NGA_AR_13-14

More documents

Recommendations

Info

major focus on providing greater online access to the collection, images of 93% of works on display at the Gallery are available online through our ‘Collection search’. We produced a record number of 21 654 digital assets this year, significantly more than there are works held in the collections of all but three of the other largest art galleries in Australia. We continued to develop and expand our e-commerce strategy and enhance the wireless network across the Gallery to allow for greater interaction with the collection across a range of technology platforms. This year, our website was visited by 1.71 million visitors, who viewed our webpages 6 million times. We expanded our engagement with social media considerably, by over 123%, for Facebook, Twitter, YouTube, Flickr and Google. We introduced iTunesU for videos, podcasts and audio tours. The Gallery also launched the Eye See ART app, an interactive application designed to increase engagement with the collection in the Sculpture Garden. BUILDING We reconfigured, refurbished and began to add new storage compactus and climate control to the second half of our large off-site art store, which will be completed next financial year. Importantly, we took the opportunity to acquire the land, and its warehouse, adjacent to the off-site store to ensure the safe housing and expansion of the Gallery’s collections into the future. The Gallery completed the concept plans, designs and rationale text for Stage 2, The Centre for Australian Art. At the moment the Gallery can only show 2% of our current Australian collection, the largest in the world. Development of Stage 2 would allow the Gallery to show all Australians their national art collection in a far more expansive and beautiful manner as well as including all states and territories on the principal level of the Gallery following on from our new Indigenous galleries. Given the extremely limited display space at the Gallery in Canberra and our significant collection of contemporary Australian art in the national collection, we have negotiated to lease premises at Commonwealth Place, near Lake Burley Griffin, to develop an annex for contemporary art. NGA Contemporary, as it is to be called, will open early next financial year and showcase many contemporary works that would otherwise remain in storage. PUBLICATIONS All the major exhibitions were supported by publications with new research. I especially mention here the groundbreaking publications Garden of the East: photography in Indonesia 1850s–1940s, Atua: sacred gods from Polynesia and Bali: island of the gods. This financial year, we published our most elaborate collection book entitled ‘Collection highlights’, which beautifully presents our most loved and important works across all collecting areas. We have also published several children’s books including Danila Vassilieff’s Peter and the wolf. Over many years, the Gallery has remained Australia’s most ambitious art publisher, producing a remarkable seventeen publications this year. CONSERVATION In our Conservation laboratory, we conserved a large number of works from the collection, most of them for our own temporary exhibitions and the exhibitions of other institutions. Our Conservation department undertook 4363 treatments and 10 412 condition checks of works of art, and 9548 works were pest checked. Nearly ten years ago we initiated a significant program to place a large number of paintings in frames similar to what the artists would have intended, an important practice for an art museum. Since then, we have reframed 435 paintings, with an impressive sixty completed this year. ACKNOWLEDGEMENTS I will retire on 30 September 2014, making this my last Director’s report. I wish to thank Council members, past and present, for their support of me and the Gallery over the last ten years. In this time, I have witnessed three changes of government and worked under six ministers and seven heads of department. I acknowledge and thank the many NATIONAL GALLERY OF AUSTRALIA ANNUAL REPORT 2013–14 19
public servants who have worked with the Gallery to progress government initiatives and support our goals and activities. My thanks to Senator the Hon George Brandis QC, Attorney-General and Minister for the Arts, and former minister for the arts the Hon Tony Burke MP for their support of the Gallery during the year. I am grateful to our former ministers the Hon Rod Kemp, the Hon Helen Coonan, the Hon Peter Garrett AM and the Hon Simon Crean MP for their support over the years alongside their departmental secretaries. I also thank staff of the Attorney- General’s Department, particularly Sally Basser, Executive Director of the Ministry for the Arts, for her ongoing engagement with the Gallery. I am very grateful to our Council Chair Allan Myers AO, QC, for his commitment and support during the year. I also especially thank my longest serving chair Rupert Myer AM, whose term ended in 2012, and Council members for their enthusiasm and encouragement and continued generous gifts and financial support of Gallery acquisitions and exhibitions through the National Gallery of Australia Council Exhibitions Fund. My sincere thanks to the Gallery’s many volunteers, including the devoted voluntary guides, who are so essential to delivering our learning and access programs. It has been a great privilege to lead the Gallery over the last decade, which has been a period of incredible growth and change particularly with the opening of our Stage 1 redevelopment, groundbreaking exhibitions, increased attendances and levels of visitor engagement and record levels of donations, benefaction and sponsorships. I look forward to watching the Gallery grow and continue to embrace the opportunities that a new director and emerging technologies will bring to