Annual Report 2018 - Sydney | MCA Australia...1,089,551 total onsite visitors Sold out David Goldblatt: Photographs 1948-2018 publication sold out 78.01% revenue generated from non-government

Annual Report 2018

Contents

Section One03 Who we are

05 Year in Review

06 Chairman and Director’s Message

08 2018 Highlights

10 Curatorial and Digital

30 Audience Engagement

46 Development and Enterprises

58 Finance and Corporate Services

Section Two66 Financial Report

Cover: Lara Merrett, Paint me in (detail), 2018, installation view, Museum of Contemporary Art Australia, 2018, synthetic polymer paint and ink on canvas, steel, commissioned by the Museum of Contemporary Art Australia for the Jackson Bella Room, 2018, image courtesy and © the artist, photograph: Jacquie Manning

Left: Sun Xun, Newspaper Paintings (detail), 2015–18, installation view, Museum of Contemporary Art Australia, Sydney, 2018, ink and colour on newspaper, image courtesy and © the artist, photograph: Jacquie Manning

Annual Report 2018

Our ValuesConnecting a broad and diverse public with the work of living artists, the Museum of Contemporary Art Australia pursues curatorial excellence and innovation in audience engagement.

The MCA embodies the following key values:

— Artists are central to all our activities— Making challenging and complex

work accessible — Fostering creativity and critical thinking— An entrepreneurial outlook— Collaboration is key — Sustainable and resilient

Installation view, John Mawurndjul: I am the old and the new, Museum of Contemporary Art Australia, 2018, image courtesy and © John Mawurndjul/ Copyright Agency, 2019, photograph: Jacquie Manning

The Museum of Contemporary Art Australia acknowledges the Gadigal people of the Eora Nation, the traditional owners of the land and waters upon which the MCA stands

Who we are

Taking a leadership role in shaping an Australia that values contemporary art and artists. The MCA is Australia’s Museum of Contemporary Art, dedicated to exhibiting, collecting and interpreting the work of today’s artists.

The MCA exists because contemporary art matters: it stimulates the imagination, engages our aesthetic senses and has the power to transform lives. Contemporary artists address complex ideas, they challenge us to think and see the world differently to inform our outlook on life and society. Located on one of the world’s most spectacular sites on the edge of Sydney Harbour, opposite the Sydney Opera House, the Museum presents vibrant and popular exhibitions and learning programs that continually inspire people. With an entire floor dedicated to the MCA Collection and two floors featuring changing exhibitions showcasing Australian and international artists, the Museum offers a major national resource for education and interpretative programs.

The National Centre for Creative Learning including a library, digital and multimedia studios, a seminar room and lecture theatre, provides spaces for people of all ages to create and connect with art and artists.

Site-specific commissions take art outside the galleries, and the MCA continues to engage with audiences beyond its harbourside home through a program of touring exhibitions and C3West, a collaboration with both arts and non-arts partners in Western Sydney.

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2/3 Annual Report 201 Annual Report 2018

1,089,551 total onsite visitors

Sold outDavid Goldblatt: Photographs 1948-2018 publication sold out

78.01%revenue generated from non-government sources

91,310participants across Audience Engagement programs

854,570 unique users of the new MCA website across the year

The firstautism-friendly gallery opening sessions

124,456Facebook followers

1,037artists in the MCA Collection

374,475 people connected to the MCA through social media platformsInstallation view, 21st Biennale

of Sydney: SUPERPOSITION: Equilibrium & Engagement, MCA, 2018. Featured from front to back:

Simryn Gill, Untitled (Interior) II, 2008; Sosa Joseph, Irul (the Dark), 2015, image courtesy and © the artists, photograph: Leslie Liu


Year in Review

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Chairman’s Foreword

Throughout 2018, the Museum has performed strongly, with increasing visitor and engagement numbers, efficient financial management and high levels of visitor satisfaction. Now recognised as the most visited contemporary art museum in the world, as recently reported by The Art Newspaper, this tremendous accomplishment points to the incredible work of the MCA team across the organisation and the valuable endorsement of all the Museum’s supporters.

This success would not be possible without vital core contributions from government, grants from trusts and foundations enabling specific programs and projects and, the generosity of the Museum’s donors, volunteers, and corporate partners. In 2018 nearly 80% of the MCA’s income was raised from non-government sources.

Philanthropic support facilitates the Museum’s exhibition and creative learning programs, as well as the development of the Collection via the MCA Foundation. In 2018 the MCA acquired key works from artists including Lauren Brincat and Bree van Reyk, Keg de Souza, Karla Dickens, Claire Healy and Sean Cordeiro with Martu artists, Alex Gawronski, John Mawurndjul, Tom Nicholson, Patricia Piccinini, and Ryan Presley, thanks to funds provided by generous private donors.

The third year of the innovative MCA / Qantas / Tate partnership saw the acquisition of works by Ian Burn, Maria Fernando Cordosa, Juan Davila, Rosalie Gascoigne, Helen Johnson, and Imants Tillers. Destination NSW again provided funds for the annual Sydney International Art Series exhibition, along with major sponsor Citi, this year showcasing the work of South African photographer David Goldblatt who sadly passed away shortly before the exhibition opened. Curated by Chief Curator Rachel Kent, it was a fitting tribute to the life and work of this extraordinary photographer.

New partnerships with LG Electronics, Jaguar and Bombay Sapphire provided new equipment, enabled new experiences for visitors and secured funding for the continuation of Creative Learning programs. Telstra continued its longstanding support, assisting the Museum to build its membership program and Ray White supported the Museum’s engagement with young professionals. Late night access on a Wednesday was made possible by AMP Capital.

The members of the Director’s Circle and Foundation Council also made important contributions in 2018. The MCA greatly appreciates and values the time and advice provided by the members of these groups. All of our supporters came together in October to raise nearly $700,000 at the Museum’s annual Bella Dinner – much-needed funds that will help ensure visitors with access requirements experience and engage with contemporary art and artists. Highlight of the evening was an appearance by artist David Capra and his sausage dog Teena.

Thank you also to the Patrons who provide much needed support for specific areas including exhibitions, GenNext, Art and Wonder, Artful, the Maningrida Project, and staffing positions across curatorial, creative learning and digital teams.

For their work and commitment, I want to thank my fellow board members, the Museum’s Director, Elizabeth Ann Macgregor, the leadership team, staff members and volunteers. Their dedication and creative endeavours ensures that the MCA continues to thrive and provide opportunities for our audiences to connect with living artists.

Simon Mordant AM

Simon Mordant AM. Featured: Dani Marti, Portrait of John Sneddon (alias John Connery) with his pet dog Rocco (take 1) (detail), 2011, image courtesy and © the artist, photograph: Angus Mordant

Director’s Welcome

Collaboration, a key operational goal, was critical to the realisation of curatorial projects throughout 2018. A stand out was the ground-breaking major bilingual exhibition John Mawurndjul: I am the Old and the New, presented in English and Kuninjku, produced in partnership with the Art Gallery of South Australia and through a close relationship with this incredible artist and Maningrida Arts and Culture.

C3West, the partnership program between key arts organisations in Western Sydney which brings artists together with community groups to address relevant issues included five artist projects and commissions across two projects, all of which were by Aboriginal artists or artist groups. Of particular note was the outcome of the Blacktown Native Institution project, a collaboration with Blacktown Council which contributed to the historic handing over of this potent site to the Darug people. Five new exhibitions were produced including two international solo exhibitions, two group presentations of Australian artists and the 21st Biennale of Sydney. Our touring program took exhibitions to seven venues nationally thanks to the support of Red Energy.

We also collaborated with Sydney Airport to commission and unveil a major public artwork for the international departures area. This striking work by Archie Moore, United Neytions, was recognised as being an example of ‘The Best Public Art in 2018’ by the digital platform Artsy.

Our new foyer wall commission by Gemma Smith, Triple Tangle unveiled in September, was the sixth in the series supported by Veolia.

Public program highlights in 2018 included a panel discussion about fake Aboriginal art as part of the second edition of the provocative Conversation Starters weekend, the most highly attended MCA ARTBAR ever with the Vivid edition, curated by Jonny Niesche, drawing 1,437 attendees, and three open afternoons for the public to experience the multi-sensory Jackson Bella Room.

A major milestone was achieved with the launch of the entirely new MCA website following two years of planning and development. This online art destination offers greater access to the MCA Collection and exhibition resources. It has encouraged deeper engagement with the Museum through the Stories and Ideas section with more in-depth information on key topics.

The MCA believes strongly that art can and should be accessible to anyone. The Museum’s new Celebrating Difference: Access, Diversity and Inclusion Plan 2018–2020, launched in 2018, reinforces this commitment. One new initiative involved working with Autism Spectrum Australia to offer relaxed gallery openings for those with autism and their families.

Playing a key leadership role in the visual arts sector continued in 2018 with innovative research and programs undertaken by the Museum, including the Art & Wonder: Young children and contemporary art project and the MCA School Access program. The MCA also developed and hosted the first National Primary Visual Arts Teachers Conference, Art Every Day, in collaboration with John Goh, Principal of Merrylands East Primary School.

And to crown a busy and amazing year, the MCA received a number of accolades, most notably being voted ‘Most Loved Local Cultural institution’ by Time Out Sydney at their annual ‘Love Sydney’ Awards – a testament to the high standards of the MCA exhibitions, public programs and overall visitor experience and a fitting reward for the hard work of MCA staff and volunteers and wonderful affirmation and recognition for all the MCA’s valued supporters.

Elizabeth Ann Macgregor OBEElizabeth Ann Macgregor OBE

2018 proved to be another exceptional year for the MCA, with a diverse exhibition and learning program, over one million onsite visitors and national and international awards recognising the Museum’s work and contribution.

The MCA has had another year of presenting world class exhibitions and public programs along with creative learning programs offering audiences from all walks of life the opportunity to experience the work of the artists of today.


Highlights

Celebrating differenceCelebrating Difference: Access, Diversity and Inclusion Plan 2018–2020 outlines the Museum’s commitment to connect diverse audiences with contemporary art by reducing obstacles to participation and seeking opportunities for meaningful inclusion. It was released in conjunction with the opening of the 2018 Jackson Bella Room commission by Sydney artist Lara Merrett, a dedicated space for audiences of all ages and abilities to engage with contemporary art through sensory experiences.

A strong year of partnershipsRed Energy signed up as Touring Partner and LG Electronics became the MCA’s inaugural Innovation & Learning Partner, helping the Museum deliver outstanding learning programs for students and teachers across Australia. Now in its third year, the partnership with Tate and Qantas continues to enrich both museums’ holdings of Australian art with eight new acquisitions. In partnership with Sydney Airport, the MCA unveiled United Neytions at the airport’s T1 International Marketplace, a striking installation by Kamilaroi artist Archie Moore speaking to the incredible diversity of Aboriginal histories and cultures in Sydney and Australia.

Most loved and most visitedThe MCA was voted ‘Most Loved Local Cultural Institution’ by Time Out Sydney in their annual Love Sydney Awards. In their annual review of museum visitor numbers, The Art Newspaper reported that the MCA is the most visited contemporary art museum in the world, ahead of major institutions such as London’s Serpentine Gallery, New York’s New Museum and MoCA in Chicago. These acknowledgements are testament to the high standards of the Museum’s exhibitions, public programs and overall visitor experience.

Above: Queues outside the Museum during the last weeks of Pipilotti Rist: Sip my Ocean Right: Installation view, John Mawurndjul: I am the old and the new, Museum of Contemporary Art Australia, 2018, image courtesy and © John Mawurndjul/ Copyright Agency, 2019, photograph: Jacquie Manning

Top left: Archie Moore, United Neytions, 2018, installation view at the Sydney Airport T1 International Marketplace, Sydney, image courtesy and © the artist, photograph: Anna Kučera Top Right: The launch of MCA Major Partner Jaguar’s E-PACE in the MCA Foundation Hall Bottom Left: Museum of Contemporary Art Australia façade, photograph: Anna Kučera

Pipilotti Rist: Sip my Ocean breaks attendance recordsPipilotti Rist: Sip my Ocean was the MCA’s most successful Sydney International Art Series exhibition since the re-opening of the building in 2012, attracting over 114,879 attendees between November 2017 and February 2018. Visitors fell in love with the artist’s colourful, dream-like exhibition – which went on to become a true social media phenomenon and the MCA’s most Instagrammed show ever.

John MawurndjulReaffirming the Museum’s commitment to First Peoples’ art, the MCA presented the first major survey of works by one of Australia’s leading contemporary artists, master bark painter John Mawurndjul. Developed and co-presented with Art Gallery of South Australia (AGSA) in association with Maningrida Arts & Culture, the critically-acclaimed exhibition attracted 101,219 visitors at the MCA between July and September, before heading to AGSA as part of TARNANTHI Festival. A smaller version of the exhibition is touring regionally to eight locations and five states across Australia until 2020.

New website In February, the MCA launched a new website, a powerful platform to share stories and engage a broad range of audiences around contemporary art. Highlights include rich content about the MCA Collection, a new Stories & Ideas portal, an enhanced browsing experience to create serendipitous connections between stories, artists and artworks, and an unprecedented commitment to the art and culture of the First Peoples of Australia.

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In 2018 the MCA’s artistic programs included temporary exhibitions of international and Australian artists, Collection displays, touring exhibitions, and off-site artist projects through C3West. The Curatorial and Digital team also continued to build, care for and interpret a comprehensive collection of Australian contemporary art, produced significant publications, and used digital platforms to engage with audiences both close and distant.

Collaboration was critical to the realisation of projects throughout 2018. The major bilingual exhibition John Mawurndjul: I am the old and the new was produced in partnership with the Art Gallery of South Australia and through a close relationship with the artist and Maningrida Arts and Culture. The exhibition was accompanied by a stand-alone website and an extensive publication, both of which heavily foregrounded the artist’s Kuninjku language.

In addition to the exhibition program, a third round of artworks were acquired with Tate as part of the MCA/Tate joint acquisition program, contributing to the overall acquisition of 92 works for the MCA Collection, including 65 by Aboriginal and Torres Strait Islander artists.And through C3West the MCA collaborated with Blacktown Arts and Landcom to work with five Aboriginal artists and artist groups along with community to produce an outstanding, award-winning one-night public event.

MCA Digital led the development and launch of a new MCA website that functions as an online art destination based in a commitment to deep engagement with audiences and evidencing a strong commitment to Aboriginal and Torres Strait Islander art and culture.

Highlights from 2018— Six new temporary exhibitions were produced

including the major bilingual exhibition John Mawurndjul: I am the old and the new, presented in English and Kuninjku with partner Art Gallery of South Australia and the 21st Biennale of Sydney

— Six venues across five states and territories hosted an MCA touring exhibition

— Five new publications were produced, ranging from 142 to 404 pages each

— 15 new artist projects and commissions including five Aboriginal artists or artist groups commissioned through two C3West projects

— The launch of the entirely new MCA website.

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Annual Report 2016–2017

CURATORIALAND DIGITAL

The Curatorial and Digital Division celebrates art and artists through generating and delivering the MCA’s core artistic programs.

Maria Taniguchi, Runaways (detail), 2018, installation view, 21st Biennale of Sydney: SUPERPOSITION: Equilibrium & Engagement, Museum of Contemporary Art Australia, Sydney, 2018, Java plum wood, image courtesy and © the artist, photograph: Jacquie Manning

Annual Report 201810/11 Annual Report

Celebrating Art and Artists

Exhibitions

21st Biennale of Sydney SUPERPOSITION: Equilibrium & Engagement

Artistic Director: Mami Kataoka

The 21st Biennale of Sydney, drew on the concept of ‘superposition’ in quantum mechanics as a metaphor to link the notions of equilibrium and engagement, and provide us with insights into the world today. The presentation at the MCA incorporated works from the MCA Collection by Simryn Gill, Tom Nicholson and Esme Timbery and featured a major ongoing workshop project by Ciara Phillips where local Sydney community groups worked alongside her to produce new print-based artworks emerging from dialogue amongst the groups.

Jon Campbell: MCA CollectionCurators Natasha Bullock, Anna Davis and Rachel Kent

Words and word play are central to Jon Campbell’s installation Stacks On (2010). Comprising stacked, illuminated Perspex boxes and suspended fabric banners, Campbell’s colourful work employs Australian vernacular – common sayings and aphorisms – in its realisation. Informal ‘pub talk’, slogans and slang appear on the light boxes and banners, recalling Australian suburbia, adolescence, sports culture and the independent music scene. Alongside this installation the MCA also commissioned Campbell to create a major wall painting. The MCA’s – and the artist’s – largest ever wall painting, Absolutely Disgusting stretched frieze-like around the entire gallery, measuring 2.5 by 65 metres.

Word: MCA CollectionCurators Natasha Bullock, Anna Davis and Rachel Kent

Word: MCA Collection alongside Jon Campbell: MCA Collection showcased works from the Museum’s Collection that engage with language and text. A large suite of political posters, including prints from artists and poster collectives addressed land ownership and Indigenous rights, gender and equality, and uranium mining and anti-nuclear protest. Largely created during the 1970s and 80s, they set the scene for debates that continue today. Paintings by Robert MacPherson and Richard Bell, an installation by Raquel Ormella, and Joan Ross’s animated video The claiming of things (2012), which explores European colonisation of the Australian landscape, were also featured.

Dates 4 Dec 2017 – 18 Feb 2018

Entry Free

Duration 76 days

Total visits 151,186

Dates 16 Mar – 11 Jun 2018

Entry Free

Duration 87 days


Dates 4 Dec 2017 – 25 Feb 2018

Entry Free

Duration 83 days


Top: Pam Debenham, Lucifoil Poster Collective, Tinsheds, installation view Word: MCA Collection, Museum of Contemporary Art Australia 2018, featured l to r: Hiroshima never again, 1983, photo screenprint, Museum of Contemporary Art, gift of Professor Terry Smith,

2007; No nukes in the Pacific, 1984, screenprint, Museum of Contemporary Art, Gift of Martin Munz and Carole Hardwick, 2008; Still Life, 1984, screenprint, Museum of Contemporary Art, Gift of Martin Munz and Carole Hardwick, 2008, images coutesy and © the artists, photograph:

Daniel Boud Bottom: Esme Timbery, Shellworked slippers (detail), 2008, installation view, 21st Biennale of Sydney: SUPERPOSITION: Equilibrium & Engagement, Museum of Contemporary Art Australia, Sydney, 2018, shell, glitter, fabric,

cardboard and glue, Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2008, image courtesy and © the artist/ Copyright Agency, 2019, photograph: Jacquie Manning

Top: Pipilotti Rist, Administrating Eternity, 2011, four-channel video installation with sound, colour, sound by Anders Guggisberg, installation view, Pipilotti Rist: Sip my Ocean,

Museum of Contemporary Art Australia, Sydney, 2018, courtesy the artist, Hauser & Wirth and Luhring Augustine © the artist, photograph: Sam Whiteside Bottom: Installation view,

Jon Campbell: MCA Collection, Museum of Contemporary Art Australia 2018, image courtesy and © the artist, photograph: Sam Whiteside

Pipilotti Rist: Sip my OceanSydney International Art Series Curator Natasha Bullock

The most comprehensive exhibition of the artist’s work ever to be staged in Australia and one of the MCA’s most popular exhibitions, Pipilotti Rist: Sip my Ocean attracted huge crowds to the MCA over the summer. Over the past thirty years, Swiss artist Pipilotti Rist has achieved international renown as a pioneer of video art and multimedia installations. Her dazzling, large-scale installations incorporate video, sculpture and performance and often envelop viewers in vibrantly coloured projections of light and music to create sensual and immersive environments. Key installations and objects shown at the MCA exemplified the broadness of Rist’s artistic practice.

Dates 1 Nov 2017 – 18 Feb 2018

Entry Ticketed

Duration 109 days


Media PartnerStrategic Sponsor Major Exhibition Patrons

Catriona and Simon Mordant AM

Presenting Partner Supporter

Major Government Partners Principal Patron

Principal Partner

Major Foundations

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Sun XunCurator Anna Davis

Sun Xun is best known for his animations made up of thousands of ink paintings, charcoal drawings and woodcuts. These hand-made films use combinations of image, sound and text to raise questions about what we perceive as truth and explore the slippery dynamics of memory, history, culture and politics. This first solo exhibition in Australia included a number of the artist’s most important animated works. Sun Xun also created a number of new works, including a 40-metre-long painting on bark paper and series of woodcuts. The artist also undertook a residency project in which he created a 10-metre-long painting in view of the public.

David Goldblatt: Photographs 1948–2018Sydney International Art Series Curator Rachel Kent

Capturing seven decades of his work, David Goldblatt: Photographs 1948–2018 featured his compelling portrayal of the rise and dismantling of Apartheid. This Sydney-exclusive exhibition included some 350 photographs, from his early striking key black-and-white through to more recent colour photographic series, as well as never-before-seen material from his personal archive. This exhibition was the largest retrospective of Goldblatt’s work in the region and marked the photographer’s final project before his death.

Primavera 2018: Young Australian Artists Curator Megan Robson

This exhibition introduced the artwork of eight artists that collectively highlighted how identity politics has once again become a significant issue in public debate, and questioned why. Drawing on personal experiences, invisible histories, current affairs, post-colonial politics, queer theory, and advances in technology, the artists considered some of the wider influences that shape identity and determine who is visible in society and how they are represented. Primavera is the MCA’s annual exhibition of young Australian artists aged 35 years and under.

Primavera was initiated in 1992 by Dr Edward Jackson AM and Mrs Cynthia Jackson AM and their family in memory of their daughter and sister Belinda, a talented jeweler who died at the age of 29.

Dates 9 Jul – 14 Oct 2018

Entry Free

Duration 98 days


Dates 9 Nov 2018 – 3 Feb 2019

Entry Free

Duration 86 days


Dates 19 Oct 2018 – 3 Mar 2019

Entry Ticketed

Duration 135 days

Total visits 57,296

Top: Installation view, John Mawurndjul: I am the old and the new, Museum of Contemporary Art Australia, 2018, image courtesy and © John Mawurndjul/ Copyright Agency, 2019, photograph: Jacquie Manning.

Bottom: Sun Xun, Brave New World (detail), 2014, ink on rice paper, installation view, Sun Xun, Museum of Contemporary Art Australia, Sydney, 2018, image courtesy and © the artist, photograph: Jacquie Manning

Top: Installation view, David Goldblatt Photographs 1948–2018, Museum of Contemporary Art Australia, Sydney 2018, photograph: Ken Leanfore Bottom: Ryan Presley, Blood

Money Currency Exchange Terminal (detail), 2019, installation view, Primavera 2018: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, performance,

mixed media, presented in association with Sydney Festival, image courtesy and © the artist, photograph: Jacquie Manning

Supporting Partner

Strategic Sponsor

Strategic Sponsor

Prinicpal Exhibition Patrons

Presenting Partner Media Partner

John Mawurndjul: I am the old and the newCurators Clothilde Bullen and Natasha Bullock (MCA), Nici Cumpston and Lisa Slade (AGSA) Lead Cultural Advisor Keith Munro (MCA). Collaborators John Mawurndjul AM, Kay Lindjuwanga, Ananais Jawulba and Maningrida Arts & Culture staff Michelle Culpitt, Zebedee Bonson, and Derek Carter, Interpreter/translator Dr Murray Garde

John Mawurndjul AM is celebrated for his mastery of rarrk (fine-painted cross-hatching), a tradition shared by generations of Kuninjku artists. This exhibition of bark paintings and sculptures, told the stories of Kuninjku culture and the significant locations surrounding the artist’s home in western Arnhem Land.

This exhibition was developed and co-presented by the MCA and the Art Gallery of South Australia, in association with Maningrida Arts & Culture.

Dates 6 Jul – 23 Sep 2018

Entry Free

Duration 80 days


Exhibition Patrons

Cynthia Jackson AM

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Exhibitions

Exhibitions

MCA Collection The Museum of Contemporary Art’s (MCA) Collection comprises 4,421 works (by 1,037 artists) and represents most artistic mediums. Collecting is a vital part of the MCA’s support for Australian artists and preserves Australian art for future generations. In 2018, the MCA accessioned 93 works into the Collection. Acquisition highlights in 2018 include a donation of rare first edition early prints (some with ochre) from Tiwi artists Eddie Purruntatameri, Giovanni Tipungwuti and Bede Tungutalum; a major drawing installation by Tom Nicholson; along with work by Lauren Brincat and Bree van Reyk, Karla Dickens, Alex Gawronski, Keg DeSouza, Ryan Presley, Gemma Smith; and a collaborative sculpture by Martumili Artists: Kumpaya Girgiba, Rachel Handley, Thelma Judson and Nancy Karnu Taylor with Claire Healy & Sean Cordeiro. The Tate/MCA co-acquisition program, supported by The Qantas Foundation, enabled major acquisitions by Ian Burn, Juan Davila, Maria Fernanda Cardoso, Rosalie Gascoigne and Imants Tillers.

The MCA Collection is presented across the Level 2 galleries of the Museum. In 2016, the MCA unveiled a major new presentation of work by 43 artists, which, for the first time, presented and programmed performance art from the Collection. Since then, work shown in Today Tomorrow Yesterday is periodically changed to introduce new ideas or highlight recent acquisitions. The overarching thematic of Today Tomorrow Yesterday considers the impact of the past and the influence of history on artistic practice today. As well as reflecting on the passing of time, the title refers metaphorically to the Museum’s challenging role in shaping a collection of contemporary Australian art that is simultaneously of its moment and hinged to history. The presentation symbolises the guiding principles of the MCA Collection. It is focused on contemporary art by Australian and Aboriginal and Torres Strait Islander artists, embraces all media and is motivated by a respect for the creative process and vision of today’s artists. A feature of the MCA Collection galleries is the Artist Room, dedicated to six-monthly focused displays of work by a single artist drawn from the collection. In 2018 the MCA presented Artist Room exhibitions of work by Emily Floyd, curated by Manya Sellers and Yirawala curated by Dominic Kavanagh.

Entry Free

Duration 364 days


Top: Installation view, Compass: MCA Collection, Museum of Contemporary Art Australia, 2018, image courtesy and © the artist, photograph: Jacquie Manning Bottom: Shirley Purdie, Goowoolem Gijam – Gija plants (detail), 2013–16, installation

view Compass: MCA Collection 2018, ochre on canvas, Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2016, © Shirley Purdie / Licensed by Copyright Agency, photograph: Liam Cameron

Compass: MCA CollectionCurator Clothilde Bullen

The trajectories of Indigenous and non-Indigenous women practices were considered in dialogue with one another in this exhibition. Aboriginal artists illustrated their distinctive relationships to their cultures and Countries and provided commentary on the multiple, interlocking oppressions of what it means to be a black woman in Australia. Using the figure and forms of the self, non-Aboriginal artists narrated concepts around the presentation of women in contemporary western society. Like compass points, these artists point to the ways in which they experience womanhood in both their internal and external lives.

Dates 9 Nov 2018 – 3 Feb 2019

Entry Free

Duration 86 days

Total visits 93,192

Top: Gordon Bennett, Number Nine, 2008, installation view Today, Tomorrow, Yesterday: MCA Colllection, 2017, acrylic paint on linen, Tate and the Museum of Contemporary Art Australia, purchased jointly with funds provided by the Qantas Foundation 2016, image courtesy and © The Estate of Gordon Bennett, 2016, photograph: Ken Leanfore Bottom: Felicia Kan, installation view Today, Tomorrow, Yesterday: MCA Collection,

featured l to r: Untitled (sky) 1993; Untitled (star) 1993; Untitled (field) 1993, cibachrome photographs, Museum of Contemporary Art, purchased with the assistance of Dr Edward Jackson AM and Mrs Cynthia Jackson AM, 1996; Untitled (cloud) 1993; Untitled (moon) 1993, cibachrome photographs, Museum of Contemporary Art, gift of the artist, 1996, image courtesy and © the artist, photograph: Anna Kučera

MCA Collection Partner

Exhibition Patron

Susan Rothwell


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Venue Dates

TarraWarra Museum of Art, VIC

24 Feb – 29 Apr 2018

Drill Hall Gallery, ANU 8 Jun – 29 Jul 2018

Total 2018 attendance 8,291

In February 2018, the MCA launched a new website – the result of a two-year project undertaken by the MCA with external developers Boojum and digital design agency Pollen.

The new website functions as an online art destination; it has significantly increased the number of digitised, high-resolution artworks and enriched the MCA Collection pages. The website also includes an ‘acknowledgment of Country’ at the footer of each page and a ‘First Peoples of Australia’ button on our main navigation menu.

John Mawurndjul: I am the old and the new was supported by an exhibition trailer and a dedicated website (johnmawurndjul.com) with a Kuninjku glossary, 160-plus artworks and a 40-minute video, filmed in western Arnhem Land and recorded in Kuninjku, with Kuninjku and English subtitles, along with six short videos on specific subjects.

An exhibition trailer and audio guide were produced to accompany David Goldblatt: Photographs 1948–2018. Featuring the words of David Goldblatt, the audio guide provided biographical and historical context to the photographer’s practice in South Africa under Apartheid. An audio guide was also produced with the MCA Young Guides and distributed online for a younger audience.

A number of artist profiles were filmed, including a studio visit and interview with Gemma Smith and interviews with the eight artists in Primavera 2018. Other projects included a seven-minute video to celebrate UN Refugee Day, featuring MCA Young Guide Shaqaeq Rezai, an Afghan Hazara refugee, in conversation with artist Khadim Ali at his studio. Two C3West projects, presented at the Druitt Days Live event, were documented in a short video that included music and dance performances.

As part of Conversations Starters: Truth or Dare, the digital team created a ‘Confession booth’ in which audiences made video recordings of themselves confessing a secret. A series of short videos were distributed on Instagram and Facebook.

Digital

Hilarie MaisCurators Blair French and Manya Sellers

Following the MCA exhibition in 2017, Hilarie Mais, curated by Blair French and Manya Sellers, toured to two venues in 2018. The work of Sydney-based artist Hilarie Mais is characterised by a deep interest in the grid and its expressive possibilities. She makes abstract constructions and paintings that merge the formal structure of the grid with an interest in more organic forms found in nature. This exhibition brought together a selection of 20 artworks produced since Mais’ last survey exhibition in Canberra in 2004. The tour included MCA Curator talks and special partner programming events.

Primavera at 25: MCA CollectionCurator Megan Robson

Primavera at 25: MCA Collection continued its two-year national tour. The exhibition celebrated 25 years of the MCA’s annual Primavera exhibition, bringing together works from the MCA Collection by 19 Australian artists and artist groups, that explore ideas of transformation, time and history. The tour included programs with MCA Curators, MCA Artist Educator–led workshops and a commissioned wall painting at each venue. Primavera at 25 has been an overwhelming success with high visitation and engagement from local audiences.

Venues Dates

Artspace Mackay, QLD* 16 Feb – 13 May 2018

Glasshouse Port Macquarie, NSW

15 Jun – 19 Aug 2018

Western Plains Cultural Centre, NSW

31 Aug – 9 Dec 2018

Total 2018 attendance 40,684

New MCA website design

Top: Installation view, Primavera at 25: MCA Collection, Glasshouse Regional Gallery, Port Macquarie, 2018, image courtesy the artists and Glasshouse Regional Gallery © the artists, photograph: Jeremy Rogers

Bottom: Installation view, Hilarie Mais, Drill Hall Gallery, Australian National University, Canberra, 201, featured left to right: Tempus 2-4, 2007-17; reflection/reach, 2015, Collection of The University of Queensland, purchased

2016 from ‘The University of Queensland National Self-Portrait Prize 2015’; reflection/feather, 2016, TarraWarra Museum of Art collection, acquired 2017; image courtesy and © the artist, photograph: Rob Little

Touring Partner

* Touring Partner Red Energy is not aligned with Northern Queensland or Northern Territory due to existing energy relationships in these areas.


Touring Exhibitions

Foyer Wall CommissionGemma Smith

The sixth iteration of the Foyer Wall Commission was by Sydney-based artist Gemma Smith. Smith’s large-scale abstract wall painting transformed the iconic Circular Quay entrance of the Museum. Entitled Triple Tangle, the work drew upon Gemma’s ongoing series of ‘Tangle Paintings’, a series of works the artist produced between 2009 and 2013, where the artist painted with looping brushstrokes to explore pictorial space and the interplay of colour and line. Hand-painted directly onto the Museum wall over a period of weeks, the gestural arcs and sweeps of colour appeared to weave under and over each other in a visually entrancing interplay. In this massive new painting across a 15-metre-long wall, Smith responded to multiple elements of the foyer wall entrance including the architectural geometry of the MCA building and the patterning of light through the space from the adjacent harbour.

Supported by Veolia Environmental Services, the MCA Foyer Wall Commission is an ongoing program of wall works commissioned for the MCA Circular Quay foyer entrance. The Museum works with artists to realise new, temporary artworks that respond to the unique dimensions, location and history of the site.

The MCA Foyer Wall Commission is supported by Veolia Environmental Services

Gemma Smith, Triple Tangle (detail), 2018, synthetic polymer paint on wall, commissioned by the Museum of Contemporary Art Australia, 2018, supported by Veolia Environmental Services, image courtesy and © the artist, photograph: Anna Kučera

Jackson Bella RoomLara Merrett

In the seventh iteration of the Jackson Bella Room Commission, painter Lara Merrett created an installation, Paint me in, which featured three brightly coloured canvases suspended and looped from the ceiling of the Bella Room. These moveable paintings were able to change their physical configuration, promoting play, creation and discovery, and visitors were encouraged to climb into the canvas and lie down inside the hanging paintings. Accompanying the artwork were lengths of painted canvas that Bella participants were invited to use to make soft sculptures, wearables or cut up, participating in their own art-making experience. MCA Director, Elizabeth Ann Macgregor OBE, said: ‘The Bella Room Commission is fundamental to the MCA’s commitment to access and inclusion – