151
5
PRINCIPAL OBJECTIVES
OBJECTIVES
The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the
Art Gallery Act 1939 and can be summarised as the preservation, research and communication
associated with heritage and contemporary works of art of aesthetic excellence and historical
or regional significance.
MISSION
The mission of the Art Gallery of South Australia is to serve the South Australian and wider
communities by providing access to original works of art of the highest quality. Through its
permanent collections, temporary exhibitions and other public programs, the Art Gallery seeks
to foster, promote and enhance understanding and enjoyment of the visual arts in general.
VISION
To be a leading art museum in Australia and the Asia Pacific Region that:

is highly respected for the quality and display of its collection, exhibitions, programs,
interpretation and research;

engages South Australians from all walks of life in the visual arts;

enlivens and enriches the cultural dimension of the city and the state; and

is a major attraction for interstate and international visitors to South Australia.
GOVERNMENT OBJECTIVES
In addition, the Art Gallery plays a significant role in delivering specific elements of the South
Australian Government’s seven strategic priorities:

Creating a vibrant city
Creating an eclectic and exciting artistic program which attracts local and interstate
visitors to the North Terrace precinct, greatly increasing the numbers of people in the
city while bringing vibrancy to the city streets. This in turn will enhance the city’s
atmospheric appeal and build upon the South Australian brand.

Every chance for every child
Learning and children’s programs are at the core of the Art Gallery’s artistic program, as
it is recognised that building a lifelong love of the visual arts and the Art Gallery begins
at an early age.
6
MAJOR ACHIEVEMENTS 2013–2014
(Note: Where appropriate, relationship to South Australia’s Strategic Plan is indicated)
Community Engagement
674 393 people visited the Gallery to see the permanent collection and exhibitions, an increase
from 655 613 visitors in the last financial year which continues the upward trend in visitor
numbers. Since 2010/11 visitor numbers have increased by 27% (SASP Target 4: Tourism
industry; SASP Target 99: Cultural engagement – institutions).
A total of 8 139 visitors attended 150 talks and tours; 22 practical workshops and
demonstrations were attended by 2 470 people; in addition 19 991 visitors attended 2 953
guided tours delivered by the Gallery volunteer Guides; 6 498 visitors attended the Gallery’s
children’s and family programs and events; and, 31 613 school students and support staff
visited the Gallery as part of the Schools Support Services and 745 teachers received
professional development (SASP Target 3: Cultural vibrancy – arts activities).
The 2014 Adelaide Biennial of Australian Art: DARK HEART attracted more than 111 000 visitors
which represented a daily average of 1 542 visitors per day. The exhibition occupied an
unprecedented amount of Gallery space with Galleries 17, 6, 7, 8, 9, 10, 11, 22, 23, 24 and 25,
as well as The Studio, dedicated to the Biennial (SASP Target 3: Cultural vibrancy – arts
activities).
As part of the Adelaide Biennial an off-site exhibition, Urpflanze street plants by Caroline
Rothwell, was presented at the Santos Museum of Economic Botany, Adelaide Botanic Gardens
(SASP Target 3: Cultural vibrancy – arts activities).
The Studio, presented by the James and Diana Ramsay Foundation, has proven to be very
successful. The Studio is a permanent hands-on activity centre offering free programs seven
days a week with the space and activities reconfigured on a regular basis to reflect current
exhibitions. From Monday to Friday the schedule is focused on school groups while weekends
and school holidays are programmed for family visits. A total of 27 509 patrons participated in
the program in the 2013–14 year. (SASP Target 3: Cultural vibrancy – arts activities).
The Gallery Website had 237 971 unique visits, with 874 594 pages viewed.
Artistic Program
The Gallery lent a total of 113 works to 24 exhibitions, including major national touring
exhibitions (SASP Target 4: Tourism Industry; SASP Target 3: Cultural vibrancy – arts activity).
Five temporary exhibitions were staged at the Gallery: HEARTLAND: Contemporary art from
South Australia; Realms of Wonder: Jain, Hindu and Islamic Art of India; 2014 Adelaide Biennial
of Australian Art: Dark Heart; Dorrit Black: unseen forces; and The World of Mortimer Menpes:
Painter, Etcher, Raconteur (a complete list of exhibitions and public programs is at Appendix I)
(SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions; SASP
Target 3 Cultural vibrancy – arts activities).
7
Twenty-two special collection displays were staged at the Gallery: The Minds Eye; Keeping
Places; Big Country; Bill Viola the return; Correspondences; Unsettled: recent acquisitions of
Australian art; Time to Time: The Films of Bill Morrison; Metamorphoses; Warka iritja munu
kuwari kutu = Work from the past and present: Ernabella Arts the last thirty years; Ian Burns
Clouds; Hard Edge Abstraction; The Gamekeeper’s Gibbet; Decent/Descent; Max Klinger’s
Intermezzi; A Civilised Thing to do: Jam Factory 40 Years; The Hugo Van Dam Bequest: an
Oriental Fantasy; Lace: the Art of Adornment; Paradise on earth: Flowers in the Arts of Islam;
Stairway to heaven: Art from the Himalayas; Elements in Harmony: Contemporary Japanese
Ceramics; Noble Shadows – Ancestral art of Indonesia and Australia; Netsuke and other
Miniatures (SASP Target 4: Tourism industry; SASP Target 3: Cultural engagement – institutions;
SASP Target 3: Cultural vibrancy – arts activities).
The Gallery produced the following publications and other merchandise: HEARTLAND:
Contemporary art from South Australia; Realms of Wonder: Jain, Hindu and Islamic Art of India;
2014 Adelaide Biennial of Australian Art: Dark Heart; Netsuke and other miniatures; Highlights:
Aboriginal and Torres Strait Islander Collection; Dorrit Black: unseen forces; The World of
Mortimer Menpes: painter, etcher, raconteur; Spring 2013, Summer 2013–14, Autumn and
Winter 2014 Articulate magazines; children’s activity trails; and a range of merchandise
including boxed greeting cards and postcards, umbrellas, jigsaw puzzles, fridge magnets and
various leaflets and brochures promoting exhibitions (SASP Target 99: Cultural engagement –
institutions; SASP Target 3: Cultural vibrancy – arts activities).
Collection Development
214 works of art were acquired across all areas of the collection. Details of significant additions
to the collection are available in the section Collections Development with a complete list of
acquisitions at Appendix F (SASP Target 4: Tourism industry; SASP Target 99: Cultural
engagement – institutions; SASP Target 27: Understanding of Aboriginal culture; SASP Target 6:
Aboriginal wellbeing).
A stock-check of the Gallery’s high-value items and the furnishing loans has been completed.
Audience Development
The Gallery staged four DepARTure events, aimed at the 18–40 year old age group, attracting
2 243 participants (SASP Target 99: Cultural engagement – institutions; SASP Target 3: Cultural
vibrancy – arts activities).
The Gallery continued to run the Graduate Program in Art History in conjunction with the
University of Adelaide (SASP Target 47: Jobs).
Benefaction and Fund-raising
The combined value of gifts of cash to fund purchases of works of art and donations of works of
art was $8.4m for the 2013–14 year. This is a record amount and an increase from $5.8m in the
2012–13 year.
8
The Gallery Foundation successfully conducted a Masterwork Appeal which raised $4.55m of
private funding for the acquisition of Camille Pissarro’s Prairie à Éragny, 1886. This is the
largest benefaction program undertaken by the Gallery.
The Gallery initiated a new benefaction campaign at the Art Gallery of South Australia titled the
‘Biennial Ambassadors Program’ which raised $200 000. This Program was conceived to attract
donations from interstate benefactors to support the 2014 Adelaide Biennial of Australian Art:
DARK HEART. Donations raised through the Ambassadors Program were directed towards
funding artists, commissioning works of art and the support of public programs for schools and
families.
The Director’s Project, a fund initiated through the Gallery’s Contemporary Collectors and
supported by visionary benefactors to secure extraordinary works for the Art Gallery’s
collection, is raising funds to secure Alex Seton’s work Someone died trying to have a life like
mine, 2013, as the third acquisition of the Director’s Project. The Director’s Project has raised
$704 000 over the past three years.
An extremely valuable support is the work of the Gallery’s 257 volunteers; undertaking Front of
House, Library, Public Programs, Education, Curatorial, and Gallery Guide services (SASP Target
24: Volunteering).
Strategic Development
The Gallery has been working with the State Government on various options to alleviate its
storage problems. Much of the strategic work has been focused on an accessible storage
facility through the development of an Art Discovery Centre concept. The Art Discovery Centre
proposes a blurring of the boundaries between storage, education and display to ensure that
the collection can be used for research, education and recreational purposes.
The Gallery is developing a plan for a new digital strategy and funding options are currently
being explored. It is envisaged that over the course of the next twelve months funding will be
identified to initiate this new approach to managing the Art Gallery’s digital environment.
The Gallery introduced a Due Diligence and Provenance Policy in late 2012 and as a result new
guidelines for acquisitions were implemented in 2013–14. Work continues on improving the
Gallery’s provenance history particularly in the Asian art collection.
The Gallery continued to implement Occupational Health, Safety and Welfare policies and
systems and make improvements as necessary (SASP Target 21: Greater safety at work).
9
KEY CHALLENGES FACING THE GALLERY
The Art Gallery faces a number of challenges in delivering upon its artistic vision and building
upon gained success.
The Art Gallery’s most serious challenge is displaying the full range of its collection of 65 000
works of art as only 3% of the collection can be on display at any given time. The full range of
significant collections of Aboriginal art, works on paper, textiles and coins and stamps cannot
be adequately displayed within the Gallery. Of equal significance is the grave lack of suitable
collection storage with the current facility at maximum capacity. A long term plan to manage
the Gallery’s collection storage needs must be developed.
The building infrastructure of the Art Gallery is the physical embodiment of South Australia’s
commitment to the visual arts and as such, the interior and exterior spaces of the Art Gallery
are paramount. The Art Gallery requires constant maintenance and improvement to ensure
excellence in presentation of the collection, and a physical infrastructure that allows
accessibility for all visitors regardless of age or ability.
Developing commercial operations and increasing revenue through retail, publishing and
licensing income streams requires much needed investigation to grow. A strategy to address
the lack of specialist merchandising expertise, improve the current retail activity and increase
revenue in these areas must be continued.
Finally, the development of a long-term major exhibitions partnership is critical to ensuring that
the Art Gallery remains relevant on a national and international stage, and delivers upon the
goal to develop South Australia as a cultural tourism destination. A long term planning cycle
with appropriately supported recurrent funding is critical to achieving this aim to build on the
success of the Turner from the Tate in 2013 and the forthcoming Fashion Icons exhibition.
10
STRATEGIC GOALS 2012–2015
1. Present a dynamic artistic program and build our collection
The goal is to have a collection and an artistic program that:

are unique to Australia and increase the profile of both the Art Gallery and the state as
cultural tourism destinations;

place the Art Gallery at the forefront of the nation’s art museums, such that it is highly
respected for the quality and innovation of its collection and exhibitions, and its
curatorship;

build upon the reputation of the Art Gallery as a hub for research on South Australian
art and artists, utilising both the collection and archival resources;

enable the careful management, research and preservation of the collection to maintain
its relevance and accessibility to a wide and diverse audience; and

engage a global audience through a dynamic online experience of the Art Gallery’s
collection and exhibitions.
2. Inspire new audiences
The Art Gallery perceives audience engagement to be at the heart of its role as an initiator
of innovative exhibitions and visual arts-based public programs in South Australia, and as
such must:

deliver one major, international and unique annual exhibition that restores South
Australia to its rightful place as a national leader in the visual arts;

develop the Adelaide Biennial of Australian Art as a nationally recognised landmark
event;

engage with and attract people with a different demographic profile in the community,
specifically focusing on children and young families, with the aim of educating,
informing and inspiring South Australians about all aspects of the visual arts;

generate long-term relationships with the Art Gallery by introducing children to art and
encouraging them to engage with the collection through interactive activities, thereby
establishing the foundations for a lifelong love of the arts, specifically, the visual arts;

entice young adults into the Art Gallery by creating tailored events such as Departure,
for an urban professional demographic who will be nurtured into the next generation of
supporters and benefactors;

communicate using focused and innovative digital marketing strategies to attract
visitors with a different demographic profile to the Art Gallery; and
11

create an online presence for the Art Gallery to extend the reach of the artistic program.
3. Enrich the cultural life of all South Australians
Communication and connection with audiences are at the heart of building a lifelong
relationship with the visual arts. Therefore, the Art Gallery’s public programs must:

recognise diversity and promote cultural understanding, by creating an artistic program
and collection that will attract audiences with diverse demographic profiles in the
community;

establish stronger connections and strategic partnerships with festivals, regional
programs and cultural institutions to collaborate on shared goals and promote the arts
throughout the state;

engage and inspire students of all ages by embedding targeted learning in our artistic
program;

collaborate with all tiers of the education sector to both nurture artistic talent in our
young people and confirm the Art Gallery’s position as the educational hub for visual
arts within South Australia; and

contribute to the economic and cultural development of South Australia by promoting
the state as a cultural tourism destination, and contributing to the broader government
agendas.
4. Nurture collective achievement
The Art Gallery recognises that creating an artistic program that inspires, educates and
provides aesthetic enjoyment relies on a broad community of participants and supporters,
especially those who support the Art Gallery through sponsorship and benefaction. As such,
the central focus must always be on:

delivering an eclectic and rich artistic program that attracts and enhances community
support through benefaction, attendance and volunteering;

attracting significant contributions from private benefaction to enable the ongoing
expansion of the collection, while encouraging broader support for the Art Gallery’s
artistic program;

building membership by developing targeted programs that extend into new and
different audiences and encourage online interaction; and

strengthening relationships with the corporate sector to create mutually beneficial and
relevant partnerships.
12
RESOURCES AND ADMINISTRATION
LEGISLATIVE RESPONSIBILITY AND THE ART GALLERY BOARD
The role and function of the Board of the Art Gallery of South Australia is described in the Art Gallery Act,
1939. The Art Gallery Board is a body corporate and consists of up to nine members appointed by the
Minister for the Arts.
Members of the Board as at 30 June 2014 were: Mr Michael Abbott AO QC (Chairman), Neil Balnaves AO,
Emeritus Professor Anne Edwards AO, John Phillips, Ms Sandra Sdraulig, Ms Sue Tweddell and Mr Robert
Whitington QC
FINANCIAL MANAGEMENT AND RESOURCES
Revenue
2014
$’000
Sale of goods
Fees and Charges
Bequests and Donations of cash
Donations of Heritage Assets
Grants
Sponsorships
Resources Received Free of Charge
Interest and Investment Income
Rent and Facilities Hire
Net gain from disposal of non current assets
Other
907
488
3 531
4 141
943
1 071
724
469
147
301
121
ACCOUNT PAYMENT PERFORMANCE
Treasurer's Instruction 11 payment of creditor's accounts report 2013-2014
Client: Art Gallery of South Australia
June 2014
YTD as at 30 June 2014
Paid by Due Date*
Paid Late & Paid < 30 Days from Due
Date
Paid Late & Paid > 30 Days from Due
Date
Total Accounts Paid
Number of
Accounts
Paid
4 141
87
% of Total
Accounts Paid
Value of
Accounts Paid
97%
2%
$20 971 418.13
$
63 874.80
22
1%
$
4 250
100%
% $ of Total
Accounts
Paid
100%
0%
21 873.96
$21 057 166.89
0%
100%
BOARD MEMBER FEES
The overwhelming proportion of Board fees have been donated or forgone by Board Members.
SELF-INSURANCE/INDEMNIFICATION
The Gallery’s fund for self-insurance against minor claims below $20,000 was maintained at satisfactory
levels.
13
ORGANISATIONAL STRUCTURE AND SENIOR GALLERY MANAGEMENT
The Art Gallery of South Australia, founded in 1881, is governed by the Art Gallery Board of South Australia.
The Gallery comprises the following distinct divisions: Directorial, Curatorial, Public Programs,
Administration and Corporate Services.
FRAUD
There have been no instances of fraud detected.
MEASURES TO PREVENT FRAUD
The Art Gallery reviewed and maintained risk management systems throughout the year and conducted
reviews of security arrangements.
CONTRACTUAL ARRANGEMENTS
Locher provided a Graphic Designer to undertake graphic design projects whilst a new Gallery Graphic
Designer was recruited.
The Art Gallery of South Australia regularly uses contriactors for normal gallery business such as Public
Programs and Publications.
CONSULTANTS
No external consultants were engaged.
DISABILITY ACCESS AND INCLUSION PLANS REPORTING
The Art Gallery endeavours to support the plan in the following manner:
Ensure accessibility to services
All patrons are encouraged to avail themselves of disability services including wheelchair access,
wheelchair lifters and toilets for the disabled.
Ensure information about the Art Gallery is inclusive of those with disabilities
Information was available to those with disabilities via the website, printed guides to the Art Gallery,
telephone enquiry services.
Provide services with awareness and understanding of issues affecting people with disabilities
The Art Gallery provided guided tours for persons with disabilities and also conducted public events that
were accompanied by Auslan sign language interpretation for people with hearing disability. Hearing
loops are installed in the Radford Auditorium.
GREENING OF GOVERNMENT OPERATIONS REPORTING / SUSTAINABILITY
Mark Horton, Deputy Director, is part of the Department of the Premier and Cabinet Sustainability and
Greenhouse Gas Reduction Task Group which is responsible for the development of an Environmental
Sustainability Policy and the Sustainability Action Plan.
14
ENERGY EFFICIENCY ACTION PLAN REPORTING
The Art Gallery’s energy efficiency statistics are captured in the Department of the Premier and Cabinet
Annual Report.
EXECUTIVE EMPLOYMENT, STAFF EMPLOYMENT AND OTHER HUMAN RESOURCES MATTERS
Details of employment in the Art Gallery of South Australia as at 30 June 2014 are provided in the tables
below:
Table 1: Employee Numbers, Gender and Status
Total Number of Employees
Persons
FTEs
Gender
Male
Female
73
61.5
% Persons
% FTEs
36.80%
63.20%
32.9%
67.1%
Number of Persons During the 2013-14 Financial Year
Separated from the agency
Recruited to the agency
12
11
Number of Persons at 30 June 201438.24
On Leave without Pay
1
Table 2: Number of Employees by Salary Bracket
 Salary Bracket
$0 - $54 799
$54 800 - $69 699
$69 700 - $89 199
$89 200 - $112 599
$112 600+
TOTAL
Male
Female
Total
8
8
6
1
1
24
16
15
15
3
0
49
24
23
21
4
1
73
Note: Salary details relate to pre-tax income excluding super and FBT. Non-executive employees on salary sacrifice
arrangements are shown as pre-sacrifice values. Executive employees are shown as the value of the financial benefits
component of their Total Remuneration Package Value excluding super. Non-financial benefits and allowances are excluded for
all employees. The salary brackets have been constructed as an approximation for the level of responsibility, and are based on
the current remuneration structures of the PS Act Administrative Services Stream with consideration of the Operational,
Professional, Technical and Executive Streams.
15
Table 3: Status of Employees in Current Position
FTEs
Ongoing
Male
Female
TOTAL
17.4
29.1
46.5
PERSONS
Ongoing
Male
Female
TOTAL
18
31
49
Short-Term
Contract
2.8
4.2
7
Long-Term
Contract
1
3.8
4.8
Other
(Casual)
1.4
1.8
3.2
Short-Term
Contract
3
5
8
Long-Term
Contract
1
4
5
Other
(Casual)
2
9
11
Total
22.6
38.9
61.5
Total
24
49
73
Table 4: Executives by Gender, Classification and Status
Ongoing
Classification
SAES 1
SAES 2
EXEC OFF
Total
Term
Tenured
Term Untenured
Other (Casual)
Total
M
F
M
F
M
F
M
F
M
%
F
%
Total
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
0
0
1
0
0
0
0
0
0
0
0
0
0
0
0
1
0
0
1
1.3%
0
0
1.3%
0
0
0
0
0
0
0
0
1.3%
0
0
1.3%
Table 5: Average Days Leave Per Full Time Equivalent Employee
Leave Type
2010-11
2011-12
2012-13
2013-14
8.2
1.0
0.5
8.1
1.1
1.0
7.0
1.1
1.0
7.3
1.1
0.5
Sick Leave
Family Carer’s Leave
Miscellaneous Special Leave
Table 6: Aboriginal and/or Torres Strait Islander Employees
Salary Bracket
Aboriginal
Employees
Total
Employees
% Aboriginal
Employees
Target*
$0 - $54 799
0
24
0
2%
$54 800 - $69 699
0
23
0
2%
$69 700 - $89 199
0
21
0
2%
$89 200 - $112 599
1
4
1.36%
2%
$112 600+
0
1
0
2%
TOTAL
1
73
1.36%
2%
* Target from SASP – Target 53
16
Table 7: Number of Employees By Age Bracket By Gender
Age Bracket
15-19
20-24
25-29
30-34
35-39
40-44
45-49
50-54
55-59
60-64
65+
TOTAL
Male
Female
Total
% of Total
2014 Workforce
Benchmark*
0
0
1
1
2
6
4
4
3
3
0
24
1
4
6
5
6
6
3
10
4
4
0
49
1
4
7
6
8
12
7
14
7
7
0
73
1.36%
5.47%
9.58%
8.21%
10.95%
16.43%
9.58%
19.17%
9.58%
9.58%
0%
100
5.5%
9.7%
11.2%
10.7%
9.6%
11.4%
11.1%
11.4%
9.1%
6.7%
3.6%
100.0
*Source: Australian Bureau of Statistics Australian Demographic Statistics, 6291.0.55.001 Labour Force Status (ST LM8) by sex,
age, state, marital status – employed – total from Feb78 Supertable, South Australia at November 2013
Table 8: Cultural and Linguistic Diversity
11
% of
Agency
15.06%
SA
Community*
22.1%
3
4.1%
14.4%
Male
Female
Total
3
8
1
2
Number of employees born overseas
Number of employees who speak
language(s) other than English at home
* Benchmarks from ABS Publication Basic Community Profile (SA) Cat No. 2001.0, 2011 census.
Table 9: Total Number of Employees With Disabilities (According to Commonwealth DDA Definition)
Male
0
Female
Total
0
0
% of Agency
2.0%
Table 10: Types of Disability (where specified)
Disability
Male
Female
Total
% of Agency
Disability Requiring Workplace Adaptation
0
0
0
0
Physical
0
0
0
0
Intellectual
0
0
0
0
Sensory
0
0
0
0
Psychological / Psychiatric
0
0
0
0
17
Table 11: Voluntary Flexible Working Arrangements by Gender
Purchased Leave
Flexitime
Compressed Weeks
Part-time
Job Share
Working from Home
Male
Female
Total
0
22
0
0
0
0
2
36
2
0
3
1
2
58
2
0
3
1
Note: Employees may be undertaking more than one type of Flexible Working Arrangement at the same time. In this way, the
total is unlikely to add to 100%.
Table 12: Documented Review of Individual Performance Management
% Total
Workforce
17.80%
50.68%
31.5%
Employees with …
A review within the past 12 months
A review older than 12 months
No review
Table 13: Leadership and Management Training Expenditure
Training and Development
$6,600
% of Total Salary
Expenditure
0.1%
$1,210
.02%
Total Cost
Total training and development expenditure
Total leadership and management development
expenditure
Table 14: Accredited Training Packages by Classification
Classification
Number of Accredited Training Packages
ASO3
ASO4
ASO5
ASO6
ASO7
ASO8
MAS3
PO4
PO5
SAES
0
1
0
3
0
0
2
1
0
1
Note: Each employee classification used in the agency should appear as a separate row.
EQUAL EMPLOYMENT OPPORTUNITY PROGRAMS
As an EEO employer, the Art Gallery is committed to employing on merit regardless of race, gender,
sexuality, marital status, age, pregnancy or physical or intellectual impairment for all positions within
the organisation. This is supported by our diverse workforce profile. In addition, the Department
established and trained an EO Contact Officer who is available to provide support and advice to
employees.
18
WORK HEALTH AND SAFETY AND INJURY MANAGEMENT
(INCLUDING INJURY MANAGEMENT)
WORK HEALTH AND SAFETY MANAGEMENT SYSTEM
The Art Gallery continues to address this issue through the Art Gallery’s Work Health and Safety
Committee, chaired by the Manager Operations and Projects, Kym Hulme. Kym is also the Art Gallery
Management representative with Vicki Petrusevics, Employee Representative on the Arts SA Arts
Coordinating Committee. The continuous review of WHS policies, procedures and work practices is now
an integral part of the workplace.
KEY ACHIEVEMENTS
The Safety Action Management Plan (SMAP) and the Safety in the Public Sector (SIPS) reports were
reviewed by the AGSA WHS Committee to ensure the relevance of their scope and content. Both
documents are reported on in accordance with the Monitoring and Reporting Framework. Policies and
procedures continue to be reviewed in consultation with employees to ensure their continued
sustainability and effectiveness.
The Internal Audit and Workplace Inspection Procedure ensured that injury management processes are
conducted in accordance with legislative requirements and internal policies and procedures.
Thirty employees received a flu vaccination as part of the Flu Vaccination Program.
Work Health and Safety Prosecutions, Notices and Corrective Acrion taken
Number of notifiable incidents pursuant to WHS Act Part 3
Number of notices serviced pursuant to WHS Act Section 90, Section 191 and
Section 195 (Provisional improvement, improvement and prohibition notices
0
0
Agency gross workers compensation expenditure4 for 2013-14 compared with 2012-135
Expenditure
2013-14
($m)
2012-13
($m) + (-)
Variation
($m) + (-)
% Change +
(-)
Income Maintenance
Lump Sum Settlements Redemptions
– Sect. 42
Lump sum Settlements Permanent
Disability – Sect. 43
Medical/Hospital Costs combined
Other
Total Claims Expenditure
0
.45
0
0
0
+.45
0
+100%
0
0
0
0
.21
.10
-.11
+51%
.66
.10
-.34
49%
4
5
rd
before 3 party recovery
Information available from the Self Insurance Management System (SIMS)
19
Meeting Safety Performance Targets6
6
Information available from the Self Insurance Management System (SIMS) (SIPS target report)
20
BUILDING RESOURCES
The program this year was focused on the Building Upgrade Project. These extensive works are directed
at providing additional and enhanced infrastructure throughout the Art Gallery complex.
ART GALLERY RESTAURANT
The operator of the Art Gallery Restaurant is Efficient Catering Pty Ltd. The Restaurant continues to
attract strong patronage and bookings for catered functions.
FACILITIES HIRE
The Gallery continued to be a popular hire venue for a wide range of functions. This year 172 events
were held in the various Art Gallery function spaces. These events included workshops, conferences,
cocktail parties, wedding receptions, formal dinners, theatrical productions, award presentations,
product launches and concerts.
CLEANING CONTRACT
The contract for the provision of Cleaning Services to the Gallery is provided by ISS Facility Services.
SECURITY
The contract for the provision of Security Services to the Gallery is provided by Wilson Security.
STAFF DEVELOPMENT AND TRAINING
The Gallery continued its program of staff training in a range of areas including WHS courses and
information sessions to ensure it had the necessary skills and information.
21
OVERSEAS TRAVEL
Name
Destination
Reasons for travel
Total cost
Nick Mitzevich
United Kingdom,
France and Italy
Visit the Australia exhibition at the
Royal Academy; meet with staff at
Les Arts Décoratifs, Paris; lead
Australia Council Venice Biennale
2013 Champions Program
$10 465
Nick Mitzevich
Singapore
Judge the inaugural Prudential Eye
Awards as a guest of Parallel
Contemporary Art
All expenses covered by
Parallel Contemporary
Art
Nick Mitzevich
Hong Kong
Attend the opening and vernissage
of the Hong Kong/Basel Art Fair,
meet with dealers and artists,
provide a private tour, view works
for potential acquisition
$3 640
Mark Horton
London
Courier trip returning works to the
Gallery from the Australia
exhibition. Met with TATE Britain
managers
Paid by Royal Academy
($ 1500 funded by AGSA to
cover meetings)
James Bennett
England, France, India,
Portugal, Netherlands
and Turkey
Gordon Darling Travel Grant for
Treasure ships: Art in the age of
spices
$2 970
Russell Kelty
Japan
Exhibition development trip
$1 544
Nici Cumpston
Kluge-Ruhe Aboriginal
Art Museum, University
of Virginia, USA
Guest lecture on My Curatorial
Practice at AGSA
No cost to the Gallery
Nici Cumpston
Embassy of Australia,
Washington DC
No cost to the Gallery
Nici Cumpston
Harvey Art Projects,
Idaho, USA
Discussed the 2015 Festival of
Contemporary Aboriginal and
Torres Strait Islander art
Discussed the 2015 Festival of
Contemporary Aboriginal and
Torres Strait Islander art
Julie Robinson
London
Courier for paintings to the Royal
Academy and exhibition research
and Mortimer Menpes research
Jane Messenger
New York
Pick up Camille Pissarro, Práirie a
Èragny
Tracey Lock-Weir
London
Courier for paintings from Royal
Academy and exhibition research
and Dorrit Black Research
Robert Reason
Paris and London
Paris – assist with Fashion Icons:
Masterpieces from the collection of
of the Musée Des Arts décoratifs.
London – visit curators, art
museums and gallerists.
22
No cost to the Gallery
$3 454
$7 700
(AGSA Foundation)
$921
$13 146
SPONSORSHIP, GRANTS, DONATIONS, ETC.
DEVELOPMENT: Sponsors, Partners and Grants
The Art Gallery continued to actively pursue new partnership opportunities and retain existing sponsors
throughout the year generating over $1.9m in cash and contra support. In addition, the Art Gallery
received a strong level of support from government and grant funding bodies, including support for
major exhibitions and flagship family programs.
Corporate Sponsorship
The Gallery acknowledges the continued support of Santos as Principal Partner of the Gallery and the
Aboriginal and Torres Strait Islander Collection. Santos’s significant support has enabled the Gallery to
develop the Aboriginal and Torres Strait Islander online collection with over 1 000 works now available
to view online and to stage a number of ambitious exhibitions and produce several high quality
publications including two in this period Realms of Wonder: Jain, Hindu and Islamic Art of India and
Highlights: Aboriginal and Torres Strait islander Collection, Art Gallery of South Australia.
Media and tourism partnerships have strengthened during the year and it is with great appreciation that
we acknowledge the contribution of regular media partners: 891 ABC Adelaide, Channel 7, The
Advertiser, Rip it Up Publishing, Avant Card, Adshel and InDaily; and tourism partners the South
Australian Tourism Commission, Virgin Australia Holidays and InterContinental Adelaide.
EY continued its support of Art Gallery exhibitions aligning its 2013–14 sponsorship with the 2014
Adelaide Biennial of Australian Art: DARK HEART, with its support directed to the realisation of Ian
Strange’s installation on North Terrace.
BankSA continued its long standing support of the popular after-dark program at the Gallery,
DEPARTURE which successfully reached out to the Gallery’s younger demographic of people in their 20s
and 30s.
Program sponsors of Contemporary Collectors, Macquarie and UBS, supported the Gallery to acquire
contemporary works of art for the collection.
For the second consecutive year the South Australia Tourism Commission has supported the Gallery to
market and promote its major exhibitions to interstate audiences, extending the Gallery’s marketing
reach and positively impacting on audience growth.
The Gallery is delighted to have entered into a new three year partnership with Adelaide Airport which
commenced with its sponsorship of the 2014 Adelaide Biennial of Australian Art: DARK HEART. With
excellent in-terminal marketing opportunities and community engagement initiatives this partnership
has assisted the Gallery in reaching new audiences, as well as attracting local, intrastate, interstate and
international visitors.
Other new sponsorships secured during the year included a partnership with international design firm
Hassell for The World of Mortimer Menpes, Painter, Etcher, Raconteur and Dorrit Black: unseen forces
exhibitions and leading creative agency Clemenger BBDO for the 2014 Adelaide Biennial of Australian
Art.
SUPPORTERS
Adshel
Aesop
Avant Card
Bang & Olufsen
Carlton & United Breweries
Clemenger BBDO Adelaide
Enhance Travel
Heggies Vineyard
InDaily
InterContinental Adelaide
Jansz Tasmania
Katnook Estate
Kwik Kopy Norwood
Penny’s Hill Wines
Premier Art Supplies
Rip it Up Publishing
Singapore Airlines
Splitrock & Tiro
TAV Productions
Typespace
Visualcom
ART GALLERY PARTNERS
PRINCIPAL PARTNER
Santos
MAJOR PARTNERS
The Balnaves Foundation
James and Diana Ramsay Foundation
GOVERNMENT PARTNERS
Arts SA
South Australian Tourism Commission
PARTNERS
891 ABC Adelaide
Adelaide Airport
BankSA
Channel 7
EY
Macquarie
The Advertiser
UBS
The Art Gallery also wishes to acknowledge the Exhibition Partners who supported specific exhibitions
during the period.
Government and Philanthropic Grants
The Art Gallery wishes to acknowledge the ongoing support of the Australia Council for the Arts for the
Adelaide Biennial; The Balnaves Foundation for its support of START at the Gallery, the James and Diana
Ramsay Foundation for its support of The Studio and the Gordon Darling Foundation for supporting the
development of the 2015 exhibition Treasure Ships: Art in the Age of Spices.
New grants secured during the period included a Major Project Grant from Arts SA for the exhibition
HEARTLAND: Contemporary Art from South Australia and a Public Art Grant from Adelaide City Council
for the 2014 Adelaide Biennial of Australian Art.
Total grants received during the period: $529 280.
FOUNDATION
There was a total of $3.2 million cash donated to the Foundation.
CONTEMPORARY COLLECTORS
There was a total of $480 229 cash donated to Contemporary Collectors.
24
VOLUNTEERS
The Art Gallery values the contribution of its many volunteers who provide a variety of services to
visitors and staff in the areas of guiding, education, public programs including children and families,
Front of House visitor services, curatorial research, library services, registration and administration. To
ensure a quality experience to visitors to the STUDIO, a new group of volunteers were recruited to work
on weekends in the Gallery’s STUDIO Activity space. For the year ending 2013–2014, the Art Gallery was
supported by 275 registered volunteers.
On Tuesday 26 November 2013, in recognition of the valuable contribution made throughout the year
by all volunteers, the Gallery hosted the annual end of year celebration. This year the Volunteer of the
Year Award was presented to Gallery Guide Supporting Schools, Brian Knott, for his exceptional
commitment and service to student learning. Recipients of Volunteer Excellence certificates were
Angela Dawes, Gai Dudley, Judith Lloyd, Craig Middleton and Lorraine Phillips. The Face of the Gallery
award was presented to Front of House volunteer, Na Xu, known to Gallery colleagues as Xuna, for
outstanding customer service. The sustained contribution of retiring volunteer, Mary Hogan OAM, was
acknowledged with the presentation of the Achievement Award after 27 years of extraordinary
volunteer service.
In 2013 a revised Volunteer Policy was approved by the Gallery Board and distributed to all active
volunteers. As part of the process of ensuring excellence in service amongst Gallery volunteers, all
volunteers now sign a Volunteer Agreement and are required to provide the Gallery with a current
National Police Certificate.
FRONT OF HOUSE
Visitor services to the Art Gallery continued to be provided by Front of House volunteers. Managed by
the, these volunteers staff the Visitor Desk at the main entrance in the Vestibule and the Information
Desk in the Santos Atrium; welcoming visitors, receiving school groups and providing information to the
general public 364 days of the year as well as a reception service for visitors and staff on weekdays.
To ensure a high standard of service to visitors continues on weekends and public holidays, the Front of
House & Volunteer Coordinator role is supported by weekend casual Front of House Officers. These
officers support both Front of House and Studio volunteers, assist in the support and delivery of Gallery
events and undertake a variety of duties as required. To ensure proper duty of care to the public and
volunteers, all Front of House Officers now hold a recognised and current First Aid Certificate.
In the year ending June 2014, Front of House volunteers assisted approximately 50 000 visitors at the
Visitor Desk, handled over 23 000 enquiries from the Information Desk.
On average Front of House volunteers contribute 3 hours of service each week, amounting to
approximately 11 500 hours in assistance to the Gallery over the past 12 months.
ART GALLERY OF SOUTH AUSTRALIA FOUNDATION
At the Annual General Meeting on 14 November 2013 Andrew Gwinnett was re-elected to continue his
Chairmanship of the Art Gallery of South Australia Foundation. Max Carter AO was elected to continue
serving as Deputy-Chairman.
The Foundation continued to raise funds through encouraging financial donations, membership
subscriptions, grants, bequests and generating income from fundraising events and investments. The
Foundation raised $7.5 million in total for 2013–2014, which comprised works of art given valued over
$4.3 million as well as income raised of $3.2 million
25
The Foundation continued its approach of more targeted giving through conducting several appeals
through the financial year. These include the Masterwork Appeal, Mortimer Menpes Appeal, Junko Mori
Propagation Project: Windy Leave Appeal, Anna Platten Appeal, Annie Kidman in Memoriam Fund,
South Australian Artists Fund, Gothic Revival Chair Appeal, Christine Bowman in Memoriam Fund,
Netsuke Publication Appeal, Mandala of Amida Buddha Appeal, and Red Carapace Appeal.
The Masterwork Appeal was launched at The Grand Tour Dinner on 11 May and continued throughout
the reporting period. Camille Pissarro, France, 1830–1903, Prairie à Éragny, 1886, Éragny, France, oil on
canvas was selected as the Masterwork in November 2013 and officially named as the Masterwork at
the Foundation dinner on 12 April 2014. The Art Gallery Foundation’s ambition with the unprecedented
fundraising campaign of the Masterwork Appeal was to secure a work of art that transforms the
Gallery’s collection, which acts as a destination painting which will attract visitors to the Gallery and
which also enables the Gallery’s patrons to understand art in a fuller, more comprehensive manner. It
was always hoped that the selected painting would be a work of strong artistic merit, an excellent
example of the artist’s work, and a work of unrivalled presence in the wider collections in Australia.
Prairie à Éragny meets each of these goals.
The acquisition of Prairie à Éragny will deliver benefit to both South Australians and the broader
national audience and will elevate the country’s collection to an international level. Donors of $100 000
and above are acknowledged on its credit line in perpetuity. All donations will be recognised in
Articulate and in the Foundation Annual Report. At 30 June 2014 $4 564 034 had been raised.
The Foundation launched the South Australian Artists Fund on 11 July within HEARTLAND. This fund
seeks to support South Australian artists through the acquisition of their works of art. Such acquisitions
will enrich the Art Gallery’s collection and create a larger presence of South Australian art within the
expansive Australian collection. The Art Gallery aims to increase the exposure of South Australian art to
the public and generate greater interest and appreciation of the impressive works of art that are being
produced by artists working in South Australia. At 30 June $16 410 had been raised.
The display and publication Netsuke and other miniatures from the Art Gallery of South Australia were
launched on 7 May 2014. This year marks the centenary of the establishment of the Art Gallery of South
Australia’s collection of Japanese netsuke, inrō and other carvings. The curated display and publication
by Jennifer Harris, PhD, celebrate the generosity of many donors to this important aspect of the
Gallery’s collection of Asian art, including the first donors Mr and Mrs William Milne in 1914 and Sir
Samuel Way in 1916. More recently, the MJM Carter AO Collection of 146 Japanese carvings was
donated to the Art Gallery of South Australia and is the largest and most significant gift of netsuke and
other miniatures made to the Gallery since it began collecting these genres one hundred years ago and
forms the central focus of the display and publication. The publication was supported by Trevor and Ann
Lands and Family.
The Thomas Elder Circle was launched in the Elder Wing of Australian Art on 22 October 2013. The
Circle was developed to recognise the invaluable impact bequests can have on the Art Gallery, and
provides the opportunity to acknowledge and honour bequest donors during their lifetime. It also gives
the Art Gallery a unique opportunity to develop a closer relationship with bequest donors. At the
launch, Max Carter, AO, announced a major gift in honour of the occasion: John Glover’s Baptism on the
Ouse River by Rev. Henry Dowling, 1838. Max, himself a bequest donor, made his generous gift to
acknowledge the foresight of Sir Thomas Elder, the Gallery’s first bequest donor, and the prosperity that
bequest produced. At 30 June 2014 there were 21 members of the Thomas Elder Circle.
The Foundation hosted thirteen events throughout the year, giving members the opportunity to engage
closer with the Art Gallery, while also raising essential funds for works of art.
The Foundation continued to hold regular private viewings which highlighted recent gifts or acquisitions
through the Foundation and also provided a forum to thank donors.
26
The Foundation Collectors Club dinner, held on 1 November, was the major fundraising event for the
Gallery this year, raising $400 000. The membership donation was increased from $5 000 to $6 000. In
2013, there were 52 members.
The 2013 Foundation Christmas Party was held on 24 November at Yalumba, Australia’s oldest familyowned winery and sponsor of the Gallery. At the event guests experienced a tour of the Hill Smith
family’s wine museum, fine food and exceptional wine. Coaches were arranged for the 40 guests to and
from the Gallery.
Foundation members attended the official opening of Dorrit Black: unseen forces and The World of
Mortimer Menpes: Painter, Etcher, Raconteur on 12 June 2014 as their complimentary opening for the
year.
The Foundation Annual General Meeting was held on 14 November 2013 and was followed by a private
viewing of The author’s presentation copy of the Mathnavi of Jalal al-Din Muhammad Rumi, India,
Sharjahanabad (Delhi), Dated Thursday 2 Muharram al-Haram, a recent gift from Max Carter AO,
presented by James Bennett in Realms of Wonder.
A luncheon was held on 19 February 2014 to acknowledge and thank donors involved in Realms of
Wonder: Jain, Hindu and Islamic Art of India. The Gallery is most fortunate to have such significant South
Australian support of its collection of Asian art and the Foundation thought it important to acknowledge
their great generosity to this area of the collection which was presented in this exhibition.
The annual Foundation fundraising dinner was held on Saturday 12 April at the Gallery. Guests at the
event enjoyed a tour of the 2014 Adelaide Biennial of Australia Art: DARK HEART, led by Director and
Biennial curator Nick Mitzevich, before enjoying a sumptuous dinner. Proceeds from the event went
towards the Masterwork Appeal. This event raised $200 000 ($50 000 from ticket sales, live and silent
auction items, and a raffle; and $150 000 from donations pledged on the night). Wines were donated by
Penny’s Hill, Jansz, and Heggies. The Foundation thanks dinner supporters, Enhance Travel, Tynte,
Aesop, Bang and Olufsen, Pike, Tynte, Jansz, Heggies and Penny’s Hill.
The Executive Officer and Foundation Council developed a Business Plan for the Foundation, introduced
a semi-regular e-news to Foundation members, and introduced a new, streamlined design for
Foundation communication including invitations and brochures.
During the reporting period, twenty-one Foundation members pledged additional financial commitment
to the Foundation and as a result were upgraded to higher levels of the Foundation. Eighteen members
renewed their membership to the Foundation, and there were fifty-eight new members.
At 30 June 2014 active membership of the
Foundation was as follows:
Patron (over $10M)
Founders (over $1M)
Governors (over $250 000)
Principals (over $100 000)
Guardians (over $50 000)
Benefactors (over $25 000)
Fellows (over $5000)
Members (over $1500)
TOTAL MEMBERSHIP
27
Active
memberships
3
11
24
40
36
50
147
173
484
CONTEMPORARY COLLECTORS
Contemporary Collectors is a benefaction group at the Art Gallery of South Australia dedicated to
advancing the Art Gallery’s permanent collection of contemporary art. Contemporary Collectors raises
funds through membership fees, fundraising initiatives and appeals aimed at acquiring specific works of
art.
During the reporting period Contemporary Collectors continued to raise funds for the acquisition of
contemporary art by expanding its membership base and introducing new fundraising projects. In this
financial year, Contemporary Collectors raised $608 625 which comprised works of art given valued over
$128 396 and income raised of $480 229 from Membership subscriptions, events, donations, and
support from Contemporary Collectors Program Sponsor Macquarie Private Wealth.
In addition, Contemporary Collectors sourced support from the following in-kind sponsors:
Aesop ($2 588), Jansz ($2 664), Katnook Estate ($6 877), Kwik Kopy Norwood ($2 560), Splitrock & Tiro
($1 326) and TypeSpace Design ($26 250).
DIRECTOR’S PROJECT
The Director’s Project was established in 2010 and is a Contemporary Collectors project aimed at
acquiring three major works of contemporary art for the Gallery’s permanent collection. In the reporting
period, the third and final acquisition for this project was announced. Alex Seton’s Someone died trying
to have a life like mine, which was featured in the 2014 Adelaide Biennial of Australian Art: DARK HEART,
was selected as the final acquisition of the Director’s Project and will be acquired for the Gallery’s
permanent collection of art.
CONTEMPORARY COLLECTORS CORPORATE MEMBERSHIP
In October 2013, Contemporary Collectors re-launched its Corporate Membership at an event at the Art
Gallery of South Australia. A targeted list of local and Adelaide-based corporate contacts was invited to
the launch. Funds raised through corporate membership are directed to supporting the acquisition of
contemporary art for the Gallery’s permanent collection.
Corporate Members receive many benefits that provide opportunities to host clients at events and the
chance to network in unique and engaging environments. A Membership ‘pack’ was developed for
Corporate Membership which provides details on what benefits Corporate Members receive. There are
two levels of Corporate Membership, Silver and Gold, which differentiate between levels of giving.
Corporate Memberships span two years and coincide with the financial year. Similar to Contemporary
Collectors membership, pro rata rates are available for Corporate Memberships. At the end of the 2013–
2014 financial year, Contemporary Collectors has two Gold Corporate Members and one Silver
Corporate Member.
THE BIENNIAL AMBASSADORS PROGRAM
In 2013, Art Gallery Director, Nick Mitzevich and Art Gallery Board Member, Tracey Whiting initiated a
new benefaction campaign at the Art Gallery of South Australia titled the Biennial Ambassadors
Program. This Program aimed to attract donations from interstate benefactors to support the 2014
Adelaide Biennial of Australian Art: DARK HEART.
The Biennial Ambassadors Program raised $242 500, which included $100 000 donated by The Balnaves
Foundation. Donations raised through the Ambassadors Program were directed towards funding artists,
commissioning works of art and supporting public programs for schools and families for DARK HEART.
28
Benefactors to the Biennial Ambassadors Program (Ambassadors) were offered a program of events
over the opening weekend of DARK HEART, which provided unique opportunities to engage with the
exhibition, the artists involved, and with Biennial Curator, Nick Mitzevich. The Program commenced on
Thursday 27 February and ran until Sunday 2 March and included an Adelaide art tour, an Adelaide
Festival event, artist talks at the Art Gallery of South Australia, social brunches and lunches, and the
Biennial Ambassadors Dinner on Saturday 1 March. Art Gallery Chairman, Michael Abbott, AO QC,
welcomed the Ambassadors into his home on Sunday 2 March as a gesture of appreciation for their
support of the Art Gallery of South Australia.
The Biennial Ambassadors Program will continue in the future as a fundraising project to support the
Adelaide Biennial of Australian Art at the Art Gallery of South Australia.
CONTEMPORARY COLLECTORS PROGRAM
In the reporting period, Contemporary Collectors were offered an events program that included social,
educational and travel opportunities. The Contemporary Collectors Committee worked with the Art
Gallery to deliver a broad range of events as part of the annual program, which allowed members of
Contemporary Collectors to engage with contemporary art and artists in unique ways. There were 16
Contemporary Collectors events in the 2013–2014 financial year. Some of the highlights of the annual
program included a trip to the inaugural Sydney Contemporary, the Eat Your Art Out event series held in
the homes of private collectors, a preview of the Fleurieu Art Prize and the End of Year Party in
November 2013.
SPONSORED EVENTS
In 2014 Contemporary Collectors made a financial donation to support the exhibition 2014 Adelaide
Biennial of Australian Art: DARK HEART.
At 30 June 2014 active membership of
Contemporary Collectors was as follows:
Individual Memberships
Joint Memberships
Corporate Memberships
Circle – Individual
Circle – Joint
Circle – Corporate
Principal
Benefactor
Guardian
TOTAL MEMBERSHIPS
Active
memberships
36
77
2
7
9
2
6
17
9
165*
*251 individual Members
29
CONTEMPORARY COLLECTORS COMMITTEE 2013–2014
Chairperson
Deputy Chair
Members
Ex Officio
Coordinator
Thelma Taliangis
Marc Allgrove
Margie Andrewartha
Silvana Angelakis
Mark Butcher
Cherise Conrick
Zoë Elvish
Abbey Hall
Vicki Niehus
Mary Ann Santin
Tom Twopeny
Jane Yuile
Russell Kelty, Nick Mitzevich
Cate Stanford
Principals
Jane Michell and Sadie Michell, John Phillips and Abram Phillips, Ben Quilty, Mary Ann Santin, Tracey
and Michael Whiting
Guardians
Kate Breakey, James Darling AM and Lesley Forwood, Paul Greenaway, OAM, Andrew and Hiroko
Gwinnett, Dr Clinton Ng, William Nuttall and Annette Reeves.
Benefactor
John and Jane Ayers, Candy Bennett, Cherise Conrick, Richard and Jan Frolich, Julian and Stephanie
Grose, Ian Little and Jane Yuile, John McBride AM, Dr Peter McEvoy, Mr Danie Mellor, Hugo and Brooke
Michell, Jan Minchin, Dr Dick Quan and John McGrath, Paul and Thelma Taliangis, Tiffany Wood-Arndt,
Macquarie.
Circle
Michael and Silvana Angelakis, Susan Armitage, Dr Mark and Jill Awerbuch, Jim and Helen Carreker,
Brenda Croft, Scott and Zöe Elvish, Frances Gerard, Dr Michael and Janet Hayes, Ulrike Klein (Klein
Family Foundation), Gosia Kudra Schild, Sam Leach, Edwina Lehmann, David and Pam McKee, Peter and
Jane Newland, Roslyn and Tony Oxley, Peter Weeks and Lisa Herbst, GP Securities, Solstice Media.
2014 Director’s Project
John and Jane Ayers, Candy Bennett, Jim and Helen Carreker, Chris and Elma Christopher, Cherise
Conrick, James Darling AM and Lesley Forwood, Scott and Zoë Elvish, Richard and Jan Frolich, Andrew
and Hiroko Gwinnett, Dr Michael Hayes and Janet Hayes, Klein Family Foundation, Ian Little and Jane
Yuile, Dr Peter McEvoy, David and Pam McKee, Hugo and Brooke Michell, Jane Michell, Peter and Jane
Newland, John Phillips, Dr Dick Quan, Paul and Thelma Taliangis, Sue Tweddell, Tracey and Michael
Whiting, GP Securities, UBS and anonymous donors.
DEPARTURE
DEPARTURE is an events program held at the Art Gallery of South Australia targeted at the 18-40 year
old demographic. DEPARTURE aims to attract a younger audience to the Gallery by providing unique
ways to experience Gallery exhibitions and engage with the Gallery, its collection and exhibitions. The
events provide curator talks, activities in the Studio, entertainment, live music and some food and drinks
for guests to enjoy.
30
DEPARTURE Membership
Since its inception in 2011, DEPARTURE membership has continued as an effective means of attracting a
younger demographic to the Gallery’s membership program. DEPARTURE Members receive full Art
Gallery membership, discounted tickets to DEPARTURE events (Members $45 / General admission $60)
in addition to other standard membership benefits.
As DEPARTURE is an events based program, DEPARTURE memberships fluctuate throughout the year
with varying numbers of subscriptions for each DEPARTURE event (held four times a year).
At 30 June 2014 active membership of DEPARTURE
was as follows:
Individual memberships (only category)
Active
Memberships
103
In the reporting period, DEPARTURE raised $135 846 from Membership subscriptions, events, and
sponsors, inclusive of generous support from Presenting Sponsor BankSA.
In addition, DEPARTURE sourced in-kind support from the following sponsors:
Penny’s Hill, Heggies, Jansz, Splitrock, TIRO, Carlton United Breweries, Rip It Up Publishing and Art
Gallery Food + Wine.
DEPARTURE Committee (from December 2013)
Art Gallery Staff Members
Alice Clanachan
Clare Gilham
Marika Lucas
Aimee Phillips
Cate Stanford
Lisa Wilson
Department
Curatorial
Public Programs
Communications
Benefaction and Membership
Benefaction and Membership
Development
DEPARTURE EVENTS
DEPARTURE: Old Meets New
Date: Friday 30 August 2013
Exhibition: Melrose Wing of European Art
Speakers: Russell Kelty, James Lainas
Attendance: 520
Sponsors: BankSA (major sponsor), Penny’s Hill, Heggies, Splitrock, TIRO, Carlton United Breweries,
Aesop.
DEPARTURE: Realms of Wonder
Date: Friday 8 November 2013
Exhibition: Realms of Wonder: Jain, Hindu and Islamic Art of India
Speakers: James Bennett, Russell Kelty
Attendance: 533
Sponsors: BankSA (major sponsor), Rip It Up Publishing, Penny’s Hill, Heggies, Splitrock, TIRO, Carlton
United Breweries, Aesop.
31
DEPARTURE: DARK HEART
Date: Friday 21 March 2014
Exhibition: 2014 Adelaide Biennial of Australian Art: DARK HEART
Speakers: Nick Mitzevich, Trent Parke (DARK HEART Artist)
Attendance: 670
Sponsors: BankSA (major sponsor), Rip It Up Publishing, Penny’s Hill, Heggies, Splitrock, TIRO, Carlton
United Breweries, Aesop.
DEPARTURE: Roaring 20s
Date: Friday 20 June 2014
Exhibition: Dorrit Black: unseen forces, The World of Mortimer Menpes: Painter, Etcher, Raconteur
Speakers: Alice Clanachan, Elle Freak
Attendance: 520
Sponsors: BankSA (major sponsor), Rip It Up Publishing, Penny’s Hill, Yalumba (Running with Bulls and
Jansz), Splitrock, TIRO, Carlton United Breweries, Aesop, Art Gallery Food + Wine.
MEMBERS OF THE ART GALLERY OF SOUTH AUSTRALIA
Membership of the Art Gallery has continued to grow this year due to attractive and relevant exhibitions
as well as various promotions.
Of those joining membership for the first time during the promotion of the Turner from the Tate: The
Making of a Master exhibition during January to May 2013, 41% chose to renew after the initial twelve
month membership had lapsed. New memberships of the Art Gallery remained constant in response to
the promotion of ‘Join as a new Member and receive three months for free’ on a yearly subscription.
This promotion began with the Realms of Wonder: Jain, Hindu and Islamic Art of India exhibition in
October 2013.
In the 2013–14 financial year Membership raised $177 638 income from membership subscriptions and
events.
Thirty Members’ events were presented throughout the reporting period including welcome orientation
tours for new members. Exhibition previews were offered to Members of Realms of Wonder: Jain, Hindu
and Islamic Art of India; 2014 Adelaide Biennial of Australian Art: DARK HEART; Dorrit Black: unseen
forces; and The World of Mortimer Menpes: Painter, Etcher, Raconteur with highlights tours led
respectively by James Bennett, curator of the exhibition and Curator of Asian Art; Nick Mitzevich,
curator and Gallery Director together with Lisa Slade, Managing Curator; Tracey Lock-Weir, Curator
Australian Paintings & Sculpture and Julie Robinson, Senior Curator Prints Drawings & Photographs
together with Dr Rosemary Smith.
The program also included an exclusive preview screening of Exhibition: Vermeer and Music at the
Palace Nova Eastend cinema, which was attended by approximately 200 Members and their guests.
Members were also invited to attend the South Australian launch of Australian Notebooks by Betty
Churcher AO. The booked-out event was held in the Elder Wing and guests were given the opportunity
to meet the author and purchase a signed edition of her book.
The Members’ End of Year Party was well-attended and included an after-dark viewing of the exhibition
Realms of Wonder led by the co-curator Russell Kelty, Assistant Curator, Asian Art. The party was
preceded by a presentation by the Director about the 2014 exhibition program held in the Radford
Auditorium. The Gallery Shop was open and offered double discount to Members on the night.
The Members Book Club began in early 2014 and provides group discussions through which Members
can extend their knowledge of the Gallery collection. There are five small groups which meet for an hour
each month to discuss diverse novels, biographies and poetic narratives, led by Gallery Guides, who
32
relate discussions to works of art in the collection. Book Club members receive double discount on all
Book Club titles purchased at the Gallery Shop.
On the first Wednesday of each month Gallery Guides presented a complimentary tour of the Gallery for
Members on a variety of topics. These tours are extremely well subscribed, indicating the great
affiliation Members have for the Gallery. New Members are regularly invited to join a complimentary
relaxed morning tea and introductory tour of the Gallery and these sessions have also been well
attended. Each of these tours begins in the Members Lounge, a space which Members continue to value
and use at their leisure.
Robyn Lademan continued in the role of Membership/Foundation Officer and Aimee Phillips held the
role of Bookings and Database Officer.
The attractively packaged Gift of Membership is available in the Gallery Shop or online from the Art
Gallery website and remains popular for gift giving.
At 30 June 2014 active membership of Members
was as follows:
Friends Life Benefactor
Member
Member Concession
Member Corporate
Member Family
Member Joint
Member Joint Concession
Member Honorary
TOTAL MEMBERSHIPS
Active
memberships
55
915
460
3
0
551
202
71
2 257*
*3010 individual Members
FESTIVAL OF CONTEMPORARY ABORIGINAL AND TORRES STRAIT ISLANDER ART 2015
In September 2013, the Government announced that BHP Billiton would provide $4m to the Art Gallery
of South Australia to present a Festival of Contemporary Aboriginal and Torres Strait Islander Art 2015.
Today Aboriginal art is heading in every direction. Diverse and responsive, no medium or material is off
limits. This Festival will showcase the diversity of that work through art and artists including painting,
photography, sculpture, installation, moving image and glass blowing; working with both urban and
regional artists this will be an event like no other. The Festival will include an exhibition series, a major
arts fair, a symposium series, a workshop series, an employment pathway program including
traineeships and a commissioning program.
33
COLLECTIONS
COLLECTIONS DEVELOPMENT
The Gallery acquired 241 works of which six were bequests, 142 were gifts and 93 were purchased. Of
these 54 were European, Asian and Australian heritage works produced before 1960 and 187 were
works produced after 1960.
The total value of gifts and purchases this year was $11 105 543.
ACQUISITIONS OF AUSTRALIAN ART
Substantial gifts and strategic purchases significantly enhanced all areas of the Australian art collection.
Important Australian colonial acquisitions included the donation of a major Tasmanian landscape by
John Glover from Max Carter AO and a rare South Australian landscape by Eugene von Guérard which
was purchased through the Elizabeth and Tom Hunter Fund.
Early twentieth century acquisitions included two north African subjects by Hilda Rix Nicholas and a
major cubist still life subject by Dorrit Black was acquired through the Gallery’s Collectors Club. Four
later twentieth century paintings by Ruth Tuck, Mirka Mora and Dee Jones were received from the
Clarrie Easther Estate. Three works were transferred to the Gallery from the Arts SA Collection including
a major sculpture by Bronwyn Oliver. Seven Aboriginal objects were gifted by Sylvia Frances Cumming.
Gifts from artists include a Peter Tyndall, Leonard Brown and three works by Danie Mellor.
Numerous key donations to the Australian contemporary art collection were made including: the gift
through the Contemporary Collector’s Director’s Project of a sculpture by Alex Seton; the Collectors Club
donation of a George Tjungurrayi painting, Susan Armitage’s donation of a painting by Eubena Nampitjin
and Joseph Catanzariti’s gift of a Louise Weaver sculpture. Four moving image works were also gifted.
Purchases included the addition of a sculpture by Dani Marti through the Maude Vizard-Wholohan Art
Purchase Award, one moving image work and the acquisition of a work on paper by Ian Friend.
Significant additions to the South Australian contemporary art collection included a light box by Ariel
Hassan, a sculpture by Julia Robinson and a painting by Wawiriya Burton.
Contemporary decorative arts acquisitions were well-represented this year with major works of art
including glass artist Matthew Curtis, Red carapace, 2008, gift of Colin E. Beer; Julia deVille, Victorian cat
mummy, 2012, gift of the Contemporary Collectors; three Brendan Huntley ceramic heads, Untitled,
2013; and Robin Best, The Pepper pot – the legacy of Coenraad Temminck, 2013, acquired through the
Foundation Collectors’ Club and the d'Auvergne Boxall Bequest Fund.
The Rhianon Vernon-Roberts memorial collection of contemporary Australian jewellery continued to
grow with the acquisition of Helen Aitken-Kuhnen, Beach brooch, 2013; Julie Blyfield, Fragment #12
brooch, 2013; a set of six Brooches, 2009–11, by Mark Vaarwerk; and two Neckpieces, 2012, by
Sionemaletau Falemaka.
Significant acquisitions of works on paper included a group of 12 photographs and one bound book by
1970s photographer Carol Jerrems, including her rare masterpiece Vale Street, 1975; and six collages
from the mid 1970s by James Gleeson donated by Ray Wilson OAM; major additions of South Australian
art included two works by Dorrit Black, a drawing Study of two figures, 1929, and linocut At the
cafeteria, c1943. Nineteen works by printmaker Franz Kempf dating from 1957–2006 were also
acquired. Contemporary South Australian photography collection was enhanced by the addition of five
early career photographs by Mark Kimber from the 1980s and hand-coloured photographs by Kate
Breakey.
34
ACQUISITIONS OF INTERNATIONAL ART
The European and North American Art collection was transformed with the acquisition of Camille
Pissarro’s Prairie à Éragny 1886, concluding the Foundation’s Masterwork project and the search of an
Impressionist painting. Painted at the height of the Impressionist movement and from Pissarro’s most
significant body of landscape paintings, Prairie à Éragny, also introduces the style of Neo-Impressionism.
The addition of Maurice Utrillo’s Menilmontant, acquired through the Collectors Club, also strengthens
the Gallery’s holdings of Post-Impressionist works of art.
A major contemporary work by the internationally acclaimed British artists Tim Noble and Sue Webster
was also added to the collection. The Gamekeeper’s Gibbet, 2011, the most powerful expression of
Noble and Webster’s practice in recent years, was donated by Tim Fairfax. A moving image work by the
contemporary artist Ignas Krunglevicius was another important addition to the collection. Interrogation
was donated by James Darling AM and Lesley Forwood.
The European decorative arts collection benefited from the acquisition of two important objects: a
William De Morgan The fishing lesson bowl, 1890, gifted by Christopher and Jenny Legoe through the
Cultural Gifts Program; and a rare, early Josiah Spode, Covered scent vase, 1800–10, with funds raised in
memory of the Hon Dr Kemeri Murray AO.
The European print collection was enhanced by two significant acquisitions: Rembrandt’s Landscape
with a cottage and haybarn, 1641, and the German Renaissance woodcut by Hans Baldung Grien Wild
horses fighting, 1534.
ACQUISITIONS OF ASIAN ART
This year the South Asian collection grew significantly in diversity with two paintings, four drawings and
two textiles. The most significant acquisitions were donated by Michael Abbott AO QC and included
Ceremonial cloth and sacred heirloom depicting women battling a gajavyala monster an IndianIndonesian trade textile, which depicts the exceptionally rare early motif of fighting women typical of
early Gujarati figurative patterns.
The Jain wall-hanging Map of the pilgrimage sites at Palitana, a spectacular example of the genre both
in its dimensions and vivid details, documenting the sites and activities of pilgrims at the sacred
Satrunjaya mountain temple complex.
Michael Abbott AO QC also donated three drawings and diagrams created during the nineteenth
century which illustrate pertinent Jain religious-philosophical concepts. Auspicious drawing with three
faces, Auspicious drawing with Durga and Auspicious drawing of Ganesa are unique examples which
invoke Hindu deities worshipped in a Jain spiritual context as protectors and mystical tantric ideas
expressed through esoteric symbols and texts.
In memory of Annie Kidman, Michael Abbott AO QC, Will and Sara Abel Smith, Susan Armitage, Rachel
and Mark Grimshaw, Dr Peter McEvoy and Art Gallery Members donated Tent panel (qanat) a major
work of printed Indian cotton.
Howard and Charlotte Galloway donated Sri Nathji with two cow maids, which add yet another facet to
the Art Gallery’s collection of Rajasthan temple paintings inspired by Lord Krishna.
The Art Gallery continues to build its contemporary collection with Shambu Dayal Shyam, Nature's fury
acquired with funds from the Asian Art Curators Acquisition Fund 2014
In the area of Southeast Asian art Michael Abbott QC AO donated four works of art including sculpture,
ceramics and textiles from Bali and Sulawesi. Among the sculptures the most significant addition to the
35
collection was the Ancestral portrait of a woman (tau-tau). This is the third such sculpture to enter the
collection and is a superb example of a mortuary portrait created by the Sa'adan Toraja people. The
sculpture arrived wrapped in Ceremonial banner (roto) from South Sulawesi declared by the original
owners as inseparable, are both associated with the elaborate mortuary rituals practiced by the Toraja
people of South Sulawesi.
Michael Abbott QC AO also donated the dynamic Drum (kul-kul) with head of Rangda, which once was
installed in a Balinese raised pavilion and used to announce special occasions. The drum is the first of its
kind to enter the collection.
Dish with raised foot Nyonya ware, is a good example of wares created in China especially for the
expatriate communities of Southeast Asia, including Malaysia, Singapore and Indonesia. This ceramic
found in Indonesia will complement the Gallery's expanding collection of trade ceramics many of which
were gifts from Michael Abbott AO QC.
The East Asia collection continued to grow with notable gifts of one painting, two ceramics and
purchases of four prints and one embroidery.
MJM Carter AO donated the most significant acquisition, a 17th–18thC Taima Mandala. The painting’s
subject is regarded as the definitive icon of Japanese Pure Land Buddhism and is one of the most
historically revered images in Japan. Taima Mandala is a spectacular rendition of the subject and forms
a complimentary image to the Gallery’s previously acquired Descent of the Amida Trinity and the
sculpture Amida Nyorai. The development of the Japanese collection is identified in the Gallery’s TenYear Acquisition Strategy.
In the area of ceramics, artists Masamichi Yoshikawa gifted 35 Ban and Kumano Kuroemon gifted Sake
cup (guinomi). Both works add to the gallery's growing collection of Contemporary Japanese ceramics.
The Art Gallery also made significant acquisitions in the area of Japanese 19thC woodblock prints. The
Gallery's collection was enhanced significantly with the purchase of four works, including two created by
Kobayashi Kiyochika (1847–1915) including Taira no Tadamori (1096–1153) The journalist Fukuichi
Gen'ichiro, the latter was exhibited in The Golden Journey (2009) and one by Toyoharu Kunichika (1835–
1900), Shinohara Kunimoto. All of these works including Actor, with tattoo of Daruma were acquired
through the d'Auvergne Boxall Bequest Fund 2013.
Also the Gallery continued to acquire works which augment its Meiji era collection including, Peacocks in
a forest, early 20thC purchased through the JC Earl Bequest Fund 2014.
WORKSHOP RE-FRAMING AND PEDESTALS PROGRAM
The Gallery continued an active program of reframing and pedestal/plinth fabrication throughout the
year. This was reflected in the temporary exhibition program and collection exhibition changeovers.
A total of 163 plinths, 289 picture frames, 22 stretcher frames for Artlab, 8 travel frames and 40 wall
shelves with perspex covers were fabricated.
ACCESS TO COLLECTIONS & RESOURCES
The David Murray Print Viewing Room was visited by a total of 41 visitors, which included curators from
Australian state galleries and overseas institutions (Yale Center for British Art), visiting academics,
postgraduate students and artists. They were supervised by the Associate Curator of Prints, Drawings
and Photographs and the Assistant Curator of Prints, Drawings and Photographs. In addition the
Education Officer has facilitated access to the collection by school students.
36
INSTALLATION AND OFFSITE STORE
During the year the Gallery’s installation team was responsible for the movement of 14 568 works of art:
these included permanent display, exhibition installation, curatorial research, conservation, reframing,
outward loans, photography and public access. Of this total the Gallery’s offsite store team moved 2 872
works to and from the offsite store.
RESEARCH LIBRARY
A stocktake of the library’s 41 000 books was conducted over several weeks, within the library and in
curatorial offices. At the same time, the shelving order was checked. Overdue notices were sent to
borrowers who were not curators. The vast majority of the collection was accounted for, and only a
small number of titles which had been missing for two consecutive stocktakes were withdrawn.
The growth of the book collection remains constant at around 1 100 volumes per year. Cataloguing has
kept pace with acquisitions, so there is no backlog. However, the concentration of new titles in certain
areas such as contemporary art has meant the shelves in those areas are now full. This has necessitated
shuffling books around to make room. Continuous addition of Gallery records and archival material,
sales catalogues, periodicals and art ephemera is putting considerable pressure on space.
Usage of the library as measured by loans is steady, though interlibrary loan traffic was busier than
previous years due to the demands of some in-house curated exhibitions which are intensively
researched.
Digital preservation continues to be prioritised as special long-term projects for volunteers, who are
scanning board papers and archival correspondence.
GRADUATE STUDIES IN ART HISTORY
The Art History program, jointly delivered by the University of Adelaide and the Gallery is now in its 13th
year. The only program in Australia that presents an integrated Art Gallery and University approach at a
postgraduate level leading to a Masters degree, all courses are taught around the collection. In 2013 and
2014 the recently re-hung Melrose Wing provided a laboratory for Curatorial and Museum studies
students alike.
Semester Two 2013 saw the return of the Indigenous Art Course as an on campus offering. The course
drew from the Gallery’s renowned holdings that were initiated in 1939 with the first state gallery
acquisition of work by Arrernte artist Albert Namatjira, and extended to include early works from
Papunya and the Central West Desert, significant Arnhem Land barks, including those collected during
the 1948 ASEAL expedition and works attesting to the more recent artistic developments in the APY
lands.
A professionally productive component of the Curatorial and Museum Studies course is a 20 day
internship which is undertaken in semester two. A large number of graduates are now working across
the country – at the National Gallery of Australia, The National Library of Australia, Samstag Museum,
Country Arts SA, various artist run initiatives and auction houses and here at the Art Gallery of South
Australia.
The Art Gallery is continuing its role as a partner investigator in the large ARC project Linkage project:
Australian Art Exhibitions 1968–2009: A Generation of Cultural Transformation. Funding is for 3 years.
Art Gallery of New South Wales, National Gallery of Australia, National Gallery of Victoria and Museums
Australia are other partner investigators in the project.
37
ENROLMENTS
Semester 2 - 2013
Curatorial and Museum Studies B
Indigenous Art
Modern Australian Art
European Art online
Australian Art online
Research Project in Art History
Total
Students
7
14
28
13
8
6
76
Semester 1 - 2014
Curatorial and Museum Studies A
Contemporary Art
Interrogating Australian Colonial Art
European Art online
Japanese Art online
Research Project in Art History
Total
Students
10
19
18
13
11
8
79
PUBLIC PROGRAMS
Public Programs presented a wide array of activities and events to enhance visitor’s appreciation of fine
art, to satisfy the aspirations of those who seek to learn more about art and to present the Gallery as an
open, diverse and welcoming learning environment. Of necessity, our programs catered for a wide age
range of interests, as we sought to ensure that a visit to the Gallery was always enjoyable and
educational.
The STUDIO completed its first 16 months of operation recording significant attendances from booked
schools groups and the general public. The STUDIO welcomed patrons of all ages keen to engage in
hands-on art activities inspired by the Gallery’s exhibition program, made available free thanks to the
unwavering support and goodwill of the James and Diana Ramsay Foundation. The STUDIO offered a
diverse range of activities, transforming 4 times over the course of the year, in response to our
temporary exhibitions. The Heartland STUDIO, focussing on the work of Chris de Rosa and the Tjunpi
Desert Weavers, explored the frottage technique to form the basis of various projects. The Realms of
Wonder STUDIO invited visitors to sculpt their own Jain or Hindu idol in plasticine, inspired by those on
display in the exhibition. In conjunction with the 2014 Adelaide Biennial of Art: DARK HEART, the STUDIO
was transformed by artist Julia Robinson into a space imbued with the curiosities of superstition where
visitors created their own lucky talisman sculptures using a variety of materials. The direct artist
engagement represented by this venture marked a new direction for the STUDIO. Similarly, artist Brigid
Noone was commissioned to present the STUDIO in response to the exhibitions Dorrit Black: unseen
forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur. For this iteration of the STUDIO,
visitors were invited to engage with the varying possibilities of portraiture using drawing and collage.
A total of 105 Schools visited the STUDIO. Single and repeat visits resulted in 295 booked class school
groups utilising the supervised activities for a total of 8 369 students. Access by the general public (after
2pm daily and on weekends) recorded a total of 19 140 attendances. A total of 27 509 patrons visited
the STUDIO to engage in an art making activity.
During the year the Gallery START program for children recorded 6 498 attendances. The START Art
Club recorded more than 1 885 members, with a notable quantum of repeat visitors throughout the
year, indicating that the START days were highly anticipated and popular with children and families.
The program presented a balanced focus of tours, art activities, live performance and music events.
Utilising the services of highly qualified facilitators and guides, continued emphasis was placed on
learning whilst also creating a fun environment for all the family. Approximately 3 781 participants
attended the special Guided Tours presented by Art Gallery Guides, indicating a key value for the
program in education about the visual arts. Electronic registrations proved popular with START
Members and those wishing to join the START Art Club. The Balnaves Foundation continued its support
of the START program, noting our success in developing and encouraging family visits to the Gallery.
38
School holiday programs presenting art making activities attracted a total of 907 children.
Pre-activity tours of the Gallery and exhibitions with Gallery Guides were attended by 1 102 children,
parents, carers attending the school holiday programs.
Public Programs supported temporary exhibitions with a varied and popular array of programs and
events. In the period the major exhibitions included HEARTLAND: Contemporary art from South
Australia, Realms of Wonder: Jain, Hindu and Islamic Art of India, 2014 Adelaide Biennial: DARK HEART,
Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur. All
exhibitions were supported by an array of public programs aimed at presenting key ideas and
information about the art on display in an accessible manner and adding to the quality of the exhibition
experience. HEARTLAND: Contemporary art from South Australia celebrated contemporary art by South
Australian based artists. It was supported by an opening weekend event presenting talks by exhibiting
artists, drawing workshops and short introductory Pitjantjatjara and Yankunytjatjara language sessions
to assist a fuller appreciation of works on display. The HEARTLAND STUDIO presented a range of surface
treatments for children to experiment with and the School Holidays program invited children to
construct an ideal city, inspired by the work of artist, Annalise Rees. Realms of Wonder: Jain, Hindu and
Islamic Art of India celebrated the Gallery’s extraordinary collection of Indian Art. The public program
was developed in partnership with various individuals and groups representing the Indian community
across Adelaide and resulted in a symposium, lectures and workshops on aspects of Indian art and
philosophical thought, chantings, meditation and yoga classes. This resulted in high level participation in
exhibition events, a significant number of visits by members of the Indian community and widespread
goodwill and publicity within that community. The Realms of Wonder STUDIO invited patrons to make
statues of Indian gods and was a colourful, enjoyable, welcoming and lively space. 2014 Adelaide
Biennial of Australian Art: DARK HEART presented works of art by some of Australia’s most admired and
respected contemporary artists, examining the complex myriad of personal, political and psychological
ideas that shape and inform our daily lives. The opening weekend celebrations included a remarkable
presentation by artist Patricia Piccinini (Skywhale) at the Adelaide Botanic gardens, numerous artist’s
talks and conversations. Guided tours, animation and taxidermy workshops were also part of a very
popular program developed to extend the ideas of the artists. The School holiday programs were
presented in conjunction with DARK HEART, inviting children to create clay busts, inspired by the works
of art by Brendan Huntley and Ah Xian. In the DARK HEART STUDIO, artist Julia Robinson presented an
installation that explored superstitions and patrons were invited to make amulets and machines to ward
off danger. Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur
were both supported by symposium, printmaking workshops and guided tours. The scheduled Sketch
Club activities invited patrons to undertake supervised drawing in the Gallery and proved very
successful. Auditorium lectures provided visitors to both exhibitions with an opportunity to delve
deeper into the lives of artists introducing new scholarship on Dorrit Black and Mortimer Menpes. An
extensive program of weekend floor talks by Gallery curators and special guests enriched visits to the
exhibition.
In addition to the five temporary exhibitions, collections and special displays were also supported by
lunch time talks. Ten talks featured Australian Art, six Asian and eight for European Art.
The Gallery presented three highly successful Culture Days / Events – Indian Culture Day coinciding with
the Diwali Festival of Lights, a celebration of Indian art, history and culture; Indian Culture Day: The
Elephant and Monkey God explored the stories of these Indian Gods and Chinese New Year, with a
special display of the animals in the Chinese zodiac was assisted by the Confucius Centre, University of
Adelaide. All events were well attended.
The very popular Spring Lecture program explored Asian art, both historical and contemporary as a
dimension of the Gallery’s on-going commitment to acknowledge and promote the extraordinarily rich
cultural, artistic and living history of Asia.
39
Especially significant collection tours and performances were conducted during Easter and just prior to
Christmas. Adelaide’s Corinthian Singers accompanied Bishop Ian George on Good Friday.
The majority of our programs were presented free of charge to ensure easy participation by South
Australians, interstate and overseas visitors from all walks of life, in the educational and cultural
activities of the Art Gallery of South Australia.
The Gallery established a good working partnership with Guildhouse to enable South Australian artists
to produce and exhibition work at the Gallery in response to our collection. The first artist, Deidre ButHusaim, is due to present her work in July 2014. The Gallery presented an exhibition display of
contemporary South Australian decorative arts in celebration and as part of a program to acknowledge
the 40th anniversary of the JamFactory.
The Gallery continued to have supportive working partnerships with the OzAsia Festival, South
Australian Living Artists Festival, University of Adelaide, The Confucius Centre - University of Adelaide,
The Contemporary Art Centre of South Australia, The Adelaide Botanic Gardens, SA History Festival,
South Australian Museum, Guildhouse, JamFactory Contemporary Craft & Design, the Adelaide Film
Festival, SAMSTAG Museum, The Adelaide Festival Corporation and the Adelaide Festival Centre in the
support of artists and the visual arts in South Australia. The Gallery provided a variety of physical
resources, at no cost, to visual art organisations in the presentation of mutually beneficial programs.
During the year, Guided tours across all exhibition programs and events attracted 16 059 patrons.
The number of patrons participating in public program events (excluding Guided tours & Departure) was
31 638. Access to the STUDIO by the general public (after 2pm daily and on weekends) recorded a total
of 19 140 attendances.
Access to the Studio by booked school groups totalled 8 369 students. All up 75 206 patrons participated
in a public program at the Gallery during the year.
VOLUNTEER GALLERY GUIDE SERVICE
Art Gallery Guides support for START Children’s program and School holiday programs
Twenty-seven Gallery Guides were involved in presenting START and School Holiday Tour this year.
The Art Gallery Guides provided 84 special guided tours across a range of topics on scheduled START
days through the year. Approximately 3 781 children and adults attended the art tours, averaging 315
per event.
During scheduled school holiday activities the Gallery Guides provided 54 introductory tours for 1 102
children, prior to their commencing an art activity.
Art Gallery Guides conducted a total of 138 special tours for children across the year.
40
THE GALLERY SHOP
The 2013–14 financial year was slower than the previous year, but sales were quite healthy. Good sales
were achieved with accompanying book and merchandise for the exhibition Realms of Wonder: Jain,
Hindu and Islamic Art of India, which included the Christmas period.
INFORMATION TECHNOLOGY
In the 2013–14 financial year our Desktop Replacement Program was restarted. Although for this period
this only included a small number of replacement machines, this program will ultimately result in
significantly less staff time waiting for computers and avoid problems of old and out-of-warranty
machines needing sudden replacement.
We also upgraded parts of our backend IT infrastructure in the 2013–14 financial year. These lay the
technical foundation for many elements of our Digital Strategy, which will see online ticketing and sales,
gallery WiFi, digitisation of our library resources, improvements to our online collection, and greater
digital engagement.
ART GALLERY WEBSITE
In the 2013–14 financial year, the Art Gallery website had 237 971 unique visits of which 59.7 % were
new visitors, a significant number of these visits were from mobile devices. The website had 874 594
pages viewed, with an average of 3.68 pages viewed per visit; the average time a visitor was on the
website was 2 minutes and 39 seconds.
A dedicated microsite was also set up for the 2014 Adelaide Biennial of Australian Art: DARK HEART.
This website had 26 048 unique visits and 108 487 pages viewed, with an average of 3.03 pages viewed
per visit. The average time a visitor spent on this website was 2 minutes and 88 seconds.
PUBLICATIONS AND MERCHANDISE
This year six substantial publications were produced. Realms of Wonder and Highlights: Aboriginal and
Torres Strait Islander Collection completed our five-year sponsorship agreement with Santos Ltd. With
Santos’s support the Gallery has been able to produce many fine books over the five year period.
The catalogue for the 2014 Adelaide Biennial of Australian Art: DARK HEART was one of the most
successful in the series and is now out of print.
Trevor and Ann Lands and family provided the necessary funds required to publish the jewel-like book
Netsuke and other miniatures. Principally focussing on Max Carter’s collection that he donated to the
Gallery in 2004, the book also looks at other early gifts of Japanese art to the collection.
Two major monographs on two South Australian artists were also produced. Dorrit Black’s importance
to Australian art had not been revised for thirty-five years, and the book repositioned her as a figure of
great significance in the development of Australian modernism.
Adelaide-born Mortimer Menpes was an important Australian expatriate artist who worked in Britain.
The book was the first to consider Menpes’s whole oeuvre and presented new scholarship from leading
Menpes’s scholars from around the world. Both publications were supported by the Art Gallery
Foundation.
41
The Gallery developed a range of merchandise reproducing works from the collection and to accompany
exhibitions. The range continues to grow and many new products are already in development. It is
envisaged that the Gallery’s exclusive range will provide a comprehensive source of gifts for our varied
visitor needs.
A complete list of books and merchandise produced can be found in Appendix L.
Our publications and some products sell nationally (and in New Zealand) through Thames & Hudson and
resulted in further profits for the Gallery.
The Gallery’s magazine Articulate continues to be highly regarded both with our members and
nationally with our peers.
Image Sales continues to grow as the Gallery’s works of art are requested more often. Images were
provided to national and international magazines for promotion of the Gallery. Many images were
supplied free of charge for curatorial, educational and promotional purposes as a means of providing
access to the Gallery’s collections. As a condition of reproduction many complimentary copies of books
were added to the Gallery’s Library.
42
APPENDIX A
CHARTER AND GOALS OF THE
ART GALLERY OF SOUTH AUSTRALIA
To enable the South Australian and the wider community to experience directly high-quality works of visual
art; to ensure that the experience is enlivening and enriching; and to demonstrate that a significant
expression of South Australian life can be experienced in South Australian works of art.
GOALS
COLLECTION
The Gallery will identify and hold historically important works of art of aesthetic excellence and of regional
significance in accordance with the Gallery's collections policies. Works on loan to the Gallery's collections
will also be subject to those policies.
PRESERVATION
The Gallery will ensure the preservation and conservation of its collections by maintaining them in standard
environmentally controlled conditions, by handling them safely and by ensuring their security at all times.
The Gallery should stabilise or restore deteriorating or damaged works in its collections. Works temporarily
in the Gallery's custody will receive the same environmental safeguards, safe handling and security as works
in the Gallery's collections.
DOCUMENTATION
The Gallery will fully document its collections with a central catalogue system that includes complete visual
as well as written records. Undocumented works temporarily in the Gallery's custody will also receive
written and visual documentation.
RESEARCH
The Gallery will research and evaluate its collections (and related material) so that the collections' display,
interpretation and promotion are carried out with integrity. The Gallery should make its collections and
associated documentation accessible to others for the purposes of research.
DISPLAY
The Gallery will display its collections and program its temporary exhibitions in ways which enhance
appreciation of the collections; displays should provide pleasure and education by being visually pleasing as
well as appropriate for the particular public for whom they are intended; displays will be devised for the
special interests of the specialist visual arts community as well as for the general public. Temporary
exhibitions should be programmed to provide displays of works of art belonging to categories poorly
represented in South Australia's collections. The Gallery will provide accurate and intelligible labels for
works on display. Within normal security and conservation constraints, and provided there is clear public
benefit, the Gallery should make works from its collections available for display elsewhere.
INTERPRETATION
The Gallery will provide easily accessible interpretative information about the collection displays and the
temporary exhibitions in the form of signs and wall texts as well as public programs of publications, films,
lectures, seminars and the services of Education Officers, Gallery Guides and other communicators.
Interpretative services will be provided at various levels relevant to the Gallery’s various publics, from the
specialist visual arts community to the least informed general public.
43
PROMOTION
The Gallery will promote its collections and temporary exhibitions, will promote in the community an
awareness of art museum functions and of what can be gained from works of art, and should evaluate and
act on the public's needs and responses to the Gallery's activities.
ADVICE
The Gallery should responsibly exercise its legislative function of advising the South Australian Government
on the allocation of South Australian resources to works of art, art collections, art museums and art
associations.
REVIEW
The Gallery will frequently evaluate and review its goals and tasks and the effectiveness of their
implementation.
44
APPENDIX B1
ART GALLERY BOARD
There were six ordinary meetings of the Board during the year, attended as indicated.
Michael Abbott AO QC (Chairman)
Andrew Gwinnett (Deputy Chair) (until 7 February 2014)
Emeritus Professor Anne Edwards AO
6
4
Frances Gerard (until 18 July 2013)
0
Sandra Sdraulig AM
Sue Tweddell
Tracey Whiting (until 25 June 2014)
Robert Whitington QC
Neil Balnaves (from 15 August 2013)
John Phillips (from 8 February 2014)
4
5
2
6
6
1
2
APPENDIX B2
ART GALLERY OF SOUTH AUSTRALIA FOUNDATION COUNCIL 2013–2014
Chairman:
Deputy Chair:
Members:
Ex Officio:
Executive Officer:
Andrew Gwinnett
Max Carter AO
Susan Armitage
Shane Le Plastrier
Pam McKee
John Phillips (from 14 November 2013)
Michael Abbott AO QC, Mary Abbott, Nick Mitzevich,
Thelma Taliangis (from 14 November 2013)
Charlotte Smith
CONTEMPORARY COLLECTORS COMMITTEE 2013–14
Chairperson
Deputy Chair
Members
Ex Officio
Coordinator
Thelma Taliangis
Marc Allgrove
Margie Andrewartha
Silvana Angelakis
Mark Butcher
Cherise Conrick
Zoë Elvish
Abbey Hall
Vicki Niehus
Mary Ann Santin
Tom Twopeny
Jane Yuile
Russell Kelty
Nick Mitzevich
Cate Stanford
45
DEPARTURE Committee (from December 2013)
Art Gallery staff member
Department
Alice Clanachan
Clare Gilham
Marika Lucas-Edwards
Aimee Phillips
Cate Stanford
Lisa Wilson
Curatorial
Public Programs
Communications
Benefaction and Membership
Benefaction and Membership
Development
46
APPENDIX B3
DIRECTORIAL
Associate to the Director
Lindsay Brookes
Foundation
Director
Nick Mitzevich
Charlotte Smith
Strategic Projects
Coordinator Contemporary Collectors & Departure
Cate Stanford
Project Curator
Lisa Slade
Bookings & Database Officer
Aimee Phillips
Membership/Foundation Officer
Robyn Lademan
ART GALLERY OF SOUTH AUSTRALIA
ORGANISATIONAL CHART
Executive Officer, Benefaction & Membership
CORPORATE SERVICES
Associate Director
Administrative Services Coordinator
Registration
Registrar
Jan Robison
Library
Registration
Assistant
Anne Wright
Associate
Registrar:
Collections
Management
Associate Registrar:
Exhibitions & Loans
Vicki Petrusevics
Senior Project Officer, Finance & Capital Assets
Kym Hulme
Mark Horton
Margaret Bicknell
Management Accountant
Athina Cakouros
Information
Technology
Gallery Shop
(until September 2014)
Information Manager
Jin Whittington
Bill Stathoulis
(from October 2014)
Gallery Shop
Manager
Manager, Information
Technology
Library
Technician
Lance Learhinan
(until June 2014)
David Mikos (from June 2014)
Ju Phan
Letitia Ashworth
Gallery Shop
Supervisor
Suzanne Clift
Georgia Hale
Senior Registrtion
Officer
Tim Tyler
Collection
Database
Officer
Sue Smith
Workshop
Artisan/Carpenter
IT Support
John O’Rielley
Nick Didenko (until 14 March 2014)
Darren Hehir (from 17 March 2014)
Registration Officers
Artisan/Painter
Graham Christopher
Darren Hehir
Richard King
Stephen Oates
Daniel von Schutt
John Webster
Noel White
Ken Orchard (casual)
Brad Harkin (casual)
Franz Nieuwenhuizen
Security &
Cleaning
Services
Contractors
Gallery Shop Staff
Anna Burdin
Chandan Bala Jain
Lorinda Curnow
Alicia Kaye
Elizabeth Pascale
Soraya Phillips
Anika Williams
48
CURATORIAL
Curatorial Administrative Assistant
Heather Brooks (p/t)
Miranda Comyns (p/t)
SENIOR CURATOR & CURATOR OF PRINTS,
DRAWINGS & PHOTOGRAPHS
Julie Robinson
Curator of Australian
Art
Curator of Asian
Art
Tracey Lock-Weir
James Bennett
Curator of European Art
Jane Messenger
Curator of
European &
Australian
Decorative Arts
Robert Reason
Associate Curator
Australian Paintings,
Sculpture & Aboriginal &
Torres Strait Islander Art
Elle Freak
(from 14 April 2014)
Associate Curator of
Australian Paintings &
Sculpture
Assistant Curator,
Asian Art
Russell Kelty
Acting Associate Curator of
European Art
Rebecca Capes-Baldwin
(Maternity Leave until February 2015)
Nici Cumpston
Assistant Curator of
Australian Paintings &
Sculpture
49
Acting Associate
Curator of Prints,
Drawings &
Photographs
Associate Curator of
Prints, Drawings &
Photographs
Maria Zagala
PUBLICATIONS
Deputy Director
Mark Horton
Publications Officer:
Image Sales & Rights
Tracey Dall
Publications Officer: Logistics &
Digital Imaging
Stewart Adams
Publications Officer: Digital
Imaging
Saul Steed
(until 30 April 2014)
50
Graphic Designer
Tom Gordon
(until 7 March 2014)
EXHIBITIONS & PUBLIC PROGRAMS
Exhibitions & Public Programs Manager
David O’Connor
Exhibitions & Public Programs
Coordinator
Luke Thurgate (until January 2014)
Acting Exhibitions & Public
Programs Coordinator
Megan McEvoy (from February 2014)
Education
Front of House
Coordinator
Cate Parkinson
Education Officer
Mark Fischer
Exhibitions & Public Programs Officer
Megan McEvoy (p/t) (until February 2014)
Public Programs Officer –
Children’s Activities
Front of House Support Staff
Clare Gilham (p/t)
Aimee Phillips (p/t) (from February 2014)
Education Support Officer
Karina Morgan (p/t)
(Maternity Leave until February 2015)
Ryan Sims
51
Lorinda Curnow (casual)
Alex Reinhold (casual)
Kelly Day (casual)
Sarah Gibson-Walker (casual)
Serena Wong (casual)
MARKETING & DEVELOPMENT
Head, Marketing & Development
Susie Barr
Communications Manager
Marketing Officer
Manager Development
Marika Lucas-Edwards
Heidi Chamberlain
Emma Fey (until January 2014)
Development Officer
Lisa Wilson
52
FESTIVAL OF CONTEMPORARY ABORIGINAL AND TORRES STRAIT ISLANDER ART 2015
Artistic Director
Executive Producer
Nici Cumpston (from 30 September 2013)
Mimi Crowe (from 8 October 2013)
Festival Curator
Edwina Circuitt (from 23 June 2014)
Marketing &
Communications Manager
Public Programs
Manager
Vacant
Vacant
53
Festival Coordinator
Tracey Dall (from 1 May 2014)
ART GALLERY OF SOUTH AUSTRALIA MANAGEMENT STRUCTURE
Associate to the Director
Foundation
Director
Strategic Projects
Corporate Services
Festival
Development, Marketing
Curatorial
Exhibitions & Public
Programs
Administration
Sponsorship
Exhibitions
Operations
Finance
Curators
Marketing &
Communications
Information Technology
Membership &
Benefaction
Gallery Shop
Contemporary
Collectors
Registration
Library
Publications
54
Public Programs
Education
APPENDIX B4
ART GALLERY STAFF
SENIOR MANAGEMENT
Nick Mitzevich, BA (Fine Arts), Grad.Dip.FA (Hons),
GradDipED
Mark Horton, DIPBus, MPA (ongoing), Deputy
Director
CURATORIAL
Julie Robinson, BA, MAprelim, GradDipMus Stud.,
Senior Curator, Prints, Drawings & Photographs
James Bennett, DipArtEd, Curator of Asian Art
Tracey Lock-Weir, BA (VisArt), GradDipEd, Curator
of Australian Art
Jane Messenger, BA (Hons), MA (ArtCurStud),
Curator of European Art
Robert Reason, BA, PostgradDipArtCurStud, MA,
Curator of European & Australian Decorative Arts
Rebecca Capes-Baldwin BA (Hons), Acting
Associate Curator of European Art (Maternity
Leave until February 2015)
Nici Cumpston, BA (Visual Arts) (Hons), Associate
Curator of Australian Paintings, Sculpture &
Indigenous Art (until 29 September 2013)
Maria Zagala, BA (Hons), MA (ArtHistRes), Associate
Curator, Prints Drawings & Photographs
Lisa Slade, BA, DipEd (Visual Arts & English), PhD
(continuing), Project Curator
Elle Freak, BA (Visual arts), GradDip (ArtHist), MA
(Cur&MusSt), Assistant Curator, Australian
Paintings & Sculpture
Russell Kelty, BA (Art History), MA (ArtHist), Assistant
Curator, Asian Art
Alice Clanachan, BA (Hons), MA (CultHerMus Stud),
Assistant Curator of Prints, Drawings &
Photographs (commenced 30 September 2013)
Cate Parkinson, DipBus, DipArts, Front of House &
Volunteer Coordinator
Anika Williams, Exhibitions & Public Programs
Officer (p/t)
Clare Gilham, MA (Mus&CurSt); Bachelor of Fine
Arts, Public Programs - Children’s activities (p/t)
Ryan Sims, Education Support Officer
Mark Fischer, DipEd (Fine Art), BA, Education
Officer (seconded)
Lorinda Curnow, BA (DrStud), GradDipEd
(secondary), GradDip (Cultural Community
Development: Community Arts Based Practice, Front
of House Officer) (casual)
Kelly Day, LLM, LLB, BEc, CertInt, Des&Dec, Front
of House Officer (casual)
Sarah Gibson-Walker, BBus (Mark), MA (ArtHist),
MA (Cur&MusStud), Front of House Officer (casual)
Serena Wong, BA (Creative Industries), MA
(Cur&MusStud), MA (ArtHist), Front of House
Officer (casual)
Alex Reinhold, BIntlSt-BA, GradDipEd, Front of
House Officer (casual)
PUBLICATIONS
Antonietta Itropico, BA, Manager, Publications &
Sales
Tracey Dall, Publications Officer – Image Sales &
Rights (until 13 June 2014)
Stewart Adams, Publications Officer – Logistics &
Digital Imaging
Saul Steed, Publications Officer – Digital Imaging
Tom Gordon, Graduate Officer: Graphic Design
(until March 2014)
MARKETING & DEVELOPMENT
PUBLIC PROGRAMS/FRONT OF
HOUSE/EDUCATION
David O’Connor, DipT (FineArts); Bed (Fine Arts);
GradDipArtsAdmin, Manager, Exhibitions, Public
Program & Front of House
Megan McEvoy, Cert2 Arts Administration, Grad
Dip Arts & Cultural Management, Exhibitions &
Public Programs Officer (p/t) Acting Exhibitions &
Public Program Coordinator (p/t) (from January
Susie Barr, BCreatArts, ProfDipMark, Head,
Marketing & Development
Emma Fey, BMan (Mark), Manager Development
(until January 2014)
Marika Lucas-Edwards, GradDipComm (PubRel),
BA, Communications Manager
Lisa Wilson, Development Officer
Heidi Chamberlain, BA, GradCert (ArtHist),
Marketing Officer
2014)
Luke Thurgate, Cert4, Training and Assessment;
BA (Fine Art); Exhibitions & Public Program
Coordinator (resigned February 2014)
BENEFACTION & MEMBERSHIP
Charlotte Smith, MA (Mus&CurSt), BA, DipLang,
Executive Officer, Benefaction and Membership
Robyn Lademan, Membership/Foundation Officer
GALLERY SHOP
Aimee Phillips, MSW (ongoing), BA, Bookings and
Database Officer
Cate Stanford, MGPP (ongoing), BA (ArtHist),
Coordinator Contemporary Collectors and
Departure, BA (ArtHist)
Letitia Ashworth, Gallery Shop Manager
Suzanne Clift, Gallery Shop Supervisor
Anika Williams, BVA (Hons), Gallery Shop Assistant
(p/t)
Anna Burdin, Gallery Shop Assistant (casual)
Chandan Bala Jain, Gallery Shop Assistant (casual)
Lorinda Curnow, Gallery Shop Assistant (casual)
Alicia Kaye, Gallery Shop Assistant (casual)
Elizabeth Pascale, Gallery Shop Assistant (casual)
Soyara Phillips, Gallery Shop Assistant (casual)
Lauren Simeoni, Gallery Shop Assistant (casual)
REGISTRATION AND ART SERVICES
Jan Robison, BA (Hons), GradDipEd, MSc, Registrar
Vicki Petrusevics, BA (VisArts), Grad Dip ManagArt,
Associate Registrar Exhibitions & Loans
Georgia Hale, BA (DesCer), AssDipGraphDes,
Associate Registrar Collection Management
Anne Wright, Registration Assistant
Sue Smith, Collection Database Officer
Tim Tyler, Senior Registration Officer
Stephen Oates, Registration Officer
John Webster, Registration Officer
Noel White, Registration Officer
Graham Christopher, Registration Officer
Richard King, Registration Officer
Darren Hehir, Registration Officer
Daniel Schutt, Registration Officer
Ken Orchard, Registration Officer (casual)
Brad Harkin, Registration Officer (casual)
OPERATIONS
Kym Hulme, Senior Project Officer, Finance &
Capital Assets
FESTIVAL
Mimi Crowe, BA (Theatre), GradDipArtsAdmin,
MBA, Executive Producer
Nici Cumpston, BA (Visual Arts) (Hons), Artistic
Director
Tracey Dall, Festival Coordinator (from 1 May 2014)
WORKSHOP
Franz Nieuwenhuizen, Artisan/Painter
Nick Didenko, Artisan/Carpenter (until March 2014)
Darren Hehir, Artisan/Carpenter (from March 2014)
LIBRARY
Jin Whittington, BMus (Hons), GradDipLibStud,
Information Manager
Ju Phan, AssocDipLibTech, Library Technician (p/t)
ADMINISTRATIVE AND IT SERVICES
Lance Learhinan, AssocDipElecEng, Manager,
Information Technology (until June 2014)
David Mikos, BSc (Hons), IT Manager (from June 2014)
John O’Rielley, IT Support Officer
Bill Stathoulis, MAcc, BachBIF, Management
Accountant (from October 2013)
Athina Cakouros, CPA, BComm, Management
Accountant (until September 2013)
Lindsay Brookes, Associate to the Director
Margaret Bicknell, Cert4, BusAdmin,
Administrative Services Coordinator
Heather Brooks, Curatorial Administrative Assistant
(p/t)
Miranda Comyns, Curatorial Administrative
Assistant (p/t)
56
VOLUNTEERS
GALLERY GUIDES – Executive Committee
Sandra Winder – Co-ordinator
Jill Swann – Co-ordinator Elect
Karen Hammond – Secretary / Treasurer
Nic Carstensen – Roster Manager
David Roach – Continuing Education Manager
Mary Rivett – Special Projects / Bookclub / Outreach Manager
Trish Finnimore – Children’s Tours Manager
Mark Fischer / (Ryan Sims) – Learning@Gallery Manager
FRONT OF HOUSE
INFORMATION DESK AND VESTUBULE DESK
Karen Adams, Mary Angove, Margaret Archer, Sophie Armstrong, Dianne Atwa, Ling Bai, Ganesh
Balakrishnan, Anne Ballard, Kate Barrett, Anne Berry, Cheryl Bowen, Patsy Brebner, Isabelle Bryce, Gini
Bungey, Barry Carter, Patricia Church, Kristin Clark, Judy Clarke, Carina Correas, Kathy Crockett, Frances
Cumming, Doreen Dare, Penny Davis, Bob Davis, Barbara Day, Kelly Day, Rod de'Hoedt, Bice Della Putta,
Tina Dolgopol, Kate Driscoll, Gai Dudley, Faye Duncan, Lorna Elcombe, Cynthia Elford, Jenny Esots, Lesley
Ewens, Conxita Ferrer, Elle Field, Genevieve Forster, Mary Gaillard, Kay Gill, Bev Golding, Karen
Hammond, Debra Hassen, Maureen Heaver, Olga Hoepner, Mary Hogan OAM, Hannah Hutchison,
Emmily Hyland, Geraldine Jennings, Dee Jones, Jacqui Jones, Mai-Lin Kan, Ishira Kanathigoda, Casey
Kendrick, Suzy Kidd, Katarina Klaric, Jenifer Klenner, Renate Leak, Julia Lesniewski, Wendy McCormick,
Patricia McGaffin, Jane McGregor, Georgia Minucci, Violetta Mount, Margaret Neagle, Pamela Norman,
Andrea Num Glover, Christine O’Connor, Margo O’Donnell, Rita Pemberton, Rhonda Perriam, Barbara
Phillips, Lorraine Phillips, Priscilla Pincus, Steven Pinhorn, Ann Podzuweit, Jacqueline Polasec, Liz
Pritchard, Bert Prowse, Twisha Pujara, Marion Queale, Ruth Retallack, Caroline Ricci, Sandra Richardson,
Sue Rieger, Diana Roberts, Josie Robertson, Anne Rodrigues, Eric Rossi, Jan Rowell, Kyoko Schultz,
Dhanushka Senavirathne, Alison Shaw, Ken Shimmin, Julie Smith, Margaret Stevens, Daisy Sugars,
Glennis Syddell, Julie Tammo, Deanna Temme, Barry Trowse, Rebecca Tuck, John Tuit, Sally Twisk, Ted
Van Dijk, Christine Venning, Paul Verbeeck, Maxie Walker, Yvonne Waller, Lorraine White, Margaret
White, Naomi Williams, Liz Wilson, Pauline Wood, Na Xu (Xuna)
PUBLIC PROGRAMS – START & STUDIO
Dianne Atwa, Judi Christofis, Gilbert Dashorst, Lucy Eckermann, Wendy Fairclough, Ingrid Goetz, Kari-lee
Harris, Madeleine Kiley, Georgia Minucci, Nelum Perera, Amy Pfitzner, Emily Taliangis, Julia Townsend
GALLERY GUIDES
Bente Andermahr, Catherine Bagot, Hasmik Balayance, Jill Becker, Josephine Ben-Tovim, Ann Blandford,
Christine Briggs, John Brooking, Helen Bulis, Nic Carstensen, Annette Chalmers, Rosemary Collins, Paul
Corcoran, Robyn Cowan, Kathy Crockett, Jenny Cunningham, Alma Daehn, Janet Darling, Gillian Davis,
Michelle Davis-Wanzek, Gai Dudley, Estelle Farwell, Patricia Finnimore, Lorraine Franzin, Gordon
Goulding, Christine Guille, Julian Hafner, Karen Hammond, Pamela Harding, Jennifer Harris, John Hayes,
John Hown, Barbara Humphries, Jenny Jarvis, Julienne Keane, Sue Kent, Jenifer Klenner, Jessica Knight,
Brian Knott, Kirsty Kurlinkus, Philip LaForgia, James Lainas, Laurel Laurence, Helga Linnert, Judy Lloyd,
Virginia Lynch, Jan McKinlay Moss, Gillian Morris, Robyn Mullins, Christopher Nance, Maureen Nimon,
Ann Noble, Pamela , Norman, Rosemary Nursey-Bray, Jennifer Palmer, Wendy Parsons, Margaret Payne,
Heather Pearce, Veronika Petroff, Marion Queale, Julie Redman, Mary Rivett, David Roach, Christabel
Saddler, Mary Schinella, Jenni Scrymgour (deceased), Michael Shepherd, Perla Soberon-Brittle, Nell
Steele, David Stokes, Jill Swann, Janet Taylor, Eileen Taylor, Pamela Terry, Jo Thyer, Ruth Walter, Carol
Watson, Sandra Winder, John Woodrow
57
ADMINISTRATION
Bernadette Klavins, Susan Lloyd, Eddie Major, Laura Masters, Ellie Newbery, Harriet Flavel, Cathy
Grigonis (deceased), Lorraine Phillips
SPECIAL PROJECTS
Deidre But-Husaim
REGISTRATION
Conxita Ferrer, David Gill, Peter Lane
CURATORIAL
Meg Apsey, Ann Axelby, Alex Burchmore, Annette Chalmers, Angela Dawes, Coby Edgar, Stephanie
Fabian, Barbara Fargher, Katarina Klaric, Craig Middleton, Gary Morgan, Heather Pearce, Julia Psorakis,
Madeline Reece, Terry Teusner, Caroline Tudor Owen, Susan Woodburn
INTERNS
Joanna Kitto, Anneliese Milk, Lauren Mustillo
LIBRARY
Jenny Aland, Kathy Boyes, Clare Eacott, Sharon Frost, Judy Gall, Victoria Gilham, Judith Herd, Hugo
Latorre, Megan Lewis, Sarah Linke, Annette Masters, Finula McCrossan, Sharon Mosler, Janet Neilson,
Joan Newman, Patricia Paddick, Jacqueline Polasec, Lois Taverner, Edward Tomczyk, Caroline Tudor,
Owen, Jose White, Susan Woodburn
LEARNING AT THE GALLERY - GALLERY GUIDE SUPPORT
Bente Andermahr, Jill Becker, Christine Briggs, Helen Bulis, Nic Carstensen, Rosemary Collins, Paul
Corcoran, Jenny Cunningham, Alma Daehn, Jan Darling, Gillian Davis, Gai Dudley, Lorraine Franzin, Karen
Hammond, Jennifer Harris, Barbara Humphries, Jenny Jarvis, Julienne Keane, Sue Kent, Brian Knott,
Kirsty Kurlinkus, Philip LaForgia, James Lainas, Helga Linnert, Judy Lloyd, Virginia Lynch, Gillian Morris,
Maureen Nimon, Ann Noble, Pam Norman, Rosey Nursey-Bray, Jenny Palmer, Wendy Parsons, Heather
Pearce, Marion Queale, David Roach, Christabel Saddler, Mary Schinella, Nel Steele, David Stokes, Jill
Swann, Janet Taylor, Pamela Terry, Ruth Walter, Carol Watson, Sandra Winder
LEARNING AT THE GALLERY - VOLUNTEER SUPPORT
Tony Antenucci, Skye Bennett, Ella James, Ann Keast, Margaret Lloyd, Lucy Macdonald, Maureen
Prichard, Trish Roche, Barbara Tanner, Nancy Van Kirk
LEARNING AT THE GALLERY – GALLERY STAFF SUPPORT
James Bennett, Nici Cumpston, Elle Freak, Claire Gilham, Russell Kelty, Tracey Lock-Weir, Megan
McEvoy, Jane Messenger, Nick Mitzevich, Cate Parkinson, Robert Reason, Alexandra Reinhold, Julie
Robinson, Lisa Slade, Luke Thurgate and Serena Wong
58
APPENDIX C
STAFF PUBLIC COMMITMENTS
Ten external opening addresses and
presentations (including exhibition openings and
NICK MITZEVICH
Five talks to Gallery Guides
Five talks on the collection
Thirty-two talks and tours on the 2014 Adelaide
Biennial of Australian Art: DARK HEART
Seven lectures for Graduate Studies in Art
History
15 radio interviews
20 newspaper and magazine interviews
Four photo-shoots for magazines
Three television interviews
Three talks to special interest groups in
Adelaide
Opened four exhibitions
Judged two Art Prizes
Tour of the 2013 Venice Biennale 2013 for the
Australia Council Champions Program
COMMITTEES: Council of Australian Art
Museum Directors; Australia Council Visions
Australia Peer Panel; Helpmann Academy Board
of Governors; Arts SA Senior Management
Group; Graduate Studies in Art History Joint
Committee; University of Adelaide Professional
Advisory Board
PUBLICATIONS: 2014 Adelaide Biennial of
Australian Art: DARK HEART (AGSA, 2014);
Forewords for Realms of Wonder: Jain, Hindu
and Islamic Art of India (AGSA, 2013); Netsuke
and Other Miniatures; Highlights: Aboriginal
and Torres Strait Islander Collection, Art Gallery
of South Australia; Dorrit Black: unseen forces;
and The World of Mortimer Menpes: Painter,
Etcher, Raconteur (AGSA, 2014)
Four Director’s Messages for the Articulate
magazine.
OVERSEAS TRAVEL: London, United Kingdom,
Paris, France, and Venice, Italy, 1–15 October
2013; Singapore, 16–20 January 2014; Hong
Kong, 13–17 May 2014
key note addresses)
Numerous floor talks and guided tours for
booked groups (exhibitions including 2014
Adelaide Biennial of Australian Art: DARK
HEART, Paper, ink and ochre, HEARTLAND,
(Melrose and Elder Wings)
Numerous floor talks for secondary and tertiary
groups, including Teachers’ Previews and
Curatorial Masterclasses
Five lunchtime talks
Regular presentations to Gallery Guides and
Special Interest Groups
PUBLICATIONS: Slade, Lisa et al 2014 Adelaide
Biennial of Australian Art: DARK HEART, Art
Gallery of South Australia 2014; Curating the
Curative Das Superpaper Issue 30, 2014
Urpflanze, street plants, Caroline Rothwell
Santos Museum of Economic Botany 2014
Danie Mellor and the Picasso Principle in Danie
Mellor: Exotic Lies Sacred Ties University of
Queensland Art Museum 2014
COMMITTEES: School of Art, Architecture and
Design Advisory Group, University of South
Australia; Artlink Board; Public Art Round Table,
Adelaide City Council
OTHER PROFESSIONAL: Paper co-presented
with Associate Professor Catherine Speck at the
2013 AAANZ conference, Melbourne, Victoria.
Judging, Helpmann Academy Graduate
Exhibition
Judging Royal Adelaide Show, September 2013
Judging Togart Award, Darwin, September 2013
Judging, Prisoners Art Prize, Flinders University,
March 2014
Judging Watershed Art Prize, Salisbury Council,
March 2014
Judging Kangaroo Island Art Prize, April 2014
JULIE ROBINSON
MARK HORTON
Two lectures for Graduate Studies in Art History
One lunchtime talk
Two talks to the Gallery Guides and Education
Guides
Three exhibition talks to Gallery volunteers and
to members
One teachers’ briefing
One talk for SA Regional Gallery Directors
One talk to Gallery Guides
OVERSEAS TRAVEL: Courier trip to London and
meetings with TATE Britain
LISA SLADE
15 lectures in Graduate Studies in Art History
and Curatorial and Museum Studies, University
of Adelaide
59
One newspaper interview
One TV interview
COMMITTEES: Graduate Studies in Art History
Joint Committee; Committee Member
Museums Australia Art, Craft and Design Special
Interest Group
PUBLICATIONS: ‘Delicate drypoint lines’ in
Brian Allison and Jennifer Hill (eds) Hoardings:
exceptional, exotic and common place,
University of Melbourne, Melbourne, 2013, pp.
70-71
The World of Mortimer Menpes: Painter, Etcher,
Raconteur (AGSA, 2014)
OVERSEAS TRAVEL: London: courier for
paintings to the Royal Academy and exhibition
research, 4–22 September
PUBLICATIONS: Reason, R., Lace: The Art of
Adornment, ICON Magazine, Issue 4, May–June
2014, pp92–5.
Reason R, Julia deVille in Mitzevich N, 2014
Adelaide Biennial of Australian Art: DARK
HEART, AGSA, Adelaide, pp86.
JAMES BENNETT
Three lectures for Graduate Studies in Art
History
Six lunchtime talks
Two talks to the Gallery Guides
One specialist floor talk
Five public lectures
Twelve exhibition tours
One Foundation event
PROFESSIONAL: Thesis supervision: 1 MA Art
history candidate
PUBLICATIONS: Realms of Wonder: Jain, Hindu
and Islamic Art of India in Orientations: The
magazine of collectors and connoisseurs of
Asian Art, Vol 44, No 7, October 2013, pp1–8;
'India, Burma and Cashmere exhibition, 1891',
The World of Mortimer Menpes: Painter, Etcher,
Raconteur, 2014, pp76–81; The mystery of the
oshi-e screen, c1896, The World of Mortimer
Menpes: Painter, Etcher, Raconteur, 2014,
pp164–5.
TRACEY LOCK-WEIR
Seven Newspaper/ journal interviews
Five Art History lectures
Two Television interviews
Six Specialist floor talks
Two Community group talks
Four Radio interviews
Four Gallery Guides and Front of House
volunteers talk
One Symposium Lecture
One Exhibition opening speech
OVERSEAS TRAVEL: London 30 August–12
September 2013
PUBLICATIONS: Dorrit Black: unseen forces
(AGSA 2014)
COMMITTEES: Nora Heysen Foundation
OVERSEAS TRAVEL: Gordon Darling Travel
Grant for Treasure ships: Art in the age of
spices, England, France, India, Portugal,
Netherlands, Turkey, May 2014.
RUSSELL KELTY
ROBERT REASON
Four lectures for Graduate Studies in Art History
Six lunchtime talks
Four talks to the Gallery Guides
Six exhibition tours
Two public lectures
One Foundation event
PROFESSIONAL: Thesis grading: 1 MA Art history
candidate
PUBLICATIONS: ‘Stairway to heaven’, TAASA
Review, Vol. 22, No 4, December 2013, pp24–
25; 'Elements in harmony: Contemporary
Japanese ceramics’, TAASA Review, Vol 23,
No.2, June 2014, p22–24; 'Japanese Ceramics,
1896', The World of Mortimer Menpes: Painter,
Etcher, Raconteur, 2014, pp 94–95; 'Etchings of
China, 1890s', The World of Mortimer Menpes:
Painter, Etcher, Raconteur, 2014, pp140–141.
Three lectures for Graduate Studies in Art
History
Five lunchtime talks
One talk to the Gallery / Education Guides
Seven specialist floor talks to Foundation;
higher education; external groups
One television interview
PROFESSIONAL: Presented ‘Inspired Design’ to
The Johnston Collection, Melbourne, 12
September 2013.
Attended Mid-Century Modern: Australian
Furniture Design lecture series, National Gallery
of Victoria, Melbourne, 31 May 2014.
OVERSEAS TRAVEL: Paris, France, 10–24 January
2014, to assist with Fashion Icons: Masterpieces
from the collection of the Musée Des Arts
décoratifs. London, Britain 25–31 January 2014
visit curators, art museums, gallerists.
60
Embassy of Australia, Washington DC discussed
the 2015 Festival of Contemporary Aboriginal
and Torres Strait Islander art
Harvey Art Projects, Idaho USA discussed the
2015 Festival of Contemporary Aboriginal and
Torres Strait Islander art; National Museums
Australia conference held in Launceston - May
2014
INTERNS AND STUDENT SUPERVISION: Coby
Edgar - Mentor role - SA School of Art,
University of South Australia
Aboriginal and Torres Strait Islander Art –
Conservation was managed by Australian Art as
I was working on the 2015 Festival of
Contemporary Aboriginal and Torres Strait
Islander art
JANE MESSENGER
Two lectures for Graduate Studies in Art History
Five lunchtime talks
Three talks to Gallery Guides
One newspaper interview
One Contemporary Collectors talk
PUBLICATIONS: The World of Mortimer Menpes:
Painter, Etcher, Raconteur, contributing author
OVERSEAS TRAVEL: New York, 29 May–6 June
2014
ALICE CLANACHAN
Two lunchtime talks
One Departure talk
One specialist floor talk
One lecture for Masters in Curatorial and
Museum Studies
One talk to the Gallery Guides
COMMITTEE: Departure
PUBLICATIONS: contributing author in The
World of Mortimer Menpes: Painter, Etcher,
Raconteur, Julie Robinson, AGSA, Adelaide,
2014
MARIA ZAGALA
Five lectures in Graduate Studies in Art History,
University of Adelaide
Three lunchtime talks
One lecture to Gallery and Education Guides
PUBLICATIONS: Contributing author The World
of Mortimer Menpes: Painter, Etcher, Raconteur
(AGSA, 2014); “Richard Lewer – Worse luck I’m
still here”, 2014 Adelaide Biennial of Australian
Art, DARK HEART, Time to time: the films of Bill
Morrison, (AGSA, 2013)
PROFESSIONAL: Co-judge Judge Freemantle
Print Award 2013; Co-judge Hutchins Prize,
Hobart, 2013. Participated in invited curatorial
workshop with Jens Hoffmann, Artspace,
Sydney 5 August 2013
NICI CUMPSTON
Eight lunchtime talks
Eight talks to Gallery Guides
Five lectures for Graduate studies in Art History
Eight specialist floor talks
Three floor talks for secondary and tertiary
groups, including Teachers’ Previews
Four external guest lectures
Opened four exhibitions
Six radio interviews
Keynote presentation at the National Museums
Australia conference, Launceston – May 2014
JUDGING APPOINTMENTS: Pre-selection panel
with Kelly Gellatly and Therese Ritchie for The
Alice Prize, April 2014
PUBLICATIONS: Highlights from the AGSA
Aboriginal and Torres Strait Islander Collection
with Lisa Slade
CURATED EXHIBITIONS AND DISPLAYS:
HEARTLAND: Contemporary Art from South
Australia June–September 2013, co-curated
with Lisa Slade
COMMITTEES: Selection panel for Our Mob –
annual exhibition at Artspace, Adelaide Festival
Centre
INTERSTATE/INTERNATIONAL VISITS: KlugeRuhe Aboriginal Art Museum, University of
Virginia, Charlottesville USA, guest lecture on
my curatorial practise at AGSA
ELLE FREAK
Four lunchtime talks
One talk to DepARTure
Three specialist floor talks
Two talks to Gallery Guides
One lecture for Masters in Curatorial and
Museum Studies
One lecture for Gallery Education Forum
One lecture at the University of South Australia
for Visual Art Professional Practice students
Judge of the 2014 Glenside Lion Arts Show Prize
Speaker at the Dorrit Black Symposium 2014
61
Presentation Adelaide Decorative Fine Arts
Society (ADFAS)
Talk to the Association of Independent Schools
of South Australia (AISSA)
Centre of Excellence and Innovation in Early
Childhood Development – expert panel
Two presentations to Flinders University Visual
Arts students
Theories of friendship – exhibition opening – St
Peters Girls ELC
Presentation to TafeSA, Gilles Plains students
COMMITTEES: Gallery Guides Executive
Committee, AGSA
Visual Arts Educators of South Australia (VAESA)
Friends of SASA Board (FSASA)
Adelaide Central School of Art (ACSA) Schools
Program Advisory Committee
Artists in Schools Advisory Panel, Carclew Youth
Arts
DECD Outreach Education (OE) Website Steering
Committee
DAVID O’CONNOR
One talk for Curatorial and Museum Studies
One radio interview with Radio Adelaide
Official opener of the 2013 Kapunda Rotary Art
Prize
Boards
Member Art for Public Places Committee, Arts
SA
Representative of Regional Galleries Association
of South Australia
CATE PARKINSON
Three presentations
Four information sessions
Four training sessions
MEGAN McEVOY
2014 Youthscape Art Prize
Member of Regional Galleries Association South
Australia
CLARE GILHAM
RYAN SIMS
Judge for the 2014 Penola Coonawarra Arts
Festival John Shaw Neilson Acquisitive Art Prize,
Design Prize and Youth Art Prize.
Two presentations to St Josephs School,
Payneham
One presentation to Teachers group from
Indonesia
One presentation – Careers Development to
Victor Harbor High School
One Studio workshop presentation to Errington
Special Education Centre
Studio workshop presentation to Gallery Guides
Studio workshop presentation to Hospital
Education Services students
Studio workshop presentation to Linden Park
Primary School
Studio workshop presentation to North Haven
School
Two Studio workshop presentations to
University Senior College
Six Studio workshop presentations to University
of South Australia Visual Communications
COMMITTEE: Gallery Guides Executive
Committee, AGSA
MARK FISCHER
Presentation Carclew Team Building Day
Department for Education and Child
Development (DECD) connectED Expo
DECD Every Chance for Every Child, Image of
the child – research project
Presentation Council of Education Associations
of South Australia (CEASA) Conference
Presentation Visual Art Educators of South
Australia (VAESA) Winter Conference
Presentation to Curatorial and Museum Studies
B, Art History students
Two presentations to the Gallery Guides
History Teachers’ Association of South Australia
(HTASA) State Conference
Officially Opened Trinity College Student SALA
exhibition
SALA Festival, ‘Secondary Drawing Exhibition’
Opening, Radford Auditorium, Art Gallery
DECD Outreach Education (OE) Forum Group
teacher presentation
Presentation Hospital Education Services
teachers
Presentation Concordia College
Collaboration South Australian Museum
Children’s Voice Research 2014
JAN ROBISON
Two lectures for Graduate Studies in Art History
COMMITTEE: Member, Australian Registrars
Committee; Team Leader, Disaster Plan Team;
Member, WH&S Committee
62
VICKI PETRUSEVICS
COMMITTEE: Member, Australian Registrars
Committee; Member, WH&S ArtSA
Coordinating Committee
GEORGIA HALE
One lecture for Graduate Studies in Art History
COMMITTEES: Member, Australian Registrars
Committee; Member, Disaster Plan Team
SUE SMITH
One lecture for Graduate Studies in Art History
COMMITTEE: Member, Disaster Plan, AGSA
ANNE WRIGHT
COMMITTEE: Member, Disaster Plan, AGSA
JIN WHITTINGTON
COMMITTEE: Secretary/Treasurer, ARLIS/ANZ
SA Chapter
CHARLOTTE SMITH
COMMITTEES: AGSA Foundation; DEPARTURE
CATE STANFORD
COMMITTEES: AGSA Contemporary Collectors;
DEPARTURE
AIMEE PHILLIPS
COMMITTEE: DEPARTURE
KYM HULME
COMMITTEE: WHS, AGSA; Restaurant, AGSA;
Disaster Recovery Group; ACCC, Precinct Risk
Management; Arts SA Facilities Management
(FM) Forum
MARGARET BICKNELL
COMMITTEE: Member, Disaster Plan, AGSA
MIMI CROWE
COMMITTEES: ex officio, Cultural Advisory
Council
INTERSTATE VISITS: Corroboree Festival, Sydney
TRACEY DALL
One talk to Graduate Studies in Art History
One talk to Adelaide Central School of Art
students
COMMITTEES: ex officio Cultural Advisory Council
INTERSTATE VISITS: Corroboree Festival, Sydney
63
APPENDIX D
CONSERVATION
AUSTRALIAN PAINTINGS & SCULPTURES
EUROPEAN PAINTINGS, SCULPTURE &
WATERCOLOURS
A total of 42 paintings, 13 sculptures, two works
on paper and two textiles from the Australian art
collection received treatment from Artlab
Australia. Listed below are the works of art in the
Australian art collection considered to have
received the most extensive conservation and
care this year.
Tom Roberts, A Break Away!: loan preparation
and treatment LB
Ben Quilty, Evening Shadows, Rorschach after
Johnson: loan preparation and collections care ET
Saul Solomon, Portrait of John Howard Clark:
treatment CP
John Dowie, Boy Fountain: treatment IM,AMB
Clifford Last, Standing Figures: collections care
A total of nine paintings and four sculptures from
European art received conservation treatment.
More major treatments were conducted on the
following works:
Herbert Schalz, Zenobia’s last look on Palmyra
Giovanni Segantini Spinning
O Andreoni Queen Esther
John Hoyland 8.7.67
DECORATIVE ARTS
121 decorative arts items required general
exhibition preparation
Six decorative arts items required general storage
preparation
Items conserved:
Nine items of historical lace treated KP,MG
Morris & Co., Design for the tapestry flora, c1896
IM,AMB
Special exhibitions:
Considerable exhibition preparation was required
for Dorrit Black: unseen forces. A total of 30
works of art from the Gallery’s collection received
treatment and new frames, including many of the
artist’s linocut prints. 84 loan works were
prepared for display and underwent rematting
and framing.
JS,AE,LB
WORKS ON PAPER
Mount cutting and framing works on paper in
preparation for exhibitions, collection displays
and new acquisitions has continued to be an
ongoing process. This year 250 prints, drawings
and
photographs
underwent
exhibition
preparation or conservation.
ABORIGINAL AND TORRES STRAIT ISLANDER
ART
This year a total of 28 Aboriginal and Torres Strait
Islander objects were treated by Artlab Australia.
Preventative care for works of art of a fragile
nature remains an ongoing priority. There were
15 boxes made for the storage of sculptures by
the Tjunpi Desert Weavers and boxes were also
made for the storage of 224 glass blown
sculptures which form the sculpture Burial
Ground by Yhonnie Scarce. In total seven
paintings and 21 sculptures received collection
care or were prepared for loan. The works of art
considered to have major treatment this year are
listed in more detail below.
Queenie McKenzie, Texas Downs: paint
consolidation, MP,ET
Uta Uta Tjangala, Old Man's Dreaming:
international loan preparation, MP,ET
Major work included: matting, book stand-making
and framing of over 150 works by Mortimer
Menpes for exhibition The World of Mortimer
Menpes: Painter, Etcher, Raconteur, exhibition
preparation for five Victor Pasmore prints,
matting of 13 Carol Jerrems photographs, and
matting of prints by GB Piranesi for display
AA,EM,AC,JS
ASIAN ART
This year 87 Asian art items were treated by
Artlab Australia. Asian art prepared for display
and storage included 26 textiles, 13 works on
paper, two paintings, three ceramics and six
metalware.
Seven Indian metal works were prepared for
display RR,JG
64
Five Indian works on paper were prepared for
display and storage AA,AE
Four Indian shrine hangings were prepared for
display and storage KP,MG
Four Chinese and Japanese ceramics were
prepared for display and storage RR,JG
One Indian painting was prepared for display
ET,MP
One Thai painting was prepared for display ET,MP
One pair of Japanese screens were prepared for
interstate exhibition HH
One pair of Japanese screens were prepared for
display and storage HH
Key to Conservators:
AA
AE
HH
AMB
MP
ET
KP
JG
MG
LB
RR
IM
EM
AC
JS
Anna Austin
Aquila Evill
Helen Halley
Abbie Maxwell-Brown
Marek Pacyna
Eugene Taddeo
Kristin Phillips
Justin Gare
Mary-Anne Gooden
Lisette Burgess
Renita Ryan
Ian Miles
Elizabeth Mayfield
Andrew Cuch
Jodie Scott
65
APPENDIX E
DONORS
Dr Peter Dobson
Lady Downer
Dr Michael Drew
Estate of the Hon Don Dunstan
Helen Eager
Estate of Clarrie Easther
Emeritus Professor Anne Edwards AO
Scott Elvish
Zoë Elvish
Ernabella Arts Inc
Diana M Evans
Tim Fairfax
Elizabeth H Finnegan OAM
Lesley Forwood
Jan Frolich
Richard Frolich
Kathryn Fuller
Peter Fuller
GP Securities
Charlotte Galloway
Howard Galloway
Tadeusz Groblicki
Mark Grimshaw
Rachel Grimshaw
Naomi Guerin
Andrew Gwinnett
Hiroko Gwinnett
Jennifer Hallett
Jonathan Hardy
Matthew Hardy
Nicholas Hardy
Janet Hayes
Dr Michael Hayes
R Hecker
The descendants of Mary Ann Hillier
Christopher Hodges
JamFactory Design + Craftsmanship
Estate of Lance Jerrems
Dee Jones
Eugenia Jonson
John Jonson
Lipman Karas
Andrea Katsaros
Bronwyn Kemp
Franz Kempf
Bill Keneley
Klein Family Foundation
Kumano Kuroemon
Alan Landis Antiques
DONORS
Michael Abbott AO QC
Sara Abel Smith
Will Abel Smith
JD Abrahams
Carol Adams
Adelaide Women's Liberation Archive
The Aldridge Family Endowment
Anonymous donors
Susan Armitage
The family of Gwendoline Arnold
Art Gallery of South Australia Contemporary
Collectors
Jane Ayers
John Ayers
Neil Balnaves AO
Peggy Barker
Colin E. Beer
Joan Beer
Candy Bennett
Margaret Bennett,
Vivienne Bolaffi
Marina Bollen
Helen Bowden
Kate Breakey
Leonard Brown
Julie Brownell
James Cacas
Marina Cacas
Helen Carreker
Jim Carreker
MJM Carter AO
Joseph Catanzariti
Ian Chesterman
Frank Choate
Mary Choate
Chris Christopher
Elma Christopher
Margot Colson
Cherise Conrick
Carolyn Corkindale
Jill Cottrell
Colin Cowan
Robyn Cowan
Shirley Crinion
Sylvia Frances Cumming
Daniel Mudie Cunningham
James Darling AM
Eric Denker
66
Shane Le Plastrier
Christopher Legoe
Jenny Legoe
Edwina Lehmann
Ian Little
Mark Livesey QC
Joan Lyons
Dr Peter McEvoy
Skye McGregor
David McKee
Pam McKee
Pamela McKee
Peter McKee
Diana McLaurin
Theo S Maras AM OLJ
Carl Marks
Edwina Marks
Yoshikawa Masamichi
Mr and Mrs J Matysek
Danie Mellor
Brooke Michell
Hugo Michell
Jane Michell
Brian Mitton
Elizabeth Mitton
Belinda Morgan
Diane Myers
Jane Newland
Peter Newland
Alexander Ng
Margaret Olley Art Trust
Order of St Lazarus of Jerusalem
Gerald Paech
Tom Pearce
Richard Pash
John Phillips
Lady Porter
The Hon Graham Prior QC
Dr Dick Quan
James and Diana Ramsay Foundation
Judith Rischbieth
Dr Judith Roberts AO
Jill Russell
Patricia Ryan
Annabel Sampson
Dr Pamela Schulz
Roy Schulz
Sheahan Lock Partners
Heather Stewart
S Strickland
Paul Taliangis
Thelma Taliangis
Richard Tipping
Sue Tweddell
Peter Tyndall
UBS
Peter Ujlaki
Marion Wells
Michael Whiting
Tracey Whiting
Dick Whitington QC
Dr Orietta Wicks
Mary Wilson
Ray Wilson OAM
Zena Winser
Dr Diana Young
Jane Yuile
Irena Zhang
DONORS OF PURCHASE FUNDS
Art Gallery of South Australia Foundation's South
Australian Artists Fund
Asian Art Curators Acquisition Fund
Nici Cumpston Fund
Elizabeth and Tom Hunter Fund
Public Donations Fund
Robert Reason Fund
Lisa Slade Fund
Rhianon Vernon-Roberts Memorial Collection
Maude Vizard-Wholohan Purchase Award
BEQUEST FUNDS
d'Auvergne Boxall Bequest Fund
Shirley Cameron Wilson Bequest Fund
Maurice A. Clarke Bequest Fund
JC Earl Bequest Fund
Marjory Edwards Bequest Fund
VBF Young Bequest Fund
67
APPENDIX F
ACQUISITIONS
Mirka Mora, Australia, b1928, (The red tree of
life by two black and white rats), 1982,
Melbourne, watercolour, pen and ink on paper;
Estate of Clarrie Easther 2014
AUSTRALIAN PAINTINGS
Dorrit Black, Australia, 1891–1951, Still life with
jug and ladle, c1935, Adelaide, oil on canvas on
composition board Gift of Joan Beer, Frank
Choate, Elizabeth H Finnegan OAM, Theo S
Maras AM OLJ, David McKee, Pam McKee,
Diana McLaurin, Tom Pearce and John Phillips
through the Art Gallery of South Australia
Foundation Collectors Club 2013
Eubena Nampitjin, Australia, c1921–2013,
Untitled, 2007, Kinyu, Western Australia,
synthetic polymer paint on linen; Gift of Susan
Armitage through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Leonard Brown, Australia, b1949, Experience
untaught me the world, 2009, Brisbane, oil on
linen; Gift of Leonard Brown through the Art
Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
Hilda Rix Nicholas, Australia, 1884–1961,
Grande Marché, Tangier, 1912, Tangier,
Morocco, oil on canvas on board JC Earl
Bequest Fund 2014
Wawiriya Burton, Australia, b1928, Ngayuku
ngura - My country, 2012, Amata, South
Australia, synthetic polymer paint on linen Lisa
Slade Fund and Nici Cumpston Fund 2013
Hilda Rix Nicholas, Australia, 1884–1961,
Through the arch to the sea, 1914, Tangier,
Morocco, oil on canvas on board JC Earl
Bequest Fund 2014
Ian Friend, England/Australia, b1951, Une
violente aventure sentimentale (A tempestuous
love affair), 1993–94, Launceston, Tasmania,
gouache, crayon on 1884 Whatman paper VBF
Young Bequest Fund 2014
George Tjungurrayi, Australia, c1943, Untitled,
2010, Kintore, Northern Territory, synthetic
polymer paint on linen Gift of Michael Abbott
AO QC, Margaret Bennett, Mary Choate, Shirley
Crinion, Helen Eager, Diana M Evans, Elizabeth
H Finnegan OAM, Jennifer Hallett, Dr Michael
Hayes, Christopher Hodges, Lipman Karas,
Andrea Katsaros, Klein Family Foundation, Mark
Livesey QC, Skye McGregor, Judith Rischbieth,
Patricia Ryan, Jill Russell, Annabel Sampson,
Sheahan Lock Partners, Sue Tweddell and Dick
Whitington QC through the Art Gallery of South
Australia Foundation Collectors Club 2013
John Glover, Britain/Australia, 1767–1849,
Baptism on the Ouse River by Rev Henry
Dowling, 1838, Deddington, Tasmania, oil on
canvas MJM Carter AO Collection through the
Art Gallery of South Australia Foundation 2013,
to honour Sir Thomas Elder GCMG (1818–1897)
for his influential generosity in the development
of the Art Gallery of South Australia. His
far-sighted vision inspired the growth and
excellence of this Collection during the
following century, and continues today
Ruth Tuck, Australia, 1914–2008, Cyclamen,
1982, Adelaide, watercolour on paper; Estate of
Clarrie Easther 2014
Peter Tyndall, Australia, b1951, A person looks
at a work of art/someone looks at
something...imagine that all the elements are
suddenly collapsed, 1975, Melbourne, oil on
canvas; Gift of the artist in memory of John
Barbour through the Art Gallery of South
Australia Foundation 2013
Dee Jones, 1933, Aldinga Plains Farm, 1979–80,
Adelaide, oil on cotton duck; Estate of Clarrie
Easther 2014
Mirka Mora, Australia, b1928, (Female figure
and standing dog), 1980, Melbourne,
watercolour, pen and ink on paper; Estate of
Clarrie Easther 2014
68
Eugene von Guérard, Australia, 1811–1901,
Tanunda Creek, South Australia, c1855,
Melbourne, oil on canvas board Elizabeth and
Tom Hunter Fund 2013
Alex Seton, Australia, b1977, Someone died
trying to have a life like mine, 2013, Sydney,
Wombeyan marble, nylon webbing; Gift of John
and Jane Ayers, Candy Bennett, Jim and Helen
Carreker, Chris and Elma Christopher, Cherise
Conrick, James Darling AM and Lesley Forwood,
Scott and Zoë Elvish, Richard and Jan Frolich,
Andrew and Hiroko Gwinnett, Dr Michael Hayes
and Janet Hayes, Klein Family Foundation, Ian
Little and Jane Yuile, Dr Peter McEvoy, David
and Pam McKee, Hugo and Brooke Michell, Jane
Michell, Peter and Jane Newland, John Phillips,
Dr Dick Quan, Paul and Thelma Taliangis, Sue
Tweddell, Tracey and Michael Whiting, GP
Securities, UBS and anonymous donors through
the Art Gallery of South Australia Contemporary
Collectors Director's Project 2014
AUSTRALIAN SCULPTURES
Ariel Hassan, Australia, b1977, We were faster
than life - Oh how we laughed - This was all the
life on Earth #4, 2011–12, Adelaide, nickelplated steel, duratran, glass mirror, LED circuit
Art Gallery of South Australia Foundation's
South Australian Artists Fund 2014
Dani Marti, Australia, ARMOUR, Folly of Fear,
2012–13, Adelaide, rope, rubber and leather
Maude Vizard-Wholohan Art Purchase Award
2014
Danie Mellor, Australia, b1971, Smoothing the
pillow, 2008, Canberra, reclaimed steel; Gift of
Danie Mellor through the Art Gallery of South
Australia Contemporary Collectors 2014.
Donated through the Australian Government's
Cultural Gifts Progam
Unknown, Australia, Boomerang, c1973,
Willowra Station, Northern Territory, carved
hard wood, ochre; Gift of Sylvia Frances
Cumming through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Danie Mellor, Australia, b1971, The storyplace,
2008, Canberra, reclaimed steel; Gift of Danie
Mellor through the Art Gallery of South
Australia Contemporary Collectors 2014.
Donated through the Australian Government's
Cultural Gifts Progam
Unknown, Australia, Boomerang, c1973,
Willowra Station, Northern Territory, carved
hard wood; Gift of Sylvia Frances Cumming
through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
Danie Mellor, Australia, b1971, Advance
Australia Fair, 2009–13, Canberra 2009; Bowral
2013 (reworked slightly), taxidermy, mosaic
china, painted timber, artifical rock, gold leaf,
neon and found objects; Gift of Danie Mellor
through the Art Gallery of South Australia
Contemporary Collectors 2014. Donated
through the Australian Government's Cultural
Gifts Progam
Unknown, Australia, Boomerang, c1973,
Willowra Station, Northern Territory, carved
hardwood, ochre; Gift of Sylvia Frances
Cumming through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Unknown, Australia, Clap sticks, c1973, South
Australia, carved mulga wood; Gift of Sylvia
Frances Cumming through the Art Gallery of
South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
Bronwyn Oliver, Australia, 1959–2006,
Maquette for 'Eyrie', c1992, Adelaide, copper
Transferred from Arts SA Collection 2014
Julia Robinson, Australia, b1981, Thief, 2012,
Adelaide, boiled wool, blanket, fabric, thread,
bucket, enamel, foam, wire Art Gallery of South
Australia Foundation's South Australian Artists
Fund 2013
69
Unknown, Australia, Digging stick, c1973,
Willowra Station, Northern Territory, carved
hard wood; Gift of Sylvia Frances Cumming
through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
James Gleeson, Australia, 1915–2008, Invisible
cities and memory 3, 1976, Sydney, airbrush,
brush & ink, collage of cut printed illustrations,
leaves, relief printing on cut printed
illustrations, cut frottaged paper, brown
fibre-tipped pen on paper; Gift of Ray Wilson
OAM through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
Unknown, Australia, Shield, c1973, Willowra
Station, Northern Territory, carved bean tree
wood, ochre; Gift of Sylvia Frances Cumming
through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
James Gleeson, Australia, 1915–2008, Invisible
cities and memory 5, 1976, Sydney, collage of
book and magazine illustrations (some
overprinted with linocut), airbrush & ink, stamp
& ink, fibre-tipped pen on paper; Gift of Ray
Wilson OAM through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Unknown, Australia, Shield, c1973, South
Australia, carved mulga wood; Gift of Sylvia
Frances Cumming through the Art Gallery of
South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
James Gleeson, Australia, 1915–2008, Invisible
cities and the dead 3, 1976, Sydney, collage of
magazine illustrations (some overprinted with
linocut), airbrush & ink, fibre-tipped pen on
paper; Gift of Ray Wilson OAM through the Art
Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
Louise Weaver, Australia, b1966, Marten, 2004,
Melbourne, hand crocheted lambs wood and
cotton thread over high density foam, artificial
fur fabric, tinsel, plastic, synthetic polymer
paint; Gift of Joseph Catanzariti through the Art
Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
James Gleeson, Australia, 1915–2008, Invisible
cities and the dead 4, 1976, Sydney, collage of
magazine illustrations (some overprinted with
linocut), airbrush & ink, fibre-tipped pen on
paper; Gift of Ray Wilson OAM through the Art
Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
AUSTRALIAN DRAWINGS
Tony Bishop, Australia, b1940, Mallee, 2005,
Adelaide, pencil on paper; Transferred from the
Arts SA Collection 2014
Dorrit Black, Australia, 1891–1951, Study for
two figures, 1929, Paris, pencil on wove paper;
d'Auvergne Boxall Bequest Fund 2014
James Gleeson, Australia, 1915–2008, Reality as
an interpretation of shadows, 1976, Sydney,
airbrush, brush & black and brown inks,
fibre-tipped pen, relief printing, collage of cut
printed illustrations on paper; Gift of Ray
Wilson OAM through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Peter Booth, Australian, b1940, Untitled (half
man - half beast in landscape), mid 1980s,
Melbourne, charcoal, coloured chalks on paper;
Gift of Dee Jones through the Art Gallery of
South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
Franz Kempf, Australia, b1926, The outrageous,
2006, Adelaide, charcoal on grey paper; Gift of
Franz Kempf through the Art Gallery of South
Australia Foundation 2014
70
James Gleeson, Australia, 1915–2008, Aim,
1978, Sydney, airbrush & brown and black inks,
relief printing, collage of printed illustrations on
paper; Gift of Ray Wilson OAM through the Art
Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
Franz Kempf, Australia, b1926, Memorial III
(state ii/v), 1979, printed at Druckma Press,
Melbourne, colour lithograph on paper; Gift of
Franz Kempf through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Mortimer Menpes, Britain/Australia, 1855–
1938, Adelaide pocket book, c1872-73,
Adelaide, sketchbook: pencil on paper,
leather-covered cardboard cover with gilt brass
trim; Gift of the descendants of Mary Ann
Hillier, the artist's sister, 2014
Franz Kempf, Australia, b1926, Memorial III
(state iii/v), 1979, printed at Druckma Press,
Melbourne, colour lithograph on paper; Gift of
Franz Kempf through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
AUSTRALIAN PRINTS
Franz Kempf, Australia, b1926, Memorial III
(state iv/v), 1979, printed at Druckma Press,
Melbourne, colour lithograph on cardboard;
Gift of Franz Kempf through the Art Gallery of
South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
Kim Barter, Australia, b1960, Many Journeys,
2013, Australia, etching, carborundum on
paper; Print Council of Australia Member Print
2014
Dorrit Black, Australia, 1891–1951, At the
cafeteria, c1943, Magill, linocut on paper;
d'Auvergne Boxall Bequest Fund 2014
Franz Kempf, Australia, b1926, Memorial III
(state v/v), 1979, printed at Druckma Press,
Melbourne, lithograph on paper; Gift of Franz
Kempf through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Franz Kempf, Australia, b1926, Winter solstice,
1957, Adelaide, etching, aquatint on paper; Art
Gallery of South Australia Foundation's South
Australian Artists Fund 2014
Franz Kempf, Australia, b1926, The night is still,
1959, Adelaide, drypoint, aquatint, roulette on
paper; Art Gallery of South Australia
Foundation's South Australian Artists Fund 2014
Franz Kempf, Australia, b1926, Memorial II,
1981, printed at Druckma Press, Melbourne,
colour lithograph on paper; Gift of Franz Kempf
through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
Franz Kempf, Australia, b1926, Memorial I,
1979, printed at Druckma Press, Melbourne,
colour lithograph on paper; Gift of Franz Kempf
through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
Franz Kempf, Australia, b1926, Coorong
passage, 1984, Adelaide, drypoint, roulette on
paper; Art Gallery of South Australia
Foundation's South Australian Artists Fund 2014
Franz Kempf, Australia, b1926, Memorial III
(state i/v), 1979, printed at Druckma Press,
Melbourne, lithograph on paper; Gift of Franz
Kempf through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Franz Kempf, Australia, b1926, Tikvatenu, 1988,
Adelaide, colour lithograph on paper; Gift of
Franz Kempf through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
71
Franz Kempf, Australia, b1926, Days of masks
and riddles, 2001, Adelaide, lithograph on
paper; Art Gallery of South Australia
Foundation's South Australian Artists Fund 2014
John Olsen, Australia, b1928, Birds and frog at
Lake Eyre, 1975, printed by Crossley Print
Workshop, Melbourne, lithograph printed in
brown and purple inks on paper; Gift of Richard
Pash through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
Franz Kempf, Australia, b1926, Colateral
damage, 2006, Adelaide, linocut, pen & ink,
wash on paper; Art Gallery of South Australia
Foundation's South Australian Artists Fund 2014
Richard Kelly Tipping, Australia, b1949, Meat
mart, from the portfolio The Sydney Morning
vol III, 1980, printed 1992 at Thorny Devil Press,
Lake Macquarie, New South Wales, colour
screenprint on paper; Public Donations Fund
2013
Franz Kempf, Australia, b1926, Fear, 2006,
Adelaide, woodcut on paper; Art Gallery of
South Australia Foundation's South Australian
Artists Fund 2014
Franz Kempf, Australia, b1926, Flight, 2006,
Adelaide, linocut on paper; Art Gallery of South
Australia Foundation's South Australian Artists
Fund 2014
Richard Kelly Tipping, Australia, b1949,
Australian Made, from the portfolio The Sydney
Morning vol III, 1981, printed 1992 at Thorny
Devil Press, Lake Macquarie, New South Wales,
colour screenprint on paper; Public Donations
Fund 2013
Franz Kempf, Australia, b1926, I bring you a new
order, 2006, Adelaide, woodcut on paper; Art
Gallery of South Australia Foundation's South
Australian Artists Fund 2014
Richard Kelly Tipping, Australia, b1949, Start
Freeway, Melbourne, from the portfolio The
Sydney Morning vol III, 1981, printed 1992 at
Thorny Devil Press, Lake Macquarie, New South
Wales, colour screenprint on paper; Public
Donations Fund 2013
Franz Kempf, Australia, b1926, It may not end
justly, 2006, Adelaide, woodcut printed in black
and grey inks on paper; Art Gallery of South
Australia Foundation's South Australian Artists
Fund 2014
Richard Kelly Tipping, Australia, b1949, Crossing
the Hump (Evening), from the portfolio The
Sydney Morning vol III, 1982, printed 1992 at
Thorny Devil Press, Lake Macquarie, New South
Wales, colour screenprint on paper; Public
Donations Fund 2013
Franz Kempf, Australia, b1926, War is no longer
declared...., 2006, Adelaide, woodcut on paper;
Art Gallery of South Australia Foundation's
South Australian Artists Fund 2014
Shaun Gladwell, Australia, b1972,
MADDESTMAXIMVS/HAUNTED/REPOSE, 2009,
Melbourne, etching, plate tone on paper;
Transferred from the Arts SA Collection 2014
Richard Kelly Tipping, Australia, b1949, Ned
Nolan Kelly, from the portfolio The Sydney
Morning vol III, 1983, printed 1992 at Thorny
Devil Press, Lake Macquarie, New South Wales,
colour screenprint on paper; Public Donations
Fund 2013
Lidia Groblicka, Australia, 1933–2012,
Scaffolding, 1956, Kraków, Poland, woodcut on
paper; Shirley Cameron Wilson Bequest Fund
2014
Richard Kelly Tipping, Australia, b1949, Danger,
1992, from the portfolio The Sydney Morning
vol III, printed at Thorny Devil Press, Lake
Macquarie, New South Wales, colour
screenprint on paper; Public Donations Fund
2013
Barbara Hanrahan, Australia, 1939–1991, Three
Graces, 1977, Adelaide, colour screenprint on
paper; Estate of Clarrie Easther 2014
Barbara Hanrahan, Australia, 1939–1991,
Acrobat, 1983, Adelaide, colour screenprint on
paper; Estate of Clarrie Easther 2014
72
Richard Kelly Tipping, Australia, b1949, The
Blood of the Poet, from the portfolio The Sydney
Morning vol III, 1992, printed at Thorny Devil
Press, Lake Macquarie, New South Wales,
colour screenprint on paper; Public Donations
Fund 2013
Richard Kelly Tipping, Australia, b1949, Art
Allergy, from the portfolio The Sydney Morning
vol IV, 1994, printed by Thorny Press, Lake
Macquarie, New South Wales, screenprint on
cream paper; Public Donations Fund 2013
AUSTRALIAN PHOTOGRAPHS
Richard Kelly Tipping, Australia, b1949, Untitled
(Form 1 Planet), from the portfolio The Sydney
Morning vol III, 1992, printed at Thorny Devil
Press, Lake Macquarie, New South Wales,
colour screenprint on paper; Public Donations
Fund 2013
Del Kathryn Barton, Australia, b1972, Brendan
Fletcher, Australia, 1973, The human dress with
remy Hii (still), 2013–14, Sydney, giclée print on
paper; Gift of the Art Gallery of South Australia
Contemporary Collectors 2014
Richard Kelly Tipping, Australia, b1949, Untitled
(Holy shit), from the portfolio The Sydney
Morning vol III, 1992, printed at Thorny Devil
Press, Lake Macquarie, New South Wales,
colour screenprint on paper; Public Donations
Fund 2013
Del Kathryn Barton Australia, b1972, Brendan
Fletcher, Australia, 1973, The human dress with
remy Hii (still), 2013–14, Sydney, giclée print on
paper; Gift of the Art Gallery of South Australia
Contemporary Collectors 2014
Del Kathryn Barton, Australia, b1972, Brendan
Fletcher, Australia, 1973, The human dress with
remy Hii (still), 2013–14, Sydney, giclée print on
paper; Gift of the Art Gallery of South Australia
Contemporary Collectors 2014
Richard Kelly Tipping, Australia, b1949, Untitled
(No more Cunding Futs), from the portfolio The
Sydney Morning vol III, 1992, printed at Thorny
Devil Press, Lake Macquarie, New South Wales,
colour screenprint on paper; Public Donations
Fund 2013
Liam Benson, Australia, b1980, Bleeding glitter,
2005, Sydney, inkjet print on paper; Gift of
Daniel Mudie Cunningham through the Art
Gallery of South Australia Contemporary
Collectors 2014
Richard Kelly Tipping, Australia, b1949, Untitled
(she swore o like an Angel), from the portfolio
The Sydney Morning vol III, 1992, printed at
Thorny Devil Press, Lake Macquarie, New South
Wales, colour screenprint on paper; Public
Donations Fund 2013
Kate Breakey, Australia, b1957, Hole in The Sky,
Meningie, South Australia, 1980, Meningie,
South Australia; printed and hand-coloured
2013 Tucson, Arizona, United States of America,
archival pigment inkjet print, hand-coloured
with pencil and pastel; Gift of the artist through
the Art Gallery of South Australia Contemporary
Collectors 2013
Richard Kelly Tipping, Australia, b1949, Untitled
(Sunlight), from the portfolio The Sydney
Morning vol III, 1992, printed at Thorny Devil
Press, Lake Macquarie, New South Wales,
colour screenprint on paper; Public Donations
Fund 2013
Kate Breakey, Australia, b1957, Swirly cloud,
Marne River, South Australia, 1987, Marne
River, South Australia; printed and
hand-coloured 2013 Tucson, Arizona, United
States of America, archival pigment inkjet print,
hand-coloured with pencil and pastel; Gift of
the artist through the Art Gallery of South
Australia Contemporary Collectors 2013
Richard Kelly Tipping, Australia, b1949, Art
Allergy, from the portfolio The Sydney Morning
vol IV, 1994, Newcastle, New South Wales;
printed by Thorny Press, Lake Macquarie, New
South Wales, screenprint on paper; Gift of the
artist 2013
73
Kate Breakey, Australia, b1957, Cape Cassini,
Kangaroo Island, South Australia, 2000,
Kangaroo Island, South Australia; printed and
hand-coloured 2013, Tucson, Arizona, United
States of America, archival pigment inkjet print,
hand-coloured with pencil and pastel; Gift of
the artist through the Art Gallery of South
Australia Contemporary Collectors 2013
Carol Jerrems, Australia, 1949–1980, Vale
Street, 1975, St Kilda, Victoria, gelatin-silver
photograph; Maurice A Clarke Bequest Fund
2013
Kate Breakey, Australia, b1957, Burned Trees,
Port Lincoln, South Australia, 2005, Port Lincoln,
South Australia; printed and hand-coloured
2013 Tucson, Arizona, United States of America,
archival pigment inkjet print, hand-coloured
with pencil and pastel; Gift of the artist through
the Art Gallery of South Australia Contemporary
Collectors 2013
Carol Jerrems, Australia, 1949–1980, Esben and
Dusan, Cronulla, 1977, Sydney, gelatin-silver
photograph; Maurice A Clarke Bequest Fund
2013
Carol Jerrems, Australia, 1949–1980, Waiting,
1975, Melbourne, gelatin-silver photograph;
Maurice A Clarke Bequest Fund 2013
Carol Jerrems, Australia, 1949–1980, Patch of
light, from the series Macquarie University,
1977, Sydney, gelatin-silver photograph; Gift of
the Estate of Lance Jerrems through the Art
Gallery of South Australia Foundation 2013
Marian Drew, Australia, b1960, Tasmanian
swamp hen with candle, 2005–08, Brisbane,
pigment inkjet print on paper; Gift of Rick and
Jan Frolich through the Art Gallery of South
Australia Contemporary Collectors 2014
Carol Jerrems, Australia, 1949–1980, Students,
from the series Macquarie University, 1977,
Sydney, gelatin-silver photograph; Gift of the
Estate of Lance Jerrems through the Art Gallery
of South Australia Foundation 2013
Rennie Ellis Australia, 1940–2003, Portrait of
Carol Jerrems, 1970, Melbourne, gelatin-silver
photograph; Maurice A.Clarke Bequest Fund
2013
Carol Jerrems, Australia, 1949–1980, Carol's
hospital room, from the series Hospital, 1979,
Melbourne; printed by Roger Scott, Sydney,
gelatin-silver photograph; Maurice A. Clarke
Bequest Fund 2013
Carol Jerrems, Australia, 1949–1980, Ian
Macrae at Mozart Street looking sensitive and
low key wearing a Mizza t-shirt during 'Love is
hate', 1973, Melbourne; printed by Roger Scott,
Sydney, gelatin-silver photograph; Maurice A.
Clarke Bequest Fund 2013
Carol Jerrems, Australia, 1949–1980, Self
portrait, from the series Hospital, 1979,
Melbourne; printed by Roger Scott, Sydney,
gelatin-silver photograph; Maurice A. Clarke
Bequest Fund 2013
Carol Jerrems, Australia, 1949–1980, Corridor
with window, from the series Macquarie
University, 1975, Sydney, gelatin-silver
photograph; Gift of the Estate of Lance Jerrems
through the Art Gallery of South Australia
Foundation 2013
Carol Jerrems, Australia, 1949–1980, ('Free' on
table, with two women), 1970s, Melbourne;
printed by Roger Scott, Sydney, gelatin-silver
photograph; Maurice A. Clarke Bequest Fund
2013
Carol Jerrems, Australia, 1949–1980, Mark and
Flappers, 1975, Melbourne, gelatin-silver
photograph; Maurice A. Clarke Bequest Fund
2013
Carol Jerrems, Australia, 1949–1980, A poem by
Paul Cox, c1968, Melbourne, nine gelatin-silver
photographs; bound in ringbinder; Maurice A
Clarke Bequest Fund 2013
Carol Jerrems, Australia, 1949–1980, Mark
Lean, 1975, Melbourne, gelatin-silver
photograph; Gift of the Estate of Lance Jerrems
through the Art Gallery of South Australia
Foundation 2013
Mark Kimber, Australia, b1954, Mother in
backyard, 1980, Adelaide, type C photograph;
Art Gallery of South Australia Foundation's
South Australian Artists Fund 2014
74
Mark Kimber, Australia, b1954, Port Adelaide,
1980, Adelaide, type C photograph; Art Gallery
of South Australia Foundation's South
Australian Artists Fund 2014
Adelaide Women's Liberation Archive, Adelaide,
Australia, 1990–2011, Women work for life
[banner], 1980s, Adelaide, cotton, velvet,
hessian, wool, fabric dye, nylon rope; Gift of the
Adelaide Women's Liberation Archive 2013
Mark Kimber, Australia, b1954, Watertower,
airport, 1980, Adelaide, type C photograph; Art
Gallery of South Australia Foundation's South
Australian Artists Fund 2014
Mark Kimber, Australia, b1954, Aunty &
daughter at Devil's Dyke, 1984, England, type C
photograph; Art Gallery of South Australia
Foundation's South Australian Artists Fund 2014
Helen Aitken-Kuhnen, Australia, b1952, Beach
brooch, 2013, Manuka, ACT, enamel, silver;
Rhianon Vernon-Roberts Memorial Collection
2014
Gwendoline Arnold, Australia, 1913–2007,
Tapestry [Here is a kingdom of wonder and
secretly into which we can step at will], 1934,
South Australian School of Arts and Crafts,
Adelaide, wool; Gift from the family of
Gwendoline Arnold 2013
Mark Kimber, Australia, b1954, Devil's Dyke,
1984, England, type C photograph; Art Gallery
of South Australia Foundation's South
Australian Artists Fund 2014
Nyukana (Daisy) Baker, Australia, b1943, Fly
curtain, 2001, Ernabella, South Australia, gum
fruits, bat-winged coral seeds; Gift of Dr Diana
Young 2014. Donated through the Australian
Government's Cultural Gifts Program
Tracey Moffatt, Australia, b1960, Eubena
Nampitjin is an Australian painter who lives in
the desert, 2007, Australia, inkjet print on
paper; Gift of Susan Armitage through the Art
Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
Robin Best, Australia/China, b1953, The pepper
pot – the legacy of Coenraad Temminck, 2013,
Jingdezhen, China, porcelain, xincai painting;
Gift of Diana McLaurin and Dick Whitington QC
through the Art Gallery of South Australia
Foundation Collectors Club and the d'Auvergne
Boxall Bequest Fund 2013
AUSTRALIAN DECORATIVE ARTS
Adelaide Women's Liberation Archive, Adelaide,
Australia, 1990–2011, No nuclear bombs [Pine
gap protest banner], 1983, Leichhardt, New
South Wales, cotton, nylon, fabric dye,
synthetic polymer paint; Gift of the Adelaide
Women's Liberation Archive 2013
Julie Blyfield, Australia, b1957, Fragment #12
brooch, 2013, Maylands, South Australia,
oxidised silver, archival wax; Rhianon
Vernon-Roberts Memorial Collection 2014
Adelaide Women's Liberation Archive, Adelaide,
Australia, 1990–2011, International Women's
day 1991 [banner], 1991, Adelaide, canvas,
synthetic polymer painted; Gift of the Adelaide
Women's Liberation Archive 2013
Stephen Bowers, Australia, b1952, Janice
HISTON, Australia, Mug, 1983, JamFactory
Workshops, St Peters, Adelaide, stoneware,
cobalt decoration; Gift of Bronwyn Kemp 2014
Brian Chaseling, Australia, b1965, Vase, 1989,
JamFactory Workshops, St Peters, Adelaide,
glass; Gift of the JamFactory Design +
Craftsmanship 2014
Adelaide Women's Liberation Archive, Adelaide,
Australia, 1990–2011, Reclaim the night,
Adelaide 2007 [t-shirt], 2007, Adelaide, cotton;
Gift of the Adelaide Women's Liberation
Archive 2013
Matthew Curtis, Australia, 1964, Red carapace,
2008, Queanbeyan, New South Wales, blown
and constructed tinted furnace glass on powder
coated steel base; Gift of Colin E. Beer through
the Art Gallery of South Australia Foundation
2013
Adelaide Women's Liberation Archive, Adelaide,
Australia, 1990–2011, I am a lesbian [Bonds
t-shirt], 1990s, Adelaide, cotton, screen-printed
fabric dye; Gift of the Adelaide Women's
Liberation Archive 2013
75
Anne Dangar, Australia/France, 1885–1951, Jug,
c1934, Moly-Sabata, Sablons, earthenware; Gift
of Joan Beer, Frank Choate, Elizabeth H
Finnegan OAM, Theo S Maras AM OLJ, David
McKee, Pam McKee, Diana McLaurin, Tom
Pearce and John Phillips through the Art Gallery
of South Australia Foundation Collectors Club
2013
Ernabella Arts Inc, Australia, est1948, Alison
(Milyika) Carroll, Australia, 1958, Platter, 2001,
JamFactory, Adelaide, earthenware, glaze
material, clear overglaze; Gift of Ernabella Arts
Inc. and the JamFactory Design + Craftsmanship
2014
Ernabella Arts Inc, Australia, est1948, Angkuna
Kulyuru, Australia, 1943, Tablecloth, c1980,
Ernabella, South Australia, cotton batik; In
memory of Dr Robert Guerin through the Art
Gallery of South Australia Foundation 2013
Ernabella Arts Inc, Australia, est1948,
Boomerang, c1968, Ernabella, South Australia,
Mulga wood; Gift of Bill Keneley through the Art
Gallery of South Australia Foundation 2014
Ernabella Arts Inc, Australia, est1948,
Kunmanara (Nyuwara) Tapaya, Australia, 1971–
2004, Platter, 2001, JamFactory, Adelaide,
earthenware, glaze material, clear overglaze;
Gift of Ernabella Arts Inc. and the JamFactory
Design + Craftsmanship 2014
Ernabella Arts Inc, Australia, est1948,
Boomerang, c1968, Ernabella, South Australia,
Mulga wood; Gift of Bill Keneley through the Art
Gallery of South Australia Foundation 2014
Ernabella Arts Inc., Australia, est1948,
Coolamon [incised decoration], c1968,
Ernabella, South Australia, ochre, hardwood;
Gift of Bill Keneley through the Art Gallery of
South Australia Foundation 2014
Sionemaletau Falemaka, Australia, b1962,
Neckpiece, 2012, Sydney, pearl disks, polymide
buttons, silk yarn; Rhianon Vernon-Roberts
Memorial Collection 2013
Ernabella Arts Inc., Australia, est1948,
Coolamon [incised decoration], c1968,
Ernabella, South Australia, ochre, hardwood;
Gift of Bill Keneley through the Art Gallery of
South Australia Foundation 2014
Sionemaletau Falemaka, Australia, b1962,
Neckpiece, 2012, Sydney, glass beads, polymide
disks; Rhianon Vernon-Roberts Memorial
Collection 2013
India Flint, Australia, born 1958, Beyond repair,
2012, Mount Pleasant, South Australia, wool,
silk, cotton, steel, eucalyptus dyes; Public
Donations Fund 2014
Ernabella Arts Inc., Australia, est1948,
Coolamon [incised decoration], c1968,
Ernabella, South Australia, ochre, hardwood;
Gift of Bill Keneley through the Art Gallery of
South Australia Foundation 2014
Vagn Hemmingsen, Australia, 1922–2003,
Neckpiece, c.1977, JamFactory Workshops, St
Peters, Adelaide, silver, South Australian jade,
leather; Gift of the JamFactory Design +
Craftsmanship 2014
Ernabella Arts Inc., Australia, est1948,
Coolamon [incised decoration], c1968,
Ernabella, South Australia, ochre, hardwood;
Gift of Bill Keneley through the Art Gallery of
South Australia Foundation 2014
Sam Herman, Britain/Australia, b1936, Vessel,
1974, JamFactory Workshops, St Peters,
Adelaide, recycled glass; Gift of the Estate of
the Hon. Don Dunstan and the JamFactory
Design + Craftsmanship 2014
Ernabella Arts Inc., Australia, est1948, Digging
stick, c1968, Ernabella, South Australia,
hardwood; Gift of Bill Keneley through the Art
Gallery of South Australia Foundation 2014
Brendan Huntley, Australia, b1982, Untitled,
from the series You're welcome, 2013,
Melbourne, stoneware, slip, glaze material,
wooden bat; Maude Vizard-Wholohan Purchase
Award 2014
Ernabella Arts Inc, Australia, est1948, Yuminiya,
Australia, active 1960s, Wall hanging, c1968,
Ernabella, South Australia, hessian, paint, wood,
dye, string; Gift of Bill Keneley through the Art
Gallery of South Australia Foundation 2014
76
Brendan Huntley, Australia, b1982, Untitled,
from the series You're welcome, 2013,
Melbourne, terracotta, stoneware, slip, glaze
material, wooden bat; Maude Vizard-Wholohan
Purchase Award 2014
Jonaski Takuma, Australia, working 1893–1910,
The lyre bird's retreat [Cameo carved emu egg],
c1897, Sydney, emu egg; JC Earl Bequest Fund
2014
Tim Strachan, Australia, b1954, Blossom jar,
1981, JamFactory Workshops, St Peters,
Adelaide, stoneware, sgraffito decoration,
seaweed ash deposits; Gift of the JamFactory
Design + Craftsmanship 2014
Brendan Huntley, Australia, b1982, Untitled,
from the series You're welcome, 2013,
Melbourne, terracotta, stoneware, raku,
porcelain, slip, glaze material, wooden bat;
Maude Vizard-Wholohan Purchase Award 2014
Mark Vaarwerk, Australia, b1973, Brooch
[orange], 2009, Paddington, Queensland,
polystyrene, silver, stainless steel, ABS vacuum
cleaner casing, permanent marker ink; Rhianon
Vernon-Roberts Memorial Collection 2013
Takeshi Iue, Australia, 1980, East chair, 2014,
designed 2012, Melrose Park, South Australia,
European oak; Art Gallery of South Australia
Foundation's South Australian Artists Fund 2014
Mark Vaarwerk, Australia, b1973, Brooch
[green], 2010, Paddington, Queensland,
polystyrene, silver, stainless steel, colouring
pencil; Rhianon Vernon-Roberts Memorial
Collection 2013
Bronwyn Kemp, Australia, b1953, Bowl, 1988,
JamFactory Workshops, St Peters, Adelaide,
porcelain, cobalt decoration; Gift of the
JamFactory Design + Craftsmanship 2014
Bronwyn Kemp, Australia, b1953, Chocolate
box, 1988, JamFactory Workshops, St Peters,
Adelaide, porcelain, inlaid decoration, clear
overglaze; Gift of the JamFactory Design +
Craftsmanship 2014
Mark Vaarwerk, Australia, b1973, Brooch
[beige], 2011, Newtown, New South Wales,
polystyrene, silver, stainless steel, cellulose
acetate cigarette filters; Rhianon VernonRoberts Memorial Collection 2013
Flora Landells, Australia, 1888–1981, Bowl [fish
design], c1930s, Perth, earthenware, glazed;
Robert Reason Fund 2013
Mark Vaarwerk, Australia, b1973, Brooch
[black], 2011, Newtown, New South Wales,
polystyrene, silver, stainless steel, ABS
computer keys, permanent marker ink; Rhianon
Vernon-Roberts Memorial Collection 2013
Bruce Nuske, Australia, b1949, Vase, 1980,
JamFactory Workshops, St Peters, Adelaide,
stoneware, oxides, stain material; Gift of the
JamFactory Design + Craftsmanship 2014
Mark Vaarwerk, Australia, b1973, Brooch [blue],
2011, Newtown, New South Wales, polystyrene,
silver, stainless steel, acrylic car head light
covers; Rhianon Vernon-Roberts Memorial
Collection 2013
Bruce Nuske, Australia, b1949, Tea party, 1982,
JamFactory Workshops, St Peters, Adelaide,
slab built porcelain, glaze material; Gift of
Bronwyn Kemp 2014
Mark Vaarwerk Australia, b1973, Brooch [red],
2011, Newtown, New South Wales, polystyrene,
silver, stainless steel, colouring pencil; Rhianon
Vernon-Roberts Memorial Collection 2013
Gary Roberts, Vase form, b1984, JamFactory
Workshops, St Peters, Adelaide, stoneware,
inlaid decoration, slip stencilled decoration; Gift
of Bronwyn Kemp 2014
Julia de Ville, Australia, Victorian cat mummy,
2012, Collingwood, Melbourne, taxidermy cat,
glass, linen, lace, silver,leather, wood; Gift of
the Art Gallery of South Australia Contemporary
Collectors 2014
S Schlank & Co, Adelaide, Australia, 1888–1971,
Lobethal Kingship medal [won by CHG Paech],
1905, Adelaide, gold; Gift of Gerald Paech 2013.
Donated through the Australian Government's
Cultural Gifts Program
77
Mortimer Menpes, Britain/Australia, 1855–
1938, Abbazia, 1909–11, London or
Pangbourne, England, etching, drypoint on
paper; Gift of Eric Denker in honour of Dr
Meredith Jane Gill (Assistant Curator 1980–81)
through the Art Gallery of South Australia
Foundation 2014
AUSTRALIAN MOVING IMAGES
Del Kathryn Barton, Australia, b1972, Brendan
Fletcher, Australia, 1973, The human dress,
2013, Sydney, two channel HD video with
sound, duration: 9 mins; Gift of the Art Gallery
of South Australia Contemporary Collectors
2014
Mortimer Menpes, Britain/Australia, 1855–
1938, St Mark's Piazza, 1909–11, London or
Pangbourne, England, etching, drypoint on
paper; Gift of Eric Denker in honour of Peter
and Margaret Gill through the Art Gallery of
South Australia Foundation 2014
Shoufay Derz, Australia, b1979, Depart without
return, 2011, Sydney, HD video, looped silent;
Gift of the Art Gallery of South Australia
Contemporary Collectors 2014
Richard Lewer, Australia, b1970, Worse luck I
am still here, 2013, Perth?, Perth, HD blue ray
animation, 4.50 mins; Gift of Jane Ayers, Candy
Bennett, Edwina Lehmann, and Thelma
Taliangis through the Art Gallery of South
Australia Contemporary Collectors 2014
Victor Pasmore, Britain, 1908–1997, Points of
contact no8, 1966, London; printed at Kelpra
Studio, London, colour screenprint on paper;
Gift of Richard Pash through the Art Gallery of
South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
Baden Pailthorpe, Australia, b1984, Cadence III,
2013, Sydney, HD digital video, colour, sound, 4
minutes d'Auvergne Boxall Bequest Fund 2013
Victor Pasmore, Britain, 1908–1997, Points of
contact no.11, 1967, London; printed at Kelpra
Studio, London, colour screenprint on paper;
Gift of Richard Pash through the Art Gallery of
South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
David Rosetzky, Australia, b1970, Weekender,
2001, Melbourne, DVD + RW, colour, sound, 16
min, 18 sec; Gift of Carl and Edwina Marks
through the Art Gallery of South Australia
Contemporary Collectors 2013
Victor Pasmore, Britain, 1908–1997, Points of
contact no13, 1969, London; printed at Kelpra
Studio, London, colour screenprint on paper;
Gift of Richard Pash through the Art Gallery of
South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
INTERNATIONAL MOVING IMAGES
Ignas Krunglevicius, Lithuania, b1969,
Interrogation, 2009, Oslo, Norway, two-channel
video installation, 13 mins, sound; Gift of James
Darling AM and Lesley Forwood through the Art
Gallery of South Australia Contemporary
Collectors 2014
Victor Pasmore, Britain, 1908–1997, Points of
contact no14, 1969, London; printed at Kelpra
Studio, London, screenprint printed in brown
ink on paper; Gift of Richard Pash through the
Art Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
EUROPEAN PRINTS
Hans Baldung, Germany, 1484/5–1545, Wild
horses fighting, from the series Wild horses in a
wood, 1534, Strasbourg, Germany, woodcut on
paper; VBF Young Bequest Fund 2014
Albrecht Dürer, Germany, 1471–1528, Siege of
a fortress, 1527, Nuremberg, Germany,
woodcut on paper; Gift of Carolyn Corkindale
through the Art Gallery of South Australia
Foundation 2014
78
Rembrandt, Harmensz. van Rijn, The
Netherlands, 1606–1669, Landscape with a
cottage and haybarn, 1641, Amsterdam,
etching, drypoint on paper; Gift of Carol Adams,
Peggy Barker, Frank Choate, Lady Downer, Dr
Michael Drew, Shane Le Plastrier, Joan Lyons,
Belinda Morgan, Tom Pearce, Marion Wells and
Irena Zhang through the Art Gallery of South
Australia Foundation Collectors Club 2013
Minton, Stoke-on-Trent, Staffordshire, Britain,
est1793, AWN Pugin, Britain, 1812–1852,
Dinner Service [Soup tureen and stand,
vegetable tureen, sauce tureen and stand,
compote, oval plate], c1855, Stoke-on-Trent,
Staffordshire, earthenware, block-printed;
Public Donations Fund 2014
William De Morgan & Co., London, Britain,
1872–1907, William de Motgan, Britain, 1839–
1917, The fishing lesson bowl, c1890, London,
earthenware; Gift of Christopher and Jenny
Legoe through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
EUROPEAN PAINTINGS
Mortimer Menpes, Britain/Australia, 1855–
1938, Japanese street scene, 1887-88, Japan or
London, oil on panel MJM Carter AO Collection.
Given to mark The World of Mortimer Menpes
exhibition 2014
Josiah Spode, Britain, c1796–1833, Covered
scent vase, c1800–10, Stoke-on-Trent,
Staffordshire, red earthenware, black basalt
relief; Gift of JD Abrahams, Marina Bollen, Julie
Brownell, James and Marina Cacas, Ian
Chesterman, Margot Colson, Andrew Gwinnett,
R Hecker, John and Eugenia Jonson, Mr and Mrs
J Matysek, Brian and Elizabeth Mitton, Diane
Myers, Alexander Ng, Order of St Lazarus of
Jerusalem, Dr Judith Roberts AO, Roy Schulz and
Dr Pamela Schulz, Heather Stewart, S Strickland,
Dr Orietta Wicks, Mary Wilson, assisted by Alan
Landis Antiques and anonymous donors in
memory of The Hon Dr Kemeri Murray AO
through the Art Gallery of South Australia
Foundation 2013
Camille Pissarro, France, 1830–1903, Prairie à
Éragny, 1886, Éragny, France, oil on canvas; Gift
of Helen Bowden, Frank and Mary Choate,
Emeritus Professor Anne Edwards AO, Marjory
Edwards Bequest Fund, Andrew and Hiroko
Gwinnett, David and Pam McKee, Peter and
Pamela McKee, Margaret Olley Art Trust, James
and Diana Ramsay Foundation, and Members
through the Art Gallery of South Australia
Foundation Masterwork Appeal 2014
Maurice Utrillo, France, 1883–1955,
Menilmontant, 1923, Paris, gouache on paper;
Gift of the Aldridge Family Endowment, Neil
Balnaves AO, Vivienne Bolaffi, Jill Cottrell, Colin
Cowan, Dr Peter Dobson, Andrew Gwinnett,
Pamela McKee, Peter McKee, John Phillips, Lady
Porter, The Hon Graham Prior QC and Zena
Winser through the Art Gallery of South
Australia Foundation Collectors Club 2013
John Vallance, Britain, active 1811–1851, Vase
[stand and dome], 1840s, Matlock, Bath,
Derbyshire, marble, glass, velvet, ebonised
wood; Gift of Jonathan, Margaret, Nicholas and
Matthew Hardy in memory of their mother,
Anne Hardy 2013
EUROPEAN SCULPTURES
ASIAN PAINTINGS
Tim Noble, Britain, b1966, Sue Webster, Britain,
1967, The Gamekeeper's Gibbet, 2011, London,
solid sterling silver gilded in pure god, metal
stand, light projector; Gift of Tim Fairfax
through the Art Gallery of South Australia
Foundation 2013
India, Map of the pilgrimage sites of Palitana,
1945, Gujarat, pigment and gold leaf on cloth;
Gift of Michael Abbott AO QC through the Art
Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
EUROPEAN DECORATIVE ARTS
Japan, Taima Mandala, 17th–18thC, Nara,
hanging scroll, ink, colour, gold on paper MJM
Carter AO Collection through the Art Gallery of
South Australia Foundation 2013
Burmantofts, Leeds, Britain, 1859–1904,
Jardiniere [Poppy design], 1890s, Leeds,
earthenware; Gift of Joan Beer 2013
79
risshi ki) #45, 1885, Tokyo, colour woodblock
print (nishiki-e) on paper d'Auvergne Boxall
Bequest Fund 2013
ASIAN SCULPTURES
Indonesia, Ancestral portrait of a woman
(tau-tau), 1930–50, Tanah Toraja, South
Sulawesi, wood with pigment; Gift of Michael
Abbott AO QC through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Toyohara Kunichika, Japan, 1835–1900,
Shinohara Kunimoto, from the series One
hundred roles of Baiko (Baikohyakushu no uchi),
1893, Tokyo, colour woodblock print (nishiki-e)
on paper d'Auvergne Boxall Bequest Fund 2013
ASIAN DRAWINGS
ASIAN DECORATIVE ARTS
India, Auspicious drawing of Durga, 19thC,
Gujarat, pigments & ink on paper; Gift of
Michael Abbott AO QC through the Art Gallery
of South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
China-Indonesia, Dish with raised foot,
early-mid 19thC, China, found in Indonesia, rose
famille porcelain Gift of Michael Abbott AO QC
through the Art Gallery of South Australia
Foundation 2014. Donated through the
Australian Government's Cultural Gifts Program
India, Auspicious drawing of Ganesha, 19thC,
Gujarat, pigments & ink on paper with cloth
mount; Gift of Michael Abbott AO QC through
the Art Gallery of South Australia Foundation
2014. Donated through the Australian
Government's Cultural Gifts Program
India, Hindoo Mythology of India: Gallery of the
Gods, late 19thC, India, Kolkata, West Bengal,
watercolour,metallic pigment and ink on paper;
63 folio bound volume; Gift of Alan Myren and
Lee Grafton through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gift
Program Myren-GraftonCollection
India, Auspicious drawing with three faces,
19thC, Gujarat, pigments & ink on paper; Gift of
Michael Abbott AO QC through the Art Gallery
of South Australia Foundation 2014. Donated
through the Australian Government's Cultural
Gifts Program
India, Tent panel (qanat), late 18th–early 19thC,
north India, block-printed and hand-painted
mordant dyes on cotton; Gift of Michael Abbott
AO QC, Will and Sara Abel Smith, Susan
Armitage, Rachel and Mark Grimshaw, Dr Peter
McEvoy and Art Gallery Members in memory of
Annie Kidman through the Art Gallery of South
Australia Foundation 2013
Shambu Dayal Shyam, Nature's fury, Bhopal
Madhya Pradesh, India, ink and opaque
watercolour on paper Asian Art Curators
Acquisition Fund 2014
India, Sri Nath-ji with two cow maids, late 19th–
early 20thC, Rajasthan, India, opaque pigments
and gold on cloth; Gift of Howard and Charlotte
Galloway through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
ASIAN PRINTS
Japan, Actor, with tattoo of Daruma, mid to late
19thC, Tokyo, colour woodblock print (nishiki-e)
on paper d'Auvergne Boxall Bequest Fund 2013
Kobayashi Kiyochika, Japan, 1847–1915, Taira
no Tadamori (1096–1153), 1884 (Meiji 17),
Tokyo, colour woodblock triptych print
(nishiki-e) on paper d'Auvergne Boxall Bequest
Fund 2013
India - Indonesia, Ceremonial cloth and sacred
heirloom depicting women battling a gajavyala
monster, 14th–15thC, Gujarat, India; found in
South Sulawesi, Indonesia, block-printed, batik
and mordant dyes on cotton; Gift of Michael
Abbott AO QC through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Kobayashi Kiyochika, Japan, 1847–1915, The
journalist Fukuichi Gen'ichiro, from the series
Instructive models of lofty ambition (Kyodo
80
Indonesia, Drum (kul-kul) with head of Rangda,
early–mid 20th century, Bali, wood with traces
of pigment and gold leaf; Gift of Michael Abbott
AO QC through the Art Gallery of South
Australia Foundation 2014. Donated through
the Australian Government's Cultural Gifts
Program
Lidia Groblicka, Australia, 1933–2012,
Photo-booth portrait of Lidia Groblicka, c1970s,
Adelaide, digital copy photograph; Gift of
Tadeusz Groblicki 2013
Lidia Groblicka, Australia, 1933–2012, Portrait
of Lidia surrounded by fir trees, c1980s, near
Nowy Sacz, Poland?, digital copy photograph;
Gift of Tadeusz Groblicki 2013
Indonesia, Ceremonial banner (roto), mid 20thC,
Tanah Toraja, South Sulawesi, tie-dye, cotton;
Gift of Michael Abbott AO QC through the Art
Gallery of South Australia Foundation 2014.
Donated through the Australian Government's
Cultural Gifts Program
Richard Kelly Tipping, Australia, b1949, Stop go,
1998, Newcastle, New South Wales; printed
2008 by Electromark New York, embossed
aluminium, screenprint; Gift of the artist 2013
Japan, Peacocks in a forest, early 20thC, Japan,
silk, natural dyes, embroidery JC Earl Bequest
Fund 2014
Richard Kelly Tipping, Australia, b1949, Untitled
(Prepare to shop), 2004, Newcastle, New South
Wales; printed 2008 by Electromark New York,
sticker printed in red ink; Gift of the artist 2013
Kumano Kuroemon, Japan, 1955, Sake cup
(guinomi), with kuma-shino glaze, c2014, Fukui
prefecture, Sabae city, stoneware, ash glaze;
Gift of Peter Ujlaki and Kumano Kuroemon on
the occasion of his visit to Adelaide in March
2014
Unknown Photographer, Poland, 20thC, Lidia
Duda, ten years old, 1943, Zólkiew, digital copy
photograph; Gift of Tadeusz Groblicki 2013
Unknown Photographer, England, 20thC,
Wedding group, Lidia and Tadek at centre left,
1958, London, digital copy photograph; Gift of
Tadeusz Groblicki 2013
Masamichi Yoshikawa, Japan, 1946, 35 Ban,
2012, Tokoname, porcelain, seihakuji overglaze;
Gift of Yoshikawa Masamichi in recognition of
his participation in the 2012 Australian Ceramic
Triennial held in Adelaide
Unknown Photographer, England, 20thC,
Wedding portrait, Lidia and Tadek kneeling at
altar, 1958, London, digital copy photograph;
Gift of Tadeusz Groblicki 2013
ARCHIVAL
Lidia Groblicka, Australia, 1933–2012, Portrait
of Lidia in a field, 2005, Poland?, type C
photograph; Gift of Tadeusz Groblicki 2013
Unknown Photographer, England, 20thC, Lidia,
Tadek and Roman feeding pigeons in Trafalgar
Square, 1960, London, digital copy photograph;
Gift of Tadeusz Groblicki 2013
Lidia Groblicka, Australia, 1933–2012, Four
photo-booth portraits of Lidia and her son,
Roman, c1959, London, digital copy
photograph; Gift of Tadeusz Groblicki 2013
Unknown Photographer, England, 20thC, Lidia
and Roman beside the Fairstar, prior to
departure for Australia, 1965, Southampton,
Britain?, digital copy photograph; Gift of
Tadeusz Groblicki 2013
Lidia Groblicka, Australia, 1933–2012,
Photo-booth portrait of Lidia and her son,
Roman, c1959, London, digital copy
photograph; Gift of Tadeusz Groblicki 2013
Unknown Photographer, Australia, 20thC,
Fourteen photographs of Lidia in her studio,
carving the block for Bugs' tree, 1988, Adelaide,
gelatin-silver photographs; Gift of Tadeusz
Groblicki 2013
Lidia Groblicka, Australia, 1933–2012, Lidia
beside her work at an exhibition of the Royal
South Australian Society of Arts, c.2006,
Adelaide, type C photograph; Gift of Tadeusz
Groblicki 2013
81
Unknown Photographer, Australia, 20thC, Two
head portraits of Lidia Groblicka, 1988,
Adelaide, gelatin-silver photograph; Gift of
Tadeusz Groblicki 2013
Unknown Photographer, Australia, 20thC, Lidia
in her home studio, c2009?, Adelaide, type C
photograph Gift of Tadeusz Groblicki 2013
Unknown Photographer, Australia, 20thC, Four
photographs of Lidia Groblicka pulling a print in
her home studio, c1990s?, Adelaide, gelatinsilver photograph; Gift of Tadeusz Groblicki
2013
Unknown Photographer, Australia, 20thC, Two
photographs of Lidia Groblicka and Rachel Biven
at an exhibition opening, Tynte Gallery, 1990,
Adelaide, type C photographs; Gift of Tadeusz
Groblicki 2013
Unknown Photographer, Australia, 20thC, Five
photographs of Lidia Groblicka conducting a
printmaking demonstration at the Royal South
Australian Society of Arts, Adelaide, type C
photograph; Gift of Tadeusz Groblicki 2013
th
Unknown Photographer, Australia, 20 C,
Photograph of five drawings by Lidia Groblicka,
1993, Adelaide, type C photograph; Gift of
Tadeusz Groblicki 2013
Unknown Photographer, Australia, 20thC,
Photograph of Lidia Groblicka, amongst trees,
2005, Australia?, type C photograph; Gift of
Tadeusz Groblicki 2013
FURNISHING LOANS
Kate Breakey, Australia, 1957, Little Eucalyptus
Tree, Wanilla Forest, Eyre Peninsula, South
Australia, 1980, Wanilla Forest, Eyre Peninsula,
South Australia; printed and hand-coloured
2013, Tucson, Arizona, United States of
America, archival pigment inkjet print, handcoloured with pencil and pastel; Gift of the
artist through the Art Gallery of South Australia
Contemporary Collectors 2013
Unknown Photographer, Poland, 20thC,
Photograph of Lidia Groblicka and dog, 2005,
Poland?, type C photograph; Gift of Tadeusz
Groblicki 2013
Unknown Photographer, Australia, 20thC, Head
portrait of Lidia Groblicka, 2008-9?, Adelaide,
type C photograph; Gift of Tadeusz Groblicki
2013
Kate Breakey, Australia, 1957, Looking towards
Tent Hill, Near Whyalla, South Australia, 1980,
near Whyalla, South Australia; printed and
hand-coloured 2013, Tucson, Arizona, United
States of America, archival pigment inkjet print,
hand-coloured with pencil and pastel; Gift of
the artist through the Art Gallery of South
Australia Contemporary Collectors 2013
Unknown Photographer, England, 20thC, No 1
Bravington Road, Queen's Park, London, c1950,
London, digital copy photograph; Gift of
Tadeusz Groblicki 2013
Unknown Photographer, Poland, 20thC, Studio
portrait of Lidia Duda, c1952, Kraków, digital
copy photograph Gift of Tadeusz Groblicki 2013
Unknown Photographer, England, 20th century,
Lidia and Tadek picnicking, c1958, London,
digital copy photograph Gift of Tadeusz
Groblicki 2013
Kate Breakey, Australia, 1957, Trees, Pine Hut
Road, South Australia, 1981, South Australia;
printed and hand-coloured 2013, Tucson,
Arizona, United States of America, archival
pigment inkjet print, hand-coloured with pencil
and pastel; Gift of the artist through the Art
Gallery of South Australia Contemporary
Collectors 2013
Unknown Photographer, England, 20thC, Studio
portrait of Lidia, Tadek and Roman, c1958,
London, digital copy photograph; Gift of
Tadeusz Groblicki 2013
Unknown Photographer, Australia, 20thC, Lidia
and Tadek in front of their Adelaide home,
c1966, Adelaide, digital copy photograph; Gift
of Tadeusz Groblicki 2013
82
Kate Breakey, Australia, 1957, Road North of
Port Augusta, 1986, Port Augusta, South
Australia; printed and hand-coloured 2013
Tucson, Arizona, United States of America,
archival pigment inkjet print, hand-coloured
with pencil and pastel; Gift of the artist through
the Art Gallery of South Australia Contemporary
Collectors 2013
Kate Breakey, Australia, 1957, Full Moon Rising,
Mid-North, South Australia, 1987, Mid-North,
South Australia;printed and hand-coloured
2013, Tucson, Arizona, United States of
America, archival pigment inkjet print, handcoloured with pencil and pastel; Gift of the
artist through the Art Gallery of South Australia
Contemporary Collectors 2013
Kate Breakey, Australia, 1957, Single wave,
Coffin Bay, South Australia, 1998, Coffin Bay,
South Australia; printed and hand-coloured
2013 Tucson, Arizona, United State of America,
archival pigment inkjet print, hand-coloured
with pencil and pastel; Gift of the artist through
the Art Gallery of South Australia Contemporary
Collectors 2013
Kate Breakey, Australia, 1957, Almonta Dunes,
Coffin Bay National Park, 2004, Coffin Bay,
South Australia; printed and hand-coloured
2013, Tucson, Arizona, United States of
America, archival pigment inkjet print, handcoloured with pencil and pastel; Gift of the
artist through the Art Gallery of South Australia
Contemporary Collectors 2013
Kate Breakey, Australia, 1957, Nest, Kellidie Bay
Eyre Peninsula, South Australia, 2010, Kellidie
Bay, Eyre Peninsula, South Australia; printed
and hand-coloured 2013, Tucson, Arizona,
United States of America, archival pigment
inkjet print, hand-coloured with pencil and
pastel; Gift of the artist through the Art Gallery
of South Australia Contemporary Collectors
2013
83
APPENDIX G
INWARD LOANS
During the year 833 works were borrowed for 13 exhibitions and 23 for collection display.
INWARD LOANS TO THE COLLECTION
Barrie & Judith Heaven, Adelaide, SA: India,
Prayer mat; India, Tent panel with flowering
plant; India, Panel with flowering plant; India,
Pair of screens (Jali); India, Pendant (haldili);
India, Pendant (haldili); China, Pair of pigs
Peter Ranembe Morgan, Adelaide, SA: Morris &
Company, London, Edward Burne-Jones, Flora
(tapestry)
Alan Myren & Lee Grafton, Adelaide, SA: China,
The Seventh Dalia Lama, Kelsang
Gyatso
National Gallery of Australia, Canberra, ACT:
Rupert Bunny, Pastoral; Sydney Long, The Spirit
of the plains; Knut Bull, The wreck of 'George
the Third'
National Gallery of Australia, Canberra, ACT:
Unknown Australian, Shell necklace; Unknown
Australian, Sister basket; Unknown Australian,
Jawun (rainforest) shield; Unknown Australian,
Jawun (bicornual) basket; Unknown Australian,
Basket; Unknown Australian, Jawun (bicornual)
basket
Daniel Nuske, Adelaide, SA: Albert Namatjira,
Woomera
Philip Speakman, Adelaide, SA: CEFirnhaber,
Masonic presentation cup
Wendy St Alban, Adelaide, SA: CE Firnhaber,
Covered cup [for Thomas Graves]; Henry
Steiner, Julius Schomburgk, Covered cup;
attributed to CE Firnhaber, Emu-egg vase;
Barrie & Judith Heaven, Adelaide, SA: Makara
pedestal for the river goddes Ganga; Elephant
caparison (nettipattam); Seated Jina probably
Mahavira; Pair of lions (yali); Pair of screens
(jali); Architectural panel with flowers; Vamana
the dwarf avatar of Visnu; Ganesa with consort;
Marriage of Siva and Parvati; Mahesvari the
Great Mother, as Gajasuramurti; Five-faced
Hanuman (Pancamukha Hanuman); Four-armed
Krsna playing the flute; Brahma with Satarupa;
Krsna and Radha; Kali-mata,Venkat Raman
Singh Shyam; Lidded-box in the shape of a
mango, containing self-born linga(svayambhu
linga); Veena, musical instrument; Sitar, musical
instrument; Bangle with foliate design; India,
Panel with flowering plant
Alan Myren & Lee Grafton, Flagstaff Hill, SA:
Visnu; Ganesa riding the rat; Altarpiece with
Rsabha and four attending Jinas (pancatirthika); [Seated Tirtankara with parasol over
the head and flanked by multiple seated and
standing deities]; Narasimha the lion avatar of
visnus; Ganesa; Krsna and Radha seated on a
lotus throne; Visnu and Sarasvati; A ruler with
his favourite; Ganesa with devotees; Ganesa
riding the rat; Dancing Ganesa; Narasimha the
lion avatar of Visu; Ganesa; Visnu; [Seated
Tirthankara with green patination]; [Seated
Tirtankara with parasol over the head and
flanked by multiple seated and standing deities]
INWARD LOANS TO EXHIBITIONS
For: Warka irititju munu kuwari kutu. Work
from the past and present: Ernabella Arts the
last thirty years, Art Gallery of South Australia,
13 July to 24 November 2013:
For: Realms of Wonder: Jain, Hindu and
Islamic art of India, Art Gallery of South
Australia, 5 July to 15 September 2013:
Ernabella Arts Inc., Ernabella via Alice Spring,
NT: Tjimpuna Williams, Putitja (Bush); Tjimpuna
Williams, Piltati; Derek Jungarrayi Thompson,
Jian Yang, Attila (Mount Conner); Derek
Jungarrayi Thompson, Jain Yang, Attila (Mount
Conner)
Michael Abbott, Adelaide, SA: The Middle
World known as Madhyaloka; Durga
Mahisasuramardini; Tripuranataka; A
meditating Digambara, Jina; Dancer and three
musicians; Shrine stand; Map of the pilgrimage
sites of Palitana; Visnu
84
For: SALA Festival 2013, Art Gallery of South
Australia, 2 August to 25 August 2013:
Bizen ware; Kakurezaki Ryuichi, ‘Umbrella’ vase,
Bizen ware; Kato Takahiko. Scared vase
Shigaraki ware; Kato Takeshi, Hanging vase,
with shino glaze, Shigaraki ware; Kato Shoji
Yasukage XIV, Vase with shino glaze; Kawakami
Tomoko, Flower vessel, with black glaze; Koie
Ryoji, Jar, oribe ware; Kondo Yutaka, Black and
white vase; Kouichi Hidetoshi, ‘Boat’ vase, oribe
ware; Kouichi Hidetoshi, Bowl, shino glaze;
Mihara Ken, Sekki vase; Misaki Mitsukuni, Blue
glazed jar; Misaki Mitsukuni, Vessel, with slip
glaze; Miyao Masahiro, Flower jar, bizen ware;
Mori Seishi, Wave jar, bizen ware;
Mori Tozan, Large jar, Bizen ware; Morino
Hiroaki, Vas, unrai (1 of 2); Murata Gen,
Umbrellla vase, Mashiko ware; Nigaki Tsumoto,
Tsuboya ware; Nishioka Yoshihiro, Vase karatsu
ware; Ohira Kazumasa, Wind vessel, Shigaraki
ware; Ohira Kazumasa, Wind vessel (2)
Shigaraki ware; Satake Yoshiyuki, Gourd vase,
with ash glaze; Imai Masayuki, Saki flask
(tokkuri); Tsujimura Kai, Stick vase; Takahashi
Kozo (Rakusai V), Hanging vase, Shigaraki ware;
Takauchi Shugo, Vase, with shino glaze;
Terashima Yuji, Serving bowl; Tsujimura Kai,
Hanging vase, Iga ware; Tsujimura Kai, Vase,
Iga ware; Tsujimura Yui, Vase, with ash glaze;
Uetake Satoshi, Kasama vase (2); Wakimoto
Hiroyuki, Vase (1) bizen ware;
Wakimoto Hiroyuki, Vase (2), bizen ware;
Yasuhara Kimei, Vase, with incised marks;
Yoshida Takashi, Camelia vase; Yoshimoto
Shuho, Circle vase, sueki ware;
Hatano Hideo, Sake flask, Hagi ware; Yoshikawa
Masamichi, Flask; Tsujimura Yui, Sake flask
(tokkuri) with ash glaze; Mihara Ken, Sake flask;
Kato Takeshi, Sweet bowl, shino glaze
Nicholas Folland, Kilkenny, SA: Nicholas
Folland, Dear
For: Time to Time: Films of Bill Morrison, Art
Gallery of South Australia, 5 October to 3
November 2013:
Bill Morrison, Adelaide, SA: Bill Morrison
(filmmaker), Michael Gordon (music), Light is
calling; Bill Morrison (filmmaker), Todd Reynolds
(music), Outerborough; Bill Morrison (filmmaker),
Douglas, Dave (music), The Creature's Education;
Bill Morrison (filmmaker), Vijay Iyer (music),
Release; Bill Morrison (filmmaker), Michael
Gordon (music), Decasia: The State of Decay; Bill
Morrison (filmmaker), Bill Frisell (music), The
Great Flood
For: Metamorphoses, Art Gallery of South
Australia, 13 November 2013 to 27 January
2014:
David Roche Foundation, North Adelaide, SA:
Nurture of Jupiter Clock
South Australian Museum, Adelaide, SA:
Shabati
State Library of New South Wales, Sydney,
NSW: Ovid, Metamorphoses
For: Elements in harmony: Contemporary
Japanese Ceramics, Art Gallery of South
Australia, 20 December 2013 to 30 May 2015:
Richard McMahon, Glenelg, SA: Harada
Shuroku, Small sake flask (kabura tokkuri);
Tanoue Shinya, Shell (kara); Kako Katsumi, Red
ash bowl; Uetake Satoshi, Kasama vase;
Yamade Kazu, Green oribe vase; Akiyama Yӧ,
Object with rope base, Shigaraki ware;
Fujioka Shuhei, Sculpted jar, Iga ware; Fujioka
Shuhei, Water jar (mizushashi), Iga ware;
Furutani Churoku IV, Vase, shigaraki ware;
Furutani Michio, Mallet vase, Iga ware; Furutani
Michio, vae, Iga ware; Hamada Tomoo, Shinogi
vase; Hamamoto Hiroyoshii, Vase, Karatsu
ware; Hasu Yoshitaka, Vase, wish ash iron glaze;
Ichino Masahiko, Saideki vase, Tamba ware;
Kako Katsumi, Square vase, with red ash glaze;
Kako Katsumi, Vase, with dark glaze and
etching; Kakurezahi Ryuichi, ‘Penguin’ vase,
Bizen ware; Kakurezaki Ryuichi, Tsurukubi, vase,
For: 2014 Adelaide Biennial of Australian Art:
DARK HEART, Art Gallery of South Australia, 1
March to 11 May 2014:
Tony Albert, Sydney, NSW: Tony Albert, 108
Revolution Stolen; Tony Albert, 108 Revolution
Intervention; Tony Albert, 108 Revolution
Reconciliation; Tony Albert, 108 Revolution
Dong Xi Land Rights; Tony Albert, 108
Revolution Assimilation; Tony Albert, 108
Revolution Protection; Tony Albert, 108
Revolution Self Determina; Tony Albert, 108
Revolution Advancement; Tony Albert, 108
Revolution Integration; Tony Albert, 108
Revolution For Their Own Good; Tony Albert,
85
108 Revolution The Chief Prote; Tony Albert,
108 Beyond Belief I am A Great Believer; Tony
Albert, 108 Beyond Belief Heaven is A Place On
Earth; Tony Albert, 108 Beyond Belief Am I Are
You Are We; Tony Albert, 108 Beyond Bellief
Getting Away With It; Tony Albert, 108 Beyond
Bellief Blak Target;Tony Albert, 108 Beyond
Belief Red Cross; Tony Albert, 108 Beyond Bellief
Where is The Love; Tony Albert, 108 Beyond
Bellief Two Worlds; Tony Albert, 108 Beyond
Bellief How Much Does He Want For It; Tony
Albert, 108 Beyond Bellief Get Lost; Tony Albert,
108 Beyond Belief Riots The Language of the
Unheard; Tony Albert, 108 Invisible My
Favourite Mask Me; Tony Albert, 108 Invisible
My Favourite The Moon The Earthand The Sun;
Tony Albert, 108 Invisible My Favourite How
Many Legs Does An Elephant Have: Tony Albert,
108 Invisible My
Favourite Duck or Rabbit; Tony Albert, 108
Invisible My Favourite Impossible Shapes; Tony
Albert, 108 Invisible My Favourite Super Heroes;
Tony Albert, 108 Invisible My Favourite My
Family; Tony Albert, 108 Invisible My Favourite
Mirror Mirror; Tony Albert, 108 Invisible My
Favourite Can You See What I See; Tony Albert,
108 Invisible My Favourite Supa Star; Tony
Albert, 108 Invisible My Favourite Great Minds
ThinkAlike; Tony Albert, 108 Outtaspace Outta
Here; Tony Albert, 108 Outtaspace Warning Will
Robinson; Tony Albert, 108 Outtaspace Invader;
Tony Albert, 108 Outtaspace Lost In Space; Tony
Albert, 108 Outtaspace Were Lost Lostin Space;
Tony Albert, 108 Outtaspace Over There; Tony
Albert, 108 Outtaspace I Wanted To Build A
SpaceshipSo I Can Fly Away; Tony Albert, 108
Outtaspace Ground Control To Major Tom; Tony
Albert, 108 Outtaspace Mission Control We
Have A problem; Tony Albert, 108 Outtaspace
Space Invaders; Tony Albert, 108 Outtaspace
The Moon Is Not Yours To Take; Tony Albert,
108 I AM YOU ARE WE ARE Two Worlds Collide;
Tony Albert, 108 I AM YOU ARE WE ARE Its All
Your Fault; Tony Albert, 108 I AM YOU ARE WE
ARE I Have Decided; Tony Albert, 108 I AM YOU
ARE WE ARE Safety Matches; Tony Albert, 108 I
AM YOU ARE WE ARE Average Contents; Tony
Albert, 108 I AM YOU ARE WE ARE We Are; Tony
Albert, 108 I AM YOU ARE WE ARE I am Your
Are We Are; Tony Albert, 108 I AM YOU ARE WE
ARE I Am; Tony Albert, 108 I AM YOU ARE WE
ARE Blak Target; Tony Albert, 108 I AM YOU
ARE WE ARE You Are; Tony Albert, 108 Mija The
Land Of; Tony Albert, 108 Mija Scorpio; Tony
Albert, 108 Mija Yasi; Tony Albert, 108 Mija
Jarwun; Tony Albert, 108 Mija The Art Of; Tony
Albert, 108 Mija Shield; Tony Albert, 108 Mija
Body; Tony Albert, 108 Mija Butterfly; Tony
Albert, 108 Mija Home; Tony Albert, 108 Mija
Theres No Place Like Home; Tony Albert, 108
Stick With Love A King is Born; Tony Albert, 108
Stick With Love Last Dance; Tony Albert, 108
Stick With Love Interracial Kiss; Tony Albert, 108
I Am Important Mickey Was A Marsupial
Mouse; Tony Albert, 108 I Am Important Scratch
The Surface; Tony Albert, 108 I Am Important
Texttile Design; Tony Albert, 108 I Am Important
Black White Red White Black; Tony Albert, 108 I
Am Important But Now I Am Found; Tony Albert,
108 I Am Important The Original Australians;
Tony Albert, 108 I Am Important I Know My
Country; Tony Albert, 108 I Am Important
Violent Crumble; Tony Albert, 108 I Am
Important Superman Plants Aboriginal Flag;
Tony Albert, 108 I Am Important Peggy; Tony
Albert, 108 I Am Important Tour Guide; Tony
Albert, 108 I Family Love Forever; Tony Albert,
108 I Family Kangaroo; Tony Albert, 108 I
Family Every Boy Every Girl; Tony Albert, 108 I
Family For Arthur; Tony Albert, 108 I Family
Across The Cape; Tony Albert, 108 I Family
Yayin; Tony Albert, 108 I Family Nguna; Tony
Albert, 108 I Family Mugirray; Tony Albert, 108 I
Family Father; Tony Albert, 108 I Family Little
Sister; Tony Albert, 108 I Family Yabu; Tony
Albert, 108 Stick With Love This Much Is True;
Tony Albert, 108 Stick With Love For Me; Tony
Albert, 108 Stick With Love Love Thy Neighbour
Blak or White; Tony Albert, 108 Stick With Love
Love Thy Neighbour; Tony Albert, 108 Stick With
Love Is It A Bird; Tony Albert, 108 Stick With
Love Is It A Plan; Tony Albert, 108 Stick With
Love Hate is Too Great; Tony Albert, 108 Stick
With Love Peace Love and Misunderstanding;
Tony Albert, 108 I AM YOU ARE WE ARE Do You
Speak My Language; Tony Albert, 108 Mija My
Home Country People; Tony Albert,
108 – House of cards (1-9)
Brook Andrew, Darlinghurst, NSW: Brook
Andrew, AUSTRALIA 1; Brook Andrew,
AUSTRALIA ll PEACE; Brook Andrew, AUSTRALIA
VI; Brook Andrew, AUSTRALIA lll;
Brook Andrew, AUSTRALIA lV; Brook Andrew,
AUSTRALIA V
Del Kathryn Barton, Paddington, NSW: Del
Kathryn Barton, the heart land; Del Kathryn
86
Barton, Brendan Fletcher, the human dress with
remy Hii (still)
Martin Bell, Melbourne, Vic: Martin Bell,
Untitled; Martin Bell, Untitled (1-24)
Shoufay Derz, Sydney, NSW: Shoufay Derz,
Depart without return
Fiona Hall, c/- Roslyn Oxley9 Gallery,
Paddington, NSW: Fiona Hall, Out of my tree
Brendan Huntley, North Melbourne, Vic:
Brendan Huntley, You’re welcome (1–24)
Dale Frank, c/- Roslyn Oxley9 Gallery,
Paddington, NSW: Dale Frank, He best
represented the methylated spirit of his times.
View over Lake Glenbawn from his verandah
after a midnight swim; Dale Frank, Emphysema
feathered his appetites; Dale Frank, Peering
over the Liverpool Plains from a Cessna
Cherokee; Dale Frank, Self Portrait with
amorous Tapeworms; Dale Frank, Non objective
pessimism; Dale Frank, The pregnant doubt of
intra Species Love
Tony Garafalakis, Richmond, Vic: Tony
Garifalakis, Mob Rule (1–85)
Rosemary Laing, Melbourne, Vic: Rosemary
Laing, a dozen useless actions for grieving
blondes #1; Rosemary Laing, a dozen useless
actions for grieving blondes #2; Rosemary Laing,
a dozen useless actions for grieving blondes #5;
Rosemary Laing, a dozen useless actions for
grieving blondes #6; Rosemary Laing, a dozen
useless actions for grieving blondes #7;
Rosemary Laing, a dozen useless actions for
grieving blondes #9; Rosemary Laing, a dozen
useless actions for grieving blondes #10;
Rosemary Laing, a dozen useless actions for
grieving blondes #11; Rosemary Laing, one
dozen considerations, Totem 1, Emu; Rosemary
Laing, one dozen considerations, Totem 2, Emu;
Richard Lewer, Sydney, NSW: Richard Lewer,
Worse luck I am still here
Fiona Lowry, North Bondi, NSW: Fiona Lowry,
all truth waits in all things; Fiona Lowry,
through me forbidden voices; Fiona Lowry, I do
not press my fingers across my mouth;
Fiona Lowry, I dream in my dream all the
dreams of the other dreamers and I become the
other dreamers; Fiona Lowry, standing with
open eyes over the shut eyes of the sleepers
Dani Marti, Aberdare, NSW: Dani Marti,
Armour 'the Folly of Fear'; Dani Marti, Armour
'Out looking for teeth'; Dani Marti, ARMOUR 3:
An Heroic Feat; Dani Marti, ARMOUR, A Bad
Night
Martumili Artists, Newman, WA: Martumili
Artists, Yarrkalpa (Hunting ground)
eX de Medici, Watson, ACT: eX de Medici, THE
LAW; eX de Medici, Spent; eX de Medici, The
World Video
Monash Gallery of Art, Wheelers Hill, Vic:
Rosemary Laing, Swanfires, Chris's shed
Trent Parke, Semaphore, SA: Trent Parke, Street
Portrait Series
Patricia Piccinnini, Fitzroy, Vic: Patricia
Piccinnini, The Skywhale
Ben Quilty, Robertson, NSW: Ben Quilty, The
island
Julia Robinson, Payneham South, SA: Julia
Robinson, Installation for The STUDIO
Caroline Rothwell, Chippendale, NSW: Caroline
Rothwell, Climatic
Alex Seton, Newton, NSW: Alex Seton,
Someone died trying to have a life like mine (1–
28)
Sally Smart, North Melbourne, Vic: Sally Smart,
The Choreography of Cutting
Ian Strange, New York, USA: Ian Strange,
Landed
Warwick Thornton, Potts Point, NSW: Warwick
Thornton, Rebirth
Tjala Arts, Amata Community, APY Lands, via
Alice Springs, NT: Kulata Tjuta Project, Kulata
Tjuta (many spears)
Julia de Ville, Collingwood, Vic: Julie de Ville,
Phantasmagoria
Lynette Wallworth, Sydney, NSW: Lynette
Wallworth, Always Walking Country: Parrngurr
Yarrkalp
Ah Xian, China: Ah Xian, Evolutionaura1:
Turquoise-1; Ah Xian, Evolutionaura2: Xuanyuan
Stone-1; Ah Xian, Evolutionaura3: Lingbi Stone1; Ah Xian, Evolutionaura4: Agate-1;
Ah Xian, Evolutionaura5: Agate-2; Ah Xian,
Evolutionaura7: Turquoise-3; Ah Xian,
Evolutionaura8: Lingbi Stone-2; Ah Xian,
Evolutionaura20: Tai-lake Stone-8
For: Netsuke and other Miniatures, 10 April to
31 August 2014:
Silvio Apponyi, Balhannah, SA: Silvio Apponyi,
Bilby; Silvio Apponyi, Cycle of Life;
Susan Wraigth, Otter chasing a Fish; Silvio
Apponyi, Ringtail Possum; Silvio Apponyi,
Wombat Showing Off; Silvio Apponyi, Dugong
and Calf; Silvio Apponyi, Hare
87
David Button, Basket Range, SA: Unknown
Japanese, Tiger and dragon
Vaughan Cottle, Camden Park, SA: Vaughan
Cottle, Wombats; Vaughan Cottle, Bat & Ojime
(night sky)
Naomi Guerin, North Adelaide, SA: Unknown
Japanese, Kiseruzutsu – stag antler pipe holder,
leather pouch, metal ojine
Umehara Munetaka, St Georges, SA: Unknown
Japanese, [Man’s obi]
Catherine Truman, Thebarton, SA: Unknown
Japanese, Fish with pebble
Naomi & Peter Von Czarnecki, St Peter, SA:
Unknown, Ivory Okimono,” two skeletons &
monkey”; Unknown, Bronze statue of monkey
large extra-terrestrial body, as it happened ot
the dinosaurs)?; Aldo Iacobelli, Limpieza etnica
en 'Yugoslavia (Ethnic cleansing in Yugoslavia);
Aldo Iacobelli, Santander y BCH sellan la gran
alianza (Santander and BCH seal the big
alliance)
Jaimie Sortino, Prospect, SA: Jaimie Sortino,
[Dress]
Paul Vasileff, Torrensville, SA: Paul Vastileff,
Paolo Sebastian, [Lace dress]
For: The World of Mortimer Menpes: Painter,
Etcher, Raconteur, Art Gallery of South
Australia, 14 June to 7 September 2014:
Art Gallery of New South Wales, Sydney, NSW:
Mortimer Menpes, Three fair ladies
Edward Ash, Staffordshire, UK: Mortimer
Menpes, Midday – Pueblo; Mortimer Menpes,
Reading
Ann Axelby, Adelaide, SA: Mortimer Menpes,
Mrs Brown Potter seated wearing a feathered
hat
British Museum, London, UK: Mortimer
Menpes, Cecil Rhodes, three studies
Graham Buckett, Kew, Vic: Mortimer Menpes,
Glenfinnan
David Button, Basket Range, SA: Unknown
Japanese, Japanese floral pattern fabric
Mr James Fairfax AC, Bowral, NSW: Mortimer
Menpes, One of our new allies, Japan
Grainger Museum, University of Melbourne,
Parkville, Vic: Ernest Walter Histed, Mr
Mortimer Menpes; Unknown photographer,
Group including Menpes and Whistler in garden
of Menpes' home at Fulham; Unknown
photographer, Unknown photographer, Menpes
seated, white-clad on lawn; Webster Bros,
Mortimer Menpes with sword; Ellott and Fry,
London, Mortimer Menpes, left arm akimbo;
Unknown photographer, Mortimer Menpes in
army uniform; Mendelsohn, Hayman Seleg,
Rosa Menpes; Biographic Notice, from “Who’s
who” 1936; Letter from Mortimer Menpes to
Percy Grainger, March 16 1924, sent from Iris
Court, Pangbourne; Mortimer Menpes, Heavy
laden; Mortimer Menpes, Portrait of Whistler
Galerie Boisvert, Baton Rouge, Louisiana, USA:
Mortimer Menpes, Blue was the sky above us,
Benares
Geoffrey & Alison Cole, Reading, UK: Mortimer
Menpes, Mrs Annie Besant; Attributed to
Anzac Display, Art Gallery of South Australia,
24 April to 4 August 2014
Peter Lane, Toorak Gardens, SA: Rejected
Volunteers' Associaetion (Victoria) Badge;
Ordinary Seaman James Hedley Woolright RAN
1914–15 Star, British War Medal and Victory
Medal; Egyptian Bazar Souvenirs
For: Lace: The art of adornment, Art Gallery of
South Australia, 10 May 2014 to 23 March
2015:
Giles Bettison, Maylands, SA: Giles Bettison,
Lace 08#9; Giles Bettison, Lace 08#6;
Giles Bettison, Lace 08#4
Aldo Iacobelli, Trinity Gardens, SA: Aldo
Iacobelli, El cine pierde a Stanley Kubrick (the
movie world loses Stanley Kubrick); Aldo
Iacobelli, A Ranieri le gusta el "Catenaccio"
(Ranieri, he likes Catenaccio"); Aldo Iacobelli,
Murdoch ofrece mas de 140,000 millones por el
Manchester United (Murdoch offers over
140,000 millions for the Manchester United);
Aldo Iacobelli, Garry Kasparov acusa al
ordenador "Deep Blue" de hacer trampas (Garry
Kasparov accuses the computer "Deep Blue" of
cheating"; Aldo Iacobelli, Barrioneuvo y Vera
entran en prision arropados por Felipe hasta el
final (Barrionuevo and Vera enter prison
protected to the end by Felipe); Aldo Iacobelli, El
heredero de Murdoch se ha casado (The heir of
Murdoch has married); Aldo Iacobelli, Sera'
nuestra especie victima en el futuro de impacto
de otro gran cuerpo extraterrestre, al igual que
sucedio' a los dinosauros? (will our species, in
the future be victim of an impact from another
88
Mortimer Menpes & unknown Japanese artist,
Teahouse garden
Eric Denker, Washington, USA: Mortimer
Menpes, Rio Vena in Chioggia; Mortimer
Menpes, Abbazia; Mortimer Menpes, St Mark's
Piazza
George Gream, Gilberton, SA: Mortimer
Menpes, Evil
Arthur Greenhalgh, North Adelaide, SA:
Mortimer Menpes, The captive Persian
Jennifer Harris, St Peters, SA: Mortimer
Menpes, Geisha girls: four musicians
Dr Ian Hocking, St Peters, SA: Mortimer
Menpes, Light and shade; Mortimer Menpes, Sir
Henry Irving
Dr Colin Holden, Armadale, NSW: Mortimer
Menpes, Portrait of George Meredith
The Hunterian, University of Glasgow, Glasgow,
Scotland: Mortimer Menpes, Dolce far Niente;
Mortimer Menpes, A little shop in Chelsea;
Mortimer Menpes, Osaka [Japanese riverside
village]; Mortimer Menpes, Whistler portrait
no.7 (six faces of Whistler)
Dr Barbara Inglis, Parkville, Vic: Mortimer
Menpes, A famous palazzo
Lyn Jaunay, Unley Park, SA: Mortimer Menpes,
A quiet game of draughts
Katie & David Julian, Hampton, Vic: Mortimer
Menpes, Sweet-stuff shop
Cecily Langdale & Roy Davis, New York, USA:
Mortimer Menpes, The girl with the jars
Anne Leech, Rostrevor, SA: Cassell & Company
Limited, The Magazine Art
John Lewis c/- Fine Art Society, London, UK:
Mortimer Menpes, A little boy blue
(Toby no. 1); Mortimer Menpes, His debut
Lowell Libson, London, UK: Mortimer Menpes,
A geisha carrying a parasol
Dr Rebecca Linke, North Adelaide, SA:
Mortimer Menpes, Mexican scene
David McKee, Leabrook, SA: Mortimer Menpes,
A Japanese procession
Museum Sheffield, Sheffield, UK: Mortimer
Menpes, All the day’s work (Lahore);
Mortimer Menpes, Spinning (Ajmere); Mortimer
Menpes, The lemon wall; Mortimer Menpes, A
courtyard; Mortimer Menpes, Portrait of a
woman
National Gallery of Australia, Canberra, ACT:
Mortimer Menpes, Blue blinds (A Cairo Bazaar);
Mortimer Menpes, Head of a woman; Mortimer
Menpes, Charlotte Corday (Mrs Brown Potter);
Mortimer Menpes, The Duchess of Sutherland;
Mortimer Menpes, Early English (Mrs Brown
Potter); Mortimer Menpes, Portrait of a woman
National Library of Australia, Canberra, ACT:
Mortimer Menpes, Portrait of a savant (after
Rembrandt van Rijn); Mortimer Menpes,
Portrait of the Doge Lorendano (after Giovanni
Bellini); Mortimer Menpes, William ll, Prince of
Orange (after Anthony van Dyck);
Mortimer Menpes, La Gioconda (after Leonardo
da Vinci); Mortimer Menpes, Flora with flowertrimmed crook (after Rembrandt van Rijn);
Mortimer Menpes, Chapeau de paille (after
Peter Paul Rubens); Mortimer Menpes, The
laughing cavalier (after Frans Hals);
Mortimer Menpes, Rembrandt leaning on a
stone still (after Rembrandt van Rijn);
Mortimer Menpes, Portrait of Mrs Siddons
(after Thomas Gainsborough); Mortimer
Menpes, Reconciliation between David and
Absalom (after Rembrandt van Rijn); Justin
McCarthy, Mrs Campbell Praed & Mortimer
Menpes, The Grey River
Philip Bacon Galleries, Sydney, NSW: Mortimer
Menpes, Francesca
John E Parkerson, Houston, Texas, USA:
Mortimer Menpes, Waiting for the rickshaw
Ng Lu Pat c/- Fine Art Society, London, UK:
Mortimer Menpes, A Japanese Boy; Mortimer
Menpes, A Japanese Boy Outside a Shop
Powerhouse Museum, Sydney, NSW: Mortimer
Menpes, Plate
John Russell, College Park, SA: Mortimer
Menpes, Labour hath no charms (Delhi);
Mortimer Menpes, In front of a shop; Mortimer,
Menpes, The golden temple (Amritsar);
Mortimer Menpes, Decorating a pot, Japan;
Mortimer Menpes, Peach-blossom;
Mortimer Menpes, A Hawksman of Rajgarh;
Mortimer Menpes, A retainer of the Maharajah
of Cutch; Mortimer Menpes, The fish-hook
makers; Mortimer Menpes, A midnight market,
Puebla; Mortimer Menpes, Achilles; Mortimer
Menpes, Dorothy, the youngest author in
England in magazine; Mortimer Menpes, A
potter; Mortimer Menpes, A Street scene, Kioto;
Mortimer Menpes, Self portrait; Mortimer
Menpes, [letter with Constance Collier image];
Mortimer Menpes, [The House Beautiful
article]; Mortimer Menpes, Self portrait
Rosemary Smith, Richmond VA, USA: Mortimer
Menpes, (Girl with a fan); Mortimer Menpes,
Dorothy Wedd; Mortimer Menpes, Smiling;
Mortimer Menpes, The Quay, Boulogne;
89
Mortimer Menpes, Plum blossom, Japan;
Mortimer Menpes, Difficulties; Mortimer
Menpes, (Nautsch girls dancing); Mortimer
Menpes, (Village scene); Mortimer Menpes,
(Two studies of children, Mexico); Mortimer
Menpes, (A Japanese baby 2); Mortimer
Menpes, Duchess of Sutherland; Mortimer
Menpes, Duchess of Sutherland, left profile;
Mortimer Menpes, Miss Barbara Johnson;
Mortimer Menpes, Duchess of Sutherland's
daughter (Maria); Mortimer Menpes, Sarah
Bernhardt; Mortimer Menpes, The black hat
(early version - this is the one without the chair);
Mortimer Menpes, Four studies of Benoit
Constant Coquelin; Mortimer Menpes, Whistler
in white ducks; Mortimer Menpes, after
FransHals, Banquest of the officers of the arches
of St Adrian; Mortimer Menpes, La Salute –
sunset; Mortimer Menpes, A Jap in orange;
Mortimer Menpes, A Chinese tailor; Mortimer
Menpes, (Chinese man with pipe); Mortimer
Menpes, Evening; Mortimer Menpes, San
Giorgio Maggiore; Mortimer Menpes, Groote
Schuur, Cape Town; Mortimer Menpes, Iris Hoey
painting; Mortimer Menpes, Iris Hoey;
Mortimer Menpes, Woman with fan; Mortimer
Menpes, Barbara Monkton Hoffe (light state);
Mortimer Menpes, Barbara Monkton Hoffe
(dark state); Mortimer Menpes, Postcard of Mrs
Brown Potter; Mortimer Menpes, Child, three
versions mounted together; Mortimer Menpes,
A Deserted waterway, Cashmere (early version);
Mortimer Menpes, War Impressions book with
original drawing; Mortimer Menpes, Grey river,
bound volume; Mortimer Menpes, Four portrait
studies; Mortimer Menpes, (Two children);
Mortimer Menpes, Mortimer Menpes and Mrs
James Brown Porter; Mortimer Menpes, The
Durbar book with original drawing; Mortimer
Menpes, Lady's Realm for images of Cadogan;
Dr Leslie Stephan, North Adelaide, SA:
Mortimer Menpes, (Japanese archer on
horseback);
Mortimer Menpes, Two geisha girls
Tate National, London, UK: Mortimer Menpes,
Flower of the tea
Trafalgar Galleries, London, UK: Mortimer
Menpes, Cashmere; Mortimer Menpes, On the
Ganges; Mortimer Menpes, On the marge of
the sunset (Benares); Mortimer Menpes, A root
seller; Mortimer Menpes, Playing the shamisen;
Mortimer Menpes, Mother and baby;
Mortimer Menpes, Young boy, Japan; Mortimer
Menpes, A stencil cutter; Mortimer Menpes,
Framed letter from Mortimer Menpes to 'Dear
Great one' sent from the Shirley Hotel,
Waymouth
Victoria & Albert Museum, London, UK:
Mortimer Menpes, The Venice of Japan;
Mortimer Menpes, A tranquil waterway;
Mortimer Menpes, On the great canal, Osaka;
Mortimer Menpes, Swinging along in the
sunlight; Mortimer Menpes, Who’ll buy;
Mortimer Menpes, Flying banners; Mortimer
Menpes, After the festival; Mortimer Menpes,
A little vulgar boy; Mortimer Menpes, Touching
the chords; Mortimer Menpes, Lanterns;
Mortimer Menpes, Playfellows; Mortimer
Menpes, Baby and baby; Mortimer Menpes,
A roaring business; Mortimer Menpes, Chums;
Mortimer Menpes, Portrait drawing [Head of a
girl wearing a hood]; Mortimer Menpes, Sarah
Berhardt, three studies
Peter Walker, Walkerville, SA: Mortimer
Menpes, An old, old man
Michael Whiteway, London, UK: Mortimer
Menpes, Burmese Village; Mortimer Menpes,
Japanese children; Mortimer Menpes, Two
children on beach
For: Dorrit Black: unseen forces, Art Gallery of
South Australia, 14 June to 7 September 2014:
Adelaide Festival Centre, Adelaide, SA: Dorrit
Black, 'Iberia' costume for Les Ballets
Contemporains
Art Gallery of Ballarat, Ballarat, Vic: Dorrit Black,
Still life with grapes
Art Gallery of New South Wales, Sydney, NSW:
Dorrit Black, Heat haze
John Baily, Port Lincoln, SA: Dorrit Black, South
coast landscape
Dr Andrew B Black, Malvern, SA: Dorrit Black,
Fishing barge, Hobart; Dorrit Black, Holiday
cricket, Burnie Park; Dorrit Black, Portrait of
Rawi Bhavilai; Dorrit Black, Country town,
Nocturne; Dorrit Black, Portrait; Dorrit Black,
Toucans; Dorrit Black, Orchestra pit, Theatre
Royal; Dorrit Black, Argentina or The Spanish
dancer; Dorrit Black, The wattle tree; Dorrit
Black, Elizabeth Street, Sydney
Mr James Black, Medindie, SA: Dorrit Black,
Hillside House; Dorrit Black, (Gum bending over
small creek)
90
Dr & Mrs Robert Black, Glen Osmond, SA:
Dorrit Black, Mirmande; Dorrit Black, Wings;
Dorrit Black, The footballers; Dorrit Black,
Houses, Mirmande; Dorrit Black, Hills near
Hobart, Tasmania; Dorrit Black, Cliffs at Second
Valley; Dorrit Black, Rooftops and gardens;
Richard Boland, North Adelaide, SA: Dorrit
Black, Distillery, Penfolds
Hab Bonython, South Yarra, Vic: Dorrit Black,
The churchyard; Dorrit Black, The woolshed;
Lois Caw, Wombarra, NSW: Dorrit Black, Paris
Hat; Dorrit Black, Black boys
Marjorie Caw, Parkerville, WA: Dorrit Black, St
George's Church, Hobart; Dorrit Black, The
string quartet; Dorrit Black, Still life with bread
and fruit; Dorrit Black, The artist; Dorrit Black,
West Bay, Dorset (English coast); Dorrit Black,
Country Town
Mr Conal Coad & Colin Beutel, Benowa, Qld:
Dorrit Black, Still life with guitar; Dorrit Black,
Still life with shell vase; Dorrit Black, La Grand
Rue; Dorrit Black, Still life with red posy; Dorrit
Black, Study for Still life with guitar
Ross Goble, Magill, SA: Dorrit Black, Study
(male portrait); Dorrit Black, Landslide at Port
Germein Gorge; Dorrit Black, Rock face, Port
Germein Gorge; Dorrit Black, Lake Louise, Banff;
Dorrit Black, The artist’s mother
Tracey Kneebone, Glenunga, SA: Dorrit Black,
Factory at Port Lincoln
Kym Harding / Irene Miller, Balmain, NSW:
Dorrit Black, Nude with cigarettes;
Dorrit Black, Interior (Roland Wakelin's sitting
room)
Mrs Hilary Kneupffer, Rostrevor, SA: Dorrit
Black, Landscape with trees; Dorrit Black,
Gemmell's Farm; Dorrit Black, Chinese umbrella;
Dorrit Black, The fruit stall;
Dorrit Black, Second valley; Dorrit Black, Side of
creek, Mitcham; Dorrit Black, Trees and creek;
Dorrit Black, Dutch houses; Dorrit Black,
Wisteria, Wentworth House
Lawrence Wilson Art Gallery, Nedlands, WA:
Dorrit Black, Landscape, Noarlunga;
Dorrit Black, Boats at Morgan; Dorrit Black, The
building workers; Dorrit Black, study for linocut
’Naval funeral’
Mary Leask, Mount Claremont, WA: Dorrit
Black, South coast; Dorrit Black, Portrait of
Mildred (?); Dorrit Black, Cubist nude study;
Dorrit Black, Composition Study - Sailors and
Girls; Dorrit Black, Dorset Cottages; Dorrit Black,
American River, Kangaroo Island; Dorrit Black,
Hillside, Bellevue Hill, Sydney
Sally Lee, South Perth, WA: Dorrit Black, Grass
trees
Lyceum Club Adelaide, Adelaide, SA: Dorrit
Black, Edge of the forest
Dr Rob Lyons, Norwood, SA: Dorrit Black,
Coconut Palms
Ian Maidment, Westbourne Park, SA: Rocks and
waves, Green Bay, Port Elliot
Dr Oliver Mayo, Burnside, SA: Dorrit Black,
Noarlunga landscape
Chris Michelmore, Goodwood, SA: Dorrit Black,
Boatsheds, Neutral Bay; Dorrit Black, Portrait
study, (Man with pipe)
Margaret Michelmore, Leabrook, SA: Dorrit
Black, Chapman’s Pool; Dorrit Black, Albany
coastline; Dorrit Black, Almond trees; Dorrit
Black, The Aunts
National Gallery of Australia, Canberra, ACT:
Dorrit Black, The mountain lake;
Dorrit Black, The horse collar makers; Dorrit
Black, House-roofs and flowers
Christine Newland-Smith, Sellicks Beach, SA:
Dorrit Black, The cafeteria; Dorrit Black, Leather
book cover; Dorrit Black, Portrait of a woman
with purple blouse; Dorrit Black, Portrait (Grace
Crowley); Dorrit Black, Colour-note (Nude);
Dorrit Black, Interior with woman reading
Sue Pass, Dalkeith, WA: Dorrit Black, (Negro
funeral); Dorrit Black, Interior with dressing
table; Dorrit Black, Portrait of Iberia performer;
Dorrit Black, Tree in front of lake
Helen Paton, St Kilda, Vic: Dorrit Black,
Bookcast with jug
Nancy Paton, Claremont, WA: Dorrit Black, St
George's Church, Hobart; Dorrit Black, The
string quartet; Dorrit Black, Still life with bread
and fruit; Dorrit Black, The artist;
Dorrit Black, West Bay, Dorset (English coast);
Dorrit Black, Country Town
Shane Le Plastrier, Adelaide, SA: Dorrit Black,
Still life
Deborah Pontifex, North Adelaide, SA: Dorrit
Black, The boathouse, Sydney; Dorrit Black,
Coastal trees; Dorrit Black, View up Lake Cons
from Villa Verbellone
Queensland Art Gallery, Brisbane, Qld: Dorrit
Black, In the foothills
91
Ghillian Sullivan, Newcastle, NSW: Dorrit Black,
Female Nudet; Dorrit Black Portrait of Mildred
(sister of the Artist); Dorrit Black, Head of girl (in
green dress); Dorrit Black, Corner of the Studio;
Dorrit Black, Farm Landscape; Dorrit Black,
Female nude; Dorrit Black, Trees in the Park;
Dorrit Black, Under the trees; Dorrit Black,
Wings;Dorrit Black, The Toucans; Dorrit Black,
Still Life with Persimmons; Dorrit Black, Portrait
of Nurse in Blue; Dorrit
Black, Portrait women in brown; Dorrit Black,
Apres Gleizes; Dorrit Black, Gum trees; Dorrit
Black, [Various postcards & miscellaneous
material]
University Art Gallery, University of Sydney,
Sydney, NSW: Dorrit Black, The Castle, Taomina
Justice Ann Vanstone, Adelaide, SA: Dorrit
Black, The Parish Hall [Mount Gambier]
For: Elegant Pursuit: Art of the East Asian
Scholar, Art Gallery of South Australia,
14 July 2014 to17 July 2015:
Jennifer Harris, St Peters, SA: Unknown
Japanese, Pair of Japanese scrolls
South Australian Museum, Adelaide, SA: China,
‘Iron-crutch Li’ (Li Tieguai), one of eight Daoist
immortals
Alan Myren & Lee Grafton, Flagstaff Hill, SA:
Unknown Chinese, Scholars stone; Unknown
Chinese, Pair of seals with lions (shi shi);
Unknown Chinese, Seal with grasshopper;
Unknown Chinese, Daoist immortal; Unknown
Chinese, Snuff bottle; Unknown Chinese,
Libation cup
92
APPENDIX H
OUTWARD LOANS
LOANS FROM THE COLLECTION
During the year 113 works were lent to 24 exhibitions, three of which were major national touring
exhibitions and two of which were international touring exhibitions. Three works were lent to three
departments under the furnishing loans programme.
LOANS TO EXHIBITIONS
Adelaide, SA, South Australian Museum,
Ngintaka exhibition, South Australian
Museum, 29 March to 22 June 2014:
Bendigo, Vic, Bendigo Art Gallery. Genius and
Ambition: The Royal Academy of Arts, London
1768-1918 exhibition, Bendigo Art Gallery, 2
March to 9 June 2014:
Kunmanara Palpatja (Tiger), Ngintaka wati
Tjukurpa – Perentie man of creation story
Will Ashton, The River Seine, Paris
William Blamire, The Blood Pit
George Coates, Motherhood
Gladys Reynell, Old Irish couple
Adelaide, SA, Carrick Hill, Art & Travel:
Alexandre Iacovleff, La Croissiere Noire and Le
Croissiere Jaune exhibition, Carrick Hill, 3 April
to 29 June 2014
Brisbase, Qld, University of Queensland Art
Museum, Danie Mellor: a survey exhibition,
The University of Queensland Art Museum, 18
January to 27 April 2014; TarraWarra Museum
of Art, 10 May to 13 July 2014:
Aleksandr Yakovlev, Mohammed Rafi
Aleksandr Yakovlev, A lama
Ballarat, Vic, Art Gallery of Ballarat, For Auld
Lang Syne: Images of Scottish Australia from
First Fleet to Federation, Art Gallery of
Ballarat, 11 April to 27 July 2014:
Danie Mellor, Postcards from the edge (in
search of living curiosities)
Bulleen, Vic, Heide Museum of Modern Art,
Stephen Benwel: Beauty, Anarchy, Desire Restrospective exhibition, Heide Museum of
Modern Art, 8 August to 10 November 2013:
George Barnard after Thomas Livingston
Mitchell, Tombs of a tribe
Ludwig Becker, Melbourne from across the
Yarra
Martha Berkeley, Anne Eliza Duff with her
daughter Jessie
CHT Constantini, A Tasmanian Scotsman
Townsend Duryea, John Hood, Sir Thomas Elder
Thomas Livingstone Mitchell, Tombs of a tribe
Margaret Preston, Portrait of Miss C.H. Spence
James Shaw, The Admella wrecked, Cape Banks,
6th August, 1859
Stephen Benwell, Large vase
Castlemaine, Vic, Castlemaine Art Gallery &
Historical Museum, Dora Meeson and the
Thames exhibition, Castlemaine Art Gallery &
Historical Museum, 21 September to 10
November 2013:
Dora Meeson, Battersea Bridge in twilight
Dora Meeson, London Bridge
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Canberra, ACT, Canberra Museum and Gallery,
Elioth Gruner: the texture of light exhibition,
Canberra Museum and Gallery, 7 March to 22
June 2014: Newcastle Art Gallery, 26 July to 26
October 2014:
Hans Heysen, The Land of the Oratunga
HJ Johnstone, Evening shadows, backwater of
the Murray, South Australia
John William Lewin, Fish catch and Dawes Point,
Sydney Harbour
John William Lewin, View from Governor Bligh's
farm, Hawkesbury, New South Wales
Kenneth MacQueen, Birds and Sheep, Darling
Downs
Lofty bardayal Nadjamerrek AO, Dead man
Margaret Preston, Aboriginal landscape
John Skinner Prout, Maria Island from Little
Swanport, Van Diemen's Land
Tom Roberts, A break away!
Jeffrey Smart, Holiday resort
Howard Taylor, Sun figure
Imants Tillers, Shadow of the hereafter
Uta Uta Tjangala, Old Man's Dreaming
Turkey Tolson Tjupurrula, Straightening spears
at Ilyingaungau
Jessie Traill, Building the Harbour Bridge IV; The
ant's progress, November 1929
Horace Trenerry, The road to Maslins
Eugene von Guerard, Stony Rises, Lake
Corangamite
after Thomas Watling, View of the town of
Sydney in the colony of New South Wales
Isaace Whitehead, In the Sassafras Valley,
Victoria
Fred Williams, Silver and grey
Elioth Gruner, Autumn Fog 1918
Elioth Gruner, Piccadilly Valley
Elioth Gruner, St Tropez
Hamilton, Vic, Hamilton Art Galleryk, Thomas
Clark exhibition, Hamilton Art Gallery, 16
September to 17 November 2013:
Thomas Clark, The horse muster
Thomas Clark, Waterfall Gully, South Australia
Healesville, Vic, TarraWarra Museum of Art,
Russell Drysdale: Defining the Modern
Landscape exhibition, TarraWarra Museum of
Art, 19 October 2013 to 9 February 2014:
Russell Drysdale, Mullaloonah Tank
London, UK, Royal Academy of Arts, Australia
exhibition, Royal Academy of Arts, 21
September to 8 December 2013:
George French Angas, Port Lincoln from
Winter's Hill
George French Angas, Scene showing emus in a
plain (Coorong)
Clarice Beckett, Morning shadows
Clarice Beckett, Passing trams
Dorrit Black, The Olive Plantation
Brian Blanchflower, Nocturne 3 (Whale Rock)
Charles Conder, A holiday at Mentone
Charles Conder, How we lost poor Flossie
David Davies, Moonrise
EC Frome, First view of the salt desert - called
Lake Torrens
ST Gill, Looking SW from Table Land, August
22nd.
ST Gill, North Terrace, Adelaide, looking southeast from Government House Guardhouse
John Glover, A corroboree of natives in Mills
Plains
John Glover, A view of the artist's house and
garden, in Mills Plains, Van
Diemen's Land
John Glover, View of Mills Plains, Van Diemen's
Land
Hans Heysen, Red Gold
London, UK, Saatchi Gallery, Ben Quilty
exhibition, Saatchi Gallery, 4 July until
3 August 2014:
Ben Quilty, Evening shadows,” Rorschach after
Johnstone"
Ben Quilty, Inhabit
Melbourne, Vic, The Dax Centre, The
University of Melbourne, Healing ways: Art
with intent, The Dax Centre, 15 May until 31
October 2014:
Yhonnie Scarce, Burial ground
Melbourne, Vic, National Gallery of Victoria,
Mid Century Modern: Australian Furniture
Design, Ian Potter Centre, NGV, 30 May to 19
October 2014:
Douglas B Snelling, Functional Products, St.
Peters, Sydney, Rocking chair
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Melbourne, Vic, National Gallery of Victoria,
Sue Ford exhibition, Ian Potter Centre, NGV, 17
April to 24 August 2014:
Murray Bridge, SA, Murray Bridge Regional
Gallery, Salon, Murray Bridge Regional Gallery,
13 September to 20 October 2013:
Sue Ford, Riley
Nora Heysen, Spring Flowers
Nora Heysen, Still life – cabbage
Jacqueline Hick, Strangers
Margaret Preston, Still life, Australian
wildflowers with basket
Margaret Preston, Still life, Australian
wildflowers with Christmas Bells and Sturt Peas
Margaret Preston, Still life, Australian
wildflowers with gum blossoms
Margaret Preston, Still life, Australian
wildflowers with waratahs
Margaret Preston, Still life, Australian
wildflowers with Mottlecah and banksia
blossom
Melbourne, Vic, National Gallery of Victoria,
Bushido ‘Way of the Samurai’, National Gallery
of Victoria, 4 July until 30 November 2014:
Unknown Japanese, Battle scenes from the Tale
of Heike (Heike Monogatari)
Melbourne, Vic, Grainger Museum, The
University of Melbourne, An artist’s utopia
Mortimer Menpes in Japan, Grainger Museum,
22 July 2014 until 30 March 2015:
Mortimer Menpes, A by-canal, Osaka
Mortimer Menpes, A river scene, Japan
Mortimer Menpes, Bronze workers in workshop
Mortimer Menpes, By the light of the lantern
Mortimer Menpes, Heavy laden
Mortimer Menpes, On the great canal, Osaka
Mortimer Menpes, Osaka
Mortimer Menpes, The end of the festival,
Japan
Mortimer Menpes, Young bronze-workers,
Japan
Perth, WA, Art Gallery of Western Australia,
Western Australian Indigenous Art Awards, Art
Gallery of Western Australia, 23 August 2013
to 27 January 2014:
Yhonnie Scarce, Burial ground
St Lucia, Qld, University of Queensland Art
Museum, Danie Mellor: A survey exhibition,
University of Queensland Art Museum, 18
January to 27 April 2014; TarraWarra Museum
of Art, 10 May to 13 July 2014; Museum and
Art Gallery of Northern Territory, 29 August to
16 November 2014:
Mornington, Vic, Mornington Peninsula
Regional Gallery, Sea of Dreams exhibition,
Mornington Peninsula Regional Gallery, 5
December 2013 to 2 March 2014:
Peter Purves Smith, Ricketts point
Danie Mellor, Advance Australia Fair
Danie Mellor, Smoothing the pillow
Mosman, NSW, Mosman Art Gallery, UNE
AUSTRALIENNE: Hilda Rix Nicholas in Paris,
Tangier and Sydney exhibition, Mosman Art
Gallery, 3 May to 29 June 2014
Sydney, NSW, Art Gallery of New South Wales,
Sydney Moderns: art for a new world
exhibition, Art Gallery of New South Wales, 6
July to 7 October 2013:
Hilda Rix Nicholas, Market Place, Tangier
Hilda Rix Nicholas, Study for ... And those who
gave ... I
Hilda Rix Nicholas, The pink scarf
Hilda Rix Nicholas, Through the arch to the sea
Hilda Rix Nicholas, Two women in the market
place
Dorrit Black, Air travel – mud flats and islands
Dorrit Black, Air travel – over the mountains
Dorrit Black, Mirmande
Dorrit Black, Still life
Dorrit Black, The Bridge
Dorrit Black, Two figures
Dorrit Black, The Incinerator, Sydney, N.S.W.
Dorrit Black, The wool quilt makers
Harold Cazneaux, The ermine coat
Grace Crowley, Mirmande
Grace Crowley, Miss Gwen Ridley
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Anne Dangar, Aladin
Ivor Francis, Speed!
Frank Hinder, Subway escalator
Gerald Lewers, The plough
Roy de Maistre, Berry's Bay, Sydney Harbour
Margaret Preston, Aboriginal flowers
Grace Cossington Smith, Poinsettias
Roland Wakelin, Beach and houses
Unley, SA, Walford Anglican School for Girls
Inc., Mary Hamilton McFarlane Display,
Walford Anglican School for Girls Inc., 14
October to 25 October 2013:
Unknown, Court presentation gown & fan
FURNISHING LOANS
Ayers House, National Trust of South Australia,
Adelaide, SA:
attr. to Mrs Parsons, Portrait of Mrs Caroline
Clarke
Department of the Premier and Cabinet,
Adelaide, SA:
Violet Petyarre, Ankerre (emu) Dreaming
Government House, Adelaide, SA
Horace Trenerry, The road to Maslins
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APPENDIX I
EXHIBITIONS AND PUBLIC PROGRAMS
This year the Art Gallery presented a program of five major exhibitions attracting a total of 192 216
visitors. Additionally the Gallery presented 22 major collection displays and a significant off-sight
sculptural installation. The Gallery also presented the official launch of the 2013 SALA Festival.
MAJOR EXHIBITIONS
HEARTLAND: Contemporary art from South Australia
1 July 2013–8 September 2013
Admission: Free
School Groups: Free
Guided Tours: Daily, 11am & 2pm
Opening speaker: Hon. Chloë Fox, MP Minister Assisting the Minister for the Arts
Curators: Lisa Slade, Project Curator; Nici Cumpston, Artistic Director, Aboriginal & Torres Strait Islander
Arts Festival
Presenting Partner: Government of South Australia, Arts SA.
Partners: Contemporary Collectors, SALA Festival, James & Diana Ramsay Foundation, Avant Card.
Media Partners: The Advertiser, 891 ABC Adelaide.
Total Attendance: 32 818
Realms of Wonder: Jain, Hindu and Islamic Art of India
19 October 2013–27 January 2014
Admission: Free
School Groups: Free
Guided Tours: Daily, 11am & 2pm
Opening speaker: Hon Chloë Fox. MP Minister Assisting the Minister for the Arts
Curators: James Bennett, Curator of Asian Art; Russell Kelty, Assistant Curator, Asian Art
Presenting Partners: Government of South Australia, Arts SA.
Family Program Partners: James & Diana Ramsay Foundation, The Balnaves Foundation
Media Partners: The Advertiser, 891 ABC Adelaide
Event Partners: Carlton & United Breweries, Heggies Wine, Jansz Tasmania, Penny’s Hill Wine
Publication Sponsor: Santos
Total Attendance: 33 352
2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014
Admission: Free
School Groups: Free
Guided Tours: Daily, 11am & 2pm
Opening speaker: David Sefton, Director of the Adelaide Festival
Curator: Nick Mitzevich, Director of The Art Gallery of South Australia
Project Manager: Lisa Slade, Project Curator Art Gallery of South Australia
Presented by: Australian Government Visual Arts and Craft Strategy South Australia, Australia Council,
Australian, Government of South Australia, Arts SA
Principal Donor: The Balnaves Foundation
Exhibition Partners: Adelaide Airport, Intercontinental Adelaide
Creative Partner: Clemenger
Project Partner: EY Building a better working world
Media Partners: The Advertiser, 891 ABC Adelaide, Avant Card
Family Program Partners: James & Diana Ramsay Foundation
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In Association with: Adelaide Festival 2014
Total Attendance: 111 000
Dorrit Black: unseen forces
14 June–30 June 2014
Admission: Free
School Groups: Free
Guided Tours: Daily, 11am & 2pm
Opening speaker: Leesa Vlahos MP and Parliamentary Secretary to the Premier
Curator: Tracey Lock-Weir, Curator Australian Paintings & Sculpture; assisted by Elle Freak, Associate
Curator of Australian Paintings, Sculpture and Indigenous Art
Presented by: Government of South Australia, Arts SA
Exhibition Partner: Hassell
Government Partners: Government of South Australia, Arts SA
Media Partners: The Advertiser, 891 ABC Adelaide
Family Program Partners: The Balnaves Foundation, James & Diana Ramsay Foundation
Total Attendance: 14 Jun–30 June: 7 523
The World of Mortimer Menpes: Painter, Etcher, Raconteur
14 June–30 June 2014
Admission: Free
School Groups: Free
Guided Tours: Daily, 11am & 2pm
Opening speaker: Leesa Vlahos MP and Parliamentary Secretary to the Premier
Curator: Julie Robinson, Senior Curator Prints Drawings & Photographs; assisted by Maria Zagala,
Associate Curator of Prints, Drawings & Photographs and Alice Clanachan, Assistant Curator of Prints,
Drawings & Photographs
Presented by: Government of South Australia, Arts SA
Exhibition Partner: Hassell
Media Partners: The Advertiser, 891 ABC Adelaide
Family Program Partners: The Balnaves Foundation, James & Diana Ramsay Foundation
Total Attendance: 14 Jun–30 June: 7 523
COLLECTION DISPLAY EXHIBITIONS
Gallery 6
The Minds Eye, until 27 October 2013, curated by Elle Freak, Associate Curator Australian Paintings,
Sculpture & Indigenous Art.
2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick
Mitzevich, Director of The Art Gallery of South Australia.
Gallery 7 & Santos Atrium
Keeping Places, until the 25 August 2013, curated by Nici Cumpston, Lisa Slade, Project Curator.
Big Country, 31 August 2013–February 2014, curated by, Nici Cumpston.
2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick
Mitzevich, Director of The Art Gallery of South Australia.
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Gallery 8
Bill Viola the return, until the 15 September 2013, curated by Jane Messenger, Curator of European and
North American Art.
Correspondences, 21 September 2013–30 March 2014, curated by Maria Zagala, Associate Curator of
Prints, Drawings & Photographs
2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick
Mitzevich, Director of The Art Gallery of South Australia.
Galleries 9 & 10
Unsettled: recent acquisitions of Australian art, until 29 September 2014, curated by Maria Zagala,
Associate Curator Prints, Drawings & Photographs and Elle Freak, Associate Curator of Australian,
Paintings, Sculpture & Indigenous Art.
Time to Time: The Films of Bill Morrison, 5 October–3 November 2013, curated by Maria Zagala,
Associate Curator of Prints, Drawings & Photographs.
Metamorphoses, 14 November 2013–27 January 2014, curated by Jane Messenger, Curator of European
& North American Art.
2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick
Mitzevich, Director of The Art Gallery of South Australia.
Gallery 10 & 11
Warka iritja munu kuwari kutu = Work from the past and present: Ernabella Arts the last thirty years, 13
July–27 October 2013, curated by Robert Reason, Curator European & Australian Decorative Arts.
2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick
Mitzevich, Director of The Art Gallery of South Australia.
Gallery 11
Ian Burns Clouds, 5 December 2013–30 June 2014, installation.
2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick
Mitzevich, Director of The Art Gallery of South Australia.
Gallery 17
Hard Edge Abstraction, until February 2014.
2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick
Mitzevich, Director of The Art Gallery of South Australia.
The Gamekeeper’s Gibbet Noble & Webster, 22 May–30 June 2014, curated by Jane Messenger, Curator
of European & North American Art.
Gallery 18
Decent/Descent, until 14 May 2014, guest curated by Anneliese Milk, intern, University of Melbourne.
Max Klinger’s Intermezzi, until 15 November 2013, Maria Zagala, Associate Curator Prints, Drawings &
Photographs.
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Gallery 19A
A Civilised Thing to do: Jam Factory 40 Years, until the 27 October 2013, curated by Robert Reason,
Curator European & Australian Decorative Arts.
The Hugo Van Dam Bequest: an Oriental Fantasy, 2 November 2013–4 May 2014, curated by Robert
Reason, Curator European & Australian Decorative Arts.
Lace: the Art of Adornment, 10 May–30 June 2014, curated by Robert Reason, Curator European &
Australian Decorative Arts.
Gallery 19B
Paradise on earth: Flowers in the Arts of Islam, until 30 June 2014, curated by James Bennett, Curator of
Asian Art.
Gallery 20
Stairway to heaven: Art from the Himalayas, until 10 November 2014, curated by Russell Kelty, Assistant
Curator, Asian Art.
Elements in Harmony: Contemporary Japanese Ceramics, 15 November 2013–22 June 2014, curated by
Russell Kelty, Assistant Curator, Asian Art.
Gallery 21
Noble Shadows – Ancestral art of Indonesia and Australia, until 4 April, curated by James Bennett,
Curator of Asian Art.
Netsuke and other Miniatures, 11 April–30 June 2014, guest curated by Jennifer Harris.
OFF SITE EXHIBITIONS
Urpflanze street plants, Caroline Rothwell, at the Santos Museum of Economic Botany, 11 April–October
2014, curated by Lisa Slade, Project Curator, in conjunction with 2014 Adelaide Biennial of Australian
Art: DARK HEART
PUBLIC PROGRAM EVENTS
COLLECTION FLOOR TALKS
A total of 72 regular Tuesday floor talks were presented by Gallery curators, Gallery Guides, artists and
guest speakers, either about displays of the Art Gallery’s collection or temporary exhibitions.
Attendance: 1 696
EXHIBITION FLOOR TALKS
HEARTLAND: CONTEMPORARY ART FROM SOUTH AUSTRALIA: eight talks, 375 patrons
Realms of Wonder: Jain, Hindu and Islamic Art of India: six talks, 364 patrons
2014 Adelaide Biennial of Australian Art: DARK HEART: 15 talks, 2 726 patrons
Total attendance: 3 465
AUSLAN
AUSLAN tours were presented free of charge for Deaf and hearing impaired patrons.
One tour for HEARTLAND: CONTEMPORARY ART FROM SOUTH AUSTRALIA, two tours for Realms of
Wonder: Jain, Hindu and Islamic Art of India, one tour for Dorrit Black: unseen forces & The World of
Mortimer Menpes: Painter, Etcher, Raconteur
Attendance: 127
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SPECIAL TOURS
Garden tours, presented in conjunction with HEARTLAND by Guides at the Adelaide Botanic Gardens
2,9,16 & 23 July
Attendance: 387
SPRING LECTURE PROGRAM
The Art of Asia
5 October, Return to Edo – Trends in Contemporary Japanese Painting
Speaker: Khan Trinh, Curator of Japanese Art, Art Gallery of New South Wales
Attendance: 92
12 October, The Art of Karma Phuntsok
Speaker: Karma Phuntsok
Attendance: 65
13 October, Tibetan Painting Workshop
Presented by Karma Phuntsok, internationally acclaimed master painter
Attendance: 25
19 October, Viewing Indonesian Art from Bali
Speaker: Adrian Vickers, Professor, Southeast Asian Studies at the University of Sydney
Attendance: 83
INTERNATIONAL LECTURE
Tate expert in tete a tete
6 August
Speaker: Dr Joyce Townsend, TATE Britain, Senior Conservation Scientist, presented in association with
ArtLab Australia
Attendance: 142
LECTURES
Lectures presented free in conjunction with exhibitions
The Jina’s Realm: Continuities and discontinuities between the Jain, Buddhist and Hindu Traditions
20 October
Speaker: Dr Royce Wiles, Visiting Fellow, School of Culture, History and Language, ANU College of Asia
and the Pacific
Attendance: 87
‘Although the Sun of Allah’s Merciful Compassion…’
26 October
Speaker: James Bennett, Curator of Asian Art
Attendance: 98
The Liquid Frontiers’ of Islamic Art: Interaction and Exchange in the Medieval Period
2 November
Speaker: Dr Stefano Carboni
Attendance: 72
Realms of Wonder Indian Trade Textiles through the ages
16 November
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Speaker: Michael Abbott AO QC
Attendance: 74
Forms of the Formless in Indian Art
23 November
Speaker: Lee Grafton, Arts of Asia Lecturer and Consultant
Attendance: 59
More than Cricket or Bollywood
25 January
Speaker: James Bennett, Curator of Asian Art
Attendance: 160
OCCASIONAL LECTURES AND SERIES
Occasional lectures and series exploring art and ideas in depth
What we believe?
2 November, Islam
Attendance: 87
30 November, Hinduism
Attendance: 130
7 December, Krishna Consciousness
Attendance: 45
17 November, Jain
Attendance: 92
SYMPOSIUMS
14 June
Dorrit Black: unseen forces
Attendance: 136
14 June
The World of Mortimer Menpes: Painter, Etcher,
Raconteur
Attendance: 126
START at the Gallery
START at the Gallery, monthly children’s program of activities, supported by The Balnaves Foundation
7 July, Keeping Places, Aboriginal Art
4 August, SALA Festival
1 September, Heartland
6 October, About Face
3 November, Indian Culture Day
1 December, End of Year Party & Celebration
5 January, The Elephant and Monkey God
2 February, Year of the Horse, Chinese New Year
2 March, Strange Streetscapes
6 April, Get Smart
4 May, House of Cards
1 June, Lace it Up
Total Attendance:
850
700
550
570
630
340
368
440
650
450
450
500
6 498
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SCHOOL HOLIDAY ART & CRAFT PROGRAM
Art & Craft activities themed to exhibition / collection content were held during each school holiday
period.
15–19 July, Constructed City
284 participants
30 September–4 October, Big Backyard
232 participants
13–17 January, Little India
225 participants
22–24 April, Bust Up
166 participants
Total Attendance:
907
PERFORMANCES
Live musical performances – Soundscapes – held on the first Sunday of the month at 2pm, in
conjunction with the START at the Gallery program
7 July, 4 August, 1 September, 6 October, 3 November, 1 December, 5 January, 2 February, 2 March, 6
April, 4 May, 1 June
Total Attendance: 6 498
Performances presented in conjunction with Realms of Wonder
9 November, Music of India, 92 patrons
24 November, Hare Krishna Chanting, 45 patrons
24 November, Kalalaya Dance, 116 patrons
25 January, Bansuri – Sounds of the Flute, 160 patrons
Total Attendance: 413
CHRISTMAS AT THE GALLERY
8 December
Christmas Tour of the Gallery with Bishop Ian George
Attendance: 70
EASTER AT THE GALLERY
18 April
Easter Tours of the Gallery with Bishop Ian George
Attendance: 300
19 April
Easter Tour of the Gallery with Reverend Father Anthony Kain
Attendance: 100
Easter Children’s Activity Trail
18 April –21 April, All day
Attendance: 265
SA HISTORY FESTIVAL
Daily tours highlighting architecture and early beginnings of the Gallery
Attendance: 156
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CULTURE DAYS
Three cultural events were presented at the Art Gallery, which were held in conjunction with the START
at the Gallery program
Indian Culture Day
3 November
Coinciding with the Diwali Festival of Lights, a celebration of Indian art, history and culture
Attendance: 630
Indian Culture Day: The Elephant and Monkey God
5 January
Explored the stories of these Indian Gods
Attendance: 368
Chinese New Year
2 February
Celebrating Chinese New Year with a special display of the animals in the Chinese zodiac. Assisted by the
Confucius Centre, University of Adelaide
Attendance: 440
FILM PROGRAM
Film trilogy on Indian life screened in association with Realms of Wonder: Jain, Hindu and Islamic Art of
India
Fire
27 October
Attendance: 16
Water
26 January
Attendance: 30
Earth
30 November
Attendance: 21
PRACTICAL WORKSHOPS
Speaking in Pitjantjatjara Yunkunytjatjara
8 July & 10 July
Facilitators: Karina Lester
Attendance: 50
Tabla Workshop
10 November
Facilitator: Jay Dagbar
Attendance: 14
Drawing Tour
24 & 25 August and 7 September
Facilitator: Paul Sloan
Attendance: 45
Sari Wrapping
7 December
Facilitator: ISKCON
Attendance: 14
Meditation
9, 16, 23 November
Facilitator: Sipra Lloyd, Sri Chinmoy Meditation
Centre
Attendance: 43
Art and Writing Master class
31 August
Facilitators: John Kean and Una Rey
Attendance: 27
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Yoga Classes
9, 16, 17, 23, 24 & 30 November
Facilitator: Kelly Day
Attendance: 183
DARK HEART Animation Workshop
23 March
Facilitator: Luke Thurgate
Attendance: 20
Henna Workshop
11 & 12 January
Facilitator: Linda Bell
Attendance: 41
Sketch Club
21 June – sketch musicians in the Gallery
Attendance: 36
Sketch Club
28 June – explore still life
Attendance: 25
Indian Miniatures
18 & 19 January
Facilitator: Madhu Saraf
Attendance: 16
Just like Dorrit – linocut print workshop
21, 22, 28, 29 June
Attendance: 12
House of Cards
2 March
Facilitator: Tony Albert
Attendance: 64
SPECIAL PROGRAM – OPENING & CLOSING WEEKENDS
2013 South Australian Living Artists Festival launch at the Gallery
Attendance: 650
Opening night of the Realms of Wonder: Jain, Hindu and Islamic Art of India
Attendance: 667
Opening weekend of 2014 Adelaide Biennial of Australian Art: DARK HEART with artist talks, Skywhale
sketching and launch in Adelaide Botanic Gardens, (including opening event, Skywhale and Artist talks)
Attendance: 2 835
ARTIST IN THE GALLERY
Artist in the exhibition
30 November & 1 December
Artist: Pramod Kumar, demonstrating the art of Indian miniature painting
Attendance: 265
Taxidermy
9 March
Presenter: Jo Bains, demonstrating taxidermy
Attendance: 110
LEARNING AT THE GALLERY
The Learning at the Gallery program is the result of a partnership between the Art Gallery of South
Australia (AGSA) and the Department for Education and Child Development (DECD). It is part of Outreach
Education (OE), a team of DECD teachers based in major South Australian public organisations. Their role
is to bring together learner needs, curriculum and good pedagogy with the expertise, collections and
events at their organisations to create exciting learning experiences for Foundation to Year 12 (F–12)
children, students and teachers.
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The Gallery based DECD Education Manager, Mark Fischer, planned and delivered a range of learning
programs in the period under review supported by AGSA Education Support Officer Ryan Sims.
The volunteer Gallery Guides were supported and coordinated to make links to the Australian
Curriculum and the South Australian Certificate of Education (SACE) by the DECD Education Manager,
and the AGSA Education Support Officer to maximise face to face learning opportunities for children and
students visiting the Art Gallery.
The Australian Curriculum (AC) from Foundation (F – the year of schooling prior to Year 1) to Year 10 has
impacted the design and delivery of learning area programs developed to suit the needs of schools and
early childhood services. Learning areas supported by Learning at the Gallery included Visual Arts,
Design, History, Society and Environment, Science, English and Languages.
TEACHING & LEARNING
Learning at the Gallery programs were based on the DECD priorities and included: facilitation of face-toface interpretation of works of art for permanent and temporary exhibitions; creation of exhibition and
display learning materials; coordination of The STUDIO making activities to support AC: Arts (Visual
Arts); artist led studio workshops to support students and teacher professional learning; interactive
primary performances; partner OE programs in collaboration with SA Museum; individual support for
self-guided group visits, as well as individual student and teacher requests.
2 989 early years, primary and senior secondary students participated in Learning at the Gallery
programs with practicing South Australian visual or performance artists.
6 954 early years, primary and secondary students participated in facilitated workshops in The STUDIO.
Learning at the Gallery offered a range of specialised teaching and learning programs for teachers,
children and students:
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Facilitated and coordinated children and student activities in The STUDIO, F–12
Me, Myself, I self-portraiture program, Early Years
Art Alive interactive performances, Years 3–7
Aboriginal Guided Sessions and connected practical workshops, Years 4–7
Life-drawing and self-portraiture drawing workshops, Years 10–12
Art Careers Forum, Years 10–12, teachers and parents
Year 12 Visual Arts Forums, Years 10–12, teachers and parents
Art Language Program for Secondary students studying German, French, Spanish, Italian or
Indonesian, Years 9–12
SALA Festival, Secondary Drawing Exhibition, Radford Auditorium, Years 10–12, and schools
communities
Collaboration in South Australian Museum Childrens’ Voice Research 2014, Foundation
students, teachers and parents
TEACHER PROFESSIONAL LEARNING
Learning at the Gallery actively promotes teaching and learning programs to DECD, Catholic and
Independent teachers via the Gallery Learning homepage totalling 28 248 unique page views, and
distributed a regular Learning enews to over 1 600 subscribers.
1 085 teachers participated in professional learning sessions e.g. exhibition & collection based teacher
briefings, workshops & seminars.
106
Introductory and specialised training for teachers F–12, provided information about current programs
and supported development of skills in accessing and utilising the Gallery’s resources, exhibitions and
displays.
745 teachers participated in the professional learning program. A key outcome of this program was that
teachers enhanced their knowledge and capabilities to support student cultural and visual arts
education learning across a wide range of learning areas.
Three Teacher Briefings were coordinated by Learning at the Gallery with support of the Director and
Curators for the following exhibitions and displays:
Realms of Wonder: Jain, Hindu and Islamic Art of India
19 October 2013–27 January 2014
2014 Adelaide Biennial of Australian Art: DARK HEART
1 March 2014–11 May 2014
Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur
14 June–30 June 2014
A total of 340 teachers participated in these briefings.
The teacher professional learning program included a series of artist led Studio Workshops for 37
educators linked to the Gallery collection and temporary exhibitions including:
Still-life Oil Painting Studio Workshop facilitated by Deidre But-Husaim, and DARK HEART Workshop
facilitated by Lauren Simeoni.
Changing Worlds: A South Australian story, a web-based resource aligned with Years 4, 5 and 9
Australian Curriculum (AC): History and Arts, was designed by the Art Gallery and the South Australian
Museum OE Managers with DECD personnel using selected artefacts, images and works of art from the
two organisations to support teachers' discussions with students about the colonisation of South
Australia http://www.changingworlds.sa.edu.au/ 11.3% of total school bookings were related to this
teaching and learning program.
13.6% of total school bookings were related to the F-10 Curriculum / Cross-curriculum priorities / study
of Aboriginal and Torres Strait Islander histories and cultures.
Twenty eight four-year-old children from Early Years Learning Centres visited the South Australian
Museum and the Art Gallery taking part in a Reggio Emilia inspired Children’s Voice Research Project.
The children were invited to the Museum and Art Gallery on multiple occasions to engage with two
galleries - the Pacific Cultures Gallery and the Elder Wing, for observation and recording as to how the
children used and constructed meaning from these spaces, and to work with the children to coconstruct learning opportunities. An outcome will be the proposed Children's Voice Exhibition at the
Museum where the children’s voice is to be made visible.
LEARNING AT THE GALLERY RESOURCES
Coordinated three Learning at the Gallery education resources for:



Realms of Wonder: Jain, Hindu and Islamic Art of India 19 October 2013–27 January 2014
2014 Adelaide Biennial of Australian Art: DARK HEART 1 March 2014–11 May 2014
Dorrit Black: unseen forces 14 June–30 June 2014, and The World of Mortimer Menpes Painter,
Etcher, Raconteur 14 June–30 June 2014
107
APPENDIX J
LEARNING AT THE GALLERY SUPPORT SERVICES 2013/2014
LEARNING AT THE GALLERY VISITATION
GROUP VISITS / INQUIRIES
Student Gallery visitation
Support staff for Gallery visitation
Student workshops, forums and performances
Support staff for Student workshops, forums and performances
Individual student research inquiries
Sub-total (all students/support staff)
24 240
3 659
2 989
704
21
31 613
TEACHER PROFESSIONAL LEARNING
Teacher Briefings (exhibitions / displays)
Individual teacher assistance
Teacher professional learning programs
Graduate teachers / Childcare workers / Other
Sub-total (all teachers)
340
31
745
83
1 199
TOTAL SCHOOL VISITATION
32 812
ANNUAL ATTENDANCES 2007–2014
Schools
2013–2014
2012–2013
2011–2012
2010–2011
2009–2010
2008–2009
32 812
32 593
26 050
36 394
23 552
22 142
Client Use – Percentage Analysis
2013–2014
2012–2013
2011–2012
2010–2011
2009–2010
Government (DECD)
Catholic (CEO)
Independent (ISB)
57%
56%
41%
55%
50%
21%
27%
25%
20%
24%
22%
17%
34%
25%
26%
108
APPENDIX K
GALLERY GUIDE TOUR SERVICES
Tour type
Overseas Interstate
Articulate, 11am and 2pm Daily
Collection in Focus, 12.30 Daily (excluding
Tuesday Curators Talks)
Exhibitions:
Heartland
21 June–8 September 2013
Realms of Wonder
19 October–27 January 2014
2014 Biennial of Australian Art: DARK HEART
1 March–11 May
DARK HEART START
Total for March/April/May
Numbers include parents/carers
START Total
Including DARK HEART
Numbers include parents/carers
The World of Mortimer Menpes: Painter, Etcher,
Raconteur
Dorrit Black: unseen forces
14 June–7 September
Total unbooked
Booked Collection
Booked Exhibitions:
Heartland
Realms of Wonder
2014 Biennial of Australian Art: DARK HEART
Mortimer Menpes/Dorrit Black
Total booked groups
Other School Holidays
Total
Total Booked/Unbooked
START/School Holidays
Local
Total
1 243
209
1 145
209
1 051
410
3 439
828
No. of
Tours
674
233
79
87
972
1 138
143
125
343
1 201
1 669
140
134
305
1 448
1 887
170
844
844
21
3 480
3 480
83
16
50
331
397
36
1 794
3
2 136
0
7 906
793
12 136
796
1 351
124
4
8
0
0
15
0
0
3
0
3
275
296
352
25
2 803
1 809
2 139
10 709
279
304
355
25
2 821
1 102
3 923
14 957
17
30
27
2
310
54
3 415
3 415
16 059
3 415
Total number of tours taken by Guides
IN SUMMARY:
GALLERY GUIDES TOUR SERVICES
Seventy three Guides contributed to the AGSA Gallery Guide Service for 2013-2014.
Guides provided 3 415 tours for 16 059 people over the course of the year providing approximately 155
tours per month.
109
Guides offered daily tours of the Art Gallery collection at 11am and 2pm as well as a Collection in Focus
tour each day at 12.30pm except on Tuesdays when the Curators gave their weekly Lunchtime Talks.
Tours were also provided for special exhibitions.
The special exhibitions were:
Heartland: Contemporary Art from South Australia
Realms of Wonder: Jain, Hindu and Islamic Art from India
2014 Adelaide Biennial of Australian Art: DARK HEART
The World of Mortimer Menpes: Painter, Etcher, Raconteur
Dorrit Black: unseen forces
In addition the Guides toured Special Interest Groups (previously known as “Booked Groups”. See under
“Special Projects below) through a variety of “Boutique displays” and special focus tours such as:
Big Country
Paradise on Earth: Flowers in the the Arts of Islam
Stairway to Heaven: Art from the Himalayas
The JamFactory: A Civilised Thing to do
Metamorphoses
Correspondences – Ian Friend
The Mind’s Eye
Ernabella Arts
Noble Shadows
The Hugo Van Dam Bequest: An Oriental Fantasy
Elements in Harmony: Contemporary Japanese Ceramics
Lace: The Art of Adornment
Netsuke and Other Miniatures
Small treasures
Stitches and Styles
Special Projects
Special Projects activities branched into a major new initiative with the Members’ Art Gallery Book Club.
As a result of this the previous “Booked Groups” became known as “Special Interest Groups” to
distinguish groups which visit the Gallery 3 -10 times per year for major exhibitions and time limited
displays of the Gallery collection.
The Outreach Program begun in late 2012 to promote the Turner from the Tate exhibition continued
into 2013-14 albeit in a modified form.
AGSA Members Book Club
Planning for a Book Club began in response to an unexpected demand by Members for a launch of
Katrina Strickland’s Affairs of the Art. A research paper into art book clubs provided the basis for a club
to be facilitated by Gallery Guides for Members, conducted in the Gallery space best suited to the book
title under discussion. The very positive response from Members resulted in five groups beginning in
February and meeting each month. Venues for club meeting groups range from the Gallery space to the
Function Room or the Donor’s lounge, depending on availability. Members and facilitators are
enthusiastically committed to the club with only a few places available in the Saturday groups
Nine Guides so far have attended art book club meetings either as joint facilitators or as support guides.
Facilitators bring supplementary library materials to most meetings and conduct a brief tour of the
relevant section of the Gallery. Books are chosen for their relevance to the Gallery’s collection, variety
of topic, author and genre. They can be purchased at the Gallery Shop at a 20% discount for one copy of
110
each set book club text for club members. Each club operates differently with some members taking on
a leadership role for their group. In July 2014 a questionnaire will be completed by each club. The
responses will provide feedback which will assist planning for 2015.
Special Interest Groups
Twenty groups attend monthly or bi-monthly from February to November. A well attended 30–50
Gallery Members group is among them. SIG’s attend all major exhibitions and short term displays of the
gallery collection such as Netsuke and other Miniatures. In 2014 5 extra topics were devised by groups of
self-nominated guides to provide tours to supplement the Gallery exhibition program. Topics such as
Bling through the ages and Stitches and Style proved popular with the groups.
Carrick Hill guides formed a Periodic Special Interest Group to tour selected exhibitions. They attend the
Gallery for an exhibition tour four times per year. Campbelltown U3A group is another Periodic Special
Interest Group coordinated by a Gallery Volunteer who requests a booking for a series of five tours of
exhibitions selected by them.
Outreach Program
Illustrated Outreach talks have been provided on request from organisations such as Friends of Goolwa
Library in October, 2013. The GetsmART at Burnside Library series from April to July 2014 was
presented at the request of the Burnside Library. All the presenters from the 2013 GetsmART lecture
series gave their time to deliver their lecture either on Thursday evening or Saturday morning. The
library also requested a talk about Frieda Kahlo as part of their recognition of the 60 th anniversary of her
death.
There is a difference between providing Outreach talks free of charge for “blockbuster” promotion
purposes such as the Turner Outreach program in 2012–13 and fee paying Outreach talks for
community art appreciation. Topics for the latter include the GetsmART lecture series from early 2013
on the “Big Ideas” in the Melrose Wing. Proposal for other forms of Outreach are currently under
consideration.
START Children’s Program and School Holiday Program
The START Children’s Program is sponsored by the Balnaves Foundation. It is held on the first Sunday of
each month and is free. Since its introduction attendances have continued to grow steadily. It is a family
day on which attend enthusiasm, curiosity, delight and eagerness to participate are shown by the
children and the parents alike.
The day consists of Guided Tours, Workshops and various activities held in the STUDIO and the
Auditorium, as well as a range of entertainment in keeping with the theme of the day. Works for the
tours are selected within this framework by the Guides rostered for that particular month.
From July to December we worked well with Luke Thurgate who resigned at the end of 2013. This year,
Megan McEvoy, Exhibition and Public Programs Officer, has taken on this role as the Coordinator
between the Guides and the Gallery. She communicates regularly with the Children’s Tours Manager,
Trish Finnimore, and other guides, advising of plans and ideas for coming months. Megan and Lisa Slade
attend meetings with the Guides on a regular basis and plans and ideas are discussed. In the past year
these meetings are held at three monthly intervals where planning is made for that period of time.
Included in these meetings is the planning for the School Holiday Program which consist of three daily
tours being offered for one week of each of the four school holiday periods for the year, again worked
around the theme and activities planned by the Gallery.
Twenty seven of our Guides have been involved in presenting START and School Holiday Tour this year.
Total numbers for the START Sunday program this year are 3 781 children and parents / carers
attending, and total numbers for the School Holiday Tours are 1 102.
111
This makes an overall number of 4 883 attending over the past twelve month.
Numbers of Tours given are 84 for the START Sunday and 54 for the School Holiday program, making a
total of 138 Tours.
Below is a schedule of statistics of attendance and tours presented for the past year.
There is a great vibrancy in the Gallery on Sunday START days and many members of the public
comment on the joy the presence of the children bring. The START membership club is very popular–
the children proudly show off their ID cards. It is also heartening to see the diversity of the ethnic family
groups who have embraced these children’s programs.
Guides Roster 2013-2014
65 volunteer guides provided visitors to the Art Gallery of South Australia with tours on every day of the
year except Christmas Day.
During this year 3 415 tours were provided to 16 059 visitors.
Articulate tours of the General Collection were provided twice a day at 11am and 2pm with a shorter
Collection in Focus tour at 12:30pm except Tuesdays.
Specialised tours were provided monthly to 23 Special Interest Groups. Booked Group tours were
organised through the Gallery’s Public Programs. In addition School Holiday programs were provided as
well as the START program with Children’s tours on the first Sunday of the Month. Booked Groups were
also be arranged through Art Gallery Food and Wine.
Volunteer Guides who take scheduled public and booked tours also volunteered to take school groups,
in addition to their other Gallery commitments. ‘Education Guides’ who, until October 2013, worked
exclusively with school groups were invited to join the Volunteer Guides general meetings on Tuesdays
as the first move to better integrate the work of Guides generally. Education Guides, now known as
‘Guides supporting Children’, work only with school students. There are currently 10 of these guides.
International Museum Day on Sunday 18th May was celebrated with tours at 11am, 1, 2 & 3pm as part
of the SA History Trust About Time: South Australia’s History Festival.
Guides conducted tours for the disabled and tours to support language providers of AUSLAN. Tours
were also provided for students of English as a Second Language.
Articulate tours at 11am and 2pm were conducted in support of major exhibitions including Heartland,
Realms of Wonder, the 2014 Adelaide Biennial of Australian Art: DARK HEART and the Dorrit Black:
unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur exhibitions.
Heartland an exhibition of contemporary SA Art was followed by Realms of Wonder the Gallery’s first
major exhibition of Indian art. This presented Guides with the challenge of becoming familiar with the
works on show and understanding the cultural and religious beliefs inherent in the works.
2014 Adelaide Biennial of Australian Art: DARK HEART was a feature of the Adelaide Festival of Arts and
the number of visitors began strongly with numbers remaining steady as the season progressed.
Agreement with the Intercontinental Hotel to provide complimentary admission to the Turner Exhibition
in 2013 was continued for DARK HEART. A separate 3pm tour was offered for the month of March 2014.
112
However, due to a lack of patronage guides were not rostered for this timeslot for the rest of the
season. Off site tours were also provided at the Museum of Economic Botany.
The concurrent exhibitions of Dorrit Black and Mortimer Menpes presented a challenge in securing an
adequate pool of guides to meet the needs of single and combined tours of these exhibitions. Special
Interest groups were all scheduled to tour these exhibitions; some as single exhibition tours with others
as a combined Black / Menpes tours. With short lead time to assess the scope of these tours Guides also
found it necessary to quickly familiarise themselves with the works on show.
Guide Rosters continue to be composed using ‘Smart Roster’ software and there is a need for more
guides to be trained in the rostering procedure to ensure continuity in the future.
Amalgamation with Volunteer Education Guides Supporting Schools
Commencing in October 2013 the Guides formally welcomed the Education Guides to all the Guides
Association Meetings, along with the Learning in the Gallery researchers who write the Education
Resource material with DECD Education Officer, Mark Fischer. It had been recognised for some time that
the Volunteer Education Guides included over 25 Gallery Guides and it was seen as a logical
development for the Education Guides to join the weekly meetings of the Guides Association in order to
enable them to fully participate in the activities of the Guides Association, including presentations and
Floor Talks by Curators, Guides and visiting speakers.
Increasing numbers of Gallery Guides attended and contributed to the fortnightly “Learning in the
Gallery” meetings of Education Guides run by the Education Manager, Mark Fischer and the Education
Support Officer, Ryan Sims. At these meetings Gallery Guides and Education Guides volunteer to take
specific tours which schools have requested to enable the completion of the School Booking Schedule.
From October 2013 Mark Fischer, Education Manager and Ryan Sims, Education Support Officer, joined
the Gallery Guides Executive.
Gallery Guides Training Program 2014-2015 (Selection of trainees 2014)
The Training Program for the new cohort of Gallery Guides will be implemented on Tuesdays from 22
July 2014 to 30 June 2015.
After a rigorous recruitment process, 18 trainees with rich and diverse backgrounds were selected for
the program, which will be co-ordinated by Jill Swann and Rosemary Collins in collaboration with Lisa
Slade and Mark Fischer. On graduating, the group will be available to take up all guiding opportunities,
working with Articulate and Special Interest tour groups, Learning@Gallery school tours, START family
tours and School Holiday Programs.
CONTINUING EDUCATION PROGRAM
The Guides Continuing Education Program was presented each Tuesday with talks, lectures and
presentations by Gallery staff, Gallery Guides and invited guests from SA and interstate.
The Director, Nick Mitzevich, attended Tuesday meetings on average twice a term providing invaluable
updates about the Gallery and forthcoming exhibitions and events.
Lisa Slade, Project Curator provided ongoing support for the management and representation of Gallery
Guides. Lisa continued in her role as Gallery management representative on the Gallery Guides
Executive.
In February 2014 we lost one of our Gallery Guides, Jenni Scrymgour. Jenni had been a Gallery Guides
Coordinator and an AAGGO representative. A moving and beautiful work of art has been purchased by
113
the Gallery in memory of Jenni, thanks to the support of the Gallery Guides and in consultation with
Robert Reason, Curator of European and Australian Decorative Arts. The work is Water Bowl by the
South Australian glass artist Deb Jones.
Tour type
Articulate, 11am and 2pm Daily
Collection in Focus, 12.30 Daily (excluding
Tuesday Curators Talks)
Exhibitions:
Heartland,
21 June- 8 September, 2013
Realms of Wonder,
19 October – 27 January, 2014
2014 Biennial of Australian Art: DARK
HEART
1 March – 11 May
DARK HEART START
Total for March/April/May
Numbers include parents/carers
START Total
Including DARK HEART
Numbers include parents/carers
The World of Mortimer Menpes, Painter,
Etcher, Raconteur
Dorrit Black: unseen forces
14 June – 7 September
Total unbooked
Booked Collection
Booked Exhibitions:
Heartland
Realms of Wonder
2014 Adelaide Biennial of Australian Art:
DARK HEART
The World of Mortimer Menpes, Painter,
Etcher, Raconteur / Dorrit Black: unseen
forces
Total booked groups
Other School Holidays
Total
Total Booked/Unbooked
START/School Holidays
Overseas
Interstate
Local
Total
1 243
209
1 145
209
1 051
410
3 439
828
No. of
Tours
674
233
79
87
972
1 138
143
125
343
1 201
1 669
140
134
305
1448
1 887
170
844
844
21
3 480
3 480
83
16
50
331
397
36
1 794
3
2 136
0
7 906
793
12 136
796
1 351
124
4
8
0
0
0
3
275
296
352
279
304
355
17
30
27
0
0
25
25
2
15
3
2 803
2 821
1 102
310
54
1 809
2139
10 709
3 923
14 957
3415
3 415
16 059
3 415
Total number of tours taken by Guides
114
IN SUMMARY:
GALLERY GUIDES TOUR SERVICES
Total number of tours conducted over this financial year including regular tours, regular booked groups,
children’s tours (START), School groups and corporate function tours: 3 415
Total persons toured this financial year (excluding school students): 16 059
Total number of tours conducted in previous financial year: 2 948
Total persons toured in previous financial year (including Turner blockbuster): 44 267
115
APPENDIX L
GALLERY PUBLICATIONS AND MERCHANDISE
Books
Realms of Wonder: Jain, Hindu and Islamic Art of India
Author: James Bennett
216 pp, 152 colour illustrations
ISBN 978 1 921668 16 6 case bound
Designer: Antonietta Itropico
2014 Adelaide Biennial of Australian Art: DARK HEART
Authors: Nick Mitzevich plus various
224 pages, 225 colour illustrations
ISBN 978 1 921668 17 3 case bound
Designer: Antonietta Itropico
Netsuke and other miniatures
Author: Dr Jennifer Harris
180 pages, 330 colour illustrations
ISBN 978 1 921668 20 3 case bound
Designer: Antonietta Itropico
Fully funded by Trevor and Ann Lands and family
Highlights: Aboriginal and Torres Strait Islander Collection
Author: Nici Cumpston
80 pp, 102 colour illustrations
ISBN 978 1 921668 21 0 case bound
Designer: Antonietta Itropico
Dorrit Black: unseen forces
Author: Tracey Lock-Weir
224 pp, 294 colour illustrations
ISBN 978 1 921668 18 0 case bound
Designer: Antonietta Itropico
The World of Mortimer Menpes: Painter, Etcher, Raconteur
Author: Julie Robinson
248 pp, 438 colour illustrations
ISBN 978 1 921668 19 7 case bound
Designer: Antonietta Itropico
Annual Report of the Art Gallery of South Australia 2012–13
Authors: Chairman, Director and staff
Co-ordinator: Margaret Bicknell
ISSN 0728–7925
ARTICULATE
Winter 2013
Spring 2013
Summer 2013–14
Autumn 2014
116
ISSN 1838 627X
64 pages, full-colour throughout, paperback
Editor: Lena Fiorentini
Designer: Antonietta Itropico
Merchandise
• Realms of Wonder merchandise
Children’s ruler
7 mini prints
Wallpaper
• 2014 Adelaide Biennial of Australian Art merchandise
– Fiona Hall t-shirt Ringbark
– Fiona Hall t-shirt Out of my tree
– Tony Albert t-shirt 108
– Blank journals – Del Kathryn Barton, Tony Albert, Fiona Hall, Tony Garifalakis
– Large postcards – 14 kinds
– Postcard booklet
• Dorrit Black & Mortimer Menpes merchandise
– Tote Bags Dorrit Black, Music
– Greeting cards – 8 Dorrit Black, 4 Mortimer Menpes
– Gift tags – 4 Dorrit Black, 2 Mortimer Menpes
– Glass coasters – pack of four illustrated with four works of Mortimer Menpes
• Tea towel range – Dorrit Black, Curtain
– Dorrit Black, Harbour, Veere
– Groblicka, Plantation in Spring (reprinted twice)
• Ceramic mugs with silicon top
– Groblicka, Plantation in Spring
– Morris & Co. Brer rabbit
– Matisse, The nightmare of the white elephant
– Turkey, Isnik tiles
• Jigsaw puzzles – Morris & Co., Adoration of the Magi
• 100% handmade silk ties packaged in padded box
– 3x Morris, 1x Groblicka
• Pencils
– Swarovski crystals (10 kinds)
• Lens cloths
–
–
–
–
Del Kathryn Barton, for the feeling
Morris & Co. Bird
Tom Roberts A breakaway!
Iznik tile
117
APPENDIX M
ANNUAL ATTENDANCES
Gallery day
attendance
After hours
attendance / special
events
Gallery School
attendance
Total
2009/10
436 365
2010/11
507 737
2011/12
571 192
2012/13
606 431
2013/14
615 028
20 446
24 027
18 296
26 589
26 533
23 552
36 394
26 050
32 593
32 812
480 363
531 564
615 538
665 613
674 393
181 430
63 070
Additional Visitors to AGSA
off-site and travelling exhibitions
Visitors to AGSA
off-site and travelling
exhibitions
46 216
88 494
118
16 244
APPENDIX N
INFORMATION STATEMENT — FREEDOM OF INFORMATION ACT, 1991, PART II SECTION 9(2)
STRUCTURE AND FUNCTIONS OF THE ART GALLERY OF SOUTH AUSTRALIA
Information relating to the organisational structure of the Art Gallery, its objectives and functions,
legislation and resource levels is contained elsewhere in the Annual Report and is deemed to be consistent
with the requirements of the Freedom of Information Act 1991. The Contact Officer is accredited and
responsible for any Freedom of Information requests made to the Art Gallery of South Australia. There
were no applications received in the 2013–14 financial year.
The Gallery aims to contribute to the economic, cultural and environmental development of the state in a
socially inclusive manner, consistent with South Australia’s Strategic Plan.
EFFECT OF AGENCY'S FUNCTIONS ON MEMBERS OF THE PUBLIC
The Art Gallery has a direct effect on the general public through:




the acquisition, evaluation and display of its collections of works of art
the display of temporary and major touring exhibitions
an ongoing program of research and publications
conducting public awareness and education programs.
Details of the activities undertaken by the Art Gallery during 2013–14 are included elsewhere in the Annual
Report.
ARRANGEMENTS FOR PUBLIC PARTICIPATION IN POLICY FORMULATION
The public has the opportunity to participate in the department’s policy development in a number of ways,
including community consultation forums, panels, surveys, membership and committees. The Gallery Board
has community representation and these views are taken into consideration.
DESCRIPTION OF KINDS OF DOCUMENTS HELD BY THE AGENCY
The Art Gallery Board of South Australia holds various policy statements and minutes of all meetings.
ACCESS ARRANGEMENTS, PROCEDURES AND POINTS OF CONTACT – SECTION 9(2)(E)(F)
To access Board documents, it is necessary to apply in writing under the Freedom of Information Act to:
Contact Officer
Freedom of Information
Art Gallery of South Australia
North Terrace
Adelaide SA 5000
Telephone: (08) 8207 7004
119
WHISTLEBLOWERS PROTECTION ACT 1993
The Art Gallery of South Australia has appointed a responsible offer for the purposes of the
Whistleblowers Protection Act 1993 pursuant to Section 7 of the Public Sector Act 2009.
There have been no instances of disclosure of public interest information to a responsible officer of the
Art Gallery of South Australia under the Whistleblowers Protection Act 1993.
120
APPENDIX O
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151