the role. I especially look forward to Stage 2, The Centre for Australian Art, where only we can showcase the national view of Australia’s strong visual culture unlike anything before. I leave the Gallery with many treasured memories and wish all the staff, Council and new director all the best for the future. Ron Radford AM Director The National Gallery of Australia Foundation, under the recent stewardship of John Hindmarsh AM and former Foundation chairman Charles Curran AC, has been instrumental in generating funds for the acquisition of many wonderful works for the national collection. We could not possibly acquire such important works or stage our popular displays and exhibitions without the support of our benefactors, partners and sponsors. It has been a privilege to work with the Gallery’s enthusiastic and devoted staff, and I thank them for their professionalism and cooperation. I would like to especially acknowledge the efforts of my former deputy director Alan Froud PSM, who retired in August 2013, and my current four diligent hardworking assistant directors, Michael Baldwin, Simon Elliott, David Perceval and Adam Worrall, for another year of significant achievement not accomplished without considerable effort. 20
Page 1 and 2: ANNUAL REPORT 2013-14 ANNUAL REPORT
Page 3 and 4: The National Gallery of Australia i
Page 5 and 6: CONTENTS INTRODUCTION 7 Chairman’
Page 8 and 9: INTRODUCTION
Page 10 and 11: CHAIRMAN’S FOREWORD The year in r
Page 12 and 13: The family activity room for Gold a
Page 14 and 15: DIRECTOR’S REPORT The 2013-14 fin
Page 16 and 17: the contemporary—to ensure the co
Page 18 and 19: Arguably the most significant purch
Page 22 and 23: AGENCY OVERVIEW VISION The vision o
Page 24 and 25: eappointed for a period of three ye
Page 26 and 27: JUDICIAL DECISIONS No judicial deci
Page 28: Total expenditure on advertising in
Page 31 and 32: performance SUMMARY FINANCIAL OPERA
Page 33 and 34: PORTFOLIO BUDGET STATEMENTS PERFORM
Page 35 and 36: GOAL 1 devELOP, preserve AND protec
Page 37 and 38: table, desk, bookshelves, cabinet,
Page 39 and 40: a fascinating insight into his prac
Page 41 and 42: Atua: sacred gods from Polynesia. F
Page 43 and 44: Perry’s large etching Map of days
Page 45 and 46: collection that need treatment. Ove
Page 47 and 48: GOAL 2 INCREASE engagement with the
Page 49 and 50: curators, primary, secondary and te
Page 51 and 52: FUNDING programs Visions of Austral
Page 53 and 54: members and the press. She also pre
Page 55 and 56: Motherwell. She published collectio
Page 57 and 58: A diverse workshop program was deve
Page 59 and 60: test the Gallery’s Eye See ART ap
Page 61 and 62: Independent research company Media
Page 63 and 64: Lynn Hard’s Australia suite: draw
Page 65 and 66: in the Gallery on a short-term cont
Page 67 and 68: How the administration of legislati
Page 69 and 70: WORKFORCE PLANNING Staff are employ
Page 71 and 72:
contacting the Foundation Office vi
Page 74:
FINANCIAL STATEMENTS
Page 77 and 78:
NATIONAL GALLERY OF AUSTRALIA AND C
Page 79 and 80:
Page 81 and 82:
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
Page 89 and 90:
Page 91 and 92:
Page 93 and 94:
Page 95 and 96:
Page 97 and 98:
Page 99 and 100:
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 112 and 113:
APPENDICES
Page 114 and 115:
Mr Warwick Hemsley Bachelor of Comm
Page 116 and 117:
APPENDIX 2 MANAGEMENT STRUCTURE The
Page 118 and 119:
Atua sacred gods from Polynesia 23
Page 120 and 121:
LOCATIONS VISITED BY TRAVELLING EXH
Page 122 and 123:
ACT Ainslie Belconnen Braddon Chish
Page 124 and 125:
Atua sacred gods from Polynesia Edi
Page 126 and 127:
APPENDIX 6 WEBSITE traffic Visits t
Page 128 and 129:
APPENDIX 7 SPONSORS The National Ga
Page 130 and 131:
APPENDIX 8 ACQUISITIONS ACQUISITION
Page 132 and 133:
EARLES, Chester England 1821 - Aust
Page 134 and 135:
Stealthy and wealthy 2002 varnish a
Page 136 and 137:
Xavier Samuel 2009 varnish and synt
Page 138 and 139:
YOUNG, John born Hong Kong 1956 Aus
Page 140 and 141:
(Mrs Howard + her son, John) 2003 d
Page 142 and 143:
CRUICKSHANK, George England 1792-18
Page 144 and 145:
HASSAN, Ariel born Argentina 1977 n
Page 146 and 147:
KUMATARO, Takahashi (editor) SHUEID
Page 148 and 149:
Rootdown 2013 lithograph, printed i
Page 150 and 151:
Geelong 1847 1847 lithograph, print
Page 152 and 153:
Missing author 2000 commercially bo
Page 154 and 155:
WALKER, Murray born Australia 1937
Page 156 and 157:
GOWER, Elizabeth born Australia 195
Page 158 and 159:
OWEN, George Seymour Boathouse, Bre
Page 160 and 161:
GAINSBOROUGH STUDIOS Australia 1935
Page 162 and 163:
COCKBURN, Cobi born Australia 1979
Page 164 and 165:
JONES, Charles born England 1812 Au
Page 166 and 167:
Set of 3 set squares from the offic
Page 168 and 169:
MUNUNGURR, Barayuwa Miwat people bo
Page 170 and 171:
CEDAR, Toby Kala Lagaw Ya people bo
Page 172 and 173:
Kangaroo Spirit Creation story from
Page 174 and 175:
Portrait of a young girl, New Guine
Page 176 and 177:
Holder for a ceremonial sword (kris
Page 178 and 179:
Sumatra tomb 1938 gelatin silver ph
Page 180 and 181:
Grasshopper and morning glory c 183
Page 182 and 183:
Orca 1984 neon and tungsten light d
Page 184 and 185:
BAKST, Léon (designer) Belarus 186
Page 186 and 187:
Snood, tights and accessories from
Page 188 and 189:
Outward loans to exhibITIONS Austra
Page 190 and 191:
UQ Art Museum, University of Queens
Page 192 and 193:
International GERMANY Kunstsammlung
Page 194 and 195:
APPENDIX 10 INWARD LOANS LENDER Pub
Page 196 and 197:
LENDER Musée de Tahiti et des Iles
Page 198 and 199:
APPENDIX 11 AGENCY RESOURCE STATEME
Page 200 and 201:
INDEX 100 works for 100 Years 13, 6
Page 202 and 203:
Gordon Darling Australia Pacific Pr
Page 204 and 205:
Smith, Grace Cossington see Cossing
show all

NGA_AR_13-14

Create successful ePaper yourself

Delete template?

Save as template?