ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2000

Bob Carr MPPremier, Minister for the Arts, and Minister for CitizenshipLevel 40Governor Macquarie Tower1 Farrer PlaceSYDNEY NSW 2000

Dear Premier,

In accordance with the requirements of the Annual Report (Statutory Bodies)Act 1984, we have pleasure in submitting to you the Annual Report for the ArtGallery of New South Wales for the year ended 30th June, 2000, forpresentation to Parliament.

The annual report of the Gallery, in our opinion, has been prepared in fullcompliance with the requirements of the Annual Reports (Statutory Bodies) Actand the Annual Reports ( Statutory Bodies) Regulations.

Yours sincerely,

David Gonski Edmund CaponPresident Director

PRESIDENT’S REPORT 2

DIRECTOR’S STATEMENT 4

YEAR IN REVIEW 8

AIMS / OBJECTIVES / PERFORMANCE INDICATORS 21

CORPORATE GOVERNANCE 24

SENIOR MANAGEMENT PROFILE 26

LIFE GOVERNORS 27

ORGANISATION CHART 28

FINANCIAL STATEMENTS 29

APPENDICES 50

INDEX 76

GENERAL INFORMATION 77

TABLE OF CONTENTS

ART GALLERY OF NEW SOUTH WALES HIGHLIGHTS

MORE THAN ONE MILLION VISITORS ATTRACTEDTO 40 EXHIBITIONS AND THE PERMANENTCOLLECTION

RECORD TURNOVER FOR GALLERY SHOP OF $4.1MILLION, OF WHICH $1.2 MILLION WAS REVENUEFROM ART GALLERY OF NSW PUBLICATIONS

ART ACQUISITIONS BOOSTED BY MORE THAN $5MILLION, COMPARED WITH $4.1 MILLION THEPREVIOUS YEAR

NET INCOME FROM BEQUEST AND SPECIALFUNDS WAS $5.2 MILLION, MAKING A TOTAL OF$75.6 MILLION OVER THE LAST NINE YEARS

CONSOLIDATION OF IN-HOUSE PRESENTATION OFMAJOR EXHIBITIONS THROUGH JEFFREY SMARTRETROSPECTIVE AND MICHELANGELO TOMATISSE: DRAWING THE FIGURE

ART GALLERY’S COSTS PER VISITOR MAINTAINEDAT $15.20 AND STAFF NUMBERS REMAINEDSTEADY AT UNDER 200

OPENING OF THE DOROTHY STREET GALLERIES OFTWENTIETH CENTURY AUSTRALIAN ART

THE VERY POPULAR ARCHIBALD EXHIBITIONTOURED TO EVEN MORE REGIONAL GALLERIESTHAN IN PREVIOUS YEARS

THE CENTENARY FUND ESTABLISHED TO SUPPORTBUILDING PROJECTS

THE FIRST OF THEM A 100-SEAT AUDITORIUM

NSW GOVERNMENT FUNDING SUPPORT FOR THE5 YEAR TOTAL ASSET MANAGEMENT PLAN

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10Cover: Juan Muñoz Conversation Piece (Art Gallery of New South Wales) 22 figures in resin, sand and cloth, installation.12th Biennale of Sydney 2000, 26 May – 30 July, 2000

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This is the formation of the Centenary Fund tocommemorate 100 years of Australian Federation in 2001and a century since the completion of the original galleriesof the Art Gallery of New South Wales. The CentenaryFund will raise money for building projects and aims torecruit 100 patrons, each of whom pledges $100,000 overa designated period of time. It was launched in February2000 and had 21 patrons signed up by the end of thefinancial year.

The first project to be underwritten by the Fund is anew 100 seat auditorium, which will be completed in2001. It replaces the small auditorium which had to bedemolished to make way for the expanded Gallery Shopthis year. The relocation of the Shop enabled the creationof the Dorothy Street Galleries of Twentieth CenturyAustralian Art, which give a fresh and exciting focus tothat area of the collection.

The President’s Council has continued to provideinvaluable help in many aspects of the Art Gallery’s life.Primarily, the President’s Council has assisted in fundingpart of our exhibition programme and also in helping usto find new ways in which to fundraise. Membership ofthe President’s Council was increased during the year. I welcome the five new Council members: Ken Borda,Chief Executive Officer, Deutsche Bank AG; Peter Ivany,Ivany Investment Group; Daniel Gauchat, Vice-PresidentKorn/Ferry; Fred Hilmer, Chief Executive Officer, JohnFairfax Holdings Limited, and Angela Clark, ManagingDirector, JCDecaux Australia.

PRESIDENT’S FOREWORD

As with previous years, this has been a demanding but successful one for theArt Gallery. During the year, we were active in fundraising and one of the majorinitiatives in this regard celebrates the past by taking a step into the future.

David Gonski, Dorothy & Fred Street, Bob Carr

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During the year, Government funding of $13.5million for the next major addition to the building - anew Asian gallery - was approved. We are very thankfulto the New South Wales Government for this. Theconstruction to be paid for from these funds is expectedto commence during next calendar year and will greatlyimprove not only the Asian gallery space but also anumber of other key areas of the building.

I take this opportunity of thanking all Trustmembers personally for their assistance during the year. In particular, Kim Santow, who is leaving the Board ofTrustees after nine years of very active participation andmany good ideas. We are sorry to lose Kim but delightedthat the Gallery’s relationship with him will continuethrough his membership of the VisAsia Board. PierceCody has replaced Kim Santow on the Board of Trustees.We welcome Pierce and look forward to working with him.

My thanks also go to everyone who has served onthe committees of the Trust during the year, especially toGreg Daniel and Bruce Cutler, both members of thePresident’s Council. Thanks also to all the people whowork in the Society and the Foundation and to our

volunteer guides. These people are often the unsung, frontrow heroes who most certainly deserve our thanks andpraise.

Above all, I thank our truly dedicated staff. We havebeen successful this year in exhibitions, in establishing thenew Shop, in fundraising - to name but a fewachievements – and this undoubtedly is due to a staff thatis motivated and successful at what they do.

David GonskiPresidentArt Gallery of New South Wales

Diagram of proposed new Centenary Fund auditorium by Peddle Thorp Walker

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It was, of course, a process of profound enlightenmentin which those two great connoisseurs learned much aboutsport and I, their colleague judge, learned much about art.I recall just some of those richly rewarding moments ofrevelation which occurred during that tense and drama-filled week when the three of us judged this unique –thankfully – award: that paintings should, if they are tobe properly judged, be dry; that the portraits should bearsome resemblance to the subject – an innovative notion Ithought; that Adam Cullen – who incidentally won theArchibald prize with his portrait of an endearingly spikeyDavid Wenham – probably painted his sporting entry ofMark Occolupo with his own vomit and that it was,therefore, in the eyes of my sensitive colleagues, ineligibleon technical grounds; that a somewhat tactile picture of acricketer called Mr.Taylor was evidently painted shortlyafter the subject had been struck firmly in the face by arather forceful delivery and that the painting was,therefore, best viewed at a distance of 22 yards; that aslightly tendentious painting of the famous surfer, Mr.Carroll, set against a background of a breaking wave, washighly symbolic in suggesting that the subject was,apparently, about to experience a moment of ‘vision’; andthat the eventual winner of this deeply moving contestwas in fact a very good painting of a pair of trousers andthat HG, who likes to be challenged – physically - inmatters of art was very much of the view that the subject,the precipitate Mr. Ron Barassi, was about to leap off the

DIRECTOR’S STATEMENT

In a year of relentless activity and unsurpassed delights perhaps none has left amore certain and erudite mark on the progress of civilization and the cause of artin this country than the engagement of Roy and HG as judges of the one-offSporting Archie.

Roy Slaven, Lewis Miller, HG Nelson

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canvas and punch him on the nose. A good omen for awinning portrait painting we all felt.

In the meantime the new format for the presentationof our Annual Report permits this review to consider lessthe detail and more the principles and momentums thatdetermine the Gallery’s progress. However, the details andactivities of the Gallery in the 1999-2000 year may besummarised in the achievement of staging some fortyexhibitions all but three of which were curated andorganised within the Gallery; in purchasing $3.6 millionworth of works of art without a cent of Governmentfunding for acquisitions and receiving through giftsfurther works of art to the value of $2 million; publishingten major catalogues among which were the verysuccessful and substantial Michelangelo to Matisse:Drawing the figure and Jeffrey Smart books; deliveringover 150 public lectures in addition to a non-stop rangeof public and family programmes; hosting over 260evening events; achieving a record $4 million turnover inthe Gallery shop of which $1.2 million was in sale of ArtGallery publications; lending 290 works of art toexhibitions throughout Australia and around the world;substantially enhancing the building with the opening ofthe Dorothy Street Galleries of Twentieth CenturyAustralian Art and the new Gallery shop; expanding ourconservation activities through private support and,finally, once again sustaining a membership of the ArtGallery Society in excess of 30,000 members.

The challenges, though, remain much the same andfundamentally revolve around maintaining such levels ofactivity without prejudice to the content and quality ofthe Art Gallery’s activities. The political and economicclimate in which we now operate is very different from asrecently as 15 or 20 years ago when art museums such asthis were naturally assumed to be wholly governmentresponsibilities and we relied upon government for thevast majority of our capital and recurrent funding. Oursituation, of ever-increasing financial self-reliance, isparalleled in the experiences of other State art galleries.However, there are substantial levels of governmentinvestment in permanent resources and we are only tooaware of the commitments of around $100 million plus tothe National Gallery of Victoria for the refurbishment ofthe St. Kilda Road premises, of the $100 million for theQueensland Gallery to extend its building facilities andthe $60 million for the National Gallery. So far as thisGallery is concerned I am delighted to report that thegovernment will be providing the funds for the next stageof the development of this building which will include theconstruction of a new conservation centre, an expansivenew upper level gallery, a second gallery for Asian art anda relocated restaurant, all for a more modest $15 million.Expenditure on such infrastructure and permanentfacilities such as buildings is, as these figures demonstrate,as substantial as it is welcome, but as we all know therecurrent funding to ensure the viability and growth of

Ian Fairweather, The pool 1959 synthetic polymer paint on cardboard on hardboard, 96.5 x 117.8 cm Purchased with funds provided by the Cezanne Dinner Fund 1999

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the intelligence of the institution and, ultimately, its valueto the community, is regrettably slow to follow. Thestrains that are imposed on an institution such as this, infulfilling an ever-expanding public role with a very publicresponsibility and expectation to maintain the higheststandards of stewardship of high value and sometimesvulnerable assets, are becoming ever more apparent as theeffective value of our recurrent funding budget allocationseems to, gradually but irrevocably, reduce.

Art museums are most certainly not only aboutpackaging, about buildings and the most visible of publicservices, they are to an equal if not greater degree aboutscholarship, care and conservation, learning, educationand all the less obvious and superficially visible activitieswithout which the viability and value to the communityof that expensive building and its expensive contentswould be prejudiced. It is, to my mind, mildlypreposterous that it is easier to attract governmentfunding for a new building than it is for a new picture, ora new publication, or even for such a fundamentalresponsibility as a new conservation programme. It is fullyunderstandable that government priorities should changeto better reflect perceived public sentiment, butinstitutions such as ours would find their long-termresponsibilities and roles at risk if we were to be overlysubject to the, often of necessity, short-term obligations ofgovernment and transitory public mood. Clearly our artmuseums are no longer the passive and somnolentinstitutions they once were for we energetically pursue ourpresent and potential audiences but, perhaps strangely, it

is a fact that our responsibilities have not changed a jotand we must not be seduced away from those essentialtasks by transient expediencies and modish fads. All thethings that we do in the realms of enhanced services tothe community, such as the variety and quality of theexhibitions, information access, advisory services andeducation programmes, stem from the quality andcredibility of our most fundamental responsibilities tocollect, care for, research, interpret and display our ownand loaned collections of works of art.

In viewing our priorities for the forthcoming yearand beyond those fundamental responsibilities remain thedetermining factor. Above all we harbour our annualambition to enhance the collections and presentations,whether of the permanent displays or exhibitions, tocontinue to broaden our audiences through informationaccess, and to generally enhance the experience of visitingthe Art Gallery. Our own priorities of course also evolveand change with the passage of time and the fulfilment ofprojects. The 2000-2001 year will see a concentration ona number of particular projects, paramount of which isthe construction of a new 100-seat theatre to replace the‘theatrette’ that was displaced by the development of thenew Gallery shop. The Art Gallery’s Asian ambitions willalso be the focus of much attention as we finalise thedevelopment of the detailed plans for the construction ofa second Asian gallery, work on which we plan tocommence in the second half of the year 2001. Anotheraspect of our Asian plans is the launch, early in 2001, ofan entity called VisAsia, an initiative which will bring

Pierre Bonnard, Promenade des nourrices – avec frise de fiacres 1899 four lithographes 144.7 x 225.6 x 4 cm overallGift of Margaret Olley 1999

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together a number of partner institutions in Australia andin Asia to co-operate on a whole range of undertakingssuch as exhibitions, research, staff development andexchanges, education services and enhancing publicinterest in and appreciation of Asian art. Our Art Gallery,with its Asian art collections, curatorial strengths andscholarship, public programming expertise andorganisational and museum management experience,possesses a unique combination of resources which can beharnessed to develop our engagement with the Asianregion. Another priority for us in the forthcoming year isto progress the digitisation of the collection project whichwill, in due course, enable easier and more widespreadpublic access to the collections. All these projects areessentially evolutionary, stemming from and out of thebuilding, the collections and the resourceful imaginationsof the staff.

There is a reasonably understandable assumptionthat the public image of an institution such as the ArtGallery of New South Wales is determined, principally, byits art collections. There are, however, other factors and itis my belief that the public’s perception of this place isconditioned to some extent by the building, to someextent by the art we display and by the programmes werun, but above all, I am sure, it is determined by theattitude and demeanour of the staff within. The progressand the success of the Art Gallery is the achievement of allthe staff from the Senior Managers and Head Curators tothose in all corners of the Art Gallery and I, as ever,record my gratitude to all for their unstinting and, I hope,

generally enjoyable work for the Art Gallery. To theTrustees, led by David Gonski, the Art GalleryFoundation and its board of Trustees, the President’sCouncil, the Centenary Fund members who have raised somuch money for the building of the new theatre, ourvarious benefactor schemes which are the result ofextraordinary work and commitment by individuals, theArt Gallery Society and its Council, the Volunteer Guidesand the Task Force, I express my thanks for ensuring thelife and breath of the Art Gallery. In addition there arealso of course our benefactors who continue to supportthe present and the future of the Art Gallery with giftsand donations; the list of acquisitions is evidence aplentyof the extent to which the growth of the collections isdependent upon private benefaction, just as our list ofsponsors ensure the successful fulfilment of ourexhibitions and events programmes. To all those weexpress again our thanks. Finally to the Secretary, EvanWilliams and the Ministry for the Arts and to ourMinister and Premier, the Hon Bob Carr, we express ourappreciation of the government’s continuing commitmentto the growth of the Art Gallery.

Edmund CaponDirectorArt Gallery of New South Wales

Artist unknown (Japan) The Plain of Musashi circa late 17th century – early 18th century pair of six fold screens; ink, colour and gold on paper, 156 x 360cm each screen.Art Gallery of New South Wales Foundation purchase 2000

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COLLECTIONSThe Australian Collection Focus series has given a

high profile to important works in the collection,provided a popular attraction and demonstrated the skillsof conservation staff through their involvement with thescientific examination and analysis of material. For thesecond year running an Art Gallery officer was namednational conservator of the year.

Australian ArtAcquisitions this year have addressed historical

aspects of the collection, especially early to mid 20thcentury painting. Fred Williams’ My Garden 1965-67 is awork painted in direct response to Tom Roberts’ Bailed Up,underlining Williams’ strong allegiance to the traditions ofAustralian art. It brings to the Art Gallery one of the artist’sgreatest works from a period previously unrepresented.

John Olsen’s Five Bells 1963 is another highlight,allowing the Art Gallery to represent Olsen’s passion forSydney Harbour in a magnificent outpouring of exuberance.Based on the subject of Kenneth Slessor’s poem Five Bells,this painting is a precursor to Olsen’s huge mural, Saluteto Five Bells, painted for the Sydney Opera House adecade later.

The third major purchase, Ian Fairweather’s The Pool

1959, is of singular importance for its indebtedness toCézanne: there is nothing in the collection whichcompares with its cool, dark, tropical mood. A rarepainting from Brett Whiteley’s 1963-64 bathroom serieswas bought from the Mertz collection.

Significant purchases of works on paper included asuite of 40 etchings entitled Forty Pages from Antartica1988 by Bea Maddocks, a pioneer in photo-etching inAustralia, and John Olsen’s drawing Flathead and Fish1999.

Amongst numerous gifts were Fred Williams’ TheRiver, Werribee Gorge 1977, given by Lyn Williams, andMetropolis 1999, a masterwork of Rosalie Gascoigne’sretro-reflective assemblages, given by the artist just beforeher sudden death. The Australian sculpture collectionbenefited substantially from gifts, in particular RaynerHoff’s Aboriginal Head 1925, given by Sam and HeatherUre-Smith and Rosemary Madigan’s Group of ThreeFigures, given by Peta Phillips.

Salvatore Zofrea gave 100 woodcuts comprising hisAppassionata suite, along with the drawings used toprepare them. Gwen Frolich gave an important early‘schoolgirl’ drawing by Charles Blackman; Alan andJancis Rees gave a number of early etchings by Lloyd Reesfrom the Memories of Europe series, 1975.

YEAR IN REVIEW

Art works worth more than $5.2 million were purchased and given to the ArtGallery this year. Two of the major acquisitions are My Garden by Fred Williamsand The Plain of Musashi, Japanese screens by an unknown artist. Generouscontributions by individuals, the Art Gallery Foundation and the Art Gallery Societyhelped boost the acquisitions fund which has reached a total of $75.6 millionover the past nine years.

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Fred Williams, My Garden 1965-67oil on canvas 152.6 x 183.3cmPurchased with funds provided by the Art Gallery Society of New South Wales 1999.

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Friends of Conservation sponsored the binding of1,000 drawings by William Dobell into four boxedalbums - a model for the presentation and preservation ofcomparable study collections.

Aboriginal and Torres Strait Islander ArtMajor acquisitions this year were early paintings by

three of the most significant Aboriginal artists. Thepaintings were Rover Thomas’ Untitled (Two MenDreaming) c. 1986, an early Papunya board by Uta UtaTjangala, Untitled 1972 and a bark painting by NarritjinMaymuru, Djert (The Sea Eagle) c. 1960.

Preparations for the exhibition Papunya Tula: Genesisand Genius for the Sydney 2000 Olympic Arts Festivalprovided the opportunity to view paintings by artists whohave painted for Papunya Tula Artists Ltd over the past30 years. The Mollie Gowing Acquisition Fund forContemporary Aboriginal Art purchased a significantbody of work by these artists for the exhibition and, inturn, the collection. It included works by Timmy PayungkaTjapangati, Turkey Tolson Tjupurrula, Ray James Tjangala,Patrick Tjungurrayi, Naata Nungurrayi and WalangkuraNapanagka. The Leo Christie Emerging Artists Fundbought an exhibition painting by Inyuwa Nampitjinpa.

Asian ArtThe Art Gallery’s collection of Asian art was enriched

with acquisitions that comply with the aims of developingcomprehensive displays of the highest quality to show theartistic heritage of the various countries identified asAsian. The pieces encapsulate enduring characteristics ofthe aesthetics of their respective cultures - values whichcan now be appreciated by the Australian public.

Major acquisitions included three sculpturesacquired through the support of the Art Gallery Society.These were the dramatic 8th century image of thevictorious Hindu goddess Durga killing the BuffaloDemon, a finely carved 10th century Indian stone relief ofthe boar incarnation of the Hindu god Vishnu, and animpressive 9th century stone image of a Javanese seatedBuddha which perfectly conveys the Buddhist ideal ofspiritual fulfilment and the dignity of perfect wisdom.

Important Japanese acquisitions were a pair of goldscreens of pine trees by Suzuki Shonen and a beautiful17th century pair of screens depicting autumn grasses onthe plain of Musashi, one of the great classical subjects ofJapanese art. The latter purchase was made through theArt Gallery Foundation.

Amongst the very fine selection of gifts were a rareChinese Ding ware dish of the Song dynasty, one of the

Rover ThomasUntitled (Two men dreaming) circa 1985 natural pigments on canvas board 91 x 61 cm Purchased 2000

Amitabha buddha, 8th century – 9th centuryandesite, 105 x 88 x 65cmPurchased with funds provided by the Art Gallery Society of New South Wales 2000

George Romney, A study of two women: a sketch for the Milner Sisterspencil, pen and bistre wash 28.7 x 23.5cm Parramore Purchase Fund 2000

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most admired ‘classic’ wares of China; an earthenware‘hill jar’ of the Han dynasty; and a hanging scroll by QiBaishi. These three pieces were amongst a group of sevenpresented by an anonymous donor. Other gifts to the Chinese collection included fine imperial porcelain fromthe J.H. Myrtle collection, an energetic hand handscrollpainting by Lu Yanshao, a gift of Lee Teck-Chiow, and twoearly rare rank badges, gifts of Judith and Ken Rutherford.

The Ifould Family presented several traditionalJapanese ukiyo-e prints by important artists, welcomeadditions to our collection of this classical genre of Japaneseart. And through the Yasuko Myer Bequest Fund, importantacquisitions of the work of 20th century ‘creative print’artists such as Onchi Kochiro added to the growingsignificance of the Art Gallery’s Japanese modern collection.

The finest and most significant acquisitions to ourSouth and southeast Asian collections were made throughthe very generous bequest of the late Alex Biancardi, adiscerning collector. His legacy of rare bronzes, sculpturesand textiles was enhanced by the purchase of additionalpieces from his collection through the D.G. WilsonBequest Fund, giving depth and meaning to collectionspreviously notable for their paucity of good pieces.

Western ArtAn important 18th century drawing by George

Romney, A Study of Two Women, was purchased withfunds provided by the Parramore Bequest for thecollection of European art before 1900. While Romney isgenerally ranked third in importance amongst Britishportrait painters of the period after Reynolds andGainsborough, in drawing he was one of the mostvigorous and spontaneous artists of the British school.

Three gifts from Margaret Olley were importantadditions to international modern and contemporary art:Giorgio Morandi’s Natura Morta, Pierre Bonnard’sPromenade des Nourrices and Madame Prosper-EmileWeil a son bureau by Edouard Vuillard. Two majorpurchases for the international print collection were thelithograph La Baignoire by Pierre Bonnard, printed underhis direction by Jacques Villon, and the recently releasedetching Garden in Winter by Lucian Freud.

Key acquisitions of contemporary Australian artincluded a 26 panel painting, Revisionary, by Guan Wei,supported by the Rudy Komon Memorial Fund. TheContemporary Collection Benefactors enabled the ArtGallery to purchase the sculpture Cash Crop by Fiona Hall,Spanish Journal by Peter Atkins, and major works by MarionBorgelt, Janet Burchill, Adam Cullen and Judith Wright.

Felicia Kan Reservoir 1998 type C photograph on aluminium, 120.0 x 79.5 cmViktoria Marinov Bequest Fund 1999

Giorgio Morandi Natura Morta 1933 etching in black and brown ink, 23.8 x 24.3 cmGift of Margaret Olley 1999

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PhotographyThe photography collection received many

handsome gifts, including 15 Cazneaux photographs fromhis family. A recent photograph by Bill Henson wasacquired, along with five Tracey Moffatt works from herseries Scarred for Life II, and three works by Felicia Kanfrom her 1999 exhibition.

EXHIBITIONSTwo major exhibitions consolidated the success of the

Art Gallery in initiating, curating, organising and marketingimportant exhibitions. They were Michelangelo to Matisse:Drawing the Figure and the Jeffrey Smart retrospective.

In total, the Art Gallery presented 40 exhibitionsduring the year, including those at the Brett Whiteley Studioand on tour to regional galleries. In partnership with thepermanent collections, they attracted 1,065,154 visitors.

Michelangelo to Matisse, a Festival of Sydney event,was the top drawcard with 124,312 visitors. The 2000Archibald Prize - teamed with the one-off SportingPortrait Prize - had 63,849, followed by Jeffrey Smart’s55,171. Touring exhibition attendances were lower thanthe previous year, with the State Gallery of Victoria underrenovation and not available as a venue.

The skills and commitment of Art Gallery staff aretested in this demanding schedule of exhibitions. In

addition to public programmes - discussed later - manyother operational aspects come into play. Work of theconservation staff ranged from the preparation of barkpaintings for exhibition to conservation of antique framesand making of reproduction frames for Australian Icons.The photographic studio’s 749 requests includedphotography for three in-house catalogues, documentationof all exhibitions and highly detailed slides of Michelangeloto Matisse for lecturing. Acquisition of 488 works andincluding loans, involved the registration department indocumentation, coordination, crate design and construction,packing, transport, loan agreements, courier arrangementsand installation supervision.

Australian ArtMore than 80 paintings by Jeffrey Smart, selected by

the Art Gallery director Edmund Capon, made thiscelebrated Australian expatriate’s retrospective a highlightof the year. Smart has found inspiration in the urbanlandscape, expanding to the hard, repetitious architectureand technology of the late 20th century, transforming hissubjects into classically precise, rigorously executedcompositions. After its Sydney showing, the retrospectivetoured to Brisbane and Melbourne, sponsored byABN•AMRO Rothschild.

Jeffrey Smart standing in front of his work, City Landscapes 1970 oil on hardboard, 280 x 932.3cm overallPurchased 1975

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Other important exhibitions produced by thedepartment and accompanied by fully illustratedcatalogues were Salvatore Zofrea Appassionata Woodcuts,sponsored by Deutsche Bank with a national tourorganised by New England Regional Art Museum, andThis vital flesh: the sculpture of Rayner Hoff and hisschool. Hoff was a leading sculptor during the Art Decoperiod in Sydney, where his most famous public commissionis the sculpture for the Anzac Memorial in Hyde Park.The extremely well received Australian Collection FocusSeries continued with sponsorship from ABN-AMRORothschild. They comprised Grace Cossington-Smith: TheLacquer Room 1935-36, George Baldessin: OccasionalImages from a City Chamber 1975 and Les Sauvages dela Mer Pacifique, a collaborative venture with the NationalGallery of Australia.

The Archibald, Wynne and Sulman prize exhibitionscontinued to be sponsored by Colonial Bank. BettyChurcher, former director of the NGA, was judge of theDobell Prize for Drawing, sponsored by the Sir WilliamDobell Foundation.

A series of exhibitions at the Brett Whiteley Studio,organised with help from Wendy Whiteley, included Whiteleyin Paris, Brett Whiteley Nudes and Whiteley in Words.

Aboriginal and Torres Strait Islander ArtYiribana Gallery continued its exhibition from the

Aboriginal and Torres Strait Islander collection, a materialthing. Michael Riley’s photographic portraits Yarns fromthe Talbragar Reserve were exhibited for NAIDOC Week.Raiki Wara: Long cloth from Aboriginal Australia and theTorres Strait gave a significant insight into a relativelynew medium in indigenous art practice. Two moreexhibitions from the Yiribana collection were curatedprimarily by media - Another Country: works on paperand photography from the collection, and Ochre: barkpaintings from the collection.

Asian Art Two major exhibitions of Asian art commenced in

the previous financial year, both running until August1999. They were Treasures of Asian Art: Selections fromthe Mr & Mrs John D Rockefeller 3rd Collection of theAsia Society and Indonesian Gold: Treasures from theNational Museum, Jakarta.

Fragrant Space: Chinese bird and flower painting ofthe Ming and Qing dynasties drew upon an importantcollection of paintings from the Guangdong ProvincialMuseum, China. Please the Eye, Cultivate the Mind:Chinese Painting in Australian Private Collections

Adam Cullen Portrait of David Wenhamacrylic on canvas, 153 x 182 cmArchibald, Wynne and Sulman Prize18 March – 7 May, 2000 Yoko Ono and her work Ex it 1997, 100 coffins, 100 trees

as installed at the Art Gallery of New South Wales 200012th Biennale of Sydney 2000 26 May – 30 July, 2000

Celestial Entertainer11th century sandstone, ht 54.0cm Mr & Mrs J D Rockerfeller 3rd Collection of the Asian Society, NY.Treasures of Asian Art, 28 May – 15 August, 1999

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explored the idea that the Chinese pursuit of collectingand displaying paintings was more than an aestheticpleasure - that it was regarded as spiritual cultivation.

International ArtThe major exhibition for the year was Michelangelo

to Matisse: Drawing the Figure, curated by TerenceMaloon and Peter Raissis. This huge and very successfulexhibition of master drawings from the 16th to the 20thcentury included work by Leonardo da Vinci, Rembrandt,Picasso and Raphael. Amoung the international lenderswere the Uffizi Gallery, Tate Gallery, Courtauld Gallery,New York’s Metropolitan Museum of Art, J Paul GettyMuseum and Her Majesty Queen Elizabeth II.

In the area of international modern and contemporaryart, Victoria Lynn curated Voiceovers: The 5th GuinnessContemporary Art Project, focusing on Asian womenworking in new media art, and Passing Time, Moet andChandon 2000. Australian Perspecta was curated byWayne Tunnicliffe and the Art Gallery hosted exhibits forthe 2000 Biennale of Sydney, including Yoko Ono’s Ex It1997, made up of 100 wooden coffins and 100 Australiannative trees.

Little seen parts of the collection were given freshfocus in Hard Edge, curated by Victoria Lynn, Marking

the Place, curated by Tony Bond, and Ideas and actions: Conceptual Art, Performance, Process and Documentationcurated by Tony Bond, Michael Wardell and Judy Peacock.

The contemporary projects programme contributedsignificantly to the Art Gallery’s commitment tocontemporary practice with challenging and innovativenew art. New installations and exhibitions included TheWell Built Australian by Michael Goldberg, Exit by HorstKiechle and Margaret Roberts, The Breath of Psyche byJoan Brassil and (surrender, penance, IWYS) by NeilEmmerson.

PhotographyLight Pictures: the photographs of Nakayama Iwata

& Yasuzo Nojima, curated by Judy Annear, was the firstin-depth look at these important Japanese modernistphotographers. The first art museum exhibition of workby the important Australian photographer Olive Cottonwas guest curated by Helen Ennis. Modotti & Weston:Mexicanad, on loan from George Eastman House, wasthe first exhibition of Tina Modotti’s work to be shown inAustralia.

Percy Wyndham LewisFigure composition: Man and woman with two bulldogs, 1912pen and ink, watercolour, gouache, 305 x 216 mm Art Gallery of New South Wales, Sydney. Purchased 1983© Estate of Mrs G A Wyndham LewisMichelangelo to Matisse: Drawing the Figure20 November 1999 – 27 February, 2000

Luca CambiasoStudy of figurespen and brown ink, brown wash, 349 x 244 mmGabinetto Disegni e Stampe degli Uffizi, FlorenceMichelangelo to Matisse: Drawing the Figure20 November 1999 – 27 February, 2000

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PUBLICATIONSThe record-breaking success of the Gallery Shop this

year has a great deal to do with in-house publications.Enlarged and in its new location - with satellite exhibitionshops as appropriate - the Gallery Shop turnover was$4.1 million – the highest of any museum shop inAustralia. And $1.2 million of this amount was revenuefrom Art Gallery publications which are distributednationally and internationally. Funds raised from theGallery Shop, for which exhibition merchandising isbecoming an important source of revenue, go directly toArt Gallery acquisitions to expand the collection.

Publications over the past 12 months include thevivid catalogue for the Jeffrey Smart retrospective byEdmund Capon with Barry Pearce and Peter Quartermaine- 19,500 copies printed in three editions - the elegantcatalogue accompanying Fragrant Space by the exhibition’scurator Liu Yang and the Asian art department, and the254-page catalogue for Michelangelo to Matisse byTerence Maloon and Peter Raissis.

An earlier catalogue - for the Art Gallery exhibitionBody – won the inaugural Power Institute Award for thebest work of art history of the previous two years, judgedby an independent jury administered by the Art Associationof Australia and New Zealand. Two other Art Gallery

titles, Dancing to the Flute by Jackie Menzies andOrientalism, were runners up.

Body and Fragrant Space are among the Art Gallerytitles to be found in US bookshops. The major publicationsare distributed nationally and internationally by Thamesand Hudson Ltd, which gives them a good profile in majormuseum shops and bookshops in Britain and Europe.

A full list of Art Gallery publications printed thisyear, and those available from previous years, is publishedin the appendices.

NEW AUDIENCESEnergetic and imaginative ventures to win new

audiences included the 2000 Sporting Portrait Prize,sponsored by the Daily Telegraph and judged by mediaidentities Roy Slaven and H.G. Nelson with the director,Edmund Capon. In a different mood, tours of the RoyalBotanical Gardens were organised to view the birds andflowers represented in Fragrant Space.

Highlights of the diverse range of public programmeswere the international symposia accompanying majortemporary exhibitions, including Drawing the Figure inconjunction with Michelangelo to Matisse and Intellect isInternational and Connecting Flights for the Biennale ofSydney. Masterclasses for Higher School Certificate

Guercino (Giovanni Francesco Barbieri)Cleopatra late 1630s, red chalk, British Museum, LondonMichelangelo to Matisse: Drawing the figure 20 November 1999 – 27 February 2000

Life drawing class in the Art Gallery held in conjunction withthe Michelangelo to Matisse: Drawing the figure exhibition

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students were booked out during the Michelangelo toMatisse exhibition.

Regular programmes including courses on artappreciation and art history – supported by the ArtGallery’s research library and archive – attracted committedaudiences. Amongst the popular workshops, forums, tours,free public talks and weekly film screenings, artist talksand dialogues were held in conjunction with the Biennaleof Sydney and the Sydney Festival, adding a lively andinformative dimension to the display of works of art.

The popularity of the free 15-minute introductoryslide talks for special exhibitions grew. The audio-visualsection of the department has begun making in-housevideos. Informative video displays in exhibitions areashave been another feature of the expanded media-relatededucation activities.

Free performances related to temporary exhibitionsand the permanent collection consistently attracted largeaudiences. Many programmes with a family focus tookplace over weekends and during holidays.

Young audiences are a particular focus. This year thedepartment trained another 40 volunteer children’s guidesand eight teacher-lecturers. This resulted in 75 children’sguides taking 21,363 children on art adventure tours,while 16 teacher-lecturers took 6,441 students ondiscussion tours. In-depth education services fortemporary exhibitions, conducted by full time museumeducators, attracted 5,807 students. Over the year, 56,118students made self-guided visits.

Artexpress, the annual exhibition featuring aselection of outstanding works created for the HSCexamination in visual arts, was again extremely popularwith schools and the general public. It was attended by17,762 students in booked groups alone.

Revelant educational resources, including educationkits, education posters and the quarterly Exhibition andEvents brochure, were produced for the permanentcollection and temporary exhibitions.

Important community initiatives continued with thesteady growth in attendances at free Auslan-interpretedtours for both deaf and hearing people. In September1999, in association with the Australian Museum, the ArtGallery organised a professional development lecture byWilliam Kirby, a world renowned expert on services inmuseums for blind and visually impaired people.

In May 2000 the Art Gallery was notified of a$300,000 grant from the Ian Potter Foundation for anaudience development programme, targeting young peopleand Asian audiences.

REGIONAL CONTACTChief touring exhibition for the year was drawn

from the Archibald Prize, going to Moree, Newcastle,Griffith, Melbourne and Albury. The Jeffrey Smartretrospective went to Adelaide, Brisbane and Melbourne.Seeing Cézanne was seen in Ballarat and Modern Lovers -Bettina Rheims in Melbourne. These exhibitions attracteda total of 155,767 visitors.

Regional touring is only one of many ways in whichthe Art Gallery makes its presence felt outside Sydney.This year works were lent to other institutions forexhibitions around Australia, with particular assistancegiven to Moree Plains Regional Art Gallery for theirexhibition of the work of Brett Whiteley.

At a one-day conference for NSW RegionalGalleries, librarians Kay Truelove and Robyn Louey fromthe Art Gallery’s research library and archive presented amuch appreciated workshop on the use of the Internet asa research tool for the visual arts.

Further a field, Sydney Long’s Pan 1898 was loanedto the Royal Academy, London, for the exhibition 1900:Art at the Crossroads. This exhibition later moved to theGuggenheim Museum, New York.

Curator and Assistant Curator of Aboriginal andTorres Strait Islander Art represented the Art Gallery atthe Telstra National Aboriginal and Torres Strait IslanderArt Award in Darwin in September 1999. The AssistantCurator of Aboriginal Art also attended the NationalIndigenous Artists Conference in Cairns and the Nji JagaAnya Nji, New South Wales Aboriginal ArtistsConference in Armidale.

The Art Gallery’s website - upgraded and relaunchedin June 2000 - has become an increasingly importantcommunications and marketing tool, providing regularupdates on activities and attracting high levels of repeatvisits to the site from web users in Australia and aroundthe world. In the new financial year, the website isexpected to include information from the computerisedcollection management system which was developed bythe registration department and handed over this year tocuratorial departments to prepare for its website appearance.

The Art Gallery website will also benefit from NSWGovernment funding to digitise the collection over the nextthree years commencing in July, 2000. This will allowimages of most of the collection to be added to the ArtGallery database for research and internal use, eventuallymaking these available to the public via the website.

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SUPPORTThe Art Gallery enjoys tremendous support from

individuals and organisations. Without their contributions,the collection and Art Gallery ventures would be verymuch the poorer. Sponsors’ backing for specific eventsand individual donors are listed in the appendices.

The Art Gallery Society of New South Wales is thelargest organisation of arts supporters in Australia withover 30,000 members. This year, a record 85 percentrenewed their membership.

In 1999, the Society achieved its highest financialsurplus to date, enabling it to fund the purchase of majorworks, including Five Bells by John Olsen, My Garden byFred Williams and two early Indian sculptures.

LOOK, the society’s monthly magazine continued todevelop and published a special issue in April 2000, withan extended print run, to assist in domestic andinternational promotion of the Art Gallery for the Sydney2000 Olympic Arts Festival

Voluntary work organised through the Societycontributed substantially to the Art Gallery’s operations.The 136 volunteer guides led 30,000 adults and 14,000children through Art Gallery exhibitions, and 184members of the volunteer task force supplied more than19,000 hours of labour.

The Society’s Task Force also provides essentialstaffing on entry desks for all ticketed exhibitions.

The principal objective of the Art GalleryFoundation is to raise funds for investment and apply thederived income to purchasing works of art for the ArtGallery. This year the Foundation had a net surplus of$1.695 million (compared with $1.188 million theprevious year), enabling it to commit funds for the Plainof Musashi Japanese screens and Rachael Whiteread’sElongated Plinths.

John and Julie Schaeffer were appointed LifeGovernors of the Foundation in October 1999 inrecognition of their very generous support of the ArtGallery through the donation of a major work TheJuggler by Alma Tadema and substantial finanicalcommittment. Max Sandow and Michael Gleeson-Whiteretired as deputy chairmen of the Foundation after manyyears’ valuable service.

COMMERCIALThe Art Gallery venue hiring department achieved

an increase of 22 percent gross revenue over the previousyear, with an increase in net revenue to the Art Gallery of44 percent, largely due to a significant growth in thenumber of corporate functions.

John Olsen, Five bells 1963 oil on hardboard, 264.5 x 274.0cm.Purchased with funds provided by theArt Gallery Society of New South Wales 1999

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A new brochure, Entertaining at the Gallery, wasdeveloped and distributed to key corporate and governmentclients to promote the Art Gallery as a unique venue forspecial functions such as cocktail parties, product launchesand dinners. It has proved to be an effective marketingtool and is also available on the Art Gallery’s website.

Preparing for a boost to tourism during the Sydney2000 Olympic Games, a task force was established toensure the Art Gallery was best positioned to maximise itsexposure and revenue. Breakfast was hosted for 120participants in the Australian Tourism Commission’sannual in-bound conference and the special edition of theLOOK magazine was distributed through Australianembassies, High Commissions, trade offices, Qantas,hotels and international media and tourism bodies.

Information gathered by the marketing departmentin promotions associated with major exhibitions was usedfor several direct mail campaigns throughout the year,targeting repeat visits to the Art Gallery.

BUILDING Anyone stepping into the Art Gallery in the past

year would be aware of the transformation in thepresentation of the entrance following the relocation ofthe Gallery Shop and the new focus on Australian art

resulting from the opening of the Dorothy Street Galleriesof Twentieth Century Australian Art. The new presentationwas possible following significant private sector finanicalcontribution and was completed with minimum disruptionto the Art Gallery’s operations.

The Public Buildings Stone Conservation project thisyear completed the southern façade of the building whichis part of a 4.34 million four year project. The work includeddesalination, preservation maintenance including leadweathering, stone cleaning and resurfacing of the iron grills.

A feasibility design request for a ramp at theentrance of the Art Gallery has been referred to heritagearchitects and funding to build access ramp will bepursued with NSW Government. The Art Gallery wasunsuccessful in negotiating with the various stakeholdersfor a new pedestrian entrance to the Domain car parkfrom the Art Gallery.

Funding was approved for capital works that includea new Asian gallery, which will give renewed focus to thecentre for Asian studies, where the final year of the threeyear Arts of Asia lecture series commenced in March2000. The high calibre of the speakers - Australian andinternational experts on Asian art - has ensured increasinginvolvement from the community.

View of the new Gallery Shop opened on 26 November, 2000

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KEY PERFORMANCE INDICATORS - 1999/2000

OBJECTIVE 1 Enhance and preserve the State’s art collection and heritage building

STRATEGIES KEY PERFORMANCE INDICATORS 1.1 Increase acquisitions of art works • Over $5 million of artworks were acquired/gifted this

year; (of which two were major works).1.2 Maintain high standards of curatorial • Valuation of Collection increased by over 10%

work and conservation • Over $2 million generated from commercial activities for use on art acquisitions

• Over $74 million over last 9 years • Major exhibition (Drawings show)

mounted in-house to international standards• Professional services provided through

workshops and staff internships.• For the second year running, a Gallery staff member has

won the national ‘Conservator of the Year’ award

AIM, OBJECTIVES AND PERFORMANCE INDICATORS

CHARTERThe primary purpose of the Art Gallery, as defined by theArt Gallery of New South Wales Act 1980, is to developand maintain a collection of works of art, and topropagate and increase knowledge and appreciation ofart.

VISIONTo be the great Australian arts museum reflecting ourheritage and vitality, and to be recognised nationally andinternationally for our collection, services and commitment.

MISSIONTo achieve the purpose stated in the charter, the ArtGallery has set itself the following goals:• To acquire, collect and present to the public the finest

works of art available, with a special emphasis on theartistic traditions of Australia.

• To explore and inspire through our collection andexhibitions, the emotional and intellectual resources ofour audiences.

• To create a sense of belonging and provide our visitorswith an enjoyable and enduring experience.

OBJECTIVESStrategies have been developed in the corporate plan1999-2005 to meet the following objectives:• Enhance and conserve the State’s art collection and

heritage building.• Operate a varied, exciting and active exhibition

programme to encourage visitors and expandappreciation of art.

• Provide educational and research programmes andservices to an ever-broadening public.

• Inspire and explore artistic attitude and aspiration.• Operate the Art Gallery in an efficient and effective

manner that encourages an increasing level of publicvisitation.

• Ensure effective funding sources for the Art Gallery tosupport its acquisition program and expansion ofservices.

Measures of achievement towards these objectives are setout in a chart of key performance indicators following thereview of activities in the year to 30 June 2000.

Malgororzata Sawicki Conservator, Frames

Conservator of the Year

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1.3 Maintain and refurbish the Building in • Key priority project completed - establishment keeping with its heritage value and of Dorothy Street Galleries of Twentieth Century Australian Artas a public venue • Over 50% ($900,000) of funding required for

Theatrette secured from private sources• Other maintenance areas eg roof leaks were attended to• Total Asset Management Plan completed• Funding secured for major extension to the Gallery

OBJECTIVE 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand appreciation of art

STRATEGIES KEY PERFORMANCE INDICATORS 2.1 Exhibit and feature permanent collection • Major ‘Drawings’ and Jeffrey Smart exhibitions staged

in an attractive manner. providing high levels of visitors and were both commercial Provide Temporary Exhibitions successes and internationally acclaimed for their scholarship

and the quality of the works• Permanent collection featured in exhibitions and

public programmes• Exhibition programme provided a balance of paid

and non-paid exhibitions• Over $1 million of net surplus from Exhibitions which

will go towards acquisitions; Entry to exhibition prices maintained without fee increases

• Preparation for three major exhibitions to be held during Olympic 2000 period

2.2 Encourage loyalty • Over 1 million visitors during 1999/2000and longer term commitment • Annual visitor survey revealed extremely high levels of visitor

satisfaction and repeat visitations. • 2.6% increase in Society membership, some of whom

were upgraded to Foundation status• ‘Sports Archibald’ award to attract new audiences and as part

of the Olympic Spirit2.3 Raise awareness of the Art Gallery and its • High level of media coverage achieved on major exhibitions

exhibitions so that the public are keen to • New Jeffrey Smart photographic competition introducedattend and be associated with the Art Gallery to attract wide interest as a promotional strategy

• Coverage in all major newspapers for ‘Brett Whiteley Scholarship’ winner

• On going presentations, lectures and press interviews given. 2.4 Expand the Art Gallery profile by establishing • Asian exhibitions held include ‘Japanese prints,

a ‘centre of excellence’ in Asian arts and Chinese Bird, Flower Painting’maintaining our other cultural focus. • Major Acquisition - ‘Plain of Musashi’ Japanese screens

by unknown artist• ‘Yiribana’ programme continues as feature on Aboriginal

art in the Gallery• VisAsia Prospectus finalised and distributed to

potential members 2.5 Lend/Borrow works of art to/from other • Major works borrowed for the exhibitions from major

galleries to make a wide range of art more international museums including Windsor Castleaccessible to the public. • ‘Archibald’ toured interstate and regional areas

• Over 211works of the Gallery were loaned to other galleries

OBJECTIVE 3 Provide educational and research programmes and services to an ever-broadening public

STRATEGIES KEY PERFORMANCE INDICATORS 3.1 Provide programs and lecture series • Lecture series offered in various specialist areas continues to

attract strong support• A total of 150 public lectures presented• ‘Sunday Afternoon for families’ programme enhanced with

performances from students from Australian Institute of Music• Monthly tours in Auslan (sign language) and special

workshops provided for disabled people. 3.2 Encourage participation and art • Art Express received over 150,000 visitors

appreciation by young people • 5% increase in student participation (92,000 attended during 1999/2000)

3.3 Disseminate information on art and • 10 art books published during 1999/2000contribute to scholarship • Over $1 million in sales of Art Gallery catalogues/publications.

• Six symposiums held and all fully subscribed

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• Internet web-site re-launched with up to date information on the Art Gallery’s services

3.4 Ensure Regional Galleries and other • In-house training provided to regional galleries community groups have access to the Art Gallery’s education officersCollection and activities. • Attendances slightly lower but largely due to Victorian

Gallery being closed for refurbishment• Exhibitions touring included ‘Jeffrey Smart’, ‘Archibald’

and ‘Brett Whiteley’; touring period and number of venues extended

OBJECTIVE 4 Inspire and explore artistic attitude and aspiration

STRATEGIES KEY PERFORMANCE INDICATORS 4.1 Encourage and foster artists in their • New prize ‘Sports Archibald’ provided to capture new artistic

endeavours to capture their creativity styles/audiences• ‘Perspecta’ exhibition held – to foster art in politics • ‘Papunya Tula’ exhibition held using indigenous artists from

remote communities • Numerous prizes, competitions, scholarships provided to

encourage new artists

OBJECTIVE 5 Operate the Art Gallery in an efficient and effective manner, which encourages an increasing level of public visitation

STRATEGIES KEY PERFORMANCE INDICATORS 5.1 Manage the Art Gallery operations effectively • Maintain staffing and intellectual property in spite of reduced

levels of government funding for our activities• Free entry maintained/363 days of operation • Little or no time lost due to unexpected disruptions

despite major construction work nearby5.2 Meet customer needs by improvement • Late openings provided in summer with increase in ‘net costs’

in service levels • Café/restaurant refurbished; Expanded services to include more seating in Café, new ‘Café Express’ and Society kiosk

• No price increases during 1999/2000 5.3 Implement state of the art technology, • Upgrades to accounting and related systems in preparation

systems and procedures for GST implementation; compliance requirements met• IT outsourcing contract implemented; Transitional

problems encountered but network now operating soundly Firewall established minimising risk of viral infections

• No issues relating to Year 2000 Compliance 5.4 Manage staff resources effectively to improve • Improved workplace safety (no increase in injury levels)

employee skill levels and satisfaction • No major disputes and less than 10 minor incidences of staff grievances

• High level of accuracy maintained on payroll services (over 90%)

OBJECTIVE 6 Ensure effective funding sources for the Art Gallery

STRATEGIES KEY PERFORMANCE INDICATORS 6.1 Ensure effective use of Government Funding • Net Cost per visitor $15.20 (no increase over prior year)

• Operations achieved within budget constraints despite unfunded salary increases

• Key government priorities (eg regionalism, educational, corporate services reform) met

6.2 Encourage sponsorships, donations and bequests; • Bequests net income amounted to $5.2 million, totalling Improve returns from capital funds and related sources over $65 million over the last nine years

• Returns on investment of Trust funds exceeded benchmark • Art Gallery Foundation and Art Gallery Society made major

financial contributions to Art Gallery • 4 new Principal Sponsors were secured for future exhibitions

and projects. • Centenary fund successfully established with 21 inaugural

members6.3 Increase funding from Commercial sources • $9.8 million revenue from admissions and commercial

activities.• Net Surplus for year was $8.6 million.• Record turnover achieved for Gallery shop

(over $4 million) – highest of museum shops in Australia.

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BOARD OF TRUSTEESThe Art Gallery of New South Wales Trust is

constituted by Section 5 of the Art Gallery of New SouthWales Act, 1980. Section 6 stipulates that: ‘the Trust shallconsist of 9 Trustees who shall be appointed by theGovernor on the recommendation of the Minister for theArts and at least two of whom shall be knowledgeableand experienced in the visual arts’. Trustees are appointedfor a term not exceeding three years and may serve fourconsecutive terms.

PRESIDENTMr David Gonski, Principal of Wentworth Associates PtyLimited; Chairman of Morgan Stanley and the BundanonTrust; Deputy Chairman Coca-Cola Amatil Ltd.; Directorof John Fairfax Holdings Ltd and Westfield HoldingsLimited; St.Vincent’s Hospital (Public, Private andHospice), Sydney and Trustee of Sydney Grammar School.Initial date of appointment was 1st January, 1997 andexpiry date of current term is 31st December, 2000.

VICE-PRESIDENTMs Jillian Broadbent, Director of the Reserve Bank ofAustralia; Director of Woodside Petroleum Ltd.; Directorof Coca-Cola Amatil Ltd.; Director of the Australian

Brandenburg Orchestra and the Sydney TheatreCompany; Member of the Advisory Board of theSalvation Army. Initial date of appointment was 1stJanuary, 1993 and expiry date of current term is 31stDecember, 2001.

MEMBERSMr John Morschel, Chairman of Comalco Limited;Director of Westpac Banking Corporation; Director ofCSR Limited; Director of Tenix Pty Limited; Director ofRio Tinto PLC; Director of Rio Tinto Ltd.; Director ofCable & Wireless Optus; former Managing Director ofLend Lease Corp. Initial date of appointment was 1stJanuary, 1995 and expiry date of current term is 31stDecember, 2000.

Ms Anne Landa, Founder of the David Paul LandaMemorial Scholarship for Pianists; Producer of Handlewith Care 1986 Logie Award winner for bestdocumentary / docudrama; Member Quality ReviewCommittee of the Darling Harbour Authority. FormerPresident of the Friends of Sydney Film Festival andSydney Jewish Film Festival. Initial date of appointmentwas 1st January, 1996 and expiry of current term is 31stDecember, 2001.

CORPORATE GOVERNANCE

Trustees amongst Anish Kapoor’sVoid Field 1989 (from left to right) John Morschel,Janet Laurence, Mary Turner,Lachlan Murdoch, Pierce Cody,Jillian Broadbent, Anne Landa,David Gonski, John Yu

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Ms Janet Laurence, Mixed media installation artist whosework has been included in major survey exhibitions andcollections, nationally and internationally. Herarchitectural and public commissions include the Tomb ofthe Unknown Soldier in Canberra and The Edge of theTrees at the Museum of Sydney, which was awarded theLloyd Rees award for urban design from the RoyalAustralian Institute of Architects. In 1992 and 1996 Janetwas awarded Australia Council Fellowships and in 1996received a Rockefeller Fellowship. Recently completed 49Veils windows for the new Central Synagogue in Bondi;and Veil of Trees in the Domain for the Sydney CitySculpture Walk. Currently working on an environmentalart work for the Homebush Bay Olympic site. Initial dateof appointment was 1st January, 1997 and expiry ofcurrent term is 31st December, 2002.

Dr John Yu, AM, MB BS(Syd),Hon MD (Syd.), Hon Dlitt(UWS), DCH (RCP&S), FRACP, FRACMA. Dr Yu is aPaediatrician and former Chief Executive of the Children’sHospital at Westmead. He is Chancellor of the Universityof New South Wales. He is Chair of the Australia ChinaCouncil and the Specialist Advisory Committee to theNSW Commissioner for Children and Young People. Hesits on the Board of St Vincent’s Hospital in Sydney, theNational Australia Day Council and the Myers GraceCommunity Fund. Initial date of appointment was 1stJanuary, 1997 and expiry of current term is 31stDecember, 2002.

Mary Turner, OAM. Chair of the Orange MusicAssociation; Member of the Orange Regional GalleryAdvisory Committee since 1983; Member of the MusicCommittee of the Art Advisory Council; Board Memberof the Music Council of Australia. Co-Director of theMacquarie Galleries, Sydney (1956-1978); Director of theMurray Crescent Galleries, Canberra (1978-1981).Received an Order of Australia in 1993 ‘for services tothe arts, particularly music and painting’. Board memberArts OutWest Inc since 1997-1999. Founder andManaging Trustee of the Godfrey Turner Music Trust,formed in 1989 “to raise the standard of appreciation andpractice of music in the region of which the centre is theCity of Orange..”; Trustee of the Margaret HendersonMusic Trust, established in 1996 “to assist by award ofscholarship.. outstanding young musicians of Orange topursue advanced studies in music..’ Initial date ofappointment was 1st January, 1998 and expiry of currentterm is 31st December, 2000.

Lachlan Murdoch, Chairman and Chief Executive ofNews Limited; Senior Executive Vice President, and aDirector, of The News Corporation Limited; Chairman of

Queensland Press; a Director of The Herald & WeeklyTimes Limited, Foxtel and One.Tel.; Deputy Chairman ofStar Television Limited. Initial date of appointment was1st January, 1999 and expiry of current term is 31stDecember, 2001.

Pierce Cody, Chief Executive Officer and ManagingDirector of Cody Outdoor. Director of The OutdoorAdvertising Association of Australia; Member of theDirector’s Council of the National Gallery of Victoria;Director of Adcorp; Director and Governor of TheAustralian Ireland Fund. Initial date of appointment was1st January 2000 and expiry of current term is 31stDecember, 2002.

Honorary Solicitors to the Trust: Freehill Hollingdale and Page

TRUSTEE MEETINGS AND COMMITTEESATTENDANCES AT BOARD OF TRUSTEE MEETINGSThere were six board meetings of the Trust during theperiod July, 1999 to June, 2000. Trustee attendances wereas follows:

David Gonski 6Jillian Broadbent 5Anne Landa 6Janet Laurence 5John Morschel 3Justice Kim Santow 2 (until 31 12.99)

Mary Turner 6Dr John Yu 6Lachlan Murdoch 1Pierce Cody 2 (from 1.1.00).

Apologies were submitted for all Trustee absences andauthorised leave was granted.

TRUST COMMITTEESAcquisitions and LoansJohn Yu, David Gonski (ex-officio), Anne Landa, JanetLaurence, Edmund Capon, Director, Anthony Bond –General Manager, Curatorial Services

ExhibitionsDavid Gonski (ex-officio), Janet Laurence, Anne Landa,Barry Murphy, Greg Daniel, Edmund Capon – Director,Anne Flanagan – General Manager, Exhibitions andBuilding Services, Anthony Bond – General Manager,Curatorial Services

Finance and AuditJillian Broadbent (Chairperson), David Gonski, BruceCutler, Edmund Capon – Director, Rosemary Senn –General Manager, Finance and Management Services

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Paris StudioBarry Pearce – Head Curator, Australian Art, VictoriaLynn – Curator, Contemporary Art

PLANNING, RISK MANAGEMENT AND INTERNAL AUDIT

Corporate Plan and Total Asset Management PlanThe Art Gallery finalised its Corporate Plan and its TotalAsset Management Plan. The Corporate Plan contains the Gallery’s comprehensivevision, goals, and strategies for the next five years. Detailsare included in the Aim, Objective and PerformanceIndicators Section.The Total Asset Management Plan (TAM) was developedfor submission to the NSW Government. TAM entailanalysis of our capital expenditure program and therelationship with the services being provided.

Risk Management and InsuranceThe Art Gallery, as a NSW Government Agency,

continues to be insured by the Treasury Managed Fund, agovernment self insurance scheme administered by theGIO. There were no significant claims on this schemeduring the year. The annual premium amounted to $1 million reflecting the value of the State asset holdingsof the Gallery’s permanent art Collection and our heritagebuilding plus the loaned temporary exhibition art holdings.

Internal AuditReviews were conducted during the year on, IT networkmanagement, GST compliance, Contractual arrangementsrelation to the Brett Whiteley Studio, Tax compliance.Recommendations were carefully considered, policies andprocedures were revised where appropriate and remedialaction taken to improve internal controls. An action planwas developed to address IT matters with a timetable forimplementation. The sub-committee of the Board ofTrustees was renamed ‘Finance and Audit’ to re-affirm theimportance of the Board’s role in audit matters. The costof internal audit work is borne by the Ministry for the Artsfrom a central allocation of funds for the Arts Portfolio.

SENIOR MANAGEMENT PROFILE

Edmund Capon, AMDirector

Edmund Capon has been the Director of the ArtGallery of New South Wales since 1978. For five yearsbefore leaving London he held the position of AssistantKeeper, Far Eastern Section at the Victoria and AlbertMuseum, having started at that Museum in 1966 in theTextile Department specialising in Chinese textiles andcostume, and European tapestries. He has also managed a

commercial gallery in London primarily concerned withmodern British paintings and sculpture.

He obtained his Master of Philosophy degree inChinese Art and Archaeology (including language) fromthe London University School of Oriental and AfricanStudies. Edmund has also completed studies on 20thcentury painting at the Courtauld Institute of Art, LondonUniversity.

Edmund is recognised as a world expert in hisparticular field and has published several books andcatalogues including Princes of Jade (1974); Art andArchaeology in China (1977); Qin Shihuang: TerracottaWarriors and Horses (1982); and Tang China: Vision andSplendour of a Golden Age (1989), as well also manyselected articles for Australian and internationalnewspapers and professional art journals.

Mr Capon was made a Member of the Order ofAustralia in 1994. He is also currently a member of theCultural Committee of the Sydney Organising Committeefor the Year 2000 Olympic Games and is a member of theAdvisory Council of the Asia Society AustralAsia Centre.

Anthony Bond,General Manager, Curatorial Services

Anthony Bond joined the Art Gallery in 1984 asCurator of Contemporary Art. In January, 1995 he wasappointed to the position of General Manager, CuratorialServices to oversee the curatorial staff of the Art Gallerytogether with responsibility for the overall management ofcuratorial services departments: Conservation,Registration, Public Programmes, Library and thePhotography Studio. This is coupled with his role asHead Curator, Western Art with special responsibility for20th century and contemporary International collections.He was formerly Director of Wollongong City Gallery andAssistant Director of Art Gallery of Western Australia.

Mr. Bond has published extensively and continues tomaintain a strong commitment to 20th centuryInternational art through collection development andcurating thematic exhibitions. In 1999 his book Body thataccompanied the exhibition of that name at the Gallery in1997 was awarded the inaugural Power institute awardfor the best book of Art history, an award offered throughthe AAANZ. In 1999 he was invited to Direct Trace, theinaugural Liverpool Biennial of Contemporary Art inEngland. His academic qualifications include B.Ed (Hons)from the University of London and he is currentlyundertaking a Ph.D at The University of Sydney. He is amember of various committees including the ExecutiveCommittee of the AAANZ, Australia 2002 committee atARCO Madrid, City of Sydney Sculpture Walk SelectionCommittee, Australian center for Photography (Chair),Bundanon Trust residency committee and serves on

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Academic advisory panels and acts as external assessor atseveral Universities. He also acts as an assessor for theAustralian research Foundation (visual arts)

Anne FlanaganGeneral Manager, Exhibitions and Building Services

Anne Flanagan joined the Art Gallery in March1992. Her academic background includes visual arts,interior design and education. For the last sixteen yearsshe has worked within arts organisations initially at theCrafts Council of NSW, Powerhouse Museum, Biennale ofSydney, Australian Bicentennial Authority and then at theHistoric Houses Trust of New South Wales before joiningthe Art Gallery.

Ms Flanagan is responsible for the exhibitionprogramme including design, development and financialmanagement, building services including capital andmaintenance programmes and all security services withinthe Art Gallery.

Rosemary SennGeneral Manager, Finance and Management Services

Rosemary Senn joined the Art Gallery in late 1998.She is a Fellow of the Australian Society of CertifiedPractising Accountants and holds a Degree of Commercewith the University of Melbourne. She also holdsqualifications in company directorship and taxationmatters. Prior to joining the Art Gallery, Ms Senn heldvarious senior financial and business development roleswith a major Australian corporation over several years.She also held the position of director of a credit union.

As well as being the Art Gallery’s chief financialofficer, Ms Senn is also responsible for other managementservices which include corporate secretariat services forthe Trust and other Art Gallery entities, human resourcesmanagement, management services, administration andinformation technology. Also included in herresponsibilities is the Gallery shop and the copyright andimage reproduction services.

Jane Westbrook,General Manager, Business Development and Marketing

Jane Westbrook joined the Art Gallery in April1999. She has over 20 years’ experience in senior artsmanagement in a wide range of cultural institutions,including the Sydney Opera House, the British Council,the Australia Council and the Powerhouse Museum. Sheholds Masters and First Class Honours degrees from theUniversity of New South Wales and was awarded a1982Churchill Fellowship.

Ms Westbrook is responsible for the Art Gallery’sBusiness Development activities, which includessponsorship and fundraising, as well as all aspects of

Marketing, including public relations, advertising andpromotions, venue management and tourism.

LIFE GOVERNORSFranco Belgiorno-Nettis AC CBEJoseph Brender AOKen Cowley AOJames Fairfax AOMichael Gleeson-White AOMollie GowingShosuke IdemitsuJames Leslie AC, MCFrank Lowy AORupert Murdoch ACKenneth Myer (the late) AC, DSCJ. Hepburn Myrtle (the late) CBEMargaret Olley AOMax Sandow AMJohn and Julie SchaefferGoldie and Edward Sternberg (the late) AMFred StreetDiana Walder OAMNeville Wran AC, QC

VISASIA BOARD MEMBERSDr John Yu (Chairman)Goldie SternbergProfessor Steve BurdonStephen MenziesThe Hon, Justice Kim Santow OAMRobert SeidlerEdmund Capon – Director, Jackie Menzies – Head Curator Asian Art

BRETT WHITELEY FOUNDATIONMr David KentMs Wendy WhiteleyMs Arkie Whiteley (alternative Ms Anna Schwartz)Mr Edmund Capon – Director Mr Barry Pearce – Head Curator, Australian Art

FOUNDATIONArt Gallery of New South Wales Foundation produces aseperate Annual Report available from the Art Gallery.

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ORGANISATIONAL STRUCTUREThe Gallery’s organisational structure has been designedto recognise the four major functions of the Galleryoperations:

• Curatorial Services• Business Development and Marketing• Exhibitions and Building Services• Finance and Management Services

A General Manager heads each of these function areasand reports to the Director. Gallery staffing has beenorganised into activity Departments under these fourmajor functions and each Department Manager reports to their responsible General Manager.

STAFF PROFILE Average over 12 months

30/6/00

Building and Security Services 63

Curatorial Services Staff 42

Curatorial Staff 26

Exhibitions/Display 19

Corporate Services 19

Commercial Services 15

Marketing 9

Total 193

GENERAL MANAGER FINANCE & MANAGEMENT SERVICE

Human Resources

Management Services

Finance

Corporate Secretariat

Copyright

Information Technology

Gallery ShopDIRECTOR

GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES

Gallery Services

Exhibitions

Building Management

Workshop

Installation Security

GENERAL MANAGER BUSINESS DEVELOPMENT & MARKETING

Venue Management

Sponsorship

Information Desk

Membership Services

Marketing Graphics

GENERAL MANAGER CURATORIAL SERVICES

Conservation

Library

Registration

Public Programmes

Photography StudioCuratorial Services

AUSTRALIANPaintings & Sculpture

Prints, Drawings & WatercoloursAboriginal & Torres Strait Islander

WESTERNEUROPEAN ART

pre – 1900ContemporaryPhotography

ASIANJapanChina

South-East AsiaIndia

ART GALLERY OF NEW SOUTH WALES FINANCIAL REPORTS

30

FINANCIAL REVIEW OF THE YEARFINANCIAL SUMMARY

Average per

1991–92 1992–93 1993–94 1994–95 1995–96 1996–97 1997–98 1998–99 1999-00 Total annum

Total Attendances –incl Touring/Studio million • • • • 1.16 1.23 1.08 1.17 1.03 5.66 1.13

Attendances –Paid exhibitions million 0.54 0.18 0.43 0.35 0.40 0.45 0.27 0.30 0.26 3.20 0.36

Attendances –Free access – Main million 0.51 0.57 0.48 0.63 0.59 0.56 0.65 0.65 0.64 5.27 0.59

Total Attendances –Main Building million 1.05 0.75 0.91 0.99 0.99 1.01 0.92 0.95 0.90 8.47 0.94

Artworks Purchased $’m $1.0 $5.3 $1.6 $1.9 $2.9 $1.2 $4.1 $0.3 $0.9 $19.4 $2.2Donations of Artworks/funds to acquire artworks $’m $7.9 $2.8 $8.2 $10.4 $7.4 $4.3 $7.2 $3.7 $4.3 $56.2 $6.2

Total Works of ArtAcquired $’m $8.9 $8.2 $9.8 $12.4 $10.3 $5.5 $11.3 $4.1 $5.2 $75.6 $8.4

Exhibition Admission $’m $3.7 $0.8 $2.3 $2.8 $2.9 $2.5 $2.4 $2.7 $2.1 $22.3 $2.5revenue

Sponsorships & contributions $’m $1.5 $1.0 $0.9 $1.5 $3.1 $2.6 $2.1 $3.8 $3.0 $19.6 $2.2Other CommercialActivities/other misc $’m $4.3 $2.3 $3.7 $4.3 $6.3 $5.4 $5.4 $5.1 $5.7 $42.6 $4.7

Revenue fromCommercial Activities $’m $9.5 $4.2 $7.0 $8.6 $12.4 $10.5 $9.9 $11.6 $10.8 $84.5 $9.4

Bequest/Special fundsincome $’m $8.4 $3.2 $9.3 $11.3 $8.0 $5.0 $9.3 $5.9 $5.2 $65.7 $7.3

Total Revenue fromCommercial andprivate sources $’m $18.0 $7.4 $16.3 $19.9 $20.4 $15.5 $19.2 $17.5 $16.0 $150.2 $16.7

Operating Expenses $’m $20.5 $14.2 $16.9 $20.1 $23.2 $23.7 $26.1 $26.1 $24.6 $195.5 $21.7

Net Cost of Services(exc. Bequests) $’m $11.0 $10.0 $9.9 $11.5 $10.9 $13.2 $16.2 $14.5 $13.7 $111.0 $12.3

Recurrent appropriation $’m $9.9 $8.5 $8.7 $10.7 $11.0 $12.9 $13.6 $13.6 $13.6 $102.4 $11.4

Capital appropriation/other $’m $1.3 $1.4 $2.1 $1.5 $1.4 $2.9 $4.2 $2.2 $3.5 $20.5 $2.3

Total Govt Grants $’m $11.2 $9.8 $10.7 $12.2 $12.4 $15.8 $17.8 $15.8 $17.1 $122.9 $13.66Government funding as a% of total revenues % 38% 57% 40% 38% 38% 50% 48% 47% 52% 45% 45%

Total Revenue $’m $29.1 $17.2 $27.0 $32.2 $32.8 $31.3 $37.0 $33.3 $33.1 $273.1 $30.3

Net Surplus $’m $8.6 $3.0 $10.1 $12.1 $9.5 $7.6 $10.8 $7.2 $8.6 $77.6 $8.6

Employees Number 153 167 157 170 187 233 227 228 220

Net cash flows $’m $0.8 $0.4 $1.0 -$2.0 -$0.5 $0.8 $0.4 -$0.3 -$1.0

Net Assets $’m $477.8 $474.0 $485.0 $518.0 $524.0 $606.0 $616.0 $641.8 $712.8

Net Cost of Servicesper visitor $ $10.50 $13.40 $10.90 $11.70 $11.00 $13.10 $17.60 $15.20 $15.20

31

REVENUE RECEIVED OVER NINE YEARS TO 1999/2000$273 Million

REVENUES AND OPERATING EXPENSES

ATTENDANCESDomain Site

NET COST OF SERVICES PER VISITOR

WORKS OF ART ACQUIRED (COMMULATIVE)

REVENUE AND GOVERNMENT FUNDING

WORKS OF ART ACQUIRED

32

33

ART GALLERY OF NEW SOUTH WALES TRUST

STATUTORY FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2000

ART GALLERY OF NEW SOUTH WALES TRUSTSTATEMENT IN ACCORDANCE WITH SECTION41C(1C) OF THE PUBLIC FINANCE AND AUDIT ACT, 1983

In accordance with a resolution of the Board of Trustees of the Art Gallery of New South Wales we state that:

(a) the accompanying financial statements have been prepared in accordance with the provisions of the Public Finance and Audit Act 1983, the Financial Reporting Code for Budget Dependent General Government Sector Agencies, the applicable clauses of the Public Finance and Audit (General) Regulation 1995, applicable Accounting Standards, other mandatory reporting requirements and the Treasurer’s Directions

(b) the financial statements and notes thereto exhibit a true and fair view of the financial position as at 30 June 2000 and the operations for the year then ended; and

(c) at the date of signing we are not aware of circumstances that would render the financial statements misleading or inaccurate.

1 September 2000

E.G CAPONDIRECTOR

J.R. BROADBENTHON. TREASURER

R. SENNGENERAL MANAGERFINANCIAL & MANAGEMENT SERVICES

D.M. GONSKIPRESIDENT

34

ART GALLERY OF NEW SOUTH WALES TRUST

OPERATING STATEMENTFor the year ended 30 June 2000

NOTES ACTUAL BUDGET ACTUAL2000 2000 1999$’000 $’000 $’000

Expenses

Operating Expenses

Employee related 3 12,142 12,127 11,871

Other operating expenses 4 9,299 11,392 10,395

Maintenance 5 1,393 500 1,839

Depreciation 6 1,719 1,800 1,984

Total Expenses 24,553 25,819 26,089

Less:

Retained Revenue

Sale of goods and services 7 7,655 8,195 7,660

Investment income 8 165 567 145

Grants and contributions 9 3,012 4,199 3,791

Other revenue 10 7 - 14

Total retained revenue 10,839 12,961 11,610

Net Gain (Loss) on Sale of Non-Current Assets 11 9 18 25

NET COST OF SERVICES BEFORE BEQUEST AND SPECIAL FUNDS 13,705 12,840 14,454

Bequest and Special Funds 22 (5,178) - (5,895)

NET COST OF SERVICES AFTER BEQUEST AND SPECIAL FUNDS 8,527 12,840 8,559

Government Contributions

Recurrent appropriation 13,630 13,630 13,577

Capital appropriation 2,320 3,348 1,058

Acceptance by the Crown Entity

of employee entitlements and other liabilities 12 1,153 350 1,185

Total Government Contributions 17,103 17,328 15,820

Surplus for the year 8,576 4,488 7,261

These accounts must be read in conjunction with the notes attached to the accounts.

35

ART GALLERY OF NEW SOUTH WALES TRUST

STATEMENT OF FINANCIAL POSITIONAs at 30 June 2000

NOTES ACTUAL BUDGET ACTUAL 2000 2000 1999$’000 $’000 $’000

ASSETS

Current Assets

Cash 14 126 1,773 1,141

Investments 17 7,548 6,159 6,959

Receivables 15 1,556 1,309 1,382

Inventories 16 1,385 1,138 1,139

Total Current Assets 10,615 10,379 10,621

Non-Current Assets

Land and Buildings 18 171,216 168,920 164,995

Plant and equipment 18 4,686 - 5,950

Collections Assets 18 524,181 467,346 460,532

Investments 17 5,490 2,500 2,500

Total Non-Current Assets 705,573 638,766 633,977

TOTAL ASSETS 716,188 649,145 644,598

LIABILITIES

Current Liabilities

Accounts payable 19 2,460 1,420 1,880

Employee entitlements 20 953 674 871

Total Current Liabilities 3,413 2,094 2,751

NET ASSETS 712,775 647,051 641,847

Equity

Accumulated funds 21 541,385 533,297 533,297

General reserves 21 161,311 108,550 98,959

Special reserves 22 10,079 5,204 9,591

TOTAL EQUITY 712,775 647,051 641,847

These accounts must be read in conjunction with the notes attached to the accounts.

36

ART GALLERY OF NEW SOUTH WALES TRUST

STATEMENT OF CASH FLOWSFor the year ended 30 June 2000

NOTES ACTUAL BUDGET ACTUAL 2000 2000 1999$’000 $’000 $’000

Cash Flows from Operating Activities

Payments

Employee related (10,031) (10,265) (9,802)

Other (9,518) (11,087) (11,301)

TOTAL PAYMENTS (19,549) (21,352) (21,103)

Receipts

Sale of goods and services 7,373 8,195 7,181

Interest 165 150 145

Other 3,299 1,844 4,845

TOTAL RECEIPTS 10,837 10,189 12,171

Cash flows from Government

Recurrent appropriation 13,630 13,630 13,577

Capital appropriation 2,320 3,348 1,058

Cash Reimbursements from the Crown Entity 376 350 355

NET CASH FLOWS FROM GOVERNMENT 16,326 17,328 14,990

Net cash outflows from operating activities 25 7,614 6,165 6,058

Cash flows from Investing Activities

Proceeds from sale of Land, Building and Plant & Equipment 22 18 63

Purchases of Land, Building and Property, Plant & Equipment (5,072) (6,351) (7,399)

Sale/(Purchases) of investments (3,579) 800 944

Net cash flows from investing activities (8,629) (5,533) (6,392)

Net Increase/(Decrease) in Cash (1,015) 632 (334)

Opening cash and cash equivalents 1,141 1,141 1,475

CLOSING CASH AND CASH EQUIVALENTS 14 126 1,773 1,141

These accounts must be read in conjunction with the notes attached to the accounts.

37

ART GALLERY OF NEW SOUTH WALES TRUST

SUMMARY OF COMPLIANCE WITH FINANCIAL DIRECTIVESFor the year ended 30 June 2000

2000 1999

Recurrent Expend- Capital Expend- Recurrent Expend- Capital Expend-Appro- iture Appro- iture Appro- iture Appro- iturepriation $’000 priation $’000 priation $’000 priation $’000

$’000 $’000 $’000 $’000

ORIGINAL BUDGETAPPROPRIATION/EXPENDITURE

• Appropriation Act 13,451 13,451 1,520 2,320 13,577 13,577 1,058 1,058

• Budget Variation Acts(ie Additional Appropriations) 179 179 1,828 - - - - -

• s21A PF&AA – specialappropriations - - - - - - - -

• s24 PF&AA – transfers offunctions betweendepartments - - - - - - - -

• s26 PF&AA –Commonwealth specificpurpose payments - - - - - - - -

13,630 13,630 3,348 2,320 13,577 13,577 1,058 1,058

OTHER APPROPRIATIONS/EXPENDITURE

• Treasurer’s Advance - - - - 0 0 - -

• Section 22 – expenditure forcertain works and services - - - - - - - -

• Transfers from otheragency (section 28 ofthe Appropriation Act) - - - - - - - -

0 0 0 0 0 0 0 0

Total Appropriations –Expenditure/Net Claim on 13,630 13,630 3,348 2,320 13,577 13,577 1,058 1,058Consolidated Fund

Amount drawn down against Appropriation 13,630 2,320 13,577 1,058

Liability to Consolidated Fund • 0 0 0 0

The Summary of Compliance is based on the assumption that Consolidated Fund moneys are spent first (except where otherwise identified or prescribed).

38

NOTES TO AND FORMING PART OF THE FINANCIALSTATEMENTS FOR THE YEAR ENDED 30 June 2000

1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES

(a) Reporting entityThe Art Gallery of New South Wales comprises all theoperating activities and entities under the control of theBoard of Trustees of the Art Gallery of New South Wales(the Gallery) including the Gallery’s commercial activities ofmerchandising, venue hire and catering. All transactionsand balances between the funds and entities comprising theGallery have been eliminated in the process of preparingthe financial statements. The Art Gallery of New SouthWales Foundation is not included, as the Gallery has nodirect control over the activities of the Foundation. Theprincipal object of the Foundation is to raise funds to beinvested and to apply the income derived from suchinvestments to the acquisition of works of art for theGallery.

(b) Basis of accountingThese financial statements which are a general purposefinancial report have been prepared on an accruals basisand in accordance with applicable Australian AccountingStandards and other authoritative pronouncements of theAustralian Accounting Standards Board (AASB), UrgentIssues Group (UIG) the requirements of the Public Financeand Audit Act and Regulations, and the Financial ReportingDirections published in the Financial Reporting Code forBudget Dependent General Government Sector Agencies orissued by the Treasurer under section 9(2)(n) of the Act.Where there are inconsistencies between the aboverequirements, the legislative provisions have prevailed. Inthe absence of a specific Accounting Standard, otherauthoritative pronouncement of the AASB or UIGConsensus View, the hierarchy of other pronouncements asoutlined in AAS 6 “Accounting Policies” is considered.Except for certain investments and land, building, propertyplant and equipment and infrastructure systems, which arerecorded at valuation, the financial statements are preparedin accordance with the historical cost convention. Allamounts are rounded to the nearest one thousand dollarsand are expressed in Australian currency. The accountingpolicies adopted are consistent with those of the previousyear.

(c) Change of Accounting PolicyThere were no changes to Accounting Policy in the financialyear to 30 June 2000.

(d) Revenue RecognitionRevenue is recognised when the Trust has control of thegood or right to receive, it is probable that the economicbenefits will flow to the Trust and the amount of revenuecan be measured reliably. Additional comments regardingthe accounting policies for the recognition of revenue arediscussed below.

(i) Parliamentary Appropriations and Contributions fromOther BodiesFrom this financial year there is a change in accountingpolicy for the recognition of parliamentary appropriations.Parliamentary appropriations are generally recognised asrevenues when the agency obtains control over the assetscomprising the appropriations/contributions. Control overappropriations and contributions is normally obtainedupon receipt of the cash.

An exception to the above is when appropriations areunspent at year-end. In this case, the authority to spendthe money lapses and generally the unspent amountmust be repaid to the Consolidated Fund in the followingfinancial year. As a result, unspent appropriations are nowaccounted for as liabilities rather than revenue.

(ii) Sale of Goods and ServicesRevenue from the sale of goods and services comprisesrevenue for the provision of products or services ie. usercharges. User charges are recognised as revenue whenthe agency obtains control of the assets that result fromthem.

(e) Employee entitlements(i) Wages and salaries, annual leave, sick leave and on-costsLiabilities for wages and salaries, annual leave andvesting sick leave are recognised and measured as theamount unpaid at the reporting date at current pay ratesin respect of employees’ services up to that date. Underthe awards operating in the Gallery, sick leave is non-vesting. The Trustees are of the opinion that total sickleave paid in any one year will not exceed leaveentitlements for the year and therefore no liability existsin respect of leave accumulated. The outstandingamounts of payroll tax, workers’ compensation insurancepremiums and fringe benefits tax which are consequentialto employment are recognised as liabilities and expenseswhere the employee entitlements to which they relatehave been recognised.

(ii) Long service leave and superannuationThe Gallery’s liability for long service leave andsuperannuation are assumed by the Crown Entity. Longservice leave is measured on a nominal basis. The Galleryaccounts for the liability as having been extinguishedresulting in the amount assumed being shown as part ofthe non-monetary revenue items described as“Acceptance by the Crown Entity of EmployeeEntitlements and Other Liabilities” Refer Note 12. Thenominal method is based on the remuneration rates atyear-end for all employees with five or more years ofservice. It is considered that this measurement techniqueproduces results not materially different from theestimate determined by using the present value basis ofmeasurement.

ART GALLERY OF NEW SOUTH WALES TRUST

39

The superannuation expense for the financial year isdetermined by using the formulae specified in theTreasurer’s Directions. The expense for certainsuperannuation schemes (ie. Basic Benefits and FirstState Super) is calculated as a percentage of theemployees’ salary. For other superannuation schemes (ie.State Superannuation Scheme and State AuthoritiesSuperannuation Scheme), the expense is calculated as amultiple of the employees’ superannuation contributions.

(f) InsuranceThe Gallery’s insurance activities are conducted through theNSW Treasury Managed Fund Scheme of self-insurance forGovernment agencies. The expense (premium) isdetermined by the Fund Manager based on past experience.

(g) Acquisitions of assetsThe cost method of accounting is used for the initialrecording of all acquisitions of assets by the Gallery. Cost isdetermined as the fair value of the assets given asconsideration plus the costs incidental to the acquisition.Assets bequeathed or donated are brought to account andare initially recognised as assets and revenues, atvaluations determined at the time of acquisition by either anindependent valuer or Gallery officer.

(i) CollectionsAll additions to the collection are capitalised. Costsincurred in the restoration and conservation of collectionitems have been included in Net Cost of Services.

(ii) Land, buildings, and plant and equipmentAdditions to land, building and plant and equipmentitems costing $5,000 and above are capitalised.

(h) Revaluation of physical non-current assets

Each class of physical non-current assets is included in afive year revaluation plan. The recoverable amount test hasnot been applied, as the Gallery is a non-profit entity whoseservice potential is not related to the ability to generate netcash inflows.

(i) Property, Plant and EquipmentLand was valued by the Dapartment of Public Works andServices at 30 June 2000. The amount of the revaluationhas been brought to account in the books of the Gallery.Land is valued on an existing use basis. Buildings,including those classified by Treasury as Heritage Assets,were originally valued by the Department of Public Works& Services in 1992. In accordance with the Gallery’s policyof revaluing major assets each five years, at 30 June1997, the building was revalued at replacement cost byB.H. Hazlewood, Executive Quantity Surveyor, StateProjects, Department of Public Works and Services. Plantand equipment items are not revalued and are carried inthe books of account at depreciated original cost.

(ii) CollectionA collection revaluation policy has been developed with“signpost” works identified for revaluation in the1999/2000 financial year as per the programme ofrevaluing all works over a five year period. The increasein value of the collection was brought to account in the

books of the Gallery. All works will be revalued by class inaccordance with a predetermined programme over aperiod of five years.

(iii) Library CollectionA stocktake of the library collection was undertaken in the1999/2000 financial year. As a result the librarian was ofthe opinion that many works had increased in value sincethe initial recognition of the library collection. Arevaluation of the library was then undertaken and theamount of the revaluation was brought to account in thebooks of the Gallery.

(i) Depreciation of non-current physical assets

Depreciable assets include plant and equipment, permanentexhibition fit out and motor vehicles. Depreciation iscalculated on a straight line basis so as to write off thecarrying cost of these assets over their expected useful life.The useful life of all depreciable assets is re-assessedannually. Individual assets with a cost of less than $5,000are written off in the year of acquisition in accordance withrecommended Government policy. The Trustees believe thatthe life of the Gallery building is indeterminate butconservatively estimate that the useful life of the building asa Gallery would be in excess of 200 years provided that thebuilding is subject to normal maintenance. Therefore theannual depreciation expense to be applied to the building isdetermined to be immaterial.

Depreciation rates are listed below. For Plant & Equipmenteach asset’s effective life is assessed and a depreciation rateof 7%, 14% or 20% is applied. Refer to note 6 for adissection of depreciation expenses.

Rate Plant & Equipment 7-20%Motor Vehicles 20%Furniture & Fittings 20%Office Equipment 33%Computer Equipment 33%Catering Equipment 20%Other Equipment 20%

(j) Investments

Investment securities are intended to be held to maturity,and are recorded at the lower of cost and recoverableamount.

(k) Inventories

Inventories are valued at the lower of cost or net realisablevalue. Cost is determined using the “average” method ofstock valuation.

(l) Doubtful debts

Allowance has been made in the accounts for doubtfuldebts after investigation and determination of recoverabilityof debts outstanding.

(m) Trust funds

This note is considered to cover conditions on contributionsand also covers restricted assets.The Gallery receives monies and gifts in specie in a trusteecapacity for various trusts as set out in Note 22. As the

40

Gallery performs only a custodial role in respect of thesemonies and because the monies cannot be used for generalpurposes in the achievement of the Gallery’s ownobjectives, they are brought to account as a separate itemin the financial statements after calculation of the Net Costof Services before Bequest and Special Funds. Theaggregate of contributions received for the year has beenrecognised as revenue in the Bequest and Special FundsRevenue and Expenditure Statement in Note 22(a). Theserevenues provide for expenditure in the current year and infuture years. Any revenues unspent in the current year havebeen carried forward for appropriate expenditure in futureyears.

(n) Trustee benefits

No Trustee of the Gallery has received or become entitled toreceive a benefit because of a contract made by the Galleryor a related body with the Trustee or with a firm of whichthe Trustee is a member, or with a company in which theTrustee has a substantial interest.

(o) Taxation status

The activities of the Gallery are exempt of tax.

(p) Services provided at no cost

Where material contributions are made to the Gallery at nocharge an expense is recorded in the accounts to reflectactivities at the Gallery and is offset by an equivalentrevenue entry. Also Refer to Note 26.

(i) Volunteer ServicesVolunteers make a substantial and integral contribution tothe operation of the Gallery. Volunteer guides provideguided tours of the Gallery’s permanent and temporaryexhibitions to the public and primary aged children.Additional assistance is provided to the Gallery’s libraryand study room.

(ii) Building MaintenanceThe Department of Public Works is undertaking aprogramme of restoring heritage buildings, including theGallery. The cost of these works is being borne by theDepartment of Public Works and the Gallery will not incurany costs.

2 PROGRAMME STATEMENTThe Gallery operates one programme – Art Gallery of NewSouth Wales. The objective of this programme is to developand maintain collections of art works for the benefit of thecommunity and to increase knowledge and appreciation of art.

In New South Wales, agencies are not required toseparately record expenditures that are financed by theConsolidated Fund as distinct from expenditure financed bytheir own user charges. As a result, they are not able todetermine accurately the exact amount of the expendituresthat are related to the Consolidated Fund. However, theamount of revised appropriation should approximate theactual expenditure of Consolidated Fund monies by agencies.

41

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

ACTUAL ACTUAL

2000 1999

$’000 $’000

EXPENSES

3 EMPLOYEE RELATED

Salaries and wages (including recreation leave) 8,803 8,603

Superannuation entitlements 855 780

Long service leave 250 370

Workers compensation insurance 265 250

Payroll and fringe benefit taxes 644 677

Value of volunteer services (Refer also Note 9) 1,248 1,079

Other 77 112

12,142 11,871

4 OTHER OPERATING EXPENSES

Auditors remuneration 29 33

Bad and doubtful debts 2 -

Catering and entertainment 187 200

Communications 285 347

Consultants – Artists 98 82

Consumables 657 850

Exhibition fees and related costs 549 923

Fees – General professional 490 718

Interest 73 123

Freight, packing and storage 418 513

Insurance 698 980

Marketing and promotion 1,100 968

Printing 867 987

Property expenses 1,212 1,102

Staff training and development 27 43

Subscriptions, books and journals 226 244

Travel and accommodation 442 609

Sundry expenses 111 46

Cost of sales 1,828 1,627

9,299 10,395

5 MAINTENANCE

Repairs and routine maintenance 897 694

Major maintenance - -

Maintenance undertaken free of charge (Refer also Note 9) 496 1,145

1,393 1,839

42

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

ACTUAL ACTUAL

2000 1999

$’000 $’000

6 DEPRECIATION

Other Equipment 63 47

Catering Equipment 28 25

Motor Vehicles 29 30

Office Equipment 83 100

Plant & Machinery 943 1,052

Furniture, Fixtures and Fittings 367 424

Computer Equipment 206 306

1,719 1,984

REVENUE

7 SALE OF GOODS AND SERVICES

Merchandise and book sales 4,008 3,718

Publications sales 275 356

Admission fees 2,098 2,712

Venue hiring and catering 672 561

Fees for other services 498 304

Exhibition touring fees 104 9

7,655 7,660

8 INVESTMENT INCOME

Interest 165 145

165 145

9 GRANTS AND CONTRIBUTIONS

Sponsorship – cash 604 588

Sponsorship – in kind 495 534

Donations – cash 65 169

Grants – State Government 104 33

Grants – Commonwealth Government - 243

1,268 1,567

Value of voluntary services (Refer also Note 3) 1,248 1,079

Services provided at no charge (Refer also Note 5) 496 1,145

3,012 3,791

10 OTHER REVENUE

Workers compensations recovery 7 14

7 14

43

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

ACTUAL ACTUAL

2000 1999

$’000 $’000

11 GAIN ON SALE OF NON-CURRENT ASSETS

Property, Plant & Equipment – proceeds of sale 22 63

– written down value of assets sold 13 38

Net gain on disposal of property, plant & equipment 9 25

Works of art – proceeds of sale - -

– written down value of assets sold - -

Net gain on disposal of works of art - -

Total gain on sale of non-current assets 9 25

12 ACCEPTANCE BY CROWN ENTITY OF EMPLOYEE

ENTITLEMENTS AND OTHER LIABILITIES

Superannuation 847 763

Long Service Leave 250 370

Payroll Tax 56 52

1,153 1,185

13 CONTINGENT LIABILITIES

At the date of this report, the Trustees are not aware of any material contingent liabilities.

14 CASH

Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances and paid monthly at the

normal commercial rate of such deposits. The Gallery does not have any bank overdraft facility.

Cash at bank 119 1,123

Cash on hand 7 18

126 1,141

44

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

ACTUAL ACTUAL

2000 1999

$’000 $’000

15 CURRENT ASSETS – RECEIVABLES

All trade debtors are recognised at balance date. Collectability of trade debtors is reviewed on an ongoing basis.

Debts which are known to be uncollectable are written off. A provision for doubtful debts is raised when some

doubt as to collection exists. The credit risk is the carrying amount (net of any provision for doubtful debts).

No interest is earned on trade debtors. The carrying amount approximates net fair value. Sales are made on 30 day terms.

Sale of goods and services 236 218

Less provision for doubtful debts 15 15

221 203

Accrued income 365 165

Other debtors 373 923

Prepayments 597 91

Total receivables 1,556 1,382

16 CURRENT ASSETS – INVENTORIES

Inventories consist of goods to adequately stock and ensure the commercial viability of the Gallery’s Bookshop and

the sale of publications produced by the Art Gallery of New South Wales.

Finished goods 1,385 1,139

Total inventories 1,385 1,139

17 INVESTMENTS

The Gallery has placed funds in Trustee approved bank deposits and can be placed “at call” or for a fixed term.

The interest rate payable on such deposits is negotiated initally and is fixed for the term of the deposit.

Government securities - 1,959

Term Deposits 13,038 7,500

Total Investments 13,038 9,459

Classified as

Current Assets 7,548 6,959

Non-Current Assets 5,490 2,500

TOTAL INVESTMENTS 13,038 9,459

Included in cash and investments are restricted use assets: (refer also to note 22)

Current Assets 1,841 7,091

Non-Current Assets 8,238 2,500

10,079 9,591

These funds represent donations and bequests held by the Gallery to be used in accordance with the deed of trust or other documents

governing these funds.

45

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

2000 1999

Carrying Carrying

Amount Amount

$ $

At Call - -

Less than one year 4,800,000 6,959,128

One to five years 8,238,290 2,500,000

Greater than five years - -

13,038,290 9,459,128

The deposits at balance date were earning an average interest rate of 6.26% (1999 – 5.9%),

whilst over the year the weighted average interest rate was 6.2% (1999 – 5.3%) on an average

balance during the year of $11,193,942 (1999 – $8,834,026).

18 NON-CURRENT ASSETS – LAND, BUILDING, PLANT & EQUIPMENT

BALANCE PLUS LESS BALANCE

30.6.99 ADDITIONS DISPOSALS 30.6.00

$’000 $’000 $’000 $’000

LAND at Valuation 7,000 3,925 - 10,925

Buildings and Improvements

Cost 590 2,296 - 2,886

Valuation 157,405 - - 157,405

TOTAL BUILDINGS 157,995 2,296 - 160,291

TOTAL LAND AND BUILDINGS 164,995 6,221 - 171,216

Plant & Equipment

Cost 14,673 468 (110) 15,031

Depreciation 8,723 1,719 (97) 10,345

TOTAL PLANT & EQUIPMENT 5,950 (1,251) (13) 4,686

Art & Library Collections

Cost 1,976 5,222 - 7,198

Valuation 458,556 58,427 - 516,983

TOTAL ART & LIBRARY COLLECTIONS 460,532 63,649 - 524,181

TOTAL LAND, BUILDING, PLANT & EQUIPMENT 631,477 68,619 (13) 700,083

TOTAL

Cost 17,239 7,986 (110) 25,115

Valuation 622,961 62,352 - 685,313

Depreciation 8,723 1,719 (97) 10,345

Written down value 631,477 68,619 (13) 700,083

46

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

ACTUAL ACTUAL

2000 1999

$’000 $’000

19 CURRENT LIABILITIES – ACCOUNTS PAYABLE

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

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

in Treasurer’s Direction 219.01. If trade terms are not specified, payment is made not later than the end of the

month following the month in which an invoice or a statement is received. Treasurer’s Direction 219.01 allows

the Minister to award interest for late payment. No Ministerial direction was given, nor did the Gallery incur any

interest expense in relation to the late payment of invoices for the financial years ended 1999 and 2000.

Trade Creditors 1,513 1,177

Capital Creditors 947 703

2,460 1,880

20 CURRENT LIABILITIES – EMPLOYEE ENTITLEMENTS

Recreation Leave 657 674

Accrued Salaries and Wages 296 197

953 871

21 CHANGES IN EQUITY

(a) Accumulated funds

Surplus for year as per operating statement 8,576 7,261

Valuation of Library Collection - 9,074

Transfers (to) from Reserves

Special reserves – capital (203) (1,168)

Special reserves – Expendable (285) (763)

Total transfers (488) (1,931)

8,088 14,404

Balance at beginning of year 533,297 518,893

Accumulated funds at end of year 541,385 533,297

(b) Asset revaluation reserve

Revaluation of Collection (Refer Note 1(h) (ii)) 57,602 9349

Land 3,925 -

Library 825 -

62,352 9,349

Balance at beginning of year 98,959 89,610

Asset revaluation reserve at end of year 161,311 98,959

47

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

ACTUAL ACTUAL

2000 1999

$’000 $’000

22 BEQUESTS AND SPECIAL PURPOSE FUNDS

(a) Revenue and Expenditure Statement

Revenue

Donations for purchase of works of art 1,368 1,648

Donations of works of art 2,914 2,097

Capital bequests 203 1,168

Expendable bequests 531 484

5,016 5,397

Interest received 545 441

Other income 49 162

Total Income 5,610 6,000

Expenditure

Prizes and Scholarships 44 25

Other 388 131

Funds reimbursement - (51)

432 105

Surplus for year 5,178 5,895

(b) Changes in equity

(i) Special Reserves – Capital

Transfer from Operating Statement – additions for year 203 1,168

Balance at beginning of year 5,867 4,699

Special reserves – capital at end of year 6,070 5,867

This reserve represents the preserved portion of bequests and special purpose funds received by the Gallery.

(ii) Special Reserves – Expendable

Transfers from Operating Statement –

Surplus for year 5,178 5,895

Transfer from Accumulated Funds 400 -

Transfer to special reserve capital (203) (1,168)

Less acquisitions and other capital expenditure (5,090) (3,964)

285 763

Balance at beginning of year 3,724 2,961

Special reserves – expendable at end of year 4,009 3,724

This reserve represents the expendable portion of bequests and special purpose funds received by the Gallery.

(iii) Total – Special Reserves

Transfers from operating statement 488 1,931

Balance at beginning of year 9,591 7,660

Total special reserves at end of year 10,079 9,591

These reserves are represented by investments as shown in note 17 to the accounts.

48

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

ACTUAL ACTUAL

2000 1999

$’000 $’000

23 UNCLAIMED MONIES

All amounts unclaimed are forwarded to the Treasury for credit of Special Deposits Unclaimed Monies Account and are available for refund

from that account. No unclaimed amounts have been held in the accounts of the Art Gallery of New South Wales in excess of two years.

24 BUDGET REVIEW

Net cost of services

The Net Cost of Services Before Bequest and Special Funds was higher than budget by $0.9 million. This was due to lower revenues

generated by the Gallery’s commercial activities; including bookshop, functions and exhibitions.

Asset and Liabilities

Net assets increased by $66 million against budget. Art works increased significantly through

– the acquisitions from gifts, tied donations and purchases from commercial activities

– the revaluation of the Gallery’s art collection

– the revaluation of the library reference collection

– and a small variance from prior year acquisitions received after the forward estimates had been submitted.

Cash Flows

(i) Operating

Operating cash outflows was higher than planned by $1.4 million, due to receipts from donations and bequests being higher than

planned. Lower trading revenue and expenses also contributed to the net result.

(ii) Investing

Investing cash flows were $3.1 million higher due to a better than expected level of bequests and special funds receipts directed

towards the acquisition of art works, and timing of capital creditor payments.

25 RECONCILIATION OF NET COST OF SERVICES TO

NET CASH FLOWS FROM OPERATING ACTIVITIES

Cash provided by operating activities (7,614) (6,058)

Sale of Non-Current Assets (9) (25)

Depreciation 1,719 1,984

Gifts of works of art (2,914) (2,097)

Recurrent appropriation 13,630 13,577

Capital appropriation 2,320 1,058

Acceptance by Crown Entity of Trust Liabilities 1,153 1,185

Increase (decrease) in accounts payable 580 (824)

(Increase) decrease in receivables (174) (479)

(Increase) decrease in inventories (246) 78

Increase (decrease) in employee entitlements 82 160

Net cost of services after bequest and special funds 8,527 8,559

49

ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

ACTUAL ACTUAL

2000 1999

$’000 $’000

26 NON-CASH FINANCING AND INVESTING ACTIVITIES

The following non-cash transactions are included in the financial accounts for the year.

Donations of works of art – brought to account by creating

an asset and crediting non cash donations 2,914 2,097

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

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

or services provided free of charge.

Voluntary services provided 1,248 1,079

Advertising, freight, accommodation, travel and similar expenses 495 534

Maintenance (Department of Public Works) 496 1,145

27 COMMITMENTS FOR EXPENDITURE

Capital Commitment

Purchase of painting-not later than one year 332 -

Other Expenditure Commitments

Outsourcing of Network Administration and help desk services

Not later than one year 194 -

Later than one year and not later than 5 years 210 -

GST- Commitments disclosed above include $37,000 for GST. A contingent asset exists for the

same amount which is recoverable from The Australian Taxation Office.

END OF AUDITED FINANCIAL STATEMENTS

50

APPENDICES

AUSTRALIAN ART Nicholas Chevalier (United Kingdom;Australia; New Zealand, b.1828,d.1902), The Ovens Valley, Victoria,1893 oil on canvas. Jean CameronGordon Bequest Fund in memory ofher mother Mary Gordon 1999Charles Conder (Australia;England,b.1868,d.1909), Invitation-card for Mrand Mrs Edmund Davies, (1904)lithograph, black ink on thick creamlaid paperCharles Conder (Australia;England,b.1868,d.1909), A Spanish courtyard,1904 lithograph, sanguine ink withred chalk additions on cream wovepaperCharles Conder (Australia;England,b.1868,d.1909), The leaning tree, 1899lithograph, sanguine ink on thincream wove paper.Purchased with funds provided bythe Australian CollectionBenefactors’ Scheme 1999Janet Dawson (Australia, b.1935),Scribble rock pomegranates(diptych), 1999 diptych: pastel onpaper. Purchased with fundsprovided by the Arthur BoydAcquisition Fund 1999Ian Fairweather (UnitedKingdom;Australia, b.1891,d.1974),The pool, 1959 synthetic polymerpaint on cardboard on hardboard.Purchased with funds provided bythe Cézanne Dinner Fund 1999Arthur Fleischmann (Australia,b.1896,d.1990), Shivaran Indiandancer, 1952 (cast early 1990s)bronze. Purchased with fundsprovided by the 1000 Club 2000Anne Judell (Australia, b.1942),Mute, 1999 black and white pastel onblack paper. Purchased with fundsprovided by the 1000 Club 2000George W. Lambert (Australia,b.1873,d.1930), She would remindhim, 1902 watercolour, opaque withwhite highlights. Purchased withfunds provided by the AustralianCollection Benefactors’ Scheme 1999Bruno Leti (Australia, b.1941),Nowhere is everywhere by now,1996-1997 monotype: hand coloured.Purchased with funds provided by theArthur Boyd Acquisition Fund 2000Bea Maddock (Australia, b.1934),Forty pages from Antarctica, 1988boxed set of 40 etchings on 21 sheetsand title page (letterpress). D G Wilson Bequest Fund 2000John D. Moore (Australia,b.1888,d.1958), Study of clouds, 1933pencil, watercolour. Purchased with

funds provided by the AustralianCollection Benefactors’ Scheme 1999Sidney Nolan (Australia;UnitedKingdom, b.1917,d.1992), Carcass,early 1950s (printed 1975-1985)gelatin silver photograph. Purchased1999John Olsen (Australia, b.1928), Fivebells, 1963 oil on hardboard.Purchased with funds provided bythe Art Gallery Society of New SouthWales 1999John Olsen (Australia, b.1928),Flathead and fish, 1999 charcoal,pastel on white wove paper.Purchased 2000Gladys Owen (Australia,b.1889,d.1960), Kurrajong country,wood engraving, black ink on thincream laid paper. Purchased withfunds provided by the AustralianCollection Benefactors’ Scheme 1999Jan Senbergs (Australia, b.1939), Inthe studio, 1998 artist’s bookcontaining two lithographs and threescreenprints. Purchased with fundsprovided by the Arthur BoydAcquisition Fund 1999Aida Tomescu (Romania;Australia,b.1955), Patru II, 1999 oil on canvas.D G Wilson Bequest Fund 2000Jessie Traill (Australia,b.1881,d.1967), Charing Cross Bridge,1907-1908 etching with foul bite andplate tone, brown ink on cream wovepaper. Purchased with fundsprovided by the Australian CollectionBenefactors’ Scheme 1999Fred Williams (Australia,b.1927,d.1982), My garden, 1965-1967oil on canvas. Purchased with fundsprovided by the Art Gallery Society ofNew South Wales 1999Salvatore Zofrea (Australia, b.1946),12 prints from the portfolio Days ofheaven, 1984:January, 1984 etching; February, 1984etching; March, 1984 etching; April,1984 etching; May, 1984 etching;June, 1984 etching; July, 1984etching; August, 1984 etching;September, 1984 etching; October,1984 etching; November, 1984etching; December, 1984 etching.Marshall Bequest Fund 2000

ABORIGINAL AND TORRESSTRAIT ISLANDERPinau Ghee (Australia), Dari, 1999feathers, cane, cotton, shell andpaint. Mollie Gowing AcquisitionFund for Contemporary Aboriginal Art1999Narritjin Maymuru (Australia,

b.1922,d.1982), Djert (The sea eagle),circa 1958 natural pigments on bark.Purchased 1999Inyuwa Nampitjinpa (Australia,b.circa 1935,d.1999), Untitled(Pukunya), 1999 synthetic polymerpaint on linen. Purchased with fundsprovided by the Leo ChristieEmerging Artists fund 1999Kutuwalumi Purawarrumpatu(Australia, b.circa 1928), Untitled,1999 etching on cream laid paper.Kutuwalumi Purawarrumpatu(Australia, b.circa 1928), Untitled,1999 aquatint on cream laid paper. D G Wilson Bequest Fund 2000Rover Thomas (Australia,b.1926,d.1998), Two men dreaming,circa 1985 natural pigments oncanvas board. Purchased 2000Ray James Tjangala (Australia,b.circa 1958), Untitled (Site ofYunala), 1999 synthetic polymer painton linen canvas. Mollie GowingAcquisition Fund for ContemporaryAboriginal Art 2000Uta Uta Tjangala (Australia, b.circa1926,d.1990), Untitled, 1972 syntheticpolymer powder paint and naturalearth pigments on hardboard.Purchased 1999Joseph Tjapaltjarri (Australia,b.circa 1952), Untitled, 1999 syntheticpolymer paint on canvas. DonMitchell Bequest 2000Tim Tjapangarti Payungka (Australia,b.circa 1942,d.2000), Untitled (red),1998 synthetic polymer paint on linencanvas. Mollie Gowing AcquisitionFund for Contemporary Aboriginal Art2000Patrick Tjungarrayi (Australia,b.circa 1935), Untitled (Two goannaancestors), 1999 synthetic polymerpaint on linen canvas. Mollie GowingAcquisition Fund for ContemporaryAboriginal Art 2000Freda Warlapinni (Australia, b.circa1928), Untitled, 1999 etching. Freda Warlapinni (Australia, b.circa1928), Untitled, 1999 etching oncream laid paper. D G Wilson Bequest Fund 2000Freda Warlapinni (Australia, b.circa1928), Untitled, 1999 natural pigmentson linen canvas. Purchased withfunds provided by the Art GallerySociety’s Friends of Yiribana 2000Pedro Wonaeamirri (Australia,b.1974), Tutini with figure ofPurukupali (Pukamani grave post),1999 ironwood, natural pigments,feathers, beeswaxPedro Wonaeamirri (Australia,b.1974), Tutini (Pukamani grave post),

1999 ironwood, natural pigmentsPedro Wonaeamirri (Australia,b.1974), Tutini (Pukamani grave post),1999 ironwood, natural pigmentsPedro Wonaeamirri (Australia,b.1974), Tutini (Pukamani grave post),1999 ironwood, natural pigmentsPedro Wonaeamirri (Australia,b.1974), Tutini (Pukamani grave post),1999 ironwood, natural pigmentsPedro Wonaeamirri (Australia,b.1974), Tutini (Pukamani grave post),1999 ironwood, natural pigmentsMollie Gowing Acquisition Fund forContemporary Aboriginal Art 1999Owen Yalandja (Australia, b.1960),Yawk Yawk, 1999 natural pigments onKurrajong.Owen Yalandja (Australia, b.1960),Yawk Yawk, 1999 natural pigments onKurrajong. Mollie Gowing AcquisitionFund for Contemporary Aboriginal Art2000

INTERNATIONAL ART EUROPEAN ART BEFORE 1900Pierre Bonnard (France,b.1867,d.1947), La baignoire, 1942-1946 colour lithograph.Purchased 1999George Romney (England,b.1734,d.1802), A study of twowomen: a sketch for the MilnerSisters, 1734-1802 pencil, pen andbistre wash. Parramore PurchaseFund 2000

MODERN ANDCONTEMPORARY ARTPeter Atkins (Australia, b.1963),Spanish Journal, 1998 20 panels;mixed media Purchased with fundsprovided by the ContemporaryCollection Benefactors’ Program 2000Marion Borgelt (Australia, b.1954),Void series Nos XI, XII, XIII, 1992triptych: pigment, oil, sand on linen.Purchased with funds provided bythe Contemporary CollectionBenefactors’ Program 1999Janet Burchill (Australia, b.1955),Chain of ponds ‘following the blindleading the blind’, 1997 syntheticpolymer paint on canvas andsynthetic polymer paint on wood.Purchased with funds provided bythe Contemporary CollectionBenefactors’ Program 1999Adam Cullen (Australia, b.1965), LetsGet Lost, 1999 synthetic polymerpaint, ink and enamel on boardAdam Cullen (Australia, b.1965),Australian Saints, 1999 synthetic

PURCHASES

51

polymer paint, ink and enamel on boardPurchased with funds provided bythe Contemporary CollectionBenefactors’ Program 1999Lucian Freud (Germany;England,b.1922), Garden in Winter, 1998-1999etching on Somerset Satin paper.Purchased 1999GUAN Wei (China;Australia, b.1957),Revisionary, 1998 26 panels;synthetic polymer paint on canvas.Purchased with funds provided bythe Rudy Komon Memorial Fund 1999Fiona Hall (Australia, b.1953), Cashcrop, 1998 carved soap, painted banknotes in a vitrine. Purchased withfunds provided by the ContemporaryCollection Benefactors’ Program2000Bethan Huws (United Kingdom,b.1961), Boat, 1983-1999 Rush (threeboats), perspex and wood.Purchased 1999Judith Wright (Australia, b.1945),Fluid I, 1999 synthetic polymer painton Japanese paperJudith Wright (Australia, b.1945),Projections for Eliza III, 1999 VHSPAL tape, 90 minutes durationJudith Wright (Australia, b.1945),Projections for Eliza III, 1999 U-maticlow band tape, 30 minutes durationPurchased with funds provided bythe Contemporary CollectionBenefactors’ Program 1999

PHOTOGRAPHYCharles Bayliss (Australia,b.1850,d.1897), Surf, Coogee, Sydney,circa 1880albumen photograph. Purchased withfunds provided by the PhotographyCollection Benefactors’ Program 1999Mervyn Bishop (Australia, b.1945),Prime Minister Gough Whitlam pourssoil into the hands of traditional landowner Vincent Lingiari, NorthernTerritory, 1975 (printed 1999) type R3photograph. Hallmark CardsAustralian Photography CollectionFund 1991Pat Brassington (Australia, b.1942),Feeding time, 1998 inkjet print.Purchased with funds provided byRowan Ross and Annie Bleakley-Ross, Sydney 2000Pat Brassington (Australia, b.1942),Sago child, 1999 inkjet print.Purchased with funds provided bythe Photography CollectionBenefactors’ Program 2000Ian Dodd (Australia, b.1937), Wethair, 1974 (printed 1999) gelatin silverphotographPurchased with funds provided byAnthony Bertini, Sydney 2000Ian Dodd (Australia, b.1937), Untitled,1976 (printed 2000) gelatin silverphotograph. Purchased with fundsprovided by Charles Latimer, Sydney2000Ian Dodd (Australia, b.1937), Whitepeacock, 1994 (printed 2000) gelatinsilver photograph. Purchased withfunds provided by Worling Saunders,Sydney 2000

Ian Dodd (Australia, b.1937), Silvergulls, Port Kembla, 1982 (printed2000) gelatin silver photograph.Purchased with funds provided byPerpetual Trustees, Sydney 2000Simone Douglas (Australia, b.1966),Blind VII & VIII, From the seriesStasis (blind), 1999 diptych; 2 type Cphotographs, synthetic polymer paintand wood. Purchased with fundsprovided by the PhotographyCollection Benefactors’ Program 1999Victoria Fernandez (United States ofAmerica;Australia, b.1958), Into thewood, 1997gelatin silver photographVictoria Fernandez (United States ofAmerica;Australia, b.1958), Ophelia,1998 gelatin silver photographPurchased with funds provided bythe Photography CollectionBenefactors’ Program 2000Bill Henson (Australia, b.1955),Untitled 1998/1999/2000, 1998-2000type C photograph. Purchased 2000Felicia Kan (Hong Kong;Australia,b.1966), Reservoir, 1998 type Cphotograph on aluminiumFelicia Kan (Hong Kong;Australia,b.1966), Wave, 1998 type Cphotograph on aluminiumFelicia Kan (Hong Kong;Australia,b.1966), Cloud, 1998 type Cphotograph on aluminiumViktoria Marinov Bequest Fund 1999Tracey Moffatt (Australia, b.1960), 5photolithographs from the seriesScarred for life II, 1999: Scissor cut 1980, 1999photolithograph. Purchased withfunds provided by the PhotographyCollection Benefactors’ Program 2000Mothers reply 1976, 1999photolithograph. Purchased withfunds provided by the PhotographyCollection Benefactors’ Program 2000Piss bags 1978, 1999 photolithograph.Purchased with funds provided byJoanne Braithwaite, Martin Browne,Ben Drayton, Neil Frazer, RobertaGlass, Max Kreijn, Leon Rogan, SeanMah, John McRae, Jonathan Turnerand Erick Valls 2000Homemade hand knit 1958, 1999photolithograph. Purchased withfunds provided by Andrew Frazer andDrew Metcalfe 2000Suicide threat 1982, 1999photolithograph. Purchased withfunds provided by the PhotographyCollection Benefactors’ Program 2000Patricia Piccinini (Sierra Leone;Australia, b.1965), 2 type Cphotographs of a digital print from theseries SO2, 2000: 36º on the 14th, 2000type C photograph of a digital printPurchased with funds provided byFabric Scouts Pty. Ltd., Sydney 2000Restless, 2000 type C photograph of adigital print. Purchased with fundsprovided by Amanda Harkness,Sydney 2000John A Williams (Australia, b.1958),Billabong and White Cedar, 1999gelatin silver photograph, seleniumtoned

John A Williams (Australia, b.1958),Billabong and Fence, 1999 gelatinsilver photograph, selenium tonedPurchased with funds provided bythe Photography CollectionBenefactors’ Program 1999Justene Williams (Australia, b.1970),3 type C photographs mounted onaluminium from the series BunnyBoy, 1997:Bunny Boy 1, 1997 type C photographmounted on aluminium. Purchasedwith funds provided by AnthonyBond, Sydney 2000Bunny Boy 6, 1997 type C photographmounted on aluminium. Purchasedwith funds provided by SandraFerman, Sydney 2000Bunny Boy 12, 1997 type Cphotograph mounted on aluminium.Purchased with funds provided byJohn Swainston, Sydney 2000Werner Rohde (Germany,b.1906,d.1990), Wachspuppenkopf(wax dollhead), 1928gelatin silver photograph. Purchasedwith funds provided by thePhotography Collection Benefactors’Program 2000

ASIAN ART BURMAPagan, Crowned head of a Buddha,Pala Period 750 – 1159, 11th century– 12th century pyrophyllitepossibly Shan style, Hintha bird orHamsa, 14th century copper alloy D G Wilson Bequest Fund 2000

CAMBODIABayon style, Palanquin hook, 12thcentury copper alloy with green patinaKulen ware, Covered jar with incisedlotus petal design on cover, circa 12thcentury stoneware with green glazeD G Wilson Bequest Fund 2000

CHINADragon robe (Tibetan ‘chuba’), 18th century yellow silk brocade.Edward and Goldie SternbergChinese Art Purchase Fund 2000CAI Heng, Aspects I, 1996 hangingscroll; ink on paper. Purchased 2000CAI Heng, Aspects II, 1996 hangingscroll; ink on paper. Purchased 2000LIU Xiaoxian (People’s Republic ofChina; Australia, b.1963), Our Gods, 2000 18 type C photographs.D G Wilson Bequest Fund 2000

INDIABengal, Varaha rescuing the earthgoddess, Bhudevi, Pala Period 750 – 1159, 10th century phyllite.Purchased with funds provided bythe Art Gallery Society of New SouthWales 1999Bihar, Bodhgaya Model of thetemple of Bodhgaya, Pala Period 750– 1159, 10th century – 11th centuryblack soapstone. D G Wilson Bequest Fund 2000Central India, Durga slaying thebuffalo demon, 8th century redsandstone.

Purchased with funds provided bythe Art Gallery Society of New SouthWales 1999Uttar Pradesh, Mathura, Bust of awomen at a balcony, Kushan periodcirca 1st century – 4th century, 1stcentury – 2nd century mottled redsandstoneUttar Pradesh, Mathura, Torso of awoman, possibly the goddessLakshmi, Kushan period circa 1stcentury – 4th century, 2nd century – 3rd century mottledred sandstone.D G Wilson Bequest Fund 2000Orissa, Puri, Dancing Ganesh andthe Mahavidyas, 19th century painton ‘pati’ canvas. D G Wilson Bequest Fund 2000Shanti Dave (India, b.1931), Colourwood cut no.4, 1977 colour woodcut Shanti Dave (India, b.1931), Colourwood cut no.10, 1977 colour woodcutPurchased with funds provided bythe Asian Collection Benefactors’Program 2000

INDONESIACentral Java, Amitabha Buddha, 8th century-9th century andesite.Purchased with funds provided bythe Art Gallery Society 2000 Kendi, Majapahit period 1292 – 1520,14th century – 15th century reddishblack earthenware, unglazed Central Java, Seated Buddha, 9thcentury copper alloy Central Java, StandingAvalokiteshvara, 9th century copperalloy with traces of gildingCentral Java, possibly Nganjuk style,Bodhisattva, probably Manjushri, inLalitasana, 9th century copper alloyD G Wilson Bequest Fund 2000

JAPANFUKAZAWA Sakuichi (Japan,b.1896,d.1946), Poet strolling, Sho-waperiod 1926 – 1988, 1927 – 1928 woodcutFUKAZAWA Sakuichi (Japan,b.1896,d.1946), Road towards the hill,Taisho- period 1912 – 1926, 1925colour woodcut Yasuko Myer Bequest Fund 1999KAWANABE Kyo-sai (Japan,b.1831,d.1889), Ogre chantingBuddhist prayer, Edo (Tokugawa)period 1615 – 1868, 1864 colourwoodcut; o-ban tate-e. Purchased with funds provided bythe Asian Collection Benefactors’Program 2000NAKAMURA Ken’ichi (b.1895,d.1967),Woman with mirror, Sho-wa period1926 – 1988, circa 1932 lithograph ONCHI Ko-shiro- (Japan, b.1891, d.1955),A face, Taisho- period 1912 – 1926,1914 colour woodcut ONCHI Ko-shiro- (Japan, b.1891,d.1955),Lyric I, Taisho- period 1912 – 1926,1914 woodcut ONCHI Ko-shiro- (Japan, b.1891,d.1955),Morning, Sho-wa period 1926 – 1988,1930 colour woodcutYasuko Myer Bequest Fund 1999

52

SUZUKI Sho-nen (Japan,b.1849,d.1918), Pine trees, Meijiperiod 1868 – 1912 pair of six-foldscreens; ink on gilded paper.Purchased 2000Unknown (Japan), The Plain ofMusashi, Edo (Tokugawa) period1615 – 1868, late 17th century – 18thcentury pair of six fold screens; ink,colour and gold on paper. Art Gallery of New South WalesFoundation Purchase 2000Various (Japan), Shi-to Hanga,Taisho- period 1912 – 1926, 1 May 1925bound book; 20 leaves, 1 woodcut, 1 etching and 6 prints. Yasuko Myer Bequest Fund 2000

NEPALBirth of the Buddha, 14th century –16th century carved wooden templestrut with traces of pigment. D G Wilson Bequest Fund 2000

THAILANDPeninsular Thai, StandingAvalokiteshvara, Srivijaya period 700 – 1200, 9th century copper alloy.D G Wilson Bequest Fund 2000

TIBETSouthern Tibet, Set of eighteenoffering goddesses, 19th centurygouache on cotton. Purchased 2000

AUSTRALIAN ART ANONYMOUS GIFT Andrew Rogers (Australia), FloraExemplar, 1999 bronze

JEAN CAMERON GORDON BEQUESTIN MEMORY OF HER MOTHER MARYGORDON Clarice Beckett (Australia,b.1887,d.1935), Beaumaris foreshore,circa 1926 oil on canvas onpaperboard

FRED CRESSFred Cress (Australia, b.1938), 16drawings from the Bag series, 1987:Bag 1, 1987 charcoal; Bag 2, 1987charcoal; Bag 3, 1987 charcoal; Bag 4, 1987 charcoal; Bag 5, 1987charcoal; Bag 6, 1987 charcoal; Bag 7, 1987 charcoal; Bag 8, 1987charcoal; Bag 9, 1987 charcoal, Bag 10, 1987 charcoal; Bag 11, 1987charcoal, collage; Bag 12, 1987charcoal; Bag 13, 1987 charcoal; Bag 14, 1987 charcoal; Bag 15, 1987charcoal; Bag 16, 1987 charcoal

VESTA DAVIES Livingston Hopkins (Australia,b.1846,d.1927), A catgut trio, circa1904 pen and black ink

SIR WILLIAM DOBELL ARTFOUNDATION Nick Mourtzakis (Australia, b.1950),Untitled study, 1999 conté, whitechalk on two sheets of browndressmakers paper

GWEN FROLICH Charles Blackman (Australia, b.1928),(Girl descending stairs from railwaybridge), circa 1953-circa 1954charcoal on thin cream wove paper

ROSALIE GASCOIGNERosalie Gascoigne (New Zealand;Australia, b.1917,d.1999), Metropolis,1999 retro-reflective road signs

NORA HEYSENNora Heysen (Australia, b.1911), Selfportrait 1926 pencil on white paperNora Heysen (Australia, b.1911),Sketchbook, New Guinea, 1950ssketchbook: 32 bound leaves, 2 looseleaves, 21 drawings on 22 pages,mixed media on cream wove paperNora Heysen (Australia, b.1911), 32drawings from the sketchbookRemains of sketchbook, New Guinea,1950s: Onge, 1950s pen and brownink on cream wove paper; Isaac Tosika, 1950s sanguine andbrown conté on cream wove paper;recto: Timothy; verso: Batsun(Pattson), 1950s recto: sanguine andblack conté on cream wove paper;verso: pen and red/brown ink oncream wove paper; recto: Dick Hou(Dala); verso: Sepo (Simon), 1950srecto: sanguine on cream wovepaper; verso: pen and red/brown inkon cream wove paper; (Partial studyof female native carrying a basket onher head), 1950s sanguine on creamwove paper; Namoi, 1950s sanguine,pen and brown ink, black conté on

cream wove paper; Namoi, 1950s penand brown ink on cream wove paper;recto: Delousing - Nester and Namoi;verso: Gwakena, 1950s recto: penand red/brown ink on cream wovepaper; verso: pen and red/brown inkon cream wove paper; Larman, 1950ssanguine on cream wove paper;Waitai, 1950s sanguine on creamwove paper; recto: Waita; verso:Billy, 1950s recto: sanguine on creamwove paper; verso: sanguine oncream wove paper; Nickolas, 1950ssanguine and black conté on creamwove paper; Fakari, 1950s sanguineon cream wove paper; Joel Gesiia,1950s sanguine and black conté oncream wove paper; recto: GeorgeMalefoasi; verso: Allen, 1950s recto:pen and red/brown ink on creamwove paper; verso: pen andred/brown ink on cream wove paper;recto: Jack; verso: Gegame, 1950srecto: pen and red/brown ink oncream wove paper; verso: pen andred/brown ink on cream wove paper;recto: Gegame; verso: Rosemary,1950s recto: pen and red/brown inkon cream wove paper; verso: penand red/brown ink on cream wovepaper; recto: (Seated male native);verso: (Study of eyes), 1950s recto:pen and red/brown ink on creamwove paper; verso: pen andred/brown ink on cream wove paper;recto: Malee; verso: (Study ofbending male and female natives),1950s recto: pen and red/brown ink

on cream wove paper; verso: penand red/brown ink on cream wovepaper; recto: (Study of femalenative); verso: (Study of mothernursing a child), 1950s recto: pen andred/brown ink on cream wove paper;verso: pen and red/brown ink oncream wove paper; recto: (Cryingchild); verso: (Study of nativesfishing with a net, from a boat); 1950srecto: pen and brown ink on creamwove paper; verso: pen andred/brown ink on cream wove paper;Lily, 1950s pen and brown ink oncream wove paper; recto: (Sleepingnative child); verso: (Head study);1950s recto: pen and red/brown, greyink on cream wove paper; verso: penand red/brown ink on cream wovepaper; recto: (Standing native child,rear view); verso: (Bending nativefigures), 1950s recto: pen andred/brown ink on cream wove paper;verso: pen and red/brown ink oncream wove paper; recto: (Bendingnative figures); verso: (Child study),1950s recto: pen and brown ink oncream wove paper; verso: pen andred/brown ink on cream wove paper;recto: Little Namoi; verso: (Study ofthree bending natives, one a femalesmoking a pipe), 1950s recto: pen andred/brown ink on cream wove paper;verso: pen and red/brown ink oncream wove paper; recto: Teop;verso: Tolocus, 1950s recto: pen andbrown ink on cream wove paper;verso: pen and red/brown ink on

GIFTS

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cream wove paper; recto: (Study ofnative nursing a child); verso: (Nativemother and two children), 1950srecto: pen and red/brown ink oncream wove paper; verso: pen andred/brown ink on cream wove paper;Ariel Boeta, 1950s sanguine on bondpaper; Anthony, 1950s brown fibre-tipped pen on cream wove paper;Kay, 1950s brown fibre-tipped pen oncream wove paper; Pricilla, 1950sbrown fibre-tipped pen on creamwove paper

FRANK HODGKINSONFrank Hodgkinson (Australia, b.1919),Piazza S.S. Annunciata, 1947 pen andbrown ink on cream wove paper,mounted on thick cream wove paperFrank Hodgkinson (Australia, b.1919),Santa Maria del Carmine, 1947 penand brown ink on cream wove paperfrom a sketchbookFrank Hodgkinson (Australia, b.1919),Piazza dell S.S. Annunciata, 1947 penand brown ink, wash on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Piazza della S S Annunciata, 1947pen and brown ink on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Duomo, Florence, 1948 pen andbrown ink on gridded cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Galleria dell’Academia, 1948 pen andbrown ink, wash on gridded creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),Piazza Santo Spirito, 1947 pen andbrown ink on cream wove paper froma sketchbookFrank Hodgkinson (Australia, b.1919),Sistine Chapel, 1947 pencil, greywash on cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),(Duomo, Florence), 1948 pen andbrown ink on cream wove paper froma sketchbookFrank Hodgkinson (Australia, b.1919),Florence, 1947 pen and brown ink oncream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),(Street scene), 1948 brush and brownink, wash on gridded cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Fiesole, 1947 pen and brown ink oncream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Ponte Vecchio, 1947 pen and brownink, pink/brown wash on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Florence from Ponte Vecchio - rainyevening, 1947 Brush and brown ink,wash on cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),(Landscape), 1948 pen and brownink, brown and grey wash on creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),

Fiume Arno, 1947 pen and brown ink,wash on cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Ponte Vecchio, 1947 pencil, pen andorange ink, wash on white wovepaperFrank Hodgkinson (Australia, b.1919),Dredging on the Fiume Arno, 1947pen and brown ink on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Florence from Campanile di Giotto,1947 pen and brown ink, brownwash, opaque yellow wash on creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),Fiume Arno, 1947 brush and brownink, wash on cream wove paper froma sketchbookFrank Hodgkinson (Australia, b.1919),Fiume Arno, 1947 pen and brown ink,wash on cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Fiume Arno, 1947 pen and brown ink,brown and black wash on creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),(Landscape), 1947 pen and brownink, brown and dark blue wash oncream wove paperFrank Hodgkinson (Australia, b.1919),Florence, from Ponte Vecchio,raining like hell, 1947 pen, brush andbrown ink, wash on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Ponte Vecchio, 1947 pen and brownink, light yellow wash on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),From Campanile di Giotto, 1947 penand brown ink on cream wove paperfrom a sketchbookFrank Hodgkinson (Australia, b.1919),(Tuscan buildings), 1947 pen andbrown ink, brown and yellow wash,white gouache on cream wove paperfrom a sketchbookFrank Hodgkinson (Australia, b.1919),Near Ponte Romana, 1947 pen, brushand brown ink on cream wove paperfrom a sketchbookFrank Hodgkinson (Australia, b.1919),Bank of Fiume Arno, 1947 pen andbrown ink on cream wove paper froma sketchbookFrank Hodgkinson (Australia, b.1919),Fiume Arno, 1947 pen and brown ink,wash on cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Near Ponte Romana, 1947 pen andbrown ink on cream wove paper froma sketchbookFrank Hodgkinson (Australia, b.1919),Florence, 1947 pen, brush and brownink on cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Fiume Arno, Firenze, 1948 brush andbrown ink, brown wash, opaque greywash on cream gridded wove paperfrom a sketchbookFrank Hodgkinson (Australia, b.1919),

From Piazza Michelangelo, 1947 pen,brush and brown ink on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Arezzo, 1947 pen and brown ink oncream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),(River landscape), 1947 pen andbrown ink on cream wove paper froma sketchbookFrank Hodgkinson (Australia, b.1919),Firenze, 1947 pen and brown andblack ink on cream wove paper froma sketchbookFrank Hodgkinson (Australia, b.1919),(Bridge), 1947 brush and brown inkon cream gridded wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),(Tuscan Town), circa 1947 pen andbrown ink, brown and dark bluewash on cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Outskirts of Florence, 1947 pen andbrown ink, brown and opaque greywash on cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Florence, 1947 pen, brush and brownink, opaque white wash on creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),After Masaccio, 1948 brush andbrown ink wash on gridded creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),Masaccio, 1948 brush and brown inkwash on gridded cream wove paperfrom a sketchbookFrank Hodgkinson (Australia, b.1919),Dredging on the Fiume Arno, 1947pen and brown ink on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Firenze, 1947 pen and brown ink,brush and brown ink wash on creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),Fiume Arno, 1947 pen and brown ink,opaque white wash on cream wovepaper from a sketchbookFrank Hodgkinson (Australia, b.1919),Fiume Arno, 1947 pen and brown inkon cream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Florence, 1947 pen and brown ink oncream wove paper from asketchbookFrank Hodgkinson (Australia, b.1919),Santa Croce, 1948 pen and brownink, orange wash on gridded creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),Piazza della S S Annunciata, 1948pen and brown ink, brush and brownink, wash, white gouache on creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),Fiume Arno – dusk, 1947 pen andbrown ink on cream wove paper froma sketchbookFrank Hodgkinson (Australia, b.1919),Ponte, 1947 pen and brown ink,

wash, opaque white wash on creamwove paper from a sketchbookFrank Hodgkinson (Australia, b.1919),(Tuscan buildings), 1948 oil oncardboard

MARJORY HOLLINSWORTH H.A. Hanke (Australia, b.1901,d.1989),Oriental still life, 1943 oil on canvason cardboard

MICHAEL AND MARGOT JOHNSON Michael Johnson (Australia, b.1938),Frontal 2, 1968 synthetic polymerpaint on canvas

BRUNO LETIBruno Leti (Australia, b.1941), Clunes,1996-1997 artist’s book with oilmonotypes and intaglioBruno Leti (Australia, b.1941),Apprehensions, 1994 artist’s bookwith nine coloured monotypes andscreenprinted textBruno Leti (Australia, b.1941),Drawing, 1994 artist’s book withseven etchings, monotypes,aquatints and chine colléBruno Leti (Australia, b.1941), 13 prints from the folio Journey to, 1993 –1994 drypoint, etchings anddrypoints with plate tones

JULIAN LYMBURNER, THE ARTIST’S SONFrancis Lymburner (Australia,b.1916,d.1972), Josephine, (1938) penand black ink on cream laid paperFrancis Lymburner (Australia,b.1916,d.1972), Two people at a table,circa 1940 (printed 1986) etching,black ink on thin cream wove paperFrancis Lymburner (Australia,b.1916,d.1972), Reclining femalenude, circa 1940 printed 1986etching, black ink with plate tone onwhite wove paperFrancis Lymburner (Australia,b.1916,d.1972), Etching plate for ‘Two people at a table’ and‘Reclining female nude’ circa 1940copper etching plate

DON AND ALISON MITCHELL Marjorie Fletcher (Australia,b.1912,d.1988), Self-torso, 1934 (cast1996) bronze

MARGARET OLLEY Criss Canning (Australia, b.1947),Waratah, 1999 oil on canvasWeaver Hawkins (UnitedKingdom;Australia, b.1893,d.1977),Kurraba Road, North Sydney, pre1960 pencil, watercolour on whitewatercolour paper

MARGARET HANNAH OLLEY ART TRUST Robert Barnes (Australia), Macbeth’svisitor, 1999 oil on canvas

PETA PHILLIPS Rosemary Madigan (Australia,b.1926), Torso, 1986 bronzeRosemary Madigan (Australia,b.1926), Group of three figures, 1983 bronze

ALAN AND JANCIS REES Lloyd Rees (Australia, b.1895,d.1988),Aden, 1976 soft ground etching, black

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ink on ivory wove paperLloyd Rees (Australia, b.1895,d.1988),Mount Warning, 1976 sugarliftaquatint, black ink on ivory wovepaperLloyd Rees (Australia, b.1895,d.1988),‘Our home’ in Majorca, 1976 softground etching, black ink on ivorywove paperLloyd Rees (Australia, b.1895,d.1988),Majorca, 1976 soft ground etching,black ink on ivory wove paperLloyd Rees (Australia, b.1895,d.1988),Monastery, Corfu, 1976 sugarliftaquatint, black ink on ivory wovepaperLloyd Rees (Australia, b.1895,d.1988),recto: Drawing for soft-groundetching ‘Plaza Soller, Majorca’;verso: Drawing for soft-groundetching ‘Tuscan Town’, 1976 recto:pencil and red ball-point pen on ivorylaid paper; verso: pencilLloyd Rees (Australia, b.1895,d.1988),recto: Drawing for soft-groundetching ‘Farm House, Majorca’;verso: Drawing for soft-groundetching ‘Our home in Majorca’, 1976pencil on ivory wove paperLloyd Rees (Australia, b.1895,d.1988),recto: Drawing for soft-groundetching ‘Monastery, Corfu’; verso:Impression of soft-ground etching‘Plaza Soller Majorca’, 1976 recto:pencil on ivory wove paper; verso:wax-ground impression on ivorywove paperLloyd Rees (Australia, b.1895,d.1988),recto: Drawing for soft-groundetching ‘Aden’; verso: Impression ofsoft-ground etching ‘’Our home’ inMajorca’, 1976 recto: pencil on ivorylaid paper; verso: wax-groundimpressionLloyd Rees (Australia, b.1895,d.1988),recto; Drawing for soft-groundetching ‘Majorca’; verso: Impressionof soft-ground etching ‘Farm house,Majorca’, 1976 recto: pencil on ivorylaid paper; verso: wax-groundimpressionLloyd Rees (Australia, b.1895,d.1988),The city from Waverton, circa 1919etching, black ink on ivory wovepaperLloyd Rees (Australia, b.1895,d.1988),The city from Waverton, circa 1919(printed 1995) etching, black ink onwhite wove paperLloyd Rees (Australia, b.1895,d.1988),The city from Waverton, circa 1919(printed 1995) etching, black ink onchiné collé on white wove paperLloyd Rees (Australia, b.1895,d.1988),Etching plate for ‘The city fromWaverton’, circa 1919 copper etchingplate sealed with black groundLloyd Rees (Australia, b.1895,d.1988),Old Medical School, University ofSydney, 1922 (printed 1965) etchingand drypoint (?), black ink on thickwhite wove paperLloyd Rees (Australia, b.1895,d.1988),Old Medical School, University ofSydney, 1922 (printed 1984) etchingand drypoint (?), brown ink on cream

wove paperLloyd Rees (Australia, b.1895,d.1988),A tower in Europe, 1922 (printed1976) etching and drypoint (?), brownink on cream wove paperLloyd Rees (Australia, b.1895,d.1988),A tower in Europe, 1922 (printed1984) etching and drypoint (?), brownink on cream wove paper

SAM AND HEATHER URE–SMITH Rayner Hoff (Australia, b.1894,d.1937),Aboriginal head, 1925 terracotta

THEA WADDELL FOR THE THEAPROCTOR MEMORIAL FUND Anne Starling (Australia, b.1967),Inner city, 1999 woodcut, black ink onwhite rice paper

LYN WILLIAMS Fred Williams (Australia, b.1927,d.1982), The river, Werribee Gorge,1977 oil on canvas

SALVATORE ZOFREASalvatore Zofrea (Australia, b.1946),Drawing book for Appassionata:book no. 1, 1994 – 1999 40 pages ofdrawings; 19 leaves/38 pages ofwhite Arches paper; 2 buff fly leaves,one at front, one at back of book;bound in maroon covers with 3Chicago screwsSalvatore Zofrea (Australia, b.1946),Drawing book for Appassionata:book no. 2, 1994 – 1999 44 pages ofdrawings 20 leaves/40 pages of whiteArches paper 2 buff fly leaves, one atfront, one at back of bookSalvatore Zofrea (Australia, b.1946),Drawing book for Appassionata:book no. 3, 1994 – 1999 42 pages ofdrawings 20 leaves/40 pages of whiteArches paper 2 buff fly leaves, one atfront, one at back of bookSalvatore Zofrea (Australia, b.1946),40 prints from the suite Appassionata,1994 – 1999: Title page, 1994 – 1999two prints from separate woodblocks;black ink on heavy white JapaneseHitachi paper; The winding road intoBorgia, 1994 – 1999 woodblock print;black ink on heavy white JapaneseHitachi paper; My parents conceiveme, 1994 – 1999 woodblock print;black ink on heavy white JapaneseHitachi paper; Later that day in thecornfield, 1994 – 1999 woodblockprint; black ink on heavy whiteJapanese Hitachi paper; My birth at9pm, 1994 – 1999 woodblock print;black ink on heavy white JapaneseHitachi paper; The promise, 1994 –1999 woodblock print; black ink onheavy white Japanese Hitachi paper;The promise broken, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Thefirst time I saw the stars, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; My mother collects water from thespring, 1994 – 1999 woodblock print;black ink on heavy white JapaneseHitachi paper; My mother and hersister collecting flax, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper;

Spinning the flax into linen, 1994 –1999 woodblock print; black ink onheavy white Japanese Hitachi paper;Harvesting the wheat, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Lunchbreak in harvest time, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Theharvest dance, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Thevillage idiot, 1994 – 1999 woodblockprint; black ink on heavy whiteJapanese Hitachi paper; Catchingfire-flies in summer, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper;Remembering playing in thewildflowers, 1994 – 1999 woodblockprint; black ink on heavy whiteJapanese Hitachi paper; My mothermaking bread with her sisters, 1994 –1999 woodblock print; black ink onheavy white Japanese Hitachi paper;The blind woman of Borgia, 1994 –1999 woodblock print; black ink onheavy white Japanese Hitachi paper;Picking wildflowers for CorpusChristi, 1994 – 1999 woodblock print;black ink on heavy white JapaneseHitachi paper; The gypsies come toBorgia, 1994 – 1999 woodblock print;black ink on heavy white JapaneseHitachi paper; Picking figs, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Theblessing of the animals, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper;Harvesting grapes, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Thevillage Madonna, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Thedeath of my grandfather, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper;Harvesting olives, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper;Crushing olive oil, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper;Collecting firewood at Christmas,1994 – 1999 woodblock print; blackink on heavy white Japanese Hitachipaper; Chritsmas Eve - shepherdswith pipes, 1994 – 1999 woodblockprint; black ink on heavy whiteJapanese Hitachi paper; Christmaspresents from America, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper;Killing the pig for salami, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Thebeginning of Lent, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; Thelast supper at my mother’s house,1994 – 1999 woodblock print; blackink on heavy white Japanese Hitachipaper; Holy Week, 1994 – 1999woodblock print; black ink on heavy

white Japanese Hitachi paper;Easter Sunday - the Resurrection,1994 – 1999 woodblock print; blackink on heavy white Japanese Hitachipaper; Easter Monday – the picnic atmy grandfather’s farm, 1994 – 1999woodblock print; black ink on heavywhite Japanese Hitachi paper; StGregory’s fair, 1994 – 1999 woodblockprint; black ink on heavy whiteJapanese Hitachi paper; The circusin Borgia, 1994 – 1999 woodblockprint; black ink on heavy whiteJapanese Hitachi paper; Children’sgames, 1994 – 1999 woodblock print;black ink on heavy white JapaneseHitachi paperSalvatore Zofrea (Australia, b.1946),40 woodblocks for the Appassionatasuite, 1994 – 1999: Title, 1994 – 1999Kauri pine woodblock; Vignette offigs, 1994 – 1999 Kauri pinewoodblock; The winding road intoBorgia, 1994 – 1999 magnoliawoodblock; My parents conceive me,1994 – 1999 magnolia woodblock;Later that day in the cornfield, 1994 –1999 magnolia woodblock; My birthat 9pm, 1994 – 1999 magnoliawoodblock; The promise, 1994 – 1999magnolia woodblock; The promisebroken, 1994 – 1999 magnoliawoodblock; The first time I saw thestars, 1994 – 1999 Kauri pinewoodblock; My mother collectswater from the spring, 1994 – 1999Kauri pine woodblock; My motherand her sister collecting flax, 1994 –1999 Kauri pine woodblock; Spinningthe flax into linen, 1994 – 1999jelutong woodblock; Harvesting thewheat, 1994 – 1999 jelutongwoodblock; Lunch break in harvesttime, 1994 – 1999 jelutong woodblock;The harvest dance, 1994 – 1999jelutong woodblock; The village idiot,1994 – 1999 jelutong woodblock;Catching fire-flies in summer, 1994 –1999 jelutong woodblock;Remembering playing in thewildflowers, 1994 – 1999 jelutongwoodblock; My mother makingbread with her sisters, 1994 – 1999Kauri pine woodblock; The blindwoman of Borgia, 1994 – 1999magnolia woodblock; Pickingwildflowers for Corpus Christi, 1994 –1999 jelutong woodblock; Thegypsies come to Borgia, 1994 – 1999jelutong woodblock; Picking figs,1994 – 1999 magnolia woodblock;The blessing of the animals, 1994 –1999 Kauri pine woodblock;Harvesting grapes, 1994 – 1999magnolia woodblock; The villageMadonna, 1994 – 1999 jelutongwoodblock; The death of mygrandfather, 1994 – 1999 Kauri pinewoodblock; Harvesting olives, 1994 –1999 jelutong woodblock; Crushingolive oil, 1994 – 1999 Kauri pinewoodblock; Collecting firewood atChristmas, 1994 – 1999 magnoliawoodblock; Christmas Eve -shepherds with pipes, 1994 – 1999magnolia woodblock; Christmas

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presents from America, 1994 – 1999magnolia woodblock; Killing the pigfor salami, 1994 – 1999 Kauri pinewoodblock; recto: The beginning ofLent; verso: Easter Sunday – theResurrection, 1994 – 1999 recto andverso: carved, magnolia woodblock;The last supper at my mother’shouse, 1994 – 1999 jelutongwoodblock; Holy Week, 1994 – 1999magnolia woodblock; Easter Monday– the picnic at my grandfather’sfarm, 1994 – 1999 magnolia woodblock;St Gregory’s fair, 1994 – 1999magnolia woodblock; The circus inBorgia, 1994 – 1999 jelutongwoodblock; Children’s games, 1994 –1999 magnolia woodblock

ABORIGINAL AND TORRESSTRAIT ISLANDERBRENDA L CROFT Brenda L. Croft (Australia, b.1964),Sue Ingram, Botany Road /RegentStreet, Redfern, 1992 duratran, light boxBrenda L. Croft (Australia, b.1964),Shane Phillips and Noel Collett,Eveleigh Street, Redfern, 1992duratran, light boxBrenda L. Croft (Australia, b.1964),Mathew Cook and Bonny Briggs,Aboriginal Community healthservices, Pitt street, Redfern, 1992duratran, light boxBrenda L. Croft (Australia, b.1964),Mervyn Bishop and Joseph Croft,Prince Alfred park, Redfern, 1992duratran, light box.

INTERNATIONAL ART EUROPEAN ART BEFORE 1900MARGARET OLLEYPierre Bonnard (France,b.1867,d.1947), Promenade desnourrices – avec frise de fiacres,1899 four lithographs arranged in theform of a screenEdouard Vuillard (France,b.1868,d.1940), Madame Prospe –Emile Weil à son bureau, circa 1923pastel and distemper on papermounted on board

MODERN ANDCONTEMPORARY ARTMARIE BROWN IN MEMORY OFCLIFFORD T. BROWN Jean–Paul Riopelle (Canada;France,b.1923), Untitled, 1949 oil on canvasJean–Paul Riopelle (Canada;France,b.1923), Untitled, 1950 oil on canvas

FRED HAGSTROM12 prints from the portfolio Portfolioof prints by contemporary Americanartists, 1998:Charles Cohan (United States ofAmerica, b.1960), Untitled, 1998lithograph, relief, intaglioTeresa Cole (United States ofAmerica, b.1961), Harness, 1998intaglioWilliam Fick (United States ofAmerica, b.1963), Cartoon head, 1998linocut

Fred Hagstrom (United States ofAmerica, b.1954), Conquest, 1998photo etching and plastic plateintaglioAdele Henderson (United States ofAmerica, b.1955), Biogenesis No. 13,lithographKurt Kemp (United States of America,b.1957), The drunken man’s lament,1998 intaglio, chine collé,handworkingMichael Kruger (United States ofAmerica, b.1967), Closed circuit orthe discovery of being seen by amachine, 1998 photo lithograph andintaglioBeauvais Lyons (United States ofAmerica, b.1958), The philosophy ofLiebnez, 1998 lithographLaurie Sloan (United States ofAmerica, b.1962), Untitled, 1998intaglio and reliefSarah Smelser (United States ofAmerica, b.1971), Untitled, 1998intaglio with monoprintingTanja Softic (United States ofAmerica, b.1966), Nocturne, 1998intaglioJennifer Yorke (United States ofAmerica, b.1973), Victim orPerpetrator?, 1998 silkscreen

THE REVEREND THEODORA HOBBS Denise Green (Australia;UnitedStates of America, b.1946),Pend/ance #2, 1979 pencil and paintstick on graph paper

JANET LAURENCEJanet Laurence (Australia, b.1949),Untitled, 2000 Laboratory glass tubes,cylinders and flasks, petrie disheswith various elements, oldthermometers. Old glass vessels tocollect tears, 3 duraclearphotographic images mounted onacrylic, natural specimens in glasscase

MOËT & CHANDON AUSTRALIANART FOUNDATION COLLECTION Susan Norrie (Australia, b.1953), fête,1986 oil on canvasKathy Temin (Australia, b.1968),Troubled Times, 1999 felt

MARGARET OLLEY Giorgio Morandi (Italy, b.1890,d.1964), Natura Morta, 1933 etchingin black and brown ink

ANNE SULLIVANJohn Bellany (Scotland, b.1942), The return of the prodigal, 1983 oil oncanvas

PHOTOGRAPHYANTHONY BOND Ian Dodd (Australia, b.1937), Mirrorimage, 1975 (printed later) gelatinsilver photograph

CAZNEAUX FAMILY Harold Cazneaux (New Zealand;Australia, b.1878,d.1953), The debut,1922 gelatin silver photographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), WarrensGorge, Flinders Range, 1935 gelatinsilver photograph, toned

Harold Cazneaux (New Zealand;Australia, b.1878,d.1953), AustralianGum, 1935 gelatin silver photographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Profile,child study, 1930s gelatin silverphotographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Backstage,1936 gelatin silver photograph, tonedHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Old BondStore, Sydney Harbour, circa 1906 –circa 1910 bromoil photographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Boys withhose, fire at Redfern, 1919 gelatinsilver photograph, tonedHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), The veil,Miss Leslie Sugden, 1931 gelatinsilver photographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Surry Hills,child under veranda, 1914 gelatinsilver photographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Model inNorman Lindsay’s garden,Springwood, circa 1920 gelatin silverphotograph, tonedHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Evening onthe Clarence River, circa 1930 gelatinsilver photographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), TheHumorist (Spencer Shier), circa 1920gelatin silver photograph, tonedHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Dee WhyPool II, 1934 gelatin silver photographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Balloons,Angela, 1933 gelatin silver photographHarold Cazneaux (New Zealand;Australia, b.1878,d.1953), Placidwaters, Albury district, circa 1935gelatin silver photograph, toned

MRS VI COLLINGS Lawrence Collings (Australia,b.1910,d.1993), Early light, 1986gelatin silver photograph

PAOLA INCERTI Michael Corridore (Australia, b.1962),Texaco, Salton Sea, California, Feb1999 type C photograph

ANNA PACI AND GIORGIO COLOMBOAnna Paci (Italy, b.1940) and GiorgioColombo (Italy, b.1934), Daedalus AGain, 1980 22 gelatin silver photographs

JULIANA SWATKOJuliana Swatko (United States ofAmerica;Australia, b.1952), 2 gelatin silver photographs, multipletoned from the series Facts andFabrications, 1990: Tower of Babel,Duomo Milan, 1990 gelatin silverphotograph, multiple tonedTreachery, Palestrina Italy, 1990gelatin silver photograph, multipletonedJuliana Swatko (United States ofAmerica;Australia, b.1952), 2 type C photographs from the series

Neo Eden, 1998:Red leaf, 1998 type C photographBlue leaves, 1998 type C photograph

ASIAN ART BURMAANONYMOUS GIFTVessel with a scene of the Churningof the Milky Ocean, early 20thcentury cast non-ferrous metal withlacquer coatingALEX BIANCARDIArakan, Crowned Buddha, 15th century copper alloy with tracesof pigment and gilding

ESTATE OF DAVID STRACHANSeated Buddha, 17th century – 18thcentury bronzeCAMBODIAANONYMOUS GIFTKhmer, Torso of a female divinity,Angkor period 802 – 1431, mid 12thcentury grey sandstone

ALEX BIANCARDIKhmer, Head of Harihara, late 7th century – early 8th centurysandstoneBequest of Alex Biancardi 2000Khmer, Hand and forearm of a deity,7th century – 8th century copper alloyKhmer, Standing figure of Vishnu, 7th century – 8th century sandstoneKulen ware, Pedestal jar, circa 12thcentury – 13th century crackled palegreen glazed stoneware with inciseddecoration on lid and rim

CHINAANONYMOUS GIFTHebei Province, Ding ware, Largeshallow dish decorated with carvedfloral design, Northern Song 960 –1127, Song dynasty 960 – 1279, 11thcentury–early 12th century porcelainwith copper bound rimEarthenware, “Hill jar” with cover,Han dynasty 206 BCE – 220 CEearthenware with lead glazeQI Baishi (China, b.1863,d.1957),Pumpkins, hanging scroll; ink andcolour on paper

EDMUND CAPON QIAN Du (China, b.1763,d.1844),Landscape after Ju Ran, Qing dynasty 1644 – 1911 album leaf;ink on paper

DR PETER ELLIOTT CHEN Wenxi (China;Singapore,b.1908,d.1991), Gourds and a bird, inkand colour on paper

IFOULD FAMILY JU Lian (China, b.1828,d.1904),(Courtesan reading), Guangxu 1875 –1908, Qing dynasty 1644 – 1911, 1896album leaf; ink and colour on silk

LEE TECK–CHIOW LU Yanshao (China b.1909,d.1993),Landscape of Liuzhou, 1985handscroll; ink and colour on paper

J H MYRTLE COLLECTION Jiangxi Province, Jingdezhen ware,Tripod censor (‘ding’), Wanli 1573 –1619, Ming dynasty 1368 – 1644, early17th century porcelain withunderglaze blue decoration

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Jiangxi Province, Jingdezhen ware,Wine cup decorated with five carpon the interior and four on theexterior, Qing dynasty 1644 – 1911,early 18th century porcelain withoverglaze enamel Porcelain, Shallow bowl decoratedwith figure of Li Bai, Qing dynasty1644 – 1911, late 17th century – early18th century porcelain with familleverte decoration

MARGARET OLLEY Informal waistcoat, circa 1890 ‘kesi’silk brocade

J A AND H D SPERLING Stem cup, Ming dynasty 1368 – 1644,16th century porcelain with ‘anhua’(secret) decoration

JUDITH AND KEN RUTHERFORD Female rank badge with silverpheasant design, Yongzheng 1723 –1735, Qing dynasty 1644 – 1911embroidery with gold and colouredthreads, and peacock feathers onsilkImperial Duke’s insignia, Qianlong1736 – 1795, Qing dynasty 1644 – 1911‘kesi’ [woven silk]

INDIAALEX BIANCARDIAndhra Pradesh, Cosmetic tray withimage of Lakshmi lustrated byelephants Gajalakshmi), Satavahanaperiod, circa 1st century – 3rdcentury, 3rd century – 4th centurymarbleBihar, probably Nalanda region,Seated Buddha stele, Pala Period 750– 1159, late 10th century – early 11thcentury black stone Central India, Head and torso ofKumara, circa 9th century pinksandstone North India, possibly Gujarat, Torso,10th century white marble North India, Head of a woman, circa7th century dark sandstone Orissa, Varaha rescuing the EarthGoddess, Bhudevi, 10th century –11th century stone

MARGARET OLLEY Rajasthan, Jodhpur, Marwar style,Portrait of Raja Kesari Singhji ofJodhpur on horseback, circa 1820opaque watercolour on paper

PAL FAMILY IN HONOUR OF JACKIEMENZIES West Bengal, Plaque depictingcentaur, Pala Period 750 – 1159, 12thcentury terracotta

J A AND H D SPERLING Rajasthan, Ranakpur Seth AmandjiKlayanji Pedhi temple, Figure of aJina, 20th century copper alloy

ESTATE OF DAVID STRACHAN Madhya Pradesh, Gandharva, circa11th century pink sandstone

INDONESIAPAL FAMILY IN HONOUR OF JACKIEMENZIES Mirror handle, 11th century bronze

ESTATE OF DAVID STRACHAN Java, Head of a woman, circa 14thcentury terracotta

JAPANANONYMOUS GIFT Large vase decorated withsculptured lotus and frogs andincised water pattern and waterplants, Meiji period 1868 – 1912copper alloyVase with design of cranes in flight,Meiji period 1868 – 1912 copper alloywith various metal overlaySuzuki NANREI (Japan,b.1775,d.1844), (Landscape withfisherman on river bank), Edo(Tokugawa) period 1615 – 1868 hangingscroll; ink and slight colour on paper

IFOULD FAMILY Hosoda EISHO

-(Japan, active circa

1793 – 1799), (Women celebratingNew Year), Edo (Tokugawa) period1615 – 1868 colour woodcutAndo-/Utagawa HIROSHIGE (Japan,b.1796,d.1858), Futagawa From theseries Fifty-three stations of To-kaido-,Tenpo era 1830 – 1844/ Edo(Tokugawa) period 1615 – 1868, circa 1833 colour woodcutKatsushika HOKUSAI (Japan,b.1760,d.1849), Fukui in Echizen Fromthe series Remarkable views of thebridges in all provinces, Tenpo era1830 – 1844/Edo (Tokugawa) period1615 – 1868, circa 1834 colourwoodcutKatsushika HOKUSAI (Japan,b.1760,d.1849), Youth setting out fromhome From the series A true mirrorof Chinese and Japanese poems,Tenpo era 1830 – 1844/Edo(Tokugawa) period 1615 – 1868, circa1833 colour woodcutTorii KIYONAGA (Japan,b.1752,d.1815), Fine day in earlySpring From the series Eight views offour seasons, Edo (Tokugawa) period1615 – 1868, colour woodcutKatsukawa SHUNCHO

-(Japan, active

circa 1770-circa 1800), Evening bellat Umeyashiki (Plum Mansion) fromthe series Eight famous views of Edo,Edo (Tokugawa) period 1615 – 1868,colour woodcutUtagawa TOYOKUNI I (Japan,b.1769,d.1825), Actor Iwai Hanshiro-,Edo (Tokugawa) period 1615 – 1868,circa 1800 colour woodcutKitagawa UTAMARO (Japan,b.1753?,d.1806), (Mitate puppeteers)from the series Songs of faithful loveEdo, (Tokugawa) period 1615 – 1868,circa 1800 colour woodcutKitagawa UTAMARO (Japan,b.1753?,d.1806), Mirror polishing fromthe book Spring colours [illustratedbook], Edo (Tokugawa) period 1615 –1868, 1794 colour woodcut

REV MUNEHARU KUROZUMIKIKKO

-Ju-so-ken (b.1948), Black raku

tea bowl, Heisei period 1989 – , 1997earthenware with black raku glaze

KENNETH MYER TSURUYA Ko-kei (Japan, b.1946),Actor Nakamura Tomiju-ro- in the roleof Ko-no Moronao, Sho-wa period1926 – 1988, 1986 colour woodcutwith mica

YASUKO MYER BEQUEST FUND O-TA Saburo- (Japan, b.1884,d.1969),Café waitress, 1914 colour woodcut

MARGARET OLLEY Utagawa KUNISADA I /TOYOKUNI III(Japan, b.1786,d.1864), (Mapleviewing party), 1847 – 1852 colourwoodcut [triptych]

DR JOHN YU & DR GEORGE SOUTTERHasami ware (Japan), Dish with flatrim with incised pattern and flowerdesign, Edo (Tokugawa) period 1615 –1868, 1650 – 1700 stoneware withceladon glazeHasami ware (Japan), Dish withincised waves and lotus design, Edo(Tokugawa) period 1615 – 1868, 1650– 1700 stoneware with celadon glaze

KOREAJ A AND H D SPERLING Mirror with design of two birds,Koryo period 918 – 1392, bronze

NEPALALEX BIANCARDI Carved temple strut (tunala) withcelestial woman, 13th century – 14thcentury woodConch shell with image of standingVishnu, 16th century – 17th centurycarved conch shellConch shell with images of Vishnu,16th century carved conch shellMandala of Avalokiteshvara, 16th century – 17th century opaquewatercolour on cotton glued topainted wooden table

J A AND H D SPERLING Vajradakini, 20th century parcel giltand inlaid silver bronze

PAKISTANALEX BIANCARDI Ancient Gandhara, Reliquary boxwith lotus design, Kushan periodcirca 1st century – 4th century, 1st century schist Ancient Gandhara, Votive Stupa withbase, Kushan period circa 1st century – 4th century, 1st century marble Sri Lanka, Polonnaruva, SeatedBuddha, 14th century copper alloywith gilding

CAMBODIAALEX BIANCARDI Bayon style, Lion, 15th century –16th century copper alloy with gilt

THAILANDALEX BIANCARDI Sawankhalok, Covered box, circa14th century – 15th century greystoneware with pale blue-white glazeand iron underglaze decoration on lidFootprint of the Buddha, 18th century– 20th century wood with gilt

Peninsular Thailand, StandingBuddha, circa 6th century copperalloy

F STORCH Ayutthaya, Head of Buddha, 14thcentury sandstone with traces oflacquer

ESTATE OF DAVID STRACHAN Head of Buddha, circa 15th centurycopper alloyHead of Buddha, circa 15th centurycopper alloyMon/Dvaravati style, Buddha headand upper torso, circa 8th centuryterracotta

TIBETALEX BIANCARDI Sino-Tibetan style, Fire-spoon withvajra and phoenix design, 16thcentury – 18th centuryblackened iron with gilding

MARIE-FRANCOISE FATTON Southern Tibet, Karma Pa andconsort, 17th century – 18th centurygouache on cottonSouthern Tibet, The seven treasures,17th century-18th century gouacheon cotton

J A AND H D SPERLING Dorje cushion, 19th century 16th –17th century embroidered Chinesesilk with cotton appliqué, cottonreverseRitual bell and cover, 18th centurybrass bell; cover: woven cane withleather tieStorage box for stem cup withwoven cover, Ming dynasty 1368 –1644, 16th centurylacquer over cloth base fitted boxWoven cover for stem cup, Mingdynasty 1368 – 1644, 16th centuryfibre, thread and leather

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WORKS OF ART LOANED TO THE GALLERY1999.32 Sidney NolanDiver 1945oil, enamel on paperboardAnonymous loan

L2000.1 Anselm KieferWege Der Weltweisheit: DieHermann Schlacht 1978mixed media (woodblock print,synthetic polymer paint, varnish) Private collection, Sydney

L2000.3 Francis BaconStudy for portrait with bird 1980oil on canvasPrivate Collection, Sydney

L2000.4 Patricia PiccininiPsychogeography 1996type C photograph from DigiprintPrivate collection, Sydney

L2000.5 Cindy ShermanUntitled 1999 1999gelatin silver photographPrivate collection, Sydney

L2000.6 Mat CollishawIdeal Boys ‘Francesso & Gennaro’1997Colour photograph on dibondPrivate collection, Sydney

L2000.7 Mat CollishawIdeal Boys ‘John Luca & Paco’ 1997Colour photograph on dibondPrivate collection, Sydney

L2000.8 Paul SmithMake my night 1998RA4 colour photograph, aluminiummountedPrivate collection, Sydney

L2000.9 Paul SmithMake my night 1998RA4 colour photograph, aluminiummountedPrivate collection, Sydney

L2000.10 Baron Wilhelm von GloedenYouth with a headband, Naplescirca 1900albumen photographPrivate collection, Sydney

L2000.11.a-b YOSHINORIPAIR OF STIRRUPSOn loan from the Museum of AppliedArts and Sciences 1987

L2000.12 PLAQUE19th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.13 TEA BOWL19th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.14 SATSUMA WARE BOWL19th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.15 EARTHENWARECup0700-0750On loan from the Museum of AppliedArts and Sciences 1987

L2000.16 FIGURE OF A CAMELOn loan from the Museum of AppliedArts and Sciences 1983

L2000.17.a-b SUKOTHAI WARECOVERED BOWL13th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.18.a-b SETO WARE TEA CADDY18th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.19.a-b SETO WARE TEACADDY18th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.20.a-b SETO WARE TEA CADDY18th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.21 VASEcirca 19th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.22 VASE OF HU SHAPEOn loan from the Museum of AppliedArts and Sciences 1987

L2000.23 BOX COVEROn loan from the Museum of AppliedArts and Sciences 1987

L2000.24 BOTTLEcirca 1400On loan from the Museum of AppliedArts and Sciences 1987

L2000.25.a-b COVERED BOWL14th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.26 ROOF ORNAMENT (IN THEFORM OF A NAGA HEAD)14th centuryOn loan from the Museum of AppliedArts and Sciences 1987

L2000.27.a-b TRIPOD CENSER ANDCOVEROn loan from the Museum of AppliedArts and Sciences 1987

L2000.28 CENSEROn loan from the Museum of AppliedArts and Sciences 1987

L2000.29 Bill HensonUntitled 1997/20001997-2000 {printed 2000}type C photographOn loan from the collection of JohnKiley and Eugene Silbert, Sydney

L2000.30 Hanuman circa 12th centurycopper alloy with traces of vermilion(‘kum-kum’) powder applied duringworshipAnonymous loan 2000

L2000.31 Jean BelletteGreek girloil on canvasPrivate collection loan

L2000.32 Margaret OlleyPortrait in the mirror 1948oil on hardboardPrivate collection loan

WORKS OF ART LOANED BY THE GALLERYLAWRENCE WILSON ART GALLERYDrysdale13/8/99 – 19/9/99 Russell DrysdaleCrucifixion 1946oil on plywoodOA1.1963 Russell DrysdaleRoad to the Black Mountainscirca 1952oil on canvas8679 Russell DrysdaleKimberley landscape 1961pencil, pen and black ink132.1996 Russell DrysdaleWorking drawing for ‘Home town’(1941)pencil, squared

11.1972 Russell DrysdaleStudy for ‘Home town’ (1943)pencil and black ink, watercolour278.1990SARJEANT GALLERY/ TE WHARE ORHUAEdith Collier and her circleJuly 1999 – May 2000Sarjeant Gallery 14/8/99 – 10/10/99Auckland City Art Gallery 18/12/99 –13/2/00Dowse Art Museum 4/3/00 – 30/4/00Margaret Preston(Still life with teapot and daisies)circa 1915oil on hardboard192.1977Margaret Preston(Millpond, Bilbury) circa 1916softground etchingDA53.1963

S.H. ERVIN GALLERYLove magic: Erotics, politics andIndigenous Art21/8/99 – 3/10/99Samuel WagbaraThree Mimi Spirit Figures Dancing circa 1964natural pigments on eucalyptus barkP2.1964

MUSEO DE ARTECONTEMPORÁNEO, MEXICOImants Tillers24/9/99 – 1/1/2000Imants TillersConversations with bride 1974 – 1975gouache, synthetic polymer paint,paper on aluminium [112 paintings],112 aluminium tripods, 7 type Ccolour photographs235.1976.1, 235.1976.2 a-gImants Tillers52 displacements 1979 – 1980gouache on canvas (six paintings),text (six framed panels)16.1980.a-lImants TillersTwo paintings, hidden from view1981–1982diptych: synthetic polymer paint oncanvas122.1984.a-b

HISTORIC HOUSES TRUST OF NEW SOUTH WALES, MUSEUM OF SYDNEYBamaradbanga18/9/99 – 5/12/99Karen CaseyGateway 1994oil and mixed media on linen

LOANS

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MUSEUM OF CONTEMPORARY ARTWORD9/9/99 – 29/11/99John BrackOut 1979oil on canvas47.1981102.1999.a-c Joseph KosuthOne and three tables 1965Installation; (table, photograph, text)

TOOWOOMBA REGIONAL ARTGALLERYWhat’s Lost/what’s won – Convictionand contradiction in the art ofFrederick McCubbin9/9/99 – 28/11/998559 Frederick McCubbinSelf Portrait 1886oil on canvas

ROSLYN OXLEY9 GALLERYRosalie Gascoigne1/9/99 – 25/9/9955.1999.a-c Rosalie GascoigneGreat Blonde paddocks 1999sawn wood

187.1999 Rosalie GascoigneMetropolis 1999retro-reflective road sign

THE AMERICAN FEDERATION OF ARTSJames Tissot1/9/99 – 30/7/2000Yale Center for British Art 22/9/99 – 28/11/99Musée du Québec 15/12/99 – 12/3/2000Albright-Knox Art Gallery, Buffalo24/3/2000 – 2/7/20006697 James Jacques Joseph TissotThe Widower 1876oil on canvas mounted on hardboard

AUSTRALIAN MUSEUMBats25/9/9 – 28/2/20002283 Elizabeth SöderbergBowl with flying fox design 1912beaten copper with repoussé22.1998 Unknown, ChinaJindezhen ware – Bowl with designof five bats on yellow groundsurrounding the character ‘shau’[longevity] in centre on interior andtwo dragons and two phoenixmedallions on exteriorQing dynasty, Guangxu periodporcelain with overglaze enamel

DO30.1961 Utagawa TOYOKUNI II Matching of beautiful women andflowers à la mode circa 1830colour woodcut; aizuri-e

LISMORE REGIONAL ART GALLERYA Moment in Time; Brett Whiteley’sByron Bay Series20/10/99 – 28/11/99Brett WhiteleyWategoes Beach Holiday Suite;Wategoes Beach No.10gouache on paperCollection: The Brett Whiteley StudioMuseum , Sydney

Brett WhiteleyMidday at Wategoes Beachoil on canvasCollection: The Brett Whiteley StudioMuseum , Sydney Brett WhiteleyGood Morning Glory IIoil on canvasCollection: The Brett Whiteley StudioMuseum , SydneyBrett WhiteleyWategoes Beach Holiday Suite;Wategoes Beach No.3 (Dolphins)ink on rice paperCollection: The Brett Whiteley StudioMuseum , Sydney Brett WhiteleyWategoes Beach Holiday Suite;Wategoes Beach No.6 (Untitled)charcoalCollection: The Brett Whiteley StudioMuseum , SydneyBrett WhiteleyWategoes Beach Holiday Suite;Wategoes Beach No 8 (Monsterio)charcoalCollection: The Brett Whiteley StudioMuseum , Sydney Brett WhiteleyWategoes Beach Holiday Suite;Wategoes Beach No.11 (Untitled)gouache and inkCollection: The Brett Whiteley StudioMuseum , SydneyBrett WhiteleyWategoes Beach Holiday Suite;Wategoes Beach No.14 (MonsterioDeliciosa)ink on paperCollection: The Brett Whiteley StudioMuseum , Sydney Brett WhiteleyWategoes Beach Holiday Suite;Wategoes Beach No.15 (Dolphins inStorm)gouache on paperCollection: The Brett Whiteley StudioMuseum , Sydney

AUSTRALIAN MARITIME MUSEUMSecrets of the Sea: Myth, Lore andLegendOctober 1999 – August 20002479 Unknown, ItalyStanding bowl circa 1850venetian glass, gilt, enamel246.1985 Salvatore RosaGlaucus and Scylla circa 1661etching

MUSEU PICASSO, BARCELONAPicasso. Indoor, Outdoor Landscapes26/10/99 – 30/1/0066.1981 Pablo PicassoFemme nue dans un rocking-chair1956oil on canvas

MOREE PLAINS GALLERYBrett Whiteley – The genius27/11/99 – 28/1/2000OA19.1962 Brett WhiteleyUntitled painting II 1961oil, pencil, collage on hardboard8.1979 Brett WhiteleyThe pink heron 1969synthetic polymer paint on hardboard

7.1979 Brett WhiteleyThe green mountain (Fiji) 1969oil, collage on cardboard189.1976 Brett WhiteleyStill life with meat 1975–76snythetic polymer paint, shell, boneon plywood354.1998 Brett WhiteleySelf-portrait after three bottles ofwine 1978oil and ink on board350.1998.a-c Brett WhiteleyThe bush 1966oil and mixed media on board299.1994 Brett WhiteleyWoman under the shower 1976etching13.1985 Brett WhiteleyUntitled 1962charcoal and white body colour352.1998 Brett WhiteleyTo Yirrawalla 1972oil and mixed media on boardBrett WhiteleyWeet 1968oil on plywoodCollection: The Brett Whiteley StudioMuseum, SydneyBrett WhiteleyWendy 11pm (drunk) 1983brush and ink on paper1983Collection: The Brett Whiteley StudioMuseum, SydneyBrett WhiteleyRembrandt 1971–72oil and fibreglass on boardCollection: The Brett Whiteley StudioMuseum, SydneyBrett WhiteleyThe Orange nude 1981oil on canvasCollection: The Brett Whiteley StudioMuseum, Sydney Brett WhiteleyOberon 1987oil and collage on canvas (triptych)Collection: The Brett Whiteley StudioMuseum, Sydney Brett WhiteleyThe Lyrebird 1972 – 73oil, mixed media and collage oncanvasCollection: The Brett Whiteley StudioMuseum, Sydney Brett WhiteleyDistorted nudes (Thanks to AndréCertez) 1987ink, hair, gouacheCollection: The Brett Whiteley StudioMuseum, Sydney Brett WhiteleySelf-portrait with beard 1972brush and ink on rice paper on cardCollection: The Brett Whiteley StudioMuseum, Sydney Brett WhiteleyGetting quite close 1983colour photograph, oil, collage,masking tape and card on boardCollection: The Brett Whiteley StudioMuseum, SydneyBrett WhiteleyUnposted letter to mother 1980pen and inkCollection: The Brett Whiteley StudioMuseum, Sydney

Brett WhiteleyCh’uan circa 1978 – 79oil and mixed media on canvasCollection: The Brett Whiteley StudioMuseum, SydneyBrett WhiteleyFragment off Olga or Jah! How blackcan you get 1974 – 75oil and mixed media on boardCollection: The Brett Whiteley StudioMuseum, SydneyBrett WhiteleySelf-Portrait at 16 (First self-portrait)1955oil on boardCollection: The Brett Whiteley StudioMuseum, Sydney

GOLD COAST ARTS CENTREJoe Furlonger Survey ExhibitionNovember 1999 – April 2001Gold Coast City Art Gallery 10/12/99 –23/1/00Grafton Regional Gallery 1/3/00 –9/4/00Moree Plains Gallery 14/4/00 –21/5/00Lawrence Wilson Art Gallery 2/6/00 –9/7/00Bundaberg Arts Centre 4/8/00 –10/9/00Gladstone Regional Art Gallery22/9/00 – 28/10/00Toowoomba Regional Art Gallery1/12/00 – 14/1/01New England Regional Art Museum25/2/01 – 2/4/01395.1996.a-b Joe FurlongerArtist in residence 1996diptych: tempera on linen

ART GALLERY OF SOUTH AUSTRALIABill Bowmore Collection2/11/1999 – 2/4/2000167.1991 Niccolò Dell’ AbbatePortrait of a gentleman with a falconcirca 1548 – 50oil on canvas119.1992 Jean-Marc NattierMadame de la Porte 1754oil on canvas

NATIONAL EXHIBITION TOURINGSUPPORT/ MUSEUMS ANDGALLERIES FOUNDATION OF NSWPets, Prey and PredatorsNovember 1999 – June 2001Mosman Region Gallery 26/11/99 –30/1/00Dubbo Regional Gallery 12/2/00 –28/4/00Campbelltown City Art Gallery 5/5/00– 11/6/00Bathurst Regional Gallery11/8/00 – 17/9/00Shepparton Art Gallery 27/9/00 –29/10/00Logan Art Gallery 10/11/00 – 17/12/00Toowoomba Regional Art Gallery15/2/01 – 25/3/01Grafton Regional Gallery 11/4/01 –27/5/015.1995 William RobinsonUntitled 1970scharcoal

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8.1995 William RobinsonUntitled 1970sdiptych, charcoal6.1995 William RobinsonUntitled 1970spencil7.1995 William RobinsonUntitled 1970scharcoal, brown conte

MANLY ART GALLERY & MUSEUMCelebrating Paradise – The artist andthe Northern Beaches 1900 – 200010/12/99 – 30/1/200049.1985 Roy de MaistreWoman with parasol at Palm Beach1927oil on hardboardOA12.1965 Rah FizelleCliffs at Newport circa 1932oil on canvas on hardboard249.1976 Weaver Hawkins(Interior, Mona Vale:Rene reading)1944watercolour217.1991 James JacksonSummer day, Mona Vale 1937oil on canvas on paperboard244.1975 Margaret PrestonManly pines 1953colour gouache, stencil on black paper65.1971 Sali HermanTropical garden 1966oil on canvas9917 Sydney LongNarrabeen Lake post 1928etching9920 Sydney LongOld Customs House, Barrenjoey post 1928etching152.1975 Harold CazneauxThe bent tree, Narrabeen 1914bromoil photograph113.1975 Harold CazneauxThe Wheel of youth 1929gelatin silver photograph863.1996 Max DupainHeavy Seas, Newport Reef 1976gelatin silver photograph26.1981 Max DupainSunrise at Newport 1974gelatin silver photograph190.1981 Max DupainAt Newport 1952gelatin silver photograph853.1996 Max DupainSurf race start 1946gelatin silver photograph376.1987 Fiona HallManly Beach, Sydney, Australia,January 1985 1985gelatin silver photographDavid Moore207.1984 Lifesavers, Manly circa 1960gelatin silver photograph

HISTORIC HOUSES TRUST OF NEW SOUTH WALESMUSEUM OF SYDNEYMetropolis18/12/99 – 16/4/200055.1987 Max DupainUntitled (staircase in demolition ofold CSR head office building, Sydney)1962 (printed 1983)

gelatin silver photograph152.1982 Max DupainSydney from Harbour Bridge pylon1938gelatin silver photograph332.1989 Robyn StaceyIce (from the series Redline 7000) 1989cibachrome on plexiglass70.1984 Max DupainTowards end of stage 1 (SydneyOpera House) 1963gelatin silver photograph77.1984 Max DupainConcrete support beams (SydneyOpera House) 1962gelatin silver photograph60.1993 Mark JohnsonSydney Cove: The Rocks 1982gelatin silver photograph93.1988 Max PamLuna Park, Sydney 1978 (printed 1988)gelatin silver photograph201 A.H. FullwoodWet evening, George Street, Sydney(1889)charcoal, chalk7452 John D MooreThe two stones 1944watercolour, pen and ink62.1997 Lloyd ReesCity Skyline 1935oil on canvas on cardboard511.1995 Elizabeth RooneyKing Street 1890 – 1980 1980-81etching, artist’s proof198.1975 Jessie TrailBuilding the harbour Bridge 1:Beginnings 1927etching, ed 11/30199.1975 Jessie TrailBuilding the harbour Bridge 11:Theworks north side November 19271928etching, aquatint, ed.1/30200.1975 Jessie TrailBuilding the harbour Bridge 111: Thegranite workers, April 1929 1929etching201.1975 Jessie TrailBuilding the harbour Bridge 1V:Theants progress, November 1929 1929etching, ed 4/30202.1975 Jessie TrailBuilding the harbour Bridge V:goingup 1930etching, ed 7/25203.1975 Jessie TrailBuilding the harbour BridgeV1:Nearly complete 1931etching255.1991 Jessie TrailThe great arch 1932etching, aquatint42.1988 Jessie TrailThe red light, Harbour Bridge, June1931 1932etching, aquatint, hand-colouring605 Normand BakerMorning in the markets 1932oil on canvas

NATIONAL GALLERY OF AUSTRALIAAboriginal Art in Modern WorldsJanuary 2000 – December 2000State Hermitage Museum 2/2/00 –9/4/00

National Gallery of Australia 8/9/00 –19/11/00567.1994.a-c Emily Kame KngwarreyeUntitled (awelye) 1994triptych; synthetic polymer paint onpaper laminated to canvas

S.H. ERVIN GALLERY – NATIONALTRUST OF AUSTRALIAFavourites: Margaret Olley and BarryHumphries choose from AustralianCollections15/1/2000 – 27/2/2000496.1996 Robert BarnesBlack boots 1995oil on canvas7226 William DobellNude 1931oil on canvas on wood (frame)9142 Russell DrysdaleWoman filing her nails (1943)oil on canvas9204 Donald FriendThe fortune teller (1953)oil on canvas on hardboard460.1995 Nicholas HardingSt Paul’s Place, Redfern 1993 – 1995oil on canvas on hardboard870 Margaret PrestonAustralian gum blossom 1928oil on canvas14.1997 David StrachanThe old wall, Bricherasio 1959oil on canvas on hardboard37.1988 Anne WienholtThe medium 1984bronze138.1995 Lawrence DawsNight sea journey 1994oil on canvas128.1974 Charles ConderMadame Errazuriz 1905oil on canvas57.1975 Arthur MurchBeach Idyll 1930tempera on canvas on plywood4804 Hans HeysenSummer 1909pencil, watercolour114.1981 Sali HermanSydney 1942 1981oil on canvas398.1987 Francis LymburnerThe studio corner circa 1964oil on hardboardDA1.1959 George W. LambertHugh Ramsay 1901 – 1902pencil 1.1982 Charles ConderFlowers in a vase against abackground of the coastline ofMustapha, Algiers 1891oil on canvas8592 William DargieThe yellow couch (1952)oil on plywood7001 Adrian FeintFlowers in sunlight 1940oil on canvasElioth Gruner6911 Afternoon, Bondi 1915oil on canvas on paperboard53.1998 Margaret OlleyApples (1980)oil on hardboardOA8.1961 John PassmoreIf you don’t believe me, ask the old

bloke (1953)oil on hardboard93.1978 Margaret PrestonWestern Australian gum blossom1928oil on canvasOA9.1967 Grace Cossington SmithThings on an iron tray on the floorcirca 1928oil on plywoodOA2.1964 Grace Cossington SmithLandscape at Pentecost (circa 1932)oil on paperboard60.1983 Edgar Degas (artist), AdrienHebrard (founder)Dancer looking at the sole of herright foot sculpt:1900 – 1910cast: 1919 – 1921bronze7197 André DerainLandscape late 1920soil on canvas355.1987 André DerainStill life 1921 – 1922oil on canvas902 Thomas GotchMy crown and sceptre 1891oil on canvas6927 Albert MarquetThe Pont Neuf in the snow late 1920soil on canvas431.1997 Giorgio MorandiStill life 1957oil on canvas7772 Walter SickertGatti’s Hungerford Palace ofVarieties: Second turn of KatieLawrence circa 1887 – 1888oil on canvas mounted on hardboard194.1999 Edouard VuillardMadame Prosper-Emile Weil à sonbureau circa 1923pastel and distemper on paper156.1999 a-d Pierre BonnardPromenade des Nourrices – avecFrise de Fiacres (Nannie’sPromenade – with a Frieze ofCarriages) 1899lithograph157.1999 Giorgio MorandiNatura Morta 1933etching in black and brown ink157.1999 Giorgio MorandiNatura Morta 1933etching in black and brown ink

McCLELLAND GALLERYThe Potteries of Brunswick27/2/2000 – 16/4/200083.1978 Alan Finlay and Ernest FinlayVase with gum tree and kangaroodesign 1913earthenware with painted underglaze2222 Ernest FinlayLidded jar ‘in the manner of LangYao’ 1930glazed earthenware

THE DETROIT INSTITUTE OF ARTSThe Portraits of Vincent van GoghFebruary 2000 – February 2001The Detroit Institute of Arts 12/3/2000– 4/6/2000Boston Museum of Fine Arts2/7/2000 – 24/9/2000Philadelphia Museum of Art

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22/10/2000 – 14/1/2000211.1990 Vincent van GoghHead of a peasant 1884oil on canvas

GOVETT-BREWSTER ART GALLERY,NEW ZEALANDDrive12/2/2000 – 30/4/2000497.1993 WeegeeTramp 1940sgelatin silver photograph70.1998.1–6 Ed RuschaSunset Strip 1966 (printed 1995)6 gelatin silver photographs (framed)frame1987.19.1 Eduardo PaolozziBunk – Evadne in green dimension1972colour photo screenprint, collage1987.19.25 Eduardo PaolozziBunk – 2000 horses and turbo-powered 1972colour photo screenprint1987.19.27 Eduardo PaolozziBunk – Never leave well enoughalone 1972colour photo lithograph1987.19.33 Eduardo PaolozziBunk – You can’t beat the real thing1972colour photo screenprint

CANBERRA MUSEUM AND GALLERYBelgian Art in Australia19/2/2000 – 12/6/2000808 Georges CroegaertConfidences 1889oil on panel4534 Jean-Baptiste RobieFlowers and fruit 1877oil on panel915 Charles WateletLes felins 1923oil on canvas1116 Louis HagheThe miseries of war 1850watercolour101.1978 James EnsorDeath pursuing the human flock 1896etching

THE NEW ENGLAND REGIONAL ARTMUSEUMRoy de Maistre – St Jean de Luz25/2/2000 – 30/4/2000OA11.1968 Roy de Maistre(St Jean de Luz) 1924oil on pinewood panelOA6.1968 Roy de Maistre(Mending nets, France) circa 1924oil on paperboard48.1974 Roy de MaistreFigure in a garden (The aunt) 1945oil on hardboard52.1974 Roy de Maistre(Sketch interior: St Jean de Luz,study for ‘Summer’) 1955gouache, watercolour, pencil

ART GALLERY OF SOUTH AUSTRALIABeyond the Pale3/3/2000 – 16/4/2000245.1998 Long Tom TjapanangkaBig Mob Puli (Rocks) – other side ofMt Leibig 1998synthetic polymer paint on linen

58.1999 Ginger RileyMunduwalawalaNgak Ngak and the ruined city 1998synthetic polymer paint on canvas

AUSTRALIAN MUSEUM/ DJAMUGALLERYSospen Graun, Traditional Pottery ofPapua New Guinea 4/3/2000 – 28/8/2000152.1976 Unknown (Aibom, Chambrilakes, Sepik region)Gable top decoration 1965ceramic with rattan fibre397.1994 Unknown (Dimiri [Biwat],Lower Sepik)Male Figure 1965low fired clay402.1994 Unknown (Dimiri [Biwat],Lower Sepik)Male figure with hands up 1965low fired clay57.1973 Unknown (Toanambu,Wewak area)Bowl 1965low fired clay, carved

NATIONAL PORTRAIT GALLERYMirror with a Memory: ThePhotographic Portrait in Australia4/3/1999 – 20/6/1999310.1985 Harold CazneauxPortrait of an Operator, Freeman’sStudio circa 1907gelatin silver photograph160.1975 Harold CazneauxMeditation (Grace Macbeth) circa 1904 – 08gelatin silver photograph94.1975 Harold CazneauxMask and model (Gayfield Shaw)circa 1919gelatin silver photograph265.1996.a-c Sue FordFabian 1966, 1974, 1980 from theTimes Series 1966, 1974, 1980gelatin silver photograph191.1984.1 Hans HasenpflugUntitled (head of a man) 1940sgelatin silver photograph16.1986.2.c Paul FoelschePortrait of ‘Almarara, Point Essingtonand Malay bay, Iwaldja, NT aged 7years, November 1877 1877gelatin silver photograph16.1986.2.d Paul FoelschePortrait of a girl, Alligator River,Bunitj, NT aged 15 years 1880’sgelatin silver photograph16.1986.7.c Paul FoelschePortrait of a girl, Limilngan River, NTaged 14 years 1880sgelatin silver photograph16.1986.7.d Paul FoelschePortrait of a man, Limilngan River, NT,aged 47 years 1880sgelatin silver photograph

KWANGJU BIENNALE2000 Kwangju Biennale27/3/2000 – 7/6/2000173.1999 WEI, GuanRevisionary 1999synthetic polymer paint, 26 panels

NATIONAL GALLERY OF AUSTRALIAMatisse: The art of drawing

March 2000 – March 2001Newcastle Region Art Gallery 14/4/00– 11/6/00Cairns Regional Art Gallery 23/6/00Queen Victoria Museum and ArtGallery 18/8/00 – 1/10/00Art Gallery of South Australia20/10/00 – 10/12/00Art Gallery of Western AustraliaDecember 2000 – February 2001DO17.1965 Henri MatisseTorse de face (Duthuit 407) 1913lithograph222.1976 Henri MatisseNue de Trois quartz, les bras leves/(Petit Bois clair Duthuit 318) 1906woodcut

MUSEO D’ARTE MODERNA – CITTÀDI LUGANOErnst Ludwig Kirchner12/3/2000 – 2/7/200058.1984 Ernst KirchnerDrei Badende 1913oil on canvas

TEL AVIV MUSEUM OF ARTJosl Bergner30/3/2000 – 30/8/2000210.1980 Josl BergnerPortrait of Mr I Segal 1944oil on canvas1.1987 Josl BergnerThe Evidence 1985 – 1986oil on canvas

HISTORIC HOUSES TRUST OF NEWSOUTH WALESMUSEUM OF SYDNEYSuburb15/4/2000 – 23/7/2000217.1994 Harry J WedgeStop and think 1993synthetic polymer paint on canvas186.1982 Colin LanceleyGlad family picnic 1961–62oil, mixed media on plywood484.1996 John D. MooreChaos 1923oil on canvas288.1984 Margaret PrestonChildren’s corner at zoo circa 1944oil on canvas7177 Margaret PrestonI lived at Berowra 1941oil on canvas7920 Herbert McClintockStreet scene 1944oil on paperboardBrett WhiteleyPaling fence and red roofssynthetic polymer paint and mixedmedia on plywood, with wood fencepalingsBrett WhiteleyRed roofs with palm treeoil on canvas on board7.1973 Eric ThakeAn Opera House in every home 1972linocut, black on white cartridgepaper folded as card320.1981 Donald FriendA view of the harbour 1981gouache on paperDA9.1964 John OlsenMcElhone steps 1964colour lithograph on zinc, ivory

arches wove paper233.1977 Sally RobinsonBeach Crossing 1976colour screenprint on white chalkcoated paper

MUSÉE D’ARTS AFRICAINS,OCÉANIENS, AMÉRINDIENS –MARSEILLEPapuan Arts and Civilisation19/4/2000 – 30/8/2000 287.1978 Unknown (Wapenda,Manda, Western Highlands, PapuaNew Guinea)Wig and head holderhuman hair, tambo shells, pit-pitseeds on gourd283.1978 UnknownMale Figure – Upin or Kepil idolcane, natural pigments

NATIONAL GALLERY OF AUSTRALIASecession6/5/2000 – 6/8/2000167.1979 Egon SchielePoster for the Vienna Secession 49thexhibition 1918colour lithograph166.1984 Berthold LöfflerKunst Schau, Wien 1908colour lithograph173.1985 Gustav KlimtStanding Robed Woman HoldingCard circa 1899pencil57.1986 Maxamilian KurzweilDer Polster 1903colour woodcut211.1982 Peter BehrensDer Kuss 1898colour woodcut

PERC TUCKER REGIONAL ARTGALLERYRomancing the sea; drama in early Australian maritime art19/5/2000 – 16/7/20006294 Oswald BrierleyWhalers off Twofold Bay, New SouthWales 1867watercolour, opaque white on paper

SYDNEY BIENNALE12th Sydney Biennale26/5/2000 – 30/7/200014.1993 Gerhard RichterEma 1992cibachrome photograph65.1999 Gerhard RichterAbstract painting (812) 1994oil on canvas388.1993 England BanggalaWangarra Spirit Being circa 1986ochre on carved wood82.1985 England BanggalaWangarra Spirit being 1985ochre on carved wood187.1999 Rosalie GascoigneMetropolis 1999retro-reflective road signs78.2000 Owen YalandjaYawk Yawk 1999ochre on carved wood79.2000 Owen YalandjaYawk Yawk 1999ochre on carved wood

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QUEENSLAND ART GALLERYErich Buchholz: the restless avant-gardist25/6/9 – 17/9/2000340.1991 Erich BuchholzSign P 1922wood relief, carved and painted221.1994 Erich BuchholzRed, violet, blue-accord 1960pastel on light grey paper179.1997 Erich BuchholzMother and child (Mutter und Kind)1920watercolour on paper310.1990 Erich BuchholzBull (Stier) 1919woodcut on paper307.1990 Erich BuchholzBroken cross (Zerbrochenes Kreuz)1918woodcut on paper304.1990 Erich Buchholz[Chaos] circa 1917woodcut touched with whitebodycolour303.1990 Erich BuchholzNuzzling horses (Kosende Pferde)1917woodcut, hand-coloured with redand green watercolour305.1990 Erich BuchholzSun horses (Sonnen Pferde) 1917woodcut, hand-coloured with pinkwatercolour wash worked over withcharcoal28.1986 Erich BuchholzXX 1919crayon

FURNISHING LOANS BY THEGALLERY

OFFICE OF THE PREMIERWilliam Dargie (Australia, b.1912), La Perouse, 1947 oil on canvasRoy de Maistre (Australia;UnitedKingdom, b.1894,d.1968), PatrickWhite, (1939) oil on canvasRoy de Maistre (Australia;UnitedKingdom, b.1894,d.1968), Mrs VictorWhite, (circa 1938) oil on canvasWilliam Dobell (Australia,b.1899,d.1970), Portrait of ThelmaClune, (1946) oil on hardboardJames R Jackson (Australia,b.1882,d.1975), Sand dunes, Botany,oil on canvas on plywoodSydney Long (Australia,b.1871,d.1955), Spring, St. Alban’s,MacDonald River, oil on canvasSidney Nolan (Australia;UnitedKingdom, b.1917,d.1992), Gallipolisoldier (2), synthetic polymer paint onhardboard Douglas Pratt (Australia,b.1900,d.1972), The old toll house,Rushcutters Bay, 1959 oil on canvasWilliam Robinson (Australia, b.1936),Wispy landscape, 1990 oil on canvasPaquita Sabrafen (Spain;Australia,b.1931) Australian wildflowers, 1990oil on canvas Lance Solomon (Australia,b.1913,d.1989), Country lane, 1947 oilon canvas on hardboard

OFFICE OF THE MINISTER FOR THEENVIRONMENT, MINISTER FOREMERGENCY SERVICES, MINISTERFOR CORRECTIVE SERVICES ANDMINISTER ASSISTAING THEPREMIER ON THE ARTSMalcolm Dickson (England, b.1941),A. Speed of darkness, 1964 syntheticenamel on hardboardMalcolm Dickson (England, b.1941),B. Excavations in the abyss, 1965synthetic enamel on hardboardMalcolm Dickson (England, b.1941),D. Aftermath, 1965 synthetic enamelon hardboardLeonard Hessing (Australia, b.1931),The combatant, 1957 oil onhardboardDesiderius Orban (Australia;Hungaryb.1884,d.1986), Back alley, (1958-1960)oil on canvasWilliam Rose (Australia, b.1929,d.1997), Aural painting, 1959 oil onhardboardJeffrey Smart (Australia, b.1921),Parkland, 1950 oil on canvas

LIEUTENANT COLONEL EDWARD PKREMER, OAMAnthony Dattilo-Rubbo (Australia,b.1870,d.1955), Dr Thomas Fiaschi, oilon canvas

MR JOHN SPENDER, AMBASSADOR,AUSTRALIAN EMBASSY IN PARISSidney Nolan (Australia;UnitedKingdom, b.1917,d.1992), The journey(Silk Road cat no 39), syntheticpolymer paint on canvas

Sidney Nolan (Australia;UnitedKingdom, b.1917,d.1992), Himalayas(Silk road cat no 1), syntheticpolymer paint on canvasSidney Nolan (Australia;UnitedKingdom, b.1917,d.1992), Desert. 1986(Silk Road cat no 3), 1986 syntheticpolymer paint on canvasSidney Nolan (Australia;UnitedKingdom, b.1917,d.1992), Cave (Silkroad cat no 17), synthetic polymerpaint on canvasBryan Westwood (Australia,b.1930,d.2000), South of Alice Springsafter good rains, 1992 oil on canvas

OFFICE OF THE CHIEF JUSTICESeymour Lucas (England,b.1849,d.1923), The Gordon Riots,1780, 1879 oil on canvas

MINISTRY FOR THE ARTSMarg Adams (Australia, b.1942),Reflection, 1996 synthetic polymerpaint on canvasMichael Kmit (Australia, b.1910,d.1981), Girl in green, 1955 oil oncanvasElaine Russell (Australia), Inspectionday, 1994 synthetic polymer paint oncardboardElaine Russell (Australia), LachlanRiver: our childhood dreams, 1994synthetic polymer paint on cardboardKen Searle (Australia, b.1951),Newtown, 1978 oil on canvas.

The following Art Gallerypublications are available for salefrom Gallery Shop

AGNSW Collections, Capon et al.softbound $60.50 hardbound $88AGNSW Handbook, Jamessoftbound $22 slipcased $33Arthur Boyd Retrospective, Pearcehardbound $44Artist and the Patron, Pearcesoftbound $30.25Australian Drawing, Kolenberg,softbound $33Australian Painting, Pearcesoftbound $50 hardbound $70Australian Prints, Kolenbergsoftbound $38.50Australian Watercolours, Kolenbergsoftbound $33

Body, Bond softbound $33Brett Whiteley, Pearce softbound $44Classic Cézanne, Maloon softbound $$38.50Dancing to the Flute, Menziessoftbound $44Dead Sea Scrollssoftbound $25Dobell, Pierce/Kolenburg softbound $33Donald Friend, Pearce hardbound $60.50Fragrant Space, Yang softbound $33Gamaradasoftbound $27.50

Giorgio Morandi, Klepac softbound $44India Songssoftbound $16.50Jeffrey Smart Retrospective,Capon/Pearce softbound $40 hardbound $66Let’s Face It, Ross softbound $44 hardbound $55Lion Among Painters, Yangsoftbound $27.50Margaret Olley, Pearce hardbound $55Modern Boy Modern Girl,Menzies/Ajioka softbound $38.50Olive Cotton, Ennis softbound $30.80

Orientalism, Prunster (ed.) softbound $44Papunya Tula, Perkins (ed.)softbound $55 hardbound $70Portraits of Oceania, Annearsoftbound $27.50Raynor Hoff, Edwards softbound $30.80Rosalie Gascoigne, Edwardssoftbound $27.50Salvatore Zoffrea, Kolenberg/Ryansoftbound $33Treasures of Asian Art, Leesoftbound $27.50Yiribana, Neal softbound $38.5052 Views of Rudy Komon, Raymond(ed.) hardbound $33

PUBLICATIONS

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1999/2000 EXHIBITIONSDate Department Exhibition Title Ticketed AGNSW AGNSW

Tours Catalogue

3.7.99 – 8.8.99 Western – Contemporary The well built Australian – Michael Goldberg3.7.99 – 15.8.99 Aboriginal Michael Riley10.7.99 – 8.8.99 Western – Contemporary Contemporary Collection16.7.99 – 15.8.99 Aboriginal Raiki Wara: Long Cloth from Aboriginal Australia & Torres Strait1.8.99 – 24.10.99 Australian Grace Cossington Smith – The Lacquer Room 1935 – 36 •7.8.99 – 10.10.99 Western Hard Edge11.8.99 – 17.10.99 Western – Photography Light Pictures: The photographs of Nakayama Iwata & Nojima •15.8.99 – 26.8.99 Western – Contemporary Exit, Horst Kiechle/Margaret Roberts20.8.99 – 26.9.99 Western – Contemporary Australian Perspecta 99: Living here now – Art and Politics •27.8.99 – 31.10.99 Australian Jeffrey Smart • • •4.9.99 – 10.4.00 Aboriginal Another Country 11.9.99 – 5.12.99 Australian Whiteley in Paris 24.9.99 – 4.10.99 Public Programmes Operation Art 3.10.00 – 14.11.99 Western – Contemporary Joan Brassil – The Breath of Psyche 8.10.99 – 14.11.99 Western – Contemporary Voiceovers –The 5th Guinness Contemporary Art Project •8.10.99 – 23.1.00 Western Ideas & Actions – Modern Collection29.10.99 – 9.1.00 Western – Photography Modotti & Weston: Mexicanidad •30.10.99 – 24.1.00 Australian George Baldessin, Occassional images from a city chamber 1975 •20.11.99 – 27.2.00 Western Michelangelo to Matisse, Drawing the figure • •26.11.99 – 16.1.00 Australian This vital flesh: The sculpture of Rayner Hoff and his school •4.12.99 – 6.2.00 Western – Contemporary Australian Contemporary Collection11.12.99 – 2.4.00 Australian Brett Whitiely nudes28.1.00 – 19.3.00 Public Programmes Art Express29.1.00 – 5.3.00 Asian Please the mind, cultivate the mind •5.2.00 – 12.6.00 Australian Les Sauvages des la mer Pacifique •9.2.00 – 19.3.00 Western – Contemporary Passing Time: Moet & Chandon Touring Exhibition 200012.2.00 – 26.3.00 Western – Contemporary Neil Emmerson (surrender,penence, IWYS)18.3.00 – 7.5.00 Australian Archibald Wynne & Sulman • •18.3.00 – 7.5.00 Australian Dobell Drawing Prize •18.3.00 – 7.5.00 Australian Sporting Portrait Prize • •29.3.00 – 30.4.00 Australian Salvatore Zofrea: Appassionata • •31.3.00 – 24.5.00 Western Marking the place1.4.00 – 28.5.00 Western – Contemporary Dale Frank8.4.00 – 3.9.00 Australian Whiteley in words15.4.00 – 18.6.00 Aboriginal Ochre: Bark Painting from the Collection6.5.00 – 25.6.00 Asian Fragrant Space: Chinese bird & flower painting • •13.5.00 – 2.7.00 Western – Photography Olive Cotton • •26.5.00 – 30.7.00 Western 12th Biennale of Sydney 200027.5.00 – 4.6.00 Aboriginal Reconciliation Exhibition: Sharing our Future3.6.00 – 9.7.00 Western – Contemporary Picinnini and Langton

1999/2000 TOURING EXHIBITIONSDate Exhibition Venue City/State Exhibition Title Attendance

Figures

3.7.99 – 15.8.99 Australian Centre for Contemporary Art Melbourne, Vic Modern Lovers – Bettina Rheims 3,6309.7.99 – 15.8.99 Moree Plains Regional Gallery Moree, NSW Archibald 1,828 *4.9.99 – 10.10.99 Newcastle Region Gallery Newcastle, NSW Archibald 14,202 *17.9.00 – 31.10.99 Ballarat Regional Gallery Ballarat, Vic Seeing Cézanne 6,3633.11.99 – 27.11.99 Griffith Regional Gallery Griffith, NSW Archibald 1,213 *26.11.99 – 6.2.99 Art Gallery of South Australia Adelaide, SA Jeffrey Smart 14,11510.12.99 – 6.2.00 George Adams Gallery, Victorian Arts Centre Melbourne, Vic Archibald 50,32910.3.00 – 21.5.00 Queensland Art Gallery Brisbane, Qld Jeffrey Smart 29,92117.5.00 – 30.6.00 National Portrait Gallery Canberra, ACT Sporting Portrait Prize, Archibald 21,8383.6.00 – 2.7.00 Albury Regional Gallery Albury, NSW Archibald 4,308 *10.6.00 – 6.8.99 Museum of Modern Art, Heide Bulleen, Vic Jeffrey Smart 8,000 *

*Tour organised in association with the Museums and Galleries Association of New South Wales

EXHIBITIONS

63

WHITELEY REGIONALTOTAL VISITORS TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS DOMAIN STUDIO TOURING

MONTH 1995/96 1996/97 1997/98 1998/99 1999/2000 1999/2000 1999/2000 1999/2000July 76,482 126,453 86,712 76,333 60,969 57,025 772 3,172August 76,296 150,593 79,541 65,489 57,015 53,956 773 2,286September 92,321 75,816 67,863 43,356 77,132 67,624 948 8,560October 90,166 90,945 76,853 48,226 86,532 73,658 869 12,005November 106,412 81,647 74,083 58,774 56,432 53,710 639 2,083December 84,397 59,312 62,639 152,012 98,737 72,714 192 25,831January 125,541 124,466 109,782 220,369 151,067 119,281 1,147 30,639February 113,702 125,980 116.724 182,183 127,839 119,727 988 7,124March 122,702 81,649 102,436 92,777 97,926 84,072 1,354 12,500April 102,548 92,476 100,478 100,271 90,537 80,515 803 9,219May 75,425 136,228 98,402 71,583 72,115 56,531 502 15,082June 89,031 85,875 100,037 56,943 88,853 60,980 607 27,266

TOTAL 1,155,216 1,231,440 1,075,550 1,168,316 1,065,154 899,793 9,594 155,767

VISITORS

Visitors 1995/96 to 1999/20000

PAID EXHIBITIONSPROGRAMME FOR 1999/00 MONTH(S) TOTALRockefeller (part) July – Aug 8,472Indonesian Gold (part) July – Aug 4,409Jeffrey Smart Aug – Oct 55,171M’angelo to Matisse Nov – Jan 124,312Archibald 2000 Mar – May 63,849Fragrance Space May – June 6,239

TOTAL 262,452

PREVIOUS YEAR TOTALS COMPARISONS

1992/93 748,455

1993/94 914,785

1994/95 988,527

1995/96 1,155,216

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SPONSORSHIP AND PHILANTHROPY

• A one-off initiative to highlight theunique sporting focus in 2000 waspresented with cash and promotionalsupport from the Daily Telegraph, asprincipal sponsor. The 2000 SportingPortrait Prize of $20,000 waspresented in conjunction with theannual Archibald, Wynne andSulman prizes.• Continued support for the 2000Archibald, Wynne and Sulman Prizescame from Colonial, principalsponsor for the past 10 years. • The 4th Annual GuinnessContemporary Art Project, entitledVoiceovers, focused on videoinstallations by four internationalwomen artists who explored shiftingidentities across culture and region.This year also marked the inauguralGuinness Contemporary Art Prize,which was awarded to encourageexcellence in screen-based works byyoung art students in New SouthWales. The prize of $5,000 was thefirst of its kind in Australia andattracted over 40 entries.• ABN AMRO Rothschild’s invaluablesupport for Australian art at theGallery continued in 1999, climaxingin the immensely successful JeffreySmart exhibition, which also touredinterstate, providing substantialbranding and exposure for thesponsor, as well as opportunities forcorporate entertaining.• Generous support for the Galleryfrom Qantas continued in 1999/2000with ongoing sponsorship of theYiribana Gallery, as well asinvaluable support with freight andpassenger transport in associationwith the major exhibition,Michelangelo to Matisse: Drawingthe Figure.• JCDecaux, international streetfurniture supplier, provided high-exposure advertising for JeffreySmart and Michelangelo to Matissethrough their Citylight poster sitesthroughout Sydney and SouthSydney. • Cody Outdoor also providedinvaluable advertising support withthe allocation of a number of giantbillboard ‘supersites’ for both theJeffrey Smart and the Michelangeloto Matisse exhibitions.

• Once again, the Hotel Inter-Continental Sydney providedaccommodation support through theyear, as well as a very successfulprogramme of luncheons, The ArtCollection Series. These luncheons,provided an opportunity to hear froma wide range of guest speakers,including curators, artists, dealersand specialists, and discover moreabout the Gallery’s major exhibitions.• One of the Gallery’s long-termcorporate partners, Louis VuittonAustralia, hosted a dinner for specialbenefactors on 22 February 2000, inconjunction with the Michelangelo toMatisse exhibition. This dinner alsoprovided an opportunity to farewellLouis Vuitton’s CEO, Julia King, whohas consistently supported theGallery for many years. • A new corporate partnership withArthur Andersen was launched attheir stylish Sydney premises on 19May 2000. Support commences in2001 for 3 years and will be for atouring exhibition: New Painting inAustralia• The overwhelming focus by thecorporate sector on the 2000 OlympicGames and restrictions of Olympicsponsorship agreements proveddifficult in the Gallery’s search fornew corporate partners forexhibitions for this period.

ART GALLERY SUPPORTERS

CENTENARY FUNDThe Centenary Fund was launchedon 24 February 2000. Its first projectis to build a new auditorium due tobe completed in 2001. Theauditorium is a critical facility for theGallery to fulfil its role as a forum fordiscussion and education.Centenary Fund patrons are anexclusive group. Membership islimited to 100 who have been invitedto contribute $100,000 each over aspecified period of time.Centenary Fund Patrons: Alex & VeraBoyarsky, Jillian Broadbent and OlevRahn, David & Michelle Coe, KennethColes & Rowena Danziger, JennyFerguson, David Gonski, In memoryof Aida Gordon, Peter & SharonIvany, Peter Joseph OAM, AnneLanda, Geoffrey & Deborah Levy,

Elizabeth Longes, John & JaneMorschel, Mrs Kerry Packer, John LSharpe, Brian Sherman, GeneSherman , Geoffrey Susskind, OrliWargon.

PRESIDENT’S COUNCILThe President’s Council wasestablished under the auspices ofthe Board of Trustees to further thetradition of corporate partnershipand patronage of the Gallery. It isheaded by the President of theBoard, Mr David Gonski andmembership is by invitation only. Thefollowing companies are representedby their chief executives:-Mr Peter Young – ABN AMRO, MrDavid Baffsky – Accor Asia Pacific,Mr Roger Allen – Allen &Buckeridge, Mr Chris Knoblanche –Arthur Andersen & Co, Mr Michael Rollo – Australian WaterServices Pty Ltd, Mr Rob Ferguson –BT Financial Group Limited, Mr ChrisAnderson – Cable & Wireless Optus, Mr Pierce Cody – Cody OutdoorAdvertising, Mr Peter Smedley –Colonial Limited, Ms Deeta Colvin –Colvin Communications International,Mr Ken Borda – Deutsche Bank AG,Mr Bruce Cutler – FreehillHollingdale & Page, Dr Ken Moss –Howard Smith Limited, Mr Greg Daniel– Issues & Images Group Pty Ltd, Mr Peter Ivany – Ivany InvestmentGroup, Mr Fred Hilmer – John FairfaxHoldings Limited, Mr Gregg Johnston– JP Morgan Australia Limited, Mr Roy Woodhouse – Knight FrankAustralia, Mr Daniel Gauchat –Korn/Ferry International, Mrs JuliaKing – Louis Vuitton Australia Pty Ltd,Mr Neville Miles – MTM FundsManagement Ltd, Mr Chris Gorman –Ord Minnett Group Limited, MrJames Strong – Qantas AirwaysLimited, Mr Rick Lee – RothschildAustralia, Mr Guido Belgiorno–Nettis– Transfield Pty Ltd, Mr PeterBrutsche – Warburg Dillon Read

COLLECTION BENEFACTORSASIAN COLLECTION BENEFACTORSPeter M Elliot

AUSTRALIAN COLLECTIONBENEFACTORSLou Klepac

CONSERVATION COLLECTIONBENEFACTORSJames Agapitos, Mathew Alderson,Sidney Anderson, Sam and SusanBallas, Lynette Bignill, ProfessorMichael and Dr Jenny Birt, HelenBooth, Donald Booth, Edward &Susan Bosch, Paul Bramble, CandiceBruce, Elizabeth Callanan, Adrianand Evan Cardiacos, J Cashmere,Maurice Cashmere, Licia Cattani,Christie’s Australia, John &Rosemary Clarke, Colliers Jardine,Joan Connery, Elaine Coote, J CCorkill, Cranbrook School, JohnCruthers, D E A Investments Pty Ltd,John & Jan Doherty, SuzanneDougall, Stella Downer, J Dwyer,Chaise Eaton, Peter Elliott, SonyaEverett, Gwen Frolich, Donald andRosita Gibson, Robert Gould, Neville& Margot Gruzman, Dr Earle Hackett,Diana & Ken Handley, Jane Hardy, DrElizabeth Hazel, Sue Hewitt, JeffreyHinde, Winifred Hinds, Michael andDoris Hobbs, Ejvind Hoholt, FraserHopkins, Robyn Hutcherson, AngelaIsles, Elizabeth Isles, PamelaJennings, May Kavanagh, SuzanneKelly, Ray & Diana Kidd, Jill Kloster,Len Kritharides, Fay Lansley, AnnetteLarkin, Dr Colin & Mrs ElizabethLaverty, Audrey Laycock, Mr & Mrs ILaycock, Sonia Laycock, KarinLemercier, Kevin Lemercier, Dr Frankand Mrs Martha Lucas, Tamp Lynam,Joan Mackenzie, Jennifer J Manton,Melissa Manton, Joy & HaroldMarchant, H Marek, Robyn & MitchelMartin-Weber, Christopher May, TimMcCormick, Justin Miller, ThereseMulford, Michael and DorisMusgrave, Faye M Parker, M Parker,Mr and Mrs John Parker, Michael &Fiona Pascalis, Patricia Pemberton,Penelope & Will Penfold, Mrs H & MrG Pennefather, David Pfanner,Patricia Pfanner, E Prevedoros,Richard Rawle, Dr Collette ERayment, Kenneth R Reed, Brain LRegan, Beverley M Reid, JosephineRevai, Margaret Robertson, JewellRobinson, Rose Bay Family MedicalCentre, Margaret Rose, Dr & MrsRozenberg, Mrs A S Saducas,Barbara Sanders, Greg & ElizabethSanderson, Max & Alison Sandow,Peter & Christa Satouris, John &

65

Juliana Schaeffer, Jan & SimonSheller, Elizabeth Sheppard, Eve &Michael Silver, Mira Simpson, SirWilliam Dobell Art Foundation, RossSmall, Sotheby’s, Vicki Stait, Davod &Nikki Stein, Goldie Sternberg, Bruceand Allene Symonds, E H Thomas,Lindsay Thompson, Judy Twigg,Diana & Samantha Walder, Des &Carolyn Ward, Jean Ward, SuzanneA R Waterhouse, Michael Whitworth,Ray & Diana Wilson, Robin Wilson,Donna Woodhill

EUROPEAN COLLECTIONBENEFACTORSMr & Mrs Binnie

LIBRARY COLLECTIONBENEFACTORSMr and Mrs Binnie, Licia Cattani

PHOTOGRAPHY COLLECTIONBENEFACTORSJohn Alexander, Kate Armati, RichardBailey, Graham Beirman, AnthonyBertini, Tony Bond, G Bradley, CherylCollins Design, Mr K G Coles, PatrickCorrigan, F Cress, Sally Dan-

Cuthbert, Robert J Dein, FabricScouts Pty Limited, Paul and SandraFerman, Freedman Foundation, JohnFrey, Getty Images, Stephen Grant,David Greatorex, G & L Green,Amanda Harkness, Lachie Hill,Idorod Pty Ltd, Naomi Kaldor, RichardKing, Charles Latimer, Josef &Jeanne Lebovic, Amanda Love,Martin Browne & Associates, MatrixFinance, Drew Metcalfe, RussellMills, David Moore, Janet Oakley,Lisa Paulsen, Photo Technica PtyLimited, Bridget Pirrie, Philip &Elizabeth Ramsden, Reg Richardson,

Annie Ross, Worling Saunders,Penelope & Harry Seidler, LisaSimons, John Swainston, TheAustralian Financial Review, Michaeland Eleanora Triguboff, J S Walton,Ivan Wheen, Ron & Robin White,Young & Rubicam

GRANTSAustralia Council; University ofWestern Sydney; Gordon DarlingFoundation; Ministry for the Arts.

EEO STATISTICS

REPRESENTATION OF EEO GROUPS WITHIN SALARY LEVELS(as at 30 June 2000)

Total Staff Respondent Men Women Aboriginal & Torres People from People whose People with a People with a (number) Strait Islander People racial, ethinic, language first disability disability requiring

Ethno-religious spoken as a child adjustment at workminority groups was not English

Below $26,276 0 0% 0% 0% 0% 0% 0% 0% 0%$26,276 – $38,582 122 90% 51% 49% 3% 24% 17% 1% 0%$38,582 – $48,824 38 95% 42% 58% 3% 29% 26% 3% 0%$48,824 – $63,138 41 100% 34% 66% 5% 22% 22% 0% 0%Greater than $63,138 18 100% 56% 44% 0% 22% 17% 0% 0%(non-SES)SES 1 100% 100% 0% 0% 0% 0% 0% 0%

Total 220 94% 47% 53% 3% 24% 20% 1% 0%

REPRESENTATION OF EEO GROUPS BY EMPLOYMENT BASIS(as at 30 June 2000)

Total Staff Respondent Men Women Aboriginal & Torres People from People whose People with a People with a (number) Strait Islander People racial, ethinic, language first disability disability requiring

Ethno-religious spoken as a child adjustment at workminority groups was not English

Permanent Full-time 147 99% 61% 39% 3% 27% 22% 1% 0%Permanent Part-time 12 100% 17% 83% 8% 8% 8% 0% 0%Temporary Full-time 11 100% 45% 55% 0% 27% 27% 0% 0%Temporary Part-time 16 94% 19% 81% 6% 38% 38% 0% 0%SES 1 100% 100% 0% 0% 0% 0% 0% 0%Casual 33 70% 9% 91% 3% 9% 3% 0% 0%

Total 220 94% 47% 53% 3% 24% 20% 1% 0%

STAFF PROFILEAverage over 12 months

30/6/98 30/6/99 30/6/00Building and Security Services 65 58 63Curatorial Services Staff 42 42 42Curatorial Staff 24 26 26Exhibitions / Display 19 19 19Corporate Services 20 19 19Commercial Services 13 14 15Marketing 9 8 9

Total 192 186 193

66

Chiaki Ajioka, (Curator, Japanese Art)‘Reception of Japanese art inAustralia’ [text in Japanese] DO

-MO:

Australia Living Handbook[Japanese language publication], 15Jan 2000, Moshi-Moshi PagesAustralia Pty.Ltd., Sydney, p.230.Lecture for Fine Arts students,Sydney University, at the JapanGalleryTwo lectures for the Academy ofDecorative Arts on Japaneseceramics

George Alexander (PublicProgrammes)Lecture on Photography into theNext Millenium, Sotheby’s, October1999Review of work by Denis Mizzi inAbaddon Magazine, Sydney 1999Catalogue Essay: "The Last Museum",Geneva, Switzerland (On EugeniaRaskopoulos, Peter Lyssiotis andRichard Colville’s Photographs) 1999Essay "Pull the Mandrake, NeverMind the Shrieks", Heat 11,International Journal 1999Review of Tina and Oliver Strewe,(East Gallery, Clovelly) exhibition inWentworth CourierKeynote Lecture at University ofSydney Conference on ConnectingFlights, Australian Art in Transit, 1999Lecture at Hazlehurst RegionalGallery on Contemporary Art, 2000Essay on Installation Art for OTEN(Open Training and EducationNetwork), 2000Lecture at Rozelle Writers’ Centre onIrish Culture, 2000Reading at 700th Anniversary ofDante’s Divine Comedy, Great Hall,University of Sydney, 2000Paper delivered at Span Galleries onThe power of the media inContemporary Art (with MarciaLangton, Nikos Papasteriadis)

Judy Annear (Senior Curator,Photography)‘Tracey Moffatt’ ARCO noticias 15,Spain, September 1999‘Yasumasa Morimura’ TAASA ReviewFebruary 2000.Lecture at the Centre forContemporary Photography,Melbourne, October 1999. The samemonth she judged the NationalPhotographic Award, AlburyRegional Art Centre, October 1999;Delivered a paper on ‘Australia’scultural activities in the Asia Pacificregion’ ARCO, Madrid, Spain, February 2000

Richard Beresford (Senior Curator,European Art pre 1900)A revised edition of Anthony Blunt,Art and Architecture in France1500–1700. Yale University PressTaught a semester course andconducted tutorials at the Universityof Sydney.

Anthony Bond (Head Curator,International Art) Working on final draft of Doctoralthesis and book at Sydney University.Metaphors of the earth, a paper tobe included in a catalogue forBroken Hill Regional Gallery in July2000 and published on the web byNewcastle University. Editor and contributor of TRACE thecatalogue for Liverpool Biennial ofContemporary Art, UK publishedSept. 1999.Article on TRACE, Liverpool Biennial.ARCO Noticas No. 15 Sept. 1999 Paper written for Symposium, TRACESept 1999.To be pub. by CAIR, JohnMoores University. Interview Published in ARCO NoticasNo. 16 Introduction to catalogue of Gradshow Newcastle University Dec.1999Presentation/representation andRealising TRACE (a curatorialreflexion). Two papers presented atAAANZ AGM, Wellington NZ, Dec.1999.Devised and chaired a forum Surfingthe International at ARCO 2000 inMadrid 13/2/00Joseph Beuys a paper for PostGraduates at Newcastle University21/3/00TRACE a paper for Undergraduatesat Newcastle University 22/3/00Metaphors of the earth, a paperpresented at Broken Hill RegionalGallery 11/4/00 Interpretation/(re)presentastion: totheme or not to theme. MoS Lectureto Education Department curriculumgroup Member of the executive committeeof AAANZ.Industry Partner and investigator fora major ARC project (SPIRT) inconjunction with University ofSydney, Macquarie University andNAVA.Chairman of the Australian Centre forPhotography, Committee member of ARCO 2002Committee with Australia CouncilAudience DevelopmentProgramme.

Member of Advisory Committee toCity of Sydney Sculpture Walk.Assessor for ARC grants, Fine Arts.Member of Bundanon TrustResidency committee.Member of the InternationalHonorary Committee of Constructionand Process VII Poland 2000.Member of academic advisorypanels to: Uni of NSW, COFA ArtHistory and Theory, UWS NepeanArt History and Theory, Member of the University ofNewcastle Faculty of Arts GalleryCommittee.Member of Advisory panel for ISISArt and Science conference Sydney2001, through COFA NSW University.Advised Taree Regional Gallery oncollection policy and establishmentof a committee.Opened Newcastle Grammar annualart exhibition 28/10/99Judged Pacific Palms Art Festivalaward 29/10/99Received inaugural Power Bequestaward for best book of art historyand criticism in 1997. Awardedthrough AAA for BODY the catalogueof the exhibition at AGNSW. 4/12/99Opened Newcastle University Gradshow 1/12/99.Judged Newcastle Show artexhibition and present speech for theLaunch 28/2/00Opened Newcastle UniversityPostgrad show 22/3/00.Introduced the Launch of AAANZjournal at AGNSW 26/3/00Delivered address at John Davisposthumous exhibition RobertLindsay Gallery Melbourne 2/3/00Judged Wangi Wangi art prize andopen WW Festival of art and craft.5/4/00Judged Taree sculpture commission2/6/00Opened John Cattapan exhibitionTaree 2/6/00

Jesmond Calleja (Registrar,Cataloguing and Documentation)‘The Registrar and GST’, AustralianRegistrars Committee newsletterNo 33, Winter Issue, June 2000.‘Delivering Documentation: Changingthe Face of audience participation’Register, The United KingdomRegistrars Group newsletter, Vol. V,Issue 2, Spring 2000, 6–7.Presented paper ‘The law in one day:a closing summary’, and Chairedsession, ‘Australian Customs,Natural Science Collections and theWildlife Protection Act’, Australian

Registrars Committee seminarLegislation, Litigation and Lust:Museums and the Law, NationalGallery of Australia, 12 August 1999

Deborah Edwards, (Curator,Australian Art)Introduction for monograph on thework of Barbara Tribe to bepublished in December 1999.

Jo Foster, (Museums Educator)Lecture on Asian Art, University ofWestern Sydney.Presented paper at National NetworkMeeting of Museums Educators atNational Gallery of Victoria.Presented lecture on ARTEXPRESSto members of Museums AustraliaEducation Group.Opened Masada Annual ArtExhibitionJudged St. Patrick’s College annualstudent art exhibition.Member of Art Education SocietyMember of Museums AustraliaEducation Group

Liz Gibson, (Public Programmes) Judged Royal Easter Show artcompetition 5–12 yearsTrustee for the William Fletcher Trustproviding grants for NSW ArtStudents.

Hendrik Kolenberg (Senior Curator,Australian Prints, Drawings &Watercolours)‘Drysdale’s drawings’ in RussellDrysdale exhibition catalogue,Lawrence Wilson Art Gallery, Perth,August 1999‘Introduction’ Robert Barnesexhibition catalogue, Philip BaconGalleries, Brisbane, July 1999‘Introduction’ 1999 National Workson Paper Awards exhibitioncatalogue, Mornington PeninsulaRegional Art Gallery, November 1999Spoke to Berrima District Art Society,Bowral on Lloyd Rees’ drawings. Opened an exhibition of DavidFairbairn’s drawings at Mary PlaceGallery, September 1999Spoke at the Lloyd Rees MemorialYouth Award, Lane Cove CouncilChambers, May 2000Spoke on ‘Portraiture’ as part of Upfront, Australian artists at war exhibitionby the Australian War Memorial, atMosman Art Gallery, SydneySpoke at the ‘Wind and water’concert, Bathurst Regional ArtGallery in December 1999Judged the Crows Nest Art Prize

STAFF PUBLICATIONS, PRESENTATIONS

AND RELATED ACTIVITIES

67

On judging panel of MorningtonPeninsula Regional Art Gallery‘National Works on paper’ awards inOctober and November 1999On judging panel of the David BrianWilson Award at the Julian AshtonArt School, and advisor to theBathurst Regional Art Gallery on thepurchase of paintings and drawingsby David Brian Wilson for itscollection and its forthcomingretrospective on his workReader for Anna Gray, Editor of theDonald Friend Diaries, NationalLibrary of Australia, Canberra; alsofor forthcoming book on HectorGilliland by The Beagle Press, Sydney

Victoria Lynn, (Curator ofContemporary Art)Bill Seaman, Telstra AdelaideFestival, Adelaide, 2000Rosemary Laing, Australian Centrefor PhotographyLecture, Bill Seaman, TelstraAdelaide Festival, Adelaide, 9 March,2000 as part of Verve The OtherWriting forum.Judge, Helen Lempriere Traveling ArtScholarshipAdvisor to the Adelaide Festival,Adelaide Biennial program.Chair, Board of Directors,Performance Space, Sydney.PhD candidate, part time, College ofFine Arts, Art History TheoryDepartment

Ann MacArthur, (Coordinator, AsianProgrammes)Editor, TAASA Review: The Journal ofThe Asian Arts Society of AustraliaLecturer, Australian Academy ofDecorative ArtsPresented workshop, Textile StudyGroup of The Asian Arts Society ofAustraliaJudged Mosman Youth Art PrizeMember of Management Committee,The Asian Arts Society of AustraliaSecretary, Australian Institute ofEastern Music

Jackie Menzies (Head Curator,Asian Art)Lectured in the Arts of Asia series runby the Centre for Asian Art Studies, toa visiting group from Taiwan, to variouscommunity groups (including tertiarystudents), and to the Gallery guides. President of The Asian Arts Societyof Australia.Member of the Board of Directors ofVisAsia.Member, Nicolson MuseumCommittee and Morrissey BequestCommittee, University of SydneyJudged Sculpture by the SeaSupervisor for post-graduatestudents theses.Opened various exhibitions at publicand commercial galleries, forexample the Oriental CalligraphySociety's annual exhibition atChatswood.

Barry Pearce (Head Curator,Australian Art)Entry on David Strachan forAustralian Dictionary of Biography, tobe published shortly.Speech to commemorate re-siting ofTom Bass sculpture at Mirvac Hotelbuilding, Circular Quay, 18 August.Lecture on Arthur Boyd inconnection with Arthur Boyd StudyDay (with memorial), to Australianand Decorative Fine Arts Society,Shoalhaven, at Riversdale, 21August.Opened Westpac–Redlands Art prize,Mosman Art Gallery, 9 September.Talk on William Dobell for ABC RadioNational, 23 September.Tour of Australian collection andSydney commercial galleries withvisiting American academic JoachimPissarro, 18 and 22 October.Introduced Art Gallery Societymembers’ tour to Westpac Bank artcollection, 27 October.Public talk and tour of Favouritesexhibition, S.H. Ervin Gallery, 30 January.Public talk and tour of Nudesexhibition, Brett Whiteley Studio, 5 March.On judging panel for Brett WhiteleyTraveling Art Scholarship,September; Sydney UniversitySchools prize, October.One of the judges for Salon desRefusées exhibition, S.H. ErvinGallery, 12 March.Member of Advisory Committee, S.H.Ervin Gallery, National Trust.Consultant to Banknote designcommittee, Reserve Bank of Australia.

Rosemary Peel (Conservator, Workson Paper)Infrared Imaging and the Use of theInfrared Vidicon for the Examinationof Works of Art on Paper, Workshop,22nd March, NGA.(With Sun Yu) 'The Vision of theEmperors' First National Symposiumon Conservation of Paper, Books andPhotographic Materials, AICCM.March 23rd–25th, NLA.

Hetti Perkins, (Curator of Aboriginaland Torres Strait Islander Art)‘Judy Watson’ and ‘Emily KameKngwarreye’ Home and Away:Contemporary Australian and NewZealand Art from yhe ChartwellCollection. Auckland Art Gallery Toi o Tamaki, 1999

Ursula Prunster (PublicProgrammes)Lecturer on Art Gallery Society tourto Paris, 1999Research visit to Belle–Isle, Brittany.

Peter Raissis (Assistant Curator,European Art pre 1900)Interviews for radio, television andprint media relating to Michelangeloto Matisse:Drawing the Figureexhibition in November.

Delivered lectures at SydneyUniversity on David and the Art ofthe French Revolution and OldMaster Drawings: Technique andFunction.Delivered lecture at University ofWestern Sydney, Nepean onCurating an exhibition of Manneristworks in Australia.Conducted tutorials for SydneyUniversity Art History students basedon paintings in the European andBritish pre-1900 collection.

Anne Ryan (Assistant Curator,Australian Prints, Drawings &Watercolours)‘Sydney’s mermaid’ Look August 1999pp.20–1, 35‘The new gravure in Australia; S WHayter and the early prints of EarleBacken’ Imprint volume 34 number 3(December 1999) pp.7–8‘Wendy Sharpe’s murals for the Cookand Philip Park Pool’ in DeborahMalor and Heather Johnson (Eds.)The un-illustrated proceedings of‘Watch this space, a conference onpublic art’ Sydney: AustralianJournal of Art, 1999Joan Kerr and Jo Holder (Eds.) PastPresent, the national women’s artanthology Sydney: CraftsmanHouse, 1999 (‘Exhibition venues’pp.136-158 and ‘Appendix’ pp.198-210)‘Wendy Sharpe’s Annette Kellermannmurals at Cook & Phillip Park, Sydney’at Art Association ‘Watch This Space’conference on public art, NewcastleUniversity, 4–5 September 1999Opened Limited editions, printsinspired by William Blake 20November – 4 December 1999, Ku-ring-gai Art Centre, Sydney on 20 November 199914 April 2000 Lecture and tutorial toSydney University M.A. students onprintmaking techniques 28 May 2000 Floor talk at S H ErvinGallery, Sydney on ‘Violet Teague’sprints and Night fall in the Ti Tree’ inconjunction with the Violet TeagueRetrospectiveCommittee member of the SydneyInternational Works on Paper Fair1999; co-judge and responsible forhanging the ‘Emerging artistsexhibition’ at the fair.

Brian Ladd (Head PublicProgrammes)Radio interviews with 2BL, S2M,2SER, SMBS, SRE, including fortnight2BL morning program and live 2BLArchibald Prize broadcastJudged: Mosman Regional GalleryYouth Art Award, Operation Art,Royal Agricultural Society of NSWCommittee member for Bachelor ofVisual Arts and Design Course,Australian Catholic University.

Malgorzata Sawicki (Conservator,Frames)‘Caring for your Gilded PictureFrame’, Melbourne Journal of

Technical Studies in Art, TheUniversity of MelbourneConservation Service, 1999.‘Research into Alternative Mat WaterGilding Technique Using StableSynthetic Polymers’, a lecture at the1999 AICCM National Conference,Sept., Chairman of the Gilded ObjectsConservation SIG session.‘Further Research into AlternativeMat Water Gilding Technique UsingStable Synthetic Polymers,’ lecturefor Master of Applied Science(Materials Conservation) course,University of Western SydneyNepean, Nov. 1999.2 Lectures for the students of theMaster in Art History course, SydneyUniversity AGNSW, March & May1999.‘The Visit of the Queen of Sheba toKing Solomon’ by Edward Poynter,1884-1890. The frame revisited.’Conservator of the Year lecture forthe AICCM members delivered on therequest of the NSW AICCM Council,AGNSW, 11 April.Awarded The 1999 Conservator ofthe Year Award – received at the1999 AICCM National Conference,Sydney, Sept.Graduation with Distinction from theMaster of Applied Science(Materials Conservation) Course,University of Western SydneyNepean, April 2000.Research into alternative mat watergilding techniques using stablesynthetic polymers – PhD researchproject, University of WesternSydney Nepean.

Haema Sivanesan (Coordinator,Centre for Asian Art Studies)‘The body in Hindu art: a Chandelladynasty image of Vishnu at the ArtGallery of New South Wales’ Art inEducation 1999–2000, vol.19 Sydney:Art Education Society of NSW.‘Woman as erotic motif: translatingHindu images of the feminine’ paperfor the conference Sexualities,Masculinites and Culture in SouthAsia, Deakin University, Melbourne.July, 1999‘The female image as the ornament ofthe Hindu temple’, an informal talk forThe Asian Arts Society of Australia,Victorian chapter. July, 1999.Member, Management Committee,The Asian Arts Society of Australia

Wayne Tunnicliffe (Curator,International Art)Chair Australian PerspectaConsortium. 1999.Connecting Flights, contemporaryAustralian art – lecture, AGNSW,November 1999Flow, contemporary electronic mediaart – Co-curator, National Gallery,Kuala Lumpur, March 2000Curatorial Internship, Tate Gallery,London, April – July 2000Australia Council ProfessionalDevelopment Grant

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STAFF LIST

DIRECTOR Edmund Capon A.M., M. Phil.

EXECUTIVE ASSISTANTMargaret McLenaghan

CURATOR EXHIBITIONSTerence Maloon B.A. (Hons), Dip. Art & Design

GENERAL MANAGER CURATORIAL SERVICESAnthony Bond B. Ed. (Hons)

CURATORIAL SERVICES COORDINATORMichael Wardell B. A.

STUDY ROOM COORDINATORDenise Mimmocchi B.A. (Hons)

SENIOR CURATOR EUROPEAN ART, PRE-1900Richard Beresford B.A. (Hons) MBA PhD

ASSISTANT CURATOR EUROPEAN ART, PRE-1900Peter Raissis B.A. (Hons)

CURATOR CONTEMPORARY ARTVictoria Lynn B.A. (Hons), M.A. (Art Admin)

ASSISTANT CURATOR, CONTEMPORARY/WESTERN ARTWayne Tunnicliffe B.A. (Hons) M.A., M. Art Admin

ASSISTANT REGISTRAR (CATALOGUING & DOC.)Judy Peacock B.A., Grad. Dip. App. Sc., M. Art Admin

PROJECT OFFICERNatalia Bradshaw B.A.

SENIOR CURATOR PHOTOGRAPHYJudy Annear B.A.

HEAD CURATOR ASIAN ARTJackie Menzies, B.A., (Hons), M.A.

CURATOR JAPANESE ARTChiaki Ajioka B.A., M.A, PhD

CURATOR CHINESE ARTYang Liu B.A., M.A., PhD

ASIAN PROGRAMMES COORDINATORAnn MacArthur B.A., MIM

ASSISTANT CURATORHaema Sivanesan B.Arch. (Hons)

PROJECT OFFICERAkiko Takesui

PROJECT OFFICERKathryn Gfeller Dip. Fine Arts

PROJECT OFFICERHsieh Shihying B.A.,M.A.

HEAD CURATOR AUSTRALIAN ARTBarry Pearce Dip. Art Ed.

CURATOR AUSTRALIAN ARTDeborah Edwards B.A. (Hons), M. Phil.

ASSISTANT CURATOR AUSTRALIAN ARTVivienne Webb B.A. (Hons)

ASSISTANT CURATOR AUSTRALIAN ARTHelen Campbell B.A. (Hons), Grad. Dip. MuseumStudies

SENIOR CURATOR AUST. PRINTS ANDDRAWINGS Hendrik Kolenberg Dip. Ed.

ASSISTANT CURATOR AUST. PRINTS ANDDRAWINGS Anne Ryan B.A. (Hons), M. Art Admin.

PROJECT OFFICER Natalie Wilson B.A. (Visual Arts)

CURATOR ABORIGINAL AND TORRES STRAITISLANDER ARTHetti Perkins B.A.

ASSISTANT CURATOR ABORIGINAL & TORRES STRAIT ISLANDER ARTKen Watson B.A. (Hons)

COORDINATOR OF ABORIGINAL PROGRAMMESAngela Martin B.A, Dip. Ed.

HEAD LIBRARIANSusan Schmocker B.A., Dip. Lib.

TECHNICAL SERVICES LIBRARIANKay Truelove B.A., Dip Lib.

LIBRARIANRobyn Louey B.L. Arch, Grad. Dip. IM (Lib)

LIBRARY TECHNICIANVivian Huang Assoc. Dip. Arts

ARCHIVISTSteven Miller B.A. (Hons), B. Theol., Grad. Dip. IM(Arch)

HEAD PUBLIC PROGRAMMESBrian Ladd Dip. Fine Art, Dip. Ed.

MUSEUM EDUCATOR (CURATOR – SPECIALPROJECTS)Ursula Prunster B.A. (Hons), M.A.

MUSEUM EDUCATOR (COORDINATOR PROGRAMMES)Liz Gibson B.A. Ed, M.A. (Art Admin)

MUSEUM EDUCATOR (SECOND IN CHARGE)Jonathan Cooper Dip. Art Ed.

MUSEUM EDUCATOR(TERTIARY/CONTEMPORARY ART)George Alexander B.A. (Hons)

MUSEUM EDUCATOR (SECONDARY SCHOOLS)Jo Foster B.A., Dip. Ed.

MUSEUM EDUCATOR (PRIMARY SCHOOLS)Jennifer Keeler-Milne B. Ed., Grad Dip Fine Arts,M.A. (Art Admin)

EDUCATION OFFICERBronwyn Clarke–Coolee Dip. Teaching M.V.A

CLERICAL OFFICERJoan Radkevitch

BOOKINGS OFFICERTingan Emery B.A. (Comm)

Art Gallery Society Scholarshipawarded.Michael Wardell (Coordinator ofCuratorial Services)‘EAST(augh), WEST, NORTH &SOUTH’ Stephen Eastaugh,Antarctica Lonely Planet, Melbourne2000 (pp. 3–7)Officially opened exhibition, SkinCulture, Tin Sheds Gallery, Universityof Sydney. Sept. 1999Chaired workshops at RegionalMuseums & Galleries Conference,From Local to Global – Distinctivenessand Diversity Oct. 1999.Presented paper ‘Minimalism andminimal tendencies in photography’and Chaired ‘Artist’s Forum’: MinimalSeminar presented by AustralianCentre of Photography and theUniversity of NSW at COFA, May 2000.Launched Index & Source, two artist’s

books by Debra Phillips, PublishedArt, Sydney, June 2000.Member of the Cultural InstitutionsRegional Outreach Committee.External Masters assessor, COFA, TheUniversity of NSWMember of judging panel for theMoya Dyring Studio & Dr DeniseHickey Memorial Studio, CitéInternationale des Arts, Paris. Member of the Judging panel for TheBasel and Muriel Hooper Scholarship.Member of the Judging panel for TheEliot Gruner Prize.Planning Committee for RegionalMuseums & Galleries Conference,True Stories – Celebratingdistinctiveness and diversity inmuseums and galleriesPlanning Committee for AAANZ, NSWChapter, Conference, ConductingBodies: Affect, Sensation & Memory

Ken Watson (Assistant Curator ofAboriginal and Torres Strait IslanderArt)Review – ‘Flesh and Blood A SydneyStory – A Polylogue of theImagination’, Australian and NewZealand Journal of Art Vol. 1 No. 1Jan. 2000 (With Bronwyn Bancroft) ‘Boomalli:Fact or Fantasy: You Decide!’ ArtlinkVol. 20 No.1. 2000

69

BOOKINGS OFFICER/SLIDE LIBRARIANMeredith Williams B.A.

COORDINATOR BRETT WHITELEY STUDIOBarbara Konkolowicz B.A. Dip. Ed.

AUDIO-VISUAL COORDINATORS Laurence Hall B.A. (Com), Alex Smythe B.A. (Vis Arts)

HEAD OF CONSERVATIONAlan Lloyd

ASSISTANT CONSERVATORMathew Cox

ASSISTANT CONSERVATOR, MOUNT CUTTINGBill Lamont

CONSERVATOR, PAINTINGSStewart Laidler Dip. Con

ASSISTANT CONSERVATOR, PAINTINGSPaula Dredge B. App. Sc. (Con), B.A. (Fine Arts)

CONSERVATOR, WORKS ON PAPERRosemary Peel B.A. (Fine Arts)

CONSERVATOR, OBJECTSDonna Midwinter M.A. Applied Science (Con) Dip.Museum Tech.

CONSERVATOR, OBJECTSJolanta Grzedzielska, M.A. (Cons)

CONSERVATOR, FRAMESMalgorzata Sawicki B.A.

ASSISTANT CONSERVATOR, FRAMESBasia Dabrowa M.A. (Con)

CONSERVATORDavid Butler

CONSERVATOR ASIAN ARTSun Yu B.A. (Art History)

ASSISTANT CONSERVATOR ASIAN ARTYang Yan Dong

HEAD REGISTRARLjubo Marun B.A. (Hons) PhD

REGISTRAR (STORAGE)Emma Smith B.A., Grad. Dip Decorative Arts

REGISTRAR (EXHIBITIONS)Ross Clendinning B. Ed.

REGISTRAR – CATALOGUE & DOCUMENTATIONJesmond Calleja B.A.

ASSISTANT REGISTRAR Susie Quinn B.A. (Fine Arts), Grad. Dip. Art History

ASSISTANT REGISTRARPeter Duggan B.A. (Fine Arts), M.A.

SENIOR PHOTOGRAPHERJenni Carter

PHOTOGRAPHERRay Woodbury

GENERAL MANAGER, BUSINESS DEVELOPMENT& MARKETING,Jane Westbrook B.A. (Hons), M.A.

PUBLICITY OFFICERSJan Batten, Claire Martin B.A. (Hons), Dip Marketing

TOURISM COORDINATORJanelle Prescott

VENUE MANAGERJames Vaughan B. Ec.

MARKETING COORDINATORKylie Wingrave B.A. (Vis Arts), B. Comm

COORDINATOR, FOUNDATION &PRESIDENTS COUNCILJane Wynter B.A. L.L.B.

BUSINESS DEVELOPMENT COORDINATORLeanne Primmer

WEEKEND COORDINATORJonquil Temple

BOOKINGS/INFORMATION OFFICERKerri Coombes

COORDINATOR GRAPHICSSarah Keogh B.A. (Hons)

PRINT COORDINATORLucy Pickworth

GENERAL MANAGER FINANCE & MANAGEMENT SERVICESRosemary Senn B. Comm., FCPA, MAICD Dip.

PROJECT OFFICERJackie Bullions

MANAGER ACCOUNTING & SYSTEMSRay Lovat

ASSISTANT ACCOUNTANTBernadine Fong B. Bus. (Banking & Finance)

PURCHASING & EXPENDITURE SUPERVISORMaria Gutzinger

ACCOUNTING CLERKViva Chelvaduria

ACCOUNTING CLERK (CASUAL)Merle Passmore

CLERICAL OFFICERGraeme Callaghan

MANAGER INFORMATION & TECHNOLOGYMaurice Cirnigliaro M. Bus Information Technology

MANAGER HUMAN RESOURCESDonna Grubb

HUMAN RESOURCES OFFICERGeorgina Pearce B.A.

MANAGER, MANAGEMENT SERVICES &STRATEGIC PLANNINGTrish Kernahan

ADMINISTRATION SERVICES SUPERVISORLouise Fischer B.A., M.A.

ADMINISTRATIVE SUPPORT OFFICERSAdrienne Vaughan-Smith Dip. Fine Arts,Deborah Spek, Nikki Young

COPYRIGHT SERVICES OFFICERCherith Devenish B. Juris., L.L.B., B.A.(Hons)

IMAGE REPRODUCTIONS OFFICERAlice Livingston B.Ed., M.A.

MERCHANDISING MANAGER GALLERY SHOPBrian Turner

ASSISTANT SHOP MANAGERGillian Williamson B. Sc.

SUPERVISORTony Whitmore B.A.

STOCK & SALES OFFICERSRita Briguglio, Bill Burke, Dot Kolentsis,Denise Faulkner B.FA, Cassandra Willis, Sandra Christie B.A. (Hons).Grad.Dip. Elec. Imag.

GENERAL MANAGER EXHIBITIONS ANDBUILDING MANAGEMENTAnne Flanagan Dip. Int. Design, Dip. Ed., Dip. Vis Arts.

EXHIBITIONS PROJECT REGISTRAR Anna Hayes

PROJECT OFFICERErica Drew

EXHIBITIONS ASSISTANTStefanie Tarvey

TICKETING SUPERVISORDiana Curtis

TICKETING OFFICERPrue Watson

MANAGER ENGINEERING SERVICESDon Alderson

MANAGER BUILDING SERVICESPhil Johnstone

MAINTENANCE OFFICERRob Schumacher

PLANT ASSISTANTJan Krycki

LIGHTING SUPERVISORJohn Powis.

INSTALLATION OFFICERSBrett Cuthbertson, Alan Jobson, John Freckleton, Nickoulas Rieth, John Robertson

STORES OFFICERSteve Peters, J.P.

SENIOR DISPLAY TECHNICIAN (CARPENTRY)Bill Viola

SENIOR DISPLAY TECHNICIAN (PAINTING)Michael Brown

DISPLAY TECHNICIANS (CARPENTRY)Ram Mudaliar, Gary Bennett

HEAD OF SECURITYGeorge Alamanos

DEPUTY SUPERVISORSJacques Michel, Jeff Browne

SENIOR GALLERY SERVICE OFFICERSJudy O’Neil, Peter Howlett, Frank Flores

GALLERY SERVICE OFFICERSHilarion Aldaba, J.P., Freddi Alam, Michael Bennet,Arthur Boucas, Alan Boyd, Kevin Callope, AnthonyCarricoglia, George Caruana, J.P., Camilla Cassidy,Steve Davies, Romeo Domingo, Tony Fletcher, Terry Forde, Christine Gracie, David Grech, CherylGross, Phillip Hill-Travis, Peter Humphreys, JanakKadian, B.A Nicholas Karydis, John Kavallaris,Craig Knott, Rayson Light, Ramon Lozada, JamilMati, Patrick McBride, Ray Nguyen, Trish Noonan,Bob Partridge, Peter Rawlins, Sharat Sharma,Jason Sipmson, Suzanne Slavec, Joan Standfield,Mary Thom, Peter Tsangarides, Jo Turner, CesareVetrisano, Russell Ward, Paul Woolcock, HeifenZhu B. Eng.

SECURITY OFFICERSTom Casey, Emilio Cruz, Peter Gray, David Paine,JP, Bob Pearce, Steve Pegrem, Brian Reynolds,Peter Rozario

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MISCELLANEOUS STATUTORY ITEMS

CODE OF CONDUCTThe Code of Conduct for the ArtGallery of NSW covers the areas of:

• Conflict of interest• Acceptance of gifts or benefits• Personal and professional

behaviour• Fairness and equity• Public comment and use of official

information• Use of official facilities and

equipment• Outside employment• Political participation• Gallery collections

It is planned to review the Code ofConduct during 2000–2001.

COPYRIGHTThe Gallery handles numerousimages every year that arereproduced in exhibition catalogues,education kits, promotional materialand shop merchandise. Developingmore of our exhibitions in-house hasalso brought increasingresponsibilities for ensuring copyrightclearance. The use of the Internetand electronic delivery of servicespose further challenges on copyrightissues that will need to be addressed. Proposed legislative changes tocopyright law will impact on the

Gallery's plans to interface our mainresearch database to our website.The Gallery has accordingly made asubmission to the FederalGovernment's Standing Committee onLegal and Constitutional Affairs thatis considering amendments to theCopyright Act (Digital Agenda Bill,1999).

ENERGY MANAGEMENTEnergy management included the useof environmentally friendly refrigerantgases in the major air-conditioningupgrade to reduce greenhouse gasemissions. Modified programs forbuilding management control systemwere introduced to reduce electricalconsumption, through increasedrates for electrical supply havenegated cost savings. Constantmonitoring and maintenance tuningto gas fired boilers have kept gasconsumption to projected levels,maintaining contracted usage with noadditional charges.

FREEDOM OF INFORMATIONThe Art Gallery received one formalrequest for information under theFreedom of Information Act 1989.The request was granted in full. Full Freedom on InformationStatement included as Appendix Q.

GST IMPLEMENTATIONPreparation for GST implementationinvolved training of staff and upgradeto systems to enable a smooth cut-over on 1 July. All registrations forGST and related tax reforms wereundertaken on behalf of Galleryentities. The Art Gallery will submit itsBusiness Activity Statementelectronically on a monthly basis.

OCCUPATIONAL HEALTH & SAFETYNo. of work related injuries: 9No. of work related illnesses: 0Prosecutions under the OH&S Act, 1983: Nil

PRIVACY MANAGEMENT PLAN ANDPERSONAL INFORMATIONThe Art Gallery has developed aPrivacy Management Plan inresponse to Section 33 of the Privacyand Personal Information ProtectionAct, 1998. The Act aims to protectindividual against the inappropriatecollection, storage, use anddisclosure of personal information byNSW Public Sector Agencies. ThePlan outlines how the Art Gallerycomplies with the Act.For information on the Plan, contactthe Privacy Contact Officer, HumanResources Services, Art Gallery ofNew South Wales, Art Gallery Road,

The Domain, Sydney, NSW 2000 ortelephone (02) 9225-1795 or fax (02)9221-6226.

USE OF CONSULTANTSIn the past financial year, the Galleryspend $98,000 on consultants. Noconsultancy firm was paid more than$30,000.

WASTE REDUCTIONThe Art Gallery has taken measuresover recent years to increaserecycling and reduce waste. Paperrecycling baskets are situated inevery department. Recycled paper ispurchased for use in office machinesand staff are encouraged tocommunicate electronicallywhenever possible. The bookshopand library re-use cardboard boxesfor packaging. All glass materials arerecycled.

YEAR 2000 COMPLIANCEYear 2000 compliance was a majoractivity in the first half of the financialyear. The PABX and Gallery securitysystems had to be upgraded. As itturned out, the Art Gallery's activitieswere unaffected.

IMPLEMENTATION OF ROYAL COMMISSION INTO

ABORIGINAL DEATHS IN CUSTODYRecommendation number 56 & 300

The Art Gallery of New South Walesprojects that introduce Aboriginaland Torres Strait Islanders and othersto the history and culture of Indigenouspeoples of Australia included:

The continued acquisition,exhibition, conservation of Aboriginalart and commitment to making thecollection accessible to the widestpossible audience.

The growth of exhibitionsprogrammes and public programmesassociated with the Yiribana Gallery,the largest space for the display ofAboriginal art in the southernhemisphere.

During the year there wereexhibitions in Yiribana curated formthe Gallery’s collection reflecting thediversity of Aboriginal and TorresStrait Islander art. Major thematicexhibitions were Another Countrywhich profiled works on paper andphotography and Ochre an exhibitionof bark paintings.

The touring exhibition from theNational Gallery of Victoria RaikiWara: Long cloth from AboriginalAustralia and the Torres Straitcurated by Robin Healey and JudithRyan was also held in Yiribana.

For the fourth consecutive year

the Art Gallery in conjunction withthe Department of School Education,the Aboriginal Education ConsultativeGroup and the Board of Studiesstaged the successful Reconciliationexhibition. This exhibition featuredartworks by Aboriginal and non-Aboriginal students from primary andsecondary schools throughout NewSouth Wales on the theme ofReconciliation.

NAIDOC Week in July 1999 wascelebrated by a programme of schoolholiday activities held in Yiribana.Photographer Michael Riley’s Yarnsfrom the Talbragar series of black

and white portraits was exhibited aspart of the NAIDOC Week activities.

There was a continuingconsolidation of links withIndigenous education institutions,courses in Aboriginal Studies andAboriginal units and art courses attertiary level.

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The Art Gallery of New South Walesis committed to the principles ofcultural diversity as outlines inSection 3 of the Ethnic AffairsCommission Act, 1979. TheGovernment’s three Key Result areasare: Social Justice; CommunityHarmony; and Economic and CulturalOpportunities and to this meet thisend the Gallery’s has developed anEthnic Affairs Priority Statement(EAPS) which includes two mainobjectives:• Integrate EAPS principles into the

Art Gallery’s policies, plans andprocedures

• Build the Art Gallery’s Collectionand Services to reflect and promotecultural diversity and harmony

The Gallery’s statement isincorporated by the Ministry for theArts, as a key agency, into a EthnicAffairs Agreement on behalf of theentire arts portfolio.

ETHNIC AFFAIRS PRIORITYOUTCOMES • Increased the number of

community languages available to assist Gallery staff and visitorsvia the Community LanguageAllowance Scheme. As at 30th June, 2000 the Gallery hadstaff officially recognised to be able to offer assist in the followingcommunity languages Polish,German, French, Hindi, Cantonese,Mandarin and Spanish.

• Due to the on-going staff freeze, theGallery did not increasemembership of recruitmentselection panels with a personfrom a cultural diverse backgroundto the targeted 60%.

• Circulated the annual calendar ofsignificant religious and holy daysto all supervisors to enable

scheduling of staff commitments tomeet religious obligations.

• The Gallery’s Guide Map isavailable in Japanese, Mandarinand Korean, languages.

• The exhibitions and associatededucational public programmesreflected and promoted culturaldiversity and harmony.

This year the programme included:-• Michelangelo to Matisse: Drawing

the Figure. This epic exhibition wasone of the most ambitiousexhibitions ever conceived by theGallery. Telling the story oftransformation of Western art, fromthe 16th century to the present,some 250 drawings from artistssuch as Michelangelo, Renoir,Raphael and Picasso wereexhibited.

• 5th Guinness Contemporary ArtProject – Voiceovers. Presentedthe work of four women artists, LinLi, Nalini Malani, Mariko Mori andShirin Neshat and explored theshifting identities across cultureand religion, contemporary politicsand the role of women.

• Light Pictures: Featuring thephotographs of Nakayama Iwataand Nojima Yazou, this exhibitionexplored the early 20th style ofgeijutsu shashin (Art Photography)and the rise of shino shashin (Newphotography).

• Please the Eye, Cultivate the mind.Significant Chinese Paintings fromaround Australia were selected fortheir beauty their role in promotingspiritual cultivation.

• Fragrant Space, Chinese Flowerand Bird Painting (5th May to 25thJune) This exhibition focused onthe appreciation of nature which is

so integral to Chinese Culture.• Biennale of Sydney. Forty-nine

artists from twenty-nine countriesparticipated in this pre-eminentcontemporary art event of theSouthern Hemisphere. All fivecontinents were represented and tomake the exhibition moreaccessible, entry was free ofcharge to all venues.

• The Centre for Asian Arts Studiesconducted regular lunchtimelectures as a part of the Gallery'songoing commitment to crosscultural arts education.

ETHNIC AFFAIRS PRIORITY GOALSFOR 2000/01• Continued encouragement of staff

participation in the CommunityLanguage Allowance Scheme andextend range of languagescurrently represented.

• Increase cultural diversity onrecruitment selection panels to 60%pending the lifting of the stafffreeze.

• Develop new General InformationBrochure in several communitylanguages including Italian,Spanish, French and German.

• Continue the reflection andpromotion of cultural diversity andharmony in the Gallery’s exhibitionsand associated educationalprogramme. The 2000/01programme will included thefollowing exhibitions:-

• Dead Sea Scrolls. The mostcontroversial archeologicaldiscovery of the 20th Century, theScrolls can provide us with a muchdeeper understanding of thevarious approaches to Judaismcurrent at that time, and of theirrelevance to the history of religioustraditions in the Western World.

• Indonesian Miniatures. Drawn fromone of the finest collections ofIndian Paintings in the world, thisexhibition features more thanseventy paintings created betweenthe 16th and 19th centuries for theMughal and Rajput courts

• Hanga: Japanese Creative Prints.This exhibition will focus on theCreative Print, a new concept of‘prints as art’ that emerged at thebeginning of the 20th century and isnot familiar outside Japan.

• Fun Five Fun Story, FiveInternational Artists from Africa.Celebrating the young and vibrantstreet culture across Africa, theexhibition includes wild fashiondesign and performance, film,photography and installation art.

• Masks of Mystery. Will featureBronze Masks form the Sacrificialpits of the kings of Ancient Chinadiscovered when local farmersdigging a well hit upon these relics.

• World Without End – Photographyand the 20th Century. Bringstogether some 200 works ofacclaimed Australian andinternational artists whosephotographs have shaped ourperceptions and our sensibilities ofthe modern world.

ETHINIC AFFAIRS PRIORITIES STATEMENT

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The Annual Reports (StatutoryBodies) Amendment (Women’sAction Plan) Regulation 1997 requiresagencies to provide informationabout their implementation of theGovernment’s Action Plan for Women.

A) WHOLE OF GOVERNMENTAPPROACH

The Art Gallery is firmly supportive ofa whole of government approach inmeeting the broad policy outcomesof the NSW Government’s ActionPlan for Women. It is recognisedthat all areas of NSW Public Sectorhave a role in improving theeconomic and social participation ofwomen by integrating the needs andconcerns of women as part of normalbusiness. The Gallery is committedto the advancement of women in allforms of cultural and artistic life andis aware of the need to identify andredress discrimination againstwomen in delivering services andprogrammes to the public. From anorganisational perspective, theGallery acknowledges the needs andinterests of women as a directoccupational group and is supportiveof strategies and initiatives thatassist the advancement of women inthe workplace.

B) WOMEN’S INTERESTS AND THEARTS

While the majority of exhibitionsstaged by the Gallery include worksof art created by women artists thefollowing exhibitions related towomen’s lives and history and/orfeatured work by specific womenartists:• What is this thing called

photography?: Fiona Hall, Sue Ford,Micky Allan, Carol Jerrema, LynnSilverman, Marion Marrison, JackyRedgate, Viva Jillian Gibb, IngeborgTyssen (5th June – 1st August 1999)

• Grace Cossington Smith: AustralianCollection Focus Series No 5(1st August – 24 October 1999)Cossington Smith was a pioneerpost Impressionist in Australia whois widely regarded as the mostbrilliant artist of her generation.

• Horst Kiechle/Margaret Roberts(14th August – 26th October 1999)Roberts is a Sydney basedinstallation artist who has been

exhibiting in group and solo showssince 1987.

• Modotti & Weston: Mexianidad (29th October 1999 – 9th January 2000)In the 1920’s Tina Modotti spentseven years in Mexico where herphotographic ambitions mergedwith a deepening involvement insocial reform and revolutionarypolitics. Until recently, Modotti’slegacy as a photographer had beenlargely overshadowed by that ofWeston, her lover and colleague.This exhibition attempted toredress this imbalance.

• Joan Brassil (9th October – 28thNovember 1999) Joan Brassil hasbeen exhibiting her installation-based work since 1976. Much ofBrassil’s work involvescollaboration with scientists in anongoing investigation intoevolutions and transformations inspace, time and energy.

• Rayner Hoff and his School: TheVital Flesh (25th November 1999 to 16January 2000) The ehxibition alsofocused on the work of Hoff’s mostimportant students – Barbara TribeEileen McGrath and Jean Broome-Norton

• Olive Cotton (13 May 2000 – 2 July2000) Olive Cotton is recognised asone of Australia’s leading twentiethcentury photographers, well knowfor such images as the compellingmodernist Tea cup ballet andGlasses

The Gallery also administers twobequests which conditions stipulateare only open to women. Thesebequests are the John and ElizabethNewnham Pring Memorial Prize for‘the best landscape executed inwatercolours by a women artists’and a capital fund in the name ofViktoria Marinov with income used topurchase works of art for thepermanent collection ‘by femaleartists under the age of 35 years.’

C) ACHIEVEMENTS UNDER KEYOBJECTIVES IN THE ACTIONPLAN FOR WOMEN

The following achievements havebeen made under the two keyobjectives that are relevant to theGallery in the Government’s ActionPlan for Women:

• PROMOTING WORKPLACES THATARE EQUITABLE, SAFE ANDRESPONSIVE TO ALL ASPECTS OFWOMEN’S LIVESThe Gallery’s performance under thiskey objective is documented in theequal employment opportunity (EEO)statistics listed in appendix J of thisreport which provide information ofEEO groups within salary levels andemployment basis. The Gallery iscommitted to employment of staffbased on selection on meritprinciples and the Gallery workforceis currently made up of 54% women.Under employment on merit theemployees benefit by having theircapabilities fully utilised and theirskills expanded. Of the four GeneralManager positions, three arecurrently filled by women which isindicative of the Gallery'scommitment to the advancement ofwomen based on merit. Further,approximately 20% of women tookadvantage of the Gallery's flexiblework practices such of part timework, job sharing, working fromhome, part time leave without payand the career break scheme inorder to effectively balanceworkplace priorities with family andpersonal commitments. The Galleryas a whole benefits in the long termby being adaptable and responsive tochanging community need andexpectations.

PROMOTING THE POSITION OFWOMEN IN all aspects of societyThe Gallery:• has maintained a general free

admission policy to ensure thebroadest range of the community,including the financialdisadvantaged often being women,have access to the State’s fine artcollection and associatededucation programmes.

• delivers an exhibition programmethat is representative of womenartists’ contribution to the history ofart and reflects the lives andachievements of women in society.

• administers awards andscholarships which are open towomen that are designed to assistin the professional development ofAustralian artists.

• recognises the traditional genderimbalances on decision-makingbodies and the implications ofrepresentation on strategicoutcomes. There are four femaleson the nine member Board ofTrustees.

D) SPECIFIC COMMITMENTS UNDERTHE ACTION PLAN FOR WOMEN

There are no specific commitmentsin the plan which refers to the ArtGallery of New South Wales.

E) FURTHER INFORMATION ONWOMEN’S STRATEGIES

For further information on womenspecific and other programmesmanaged by the Art Gallery of NewSouth Wales, please contract theGallery on telephone number 9225-1700.

WOMEN’S ACTION PLAN

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The Art Gallery is developing aupdated Aged and Disability Planthat will incorporate strategiesacross six major areas includingphysical access, promotion ofpositive community attitudes; stafftraining; information about services;employment; and complaints. TheArt Gallery’s commitment to equalaccess for all people is reflected inour policy as detailed below.

GUARANTEE OF SERVICEThe Art Gallery recognise that thepublic has the right to expect thatservices will be provided withoutdiscrimination. In particular we willprovide access service for visitorswith special needs, including theaged and disabled. We will seek tocontinuously improve our service tovisitors and welcome feedbackdirectly to staff and through regularsurveys.

MOBILITY HANDICAPPED VISITORSTwo dedicated Disabled Parkingspaces are available at the rear ofthe Art Gallery for visitors withdisabilities. Special arrangementsare also made for bus parking.Access to these spaces is via theservice road on the southern side ofthe Art Gallery. From the rear of theArt Gallery access to all exhibitions,displays, public and administrativeareas is by way of ramps and lifts,suitably signposted.There are two public DisabledParking spaces available at the frontof the Art Gallery.The Art Gallery’s Domain Theatre hasaccess space designed for wheel-chair users.

DEAF AND HEARING IMPAIREDVISITORSSeverely and Profoundly DeafVisitorsIn 1997 the Art Gallery implementedfree monthly Auslan guided tours.We regularly book sign-languageinterpreters for advertised guidedtours, and particularly in associationwith Deaf Awareness Week. Groupsof deaf people making bookings areprovided with sign-languageinterpreters free of charge. In 1996the Art Gallery implemented at TTYtelephone number (9225-1711). This number is listed in the TelstraTTY directory.Hearing ImpairedOur Domain Theatre provided Audio-Induction Loop facilities for alllectures and films. An FM-Microphone System for hearing-aidusers is available on request forguided tours.

VISUALLY IMPAIRED VISITORSA major refurbishment of the elevatorservicing Level 1, Ground Floor andUpper Level has seen the installationof voice notification of floor andaccess details.

GENERALStaff TrainingInformation and awareness sessionsare held for staff and VolunteerGuides, with particular reference toservicing visitors with special needs.Some Volunteer Guides and staffhave undertaken introductorycourses in sign-language.We have designated an EducationOfficer to manage the Art Gallery’sprogrammes and facilities for peoplewith disabilities.HelpersGeneral entry to the Art Gallery isfree to all visitors. However, wherecharges are made for specialexhibitions, helpers accompanyingvisitors with disabilities are admittedfree of charge.Information and PublicityOur information publicationexhibitions / events is freely availablefrom our Information Desk. Thisbooklet contains information forvisitors with special needs. Currentlythe Bulletin is posted to over 4,000interest individuals or organisation.Employment PracticesThe Art Gallery ensures equalopportunity principles are used forrecruitment and general employmentpractice.

NEW STRATEGIES TO IMPROVESERVICESRamp AccessThe Gallery engaged heritagearchitects to design ramp access tothe front of the Art Gallery. This typeof access would be beneficial topeople in wheel chairs, the aged,and people with prams. The buildingplans will be submitted for review byan appropriate disability communityorganisation. Unfortunately,Government funding was notforthcoming for the 2000/2001financial year to build this ramp. The Art Gallery will pursue fundingfor the 2001/2002 financial year.CommunicationsThe new Internet website launchedthis year includes capacity for largeprint screen versions of allinformation.

AGED AND DISABILITY PLAN

74

Ms Paula DredgeJuly 1999 to December 1999USATake up Advanced ConservationInternship with Fine Arts Museum ofSan Francisco

Mr Richard Beresford13 to 30 September 1999USACourier The Widower by James Tissot to Yale Centre for British Art.

Dr LIU Yang27 September to 12 October 1999ChinaResearch and select works for major exhibitions of Chinese art.

Mr Edmund Capon30 September to 19 October 1999Israel and ChinaFinalise arrangements for exhibitions – Sanxingdui BronzeFigures and Dead Sea Scrolls

Mr Alan Lloyd8 to 17 October, 1999SpainCourier Femme nue dans un rocking-chair by Picasso

Ms Victoria Lynn22 October to 13 November 1999UK and ItalyVisit Venice Biennale, Liverpool

Biennale. Visit London galleries.Discuss Visions in Motion withcurators and artists.

Ms Deborah Edwards14 to 21 December 1999UKCourier Pan by Sydney Long to Royal Academy in London

Mr Terence Maloon12 to 28 January 2000Austria and GermanyNegotiate loans for Picasso: the LastDecade exhibition

Ms Paula Dredge31 January to 16 February 2000Spain and HollandCourier return of Femme nue dans unrocking-chair by Picasso

Ms Judy Annear2 to 22 February 2000Japan and EuropeGive a paper at Conference inMadrid and research futureexhibitions

Mr Tony Bond7 to 25 February 2000England, Spain and FranceParticipate in international forum inSpain and discuss with AnselmKiefer exhibition of his works.

Mr Stewart Laidler25 February to 1 March 2000USACourier Head of a Peasant by vanGogh to Detroit Institute of Arts

Mr Alan Lloyd25 February to 6 March 2000SwitzerlandCourier Drei Badende by Ernst Kirchner to Museo d’arteModerna in Lugarno, Switzerland

Mr Wayne Tunnicliffe17 March to 1 April 2000Singapore and Kuala Lumpur,MalaysiaTo install, oversee catalogue printingand open exhibition Flow at NationalGallery of Malaysia

Mr Sun Yu3 to 7 April 2000ChinaCondition report on works to beincluded in Fragrant Space exhibition

Mr Edmund Capon20 to 24 April 2000SingaporeView proposed major donation to theArt Gallery of NSW

Mr Brian Turner24 April to 1 May 2000IsraelTo negotiate merchandise for theDead Sea Scrolls exhibition shop

Ms Susie Quinn1 to 29 May 2000USAUndertake an internship with Box Artin NY and visit storage facilities.

Ms Gillian Williamson24 to 31 May 2000USATo attend Museum Store AssociationConference in Chicago.

Mr Brian Turner31 May to 13 June 2000USATo attend Art Book Fair in New Yorkand Book Expo America book fairand conference in Chicago.

Mr Richard Beresford22 June to 14 August 2000Europe and USAFinalise negotiations for majorexhibition Claude

Mr Sun Yu27 June to 4 July 2000ChinaTo carry out condition reports onworks included in Fragrant Spaceexhibition

OVERSEAS TRAVEL SUMMARY – 1999/2000

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ART PRIZESThe 1999–2000 Archibald, Wynne andSulman Prize competitions,sponsored by Colonial, were held inMarch 2000. A total of 1,795 entrieswere received, 75 of which wereselected for display. The DobellPrize for Drawing, sponsored by theSir William Dobell Art Foundation,was held in conjunction with theArchibald, Wynne and Sulmancompetitions. Of the 560 entriesreceived, 36 were selected fordisplay. The Trustees decided tohold a special competition in thisOlympic year called The 2000Sporting Portrait Prize. Of the 144entries received 19 were selected fordisplay.

THE ARCHIBALD PRIZEThe prize of $35,000 for portraiturewas awarded to Adam Cullen for hiswork entitled Portrait of DavidWenham. The Archibald Prize:People’s Choice competition, asksthe viewing public to vote for theirfavourite entry, was won by EstherErlich for her work Never beenbetter. Erlich received $2,500 as didthe Art Gallery patron whose vote forthe winning entry was drawn from abarrel containing all votes cast.

THE WYNNE PRIZEThe prize of $15,000 for an Australianlandscape or figure sculpture wasawarded to John Dahlsen for hiswork entitled Thong Totems.

THE TRUSTEES WATERCOLOURPRIZEThe prize of $2,000 available toentries submitted in the WynneCompetition was won by GrahamFransella for his work entitled KintoreDesert landscape.

THE SIR JOHN SULMAN PRIZEThe prize, judged by artist John Firth-Smith, of $10,000 was awarded toJohn Peart for his work entitledSnailsnake.

THE DOBELL PRIZE FOR DRAWINGThe $10,000 prize, judged by BettyChurcher, was awarded to NickMourtzakis for his work entitledUntitled Study.

THE 2000 SPORTING PORTRAITPRIZEThe prize of $15,000 was awarded toLewis Miller for his work entitledRonald Dale Barassi.

GRANTSSTUDIOS IN PARISThe Art Gallery allocates tenancy totwo art studios, the Moya DyringStudio and the Dr Denise HickeyMemorial Studio, it leases at the CiteInternationale des Art in Paris. Thestudios were occupied during theyear by Kate Dorrough, SandraLevison, Stephen McCarthy,Jacquelene Drinkall, John Beard,David Thomas, Jon Plapp and AliceByrne.

THE BASIL AND MURIEL HOOPERSCHOLARSHIPThese scholarships, valued at $6,000each, are available each year to fineart students attending recognisedschools in New South Wales toassisted with the costs of fees,materials and general livingexpenses. Three half scholarshipswere awarded to Stephen Garrett,Rodney Love and Monika Damhuis.

THE ELIOTH GRUNER PRIZEThe prize of $1,500 for the bestlandscape in oil by an art studentwas jointly awarded for 1999 toCorinne Handley and Marisa Purcell.

THE ROBERT LE GAY BRERETONMEMORIAL PRIZEThis prize aims to promote andencourage the art ofdraughtsmanship, is available eachyear to art students. The 1999 prizeof $1,200 was jointly awarded toThomas Doherty and Newell Harry.

DYASON BEQUESTAdministered under the terms of thewill of the late Miss Anthea Dyason,the bequest provides grants toAustralian art students who havealready won traveling scholarshipsso as to enable them to better studyarchitecture, sculpture or painting incountries other than Australian andNew Zealand. No grants wereawarded during the year as the ArtGallery introduced a deadline of 30thJune for the review of allapplications received over theprevious 12 months.

FREEDOM OF INFORMATION – STATEMENT OF AFFAIRS

The following Statement of Affairs is presented in accordance with the Freedom of Information Act, 1989, section 14 (1) (b) and (3). The Art Gallery's (FOI Agency No.376) statement is correct as at 30 June 2000.The Art Gallery received one formalrequest for information under theFreedom of Information Act, 1989during 1999-2000. No requests werecarried over from the previousfinancial year. The request wascompleted and granted in full. Therequest was classified as an "other"request.

The Art Gallery regularly receivesrepresentations from the publicconcerning its operations. TheGallery endeavours to make thecollection and associatedinformation as accessible to thepublic as is possible. The Art Gallerywelcomes public interest andparticipation in its activities.

DOCUMENTS HELD BY THE ARTGALLERYArt Gallery of NSW Act, 1980,Accounts Manual, Agendas andMinutes of Meetings, CollectionsManagement Policy, AdministrativeProcedures Manuals, Education

Policy, Annual Report, ExhibitionsPolicy, EEO Annual Report, Filming &Photography Policy, Corporate Plan,Financial reports, Human ResourcesPolicies, Ministerial Correspondence,Deaccessioning policy

DOCUMENTS AVAILABLE FORPURCHASEThe Art Gallery publishes a range ofcatalogues and books. Thepublication prices are continuallyreviewed and prices are availablefrom the Gallery Shop. The ArtGallery also publishes a bi-monthlybulletin and monthly calendar ofevents free of charge.

FOI PROCEDURESApplications for access to Art Gallerydocuments under the Freedom ofInformation Act should be made inwriting and directed to:

Human Resource ManagerArt Gallery of NSWArt Gallery RoadThe DOMAIN NSW 2000

Arrangements can be made to obtaincopies of documents, or to inspectthem by contacting the HumanResource Manager on telephone (02) 9225 1795.

ART PRIZES AND GRANTS AWARDED

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access 73,77acquisitions of works of art

australian 8,50aboriginal & torres strait islander 10,50asian 10, 51international 12,50photography 13,51

administrative reporting requirementsaged and disability plan 73aim 21art prizes & grants awarded 75building 20brett whitely studio 14,77centenary fund 2,64code of conduct 70collection benefactors 64collections 8commercial facilities 19,77conservation 13consultants 70consumer response 76contact details 77copyright 70corporate governance 24corporate plan 26director’s statement 4EEO Statistics 65energy management 70ethnic affairs priority statement 71exhibitions 13,62

australian 13aboriginal & torres strait islander 14asian 14

international 16photography 16

financial summary 30financial statements 33freedom of information 70,75gifts & bequests (of art works) 52

australian 8,52aboriginal & torres strait islander 10,55asian 10,55photography 13,55international 12,55

grants 65gst implementation 70 guided tours 77highlights 1independant audit report 32insurance 26internal audit 26investment 39letter of transmission, inside cover life governors 27loans to the gallery 57loans by the gallery 57membership 77mission 21new audiences 19objectives 21occupational health & safety 70olympics 10organisation structure 28overseas travel 74paris studio 26parking 77

performance indicators 21photography 77planning 26president’s council 64president’s foreward 2privacy management plan and

person information 70publications 16publications available for sale 61public transport 77risk management 26research library 77regional contact 18royal commission into

Aboriginal deaths in custody 70senior management profile 26staff profile 28staff list 63society 19sponsorship & philanthropy 64staff publications & presentations 60support 19,64total asset management plan 26touring exhibitions 62trustees 24venue management 19visitors 63visitors with special needs 73,77waste reduction 70website 18women’s action plan 72 year 2000 compliance 70year in review 8

INDEX

PLEDGE OF SERVICEOUR CUSTOMERSThe Art Gallery of New SouthWales endeavours to provide eachof our visitors with an experiencethat exceeds expectations andinspires repeat visits.

GUARANTEE OF SERVICEWe aim to ensure that all visitorsenjoy themselves, will want toreturn and will recommend the Art

Gallery of New South Wales tofriends and relatives as a worldstandard venue for the enjoymentand study of art.

CUSTOMER SERVICEThe Art Gallery of New SouthWales aims to provide the highestlevels of service to all visitors.Visitor feedback providesmanagement with valuable

information to improve Galleryprocedures and services. Written complaints are handledpromptly and professionally andare responded to within twoweeks. Visitor suggestions havealso led to the introduction of newservices, such as improvedsignage and simpler printedguides.

Telephone enquiries are addressedpromptly within two working days,wherever possible. Visitors can offer suggestions andprovide feedback at theInformation Desk at the mainentrance to the Gallery.

CUSTOMER COMPLAINTSThe Art Gallery had just under 900,000 visitors to the Domain site during 1999/2000. During the year there were only 223 complaints received, representingless than one twenty-fifth of one percentage of our visitors. The bulk of the complaints concerned visitor facilities (such as more seating) and improvedaccess for visitors with special needs. These issues are being addressed as part of the Art Gallery’s Strategic Plan. Complaints can be recorded in thevisitor complaints journal available to the public at the ground level information desk. These records are regularly reviewed by the Director and referred torelevant Department Managers for action, if required.

ACCESSThe Art Gallery of New South openevery day except Good Friday andChristmas Day between the hours of10am and 5pm. General admission isfree. Entry fees may apply to alimited number of individual majortemporary exhibitions.

GUIDED TOURSThe volunteer Guides of the ArtGallery Society of New South Walesoffer a range of free guided tours ofthe Gallery’s collection and majorexhibitions.General Tours: Daily, one hour toursrevealing highlights of the collectionand the Gallery. Monday 1pm and 2pm; Tuesday toFriday 11am, 12 noon, 1pm and 2pm;Saturday 1pm and 2pm; Sunday 11am,1pm, and 2pm.Yiribana Tours (Aboriginal and TorresStrait Islander Gallery) Tuesday to Friday 11am; Saturday1pm; Sunday 11am and 1pm.Asian Gallery: Wednesday and Saturday 2pm.Private Groups: Tours tailored to theneeds of groups during the Galleryhours or with private eveningfunctions are also available.Enquiries telephone (02) 9225-1800.

MEMBERSHIPYou are invited to join the Art GallerySociety of New South Wales andshare in the many pleasures ofmembership. Stay informed aboutwhat’s on in the Gallery, choose fromover two hundred special events andenjoy membership privileges andpriorities all year long. Enquiriestelephone (02) 9221-1878.

ART RESEARCH LIBRARYThe Gallery’s Research Library isopen Monday to Friday between10am and 4pm, excluding publicholidays. The Library is located onGround Floor Level and has the mostcomprehensive collection of Fine Artbooks in New South Wales.Enquiries telephone (02) 9225 1785.An Opinion, Conservation andIdentification Service, operating fromthe Library, is provided free everyThursday 10am to 12 noon (excludingvaluations).The Study Room for Prints, Drawingsand Photography is on Level 2,adjacent to the Prints, Drawings andWatercolours gallery. Open to thepublic weekdays from 10am to 4pm,excluding public holidays. The StudyRoom Assistant will attend to andsupervise visitors. Appointments are

advisable but not essential. Schoolgroups are welcome. Enquirestelephone (02) 9225-1758.

PHOTOGRAPHYPhotography of the Gallery’spermanent collection, with theexception of works in the Yiribanagallery, is allowed by members of thepublic providing no flash or tripodsare used. Quality photographs ofGallery’s collection including worksfrom the Yiribana gallery or aphotograph of works not in theGallery’s permanent collection canbe obtained from the Gallery’s ImageReproduction Officer. Photographyfor publication or other commercialpurposes is allowed only afterwritten application to the Gallery.Enquires telephone (02) 9225-1798.

COMMERCIAL FACILITIESThe Gallery Shop is opened dailyfrom 10am to 5pm. The finest rangeof art books in Australia is availableat the Gallery Shop, which alsospecialises in school and librarysupply. The Shop stocks anextensive range of art posters, cards,replicas and giftware. Enquirestelephone (02) 9255-1718.The Gallery’s Harbour Café issituated on Level 1 and is open dailyfrom 10am to 4pm. The Brasserie,located on the Upper Level, is openeach day between 12pm and 4pm.For Brasserie bookings phone (02) 9225-1819.Art Gallery facilities are alsoavailable for private exhibitionviewings and functions in theevening. Enquiries telephone theGallery’s Venue Manager on (02) 9225-1836.

EXHIBITIONS / EVENTINFORMATIONThe free tri-monthly publication,exhibitions / events, is available inthe Gallery. This booklet detailscurrent exhibitions, publicprogrammes events including a filmprogramme and school educationactivities being staged by the Gallery.Information is also available on ourwebsite.

VISITORS WITH SPECIAL NEEDSA limited number of wheelchairs areavailable at the Gallery’s rearentrance, where there is a ramp andan elevator giving access to mostparts of the Gallery. Two parkingspaces for the disabled have beendesignated in the Gallery’s car parkclose to the rear entrance but it isadvisable to confirm availability bytelephoning (02) 9225-1775.The Domain Theatre is fitted with anaudio induction loop system and anFM-transmitter system used forguided tours if requested. SignLanguage Tours are now conductedfor deaf people, using Australian signlanguage, on the third Saturday ofevery month at 2.30pm. The serviceis free apart from entry fees toexhibitions, if applicable.

PUBLIC TRANSPORTBus Service: The 441 Bus routeincludes the Art Gallery as a stop onroute through to the Queen VictoriaBuilding in the city. The service isevery 20 minutes on weekdays andevery 30 minutes on weekends.Please call the STA on 131 500 fordetails.Trains: Closest train stations to theArt Gallery are the St James orMartin Place stops.

PARKINGThere is limited metered parkingoutside the Gallery and additionalmetered parking down MrsMacquarie’s Road. The DomainParking Station is open daily with aSpecial Discount Rate of $11 per day(on weekdays) for visitors to majorexhibitions with admission charges,just have your parking ticket stampedat the entrance to the exhibition.

CONTACT INFORMATIONPhysical and postal address:Art Gallery of New South WalesArt Gallery RoadThe Domain NSW 2000

ELECTRONIC COMMUNICATIONS:Administration switchboard (02) 9225-1700Information Desk (02) 9225-1744Recorded What’s On Information (02) 9225-1790TTY number (02) 9225-1808 General facsimile (02) 9221-6226Website: www.ag.nsw.gov.aue-mail: artmail@ag.nsw.gov.au

BRETT WHITELEY STUDIOThe Brett Whiteley Studio, located at2 Raper Street Surry Hills, and isopen Saturday and Sunday 10am to5pm except Christmas Day. OnThursday the studio is open byappointment for education toursgroups. Admission is $7 and $4concession. Enquires telephone (02) 9225-1740.

The Art Gallery printed 1,000 copiesof the 1999/2000 Annual Reports at acost of $20 per copy

ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION

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ART GALLERY OF NEW SOUTH WALESArt Gallery Road The Domain Sydney NSW 2000 Telephone: (02) 9225 1700 Information Line: (02) 9925 1790 Email (general): artmail@ag.nsw.gov.auFor information on current exhibitions and events, visit the Gallery’s website www.artgallery.nsw.gov.au

ARTGALLERY

NSW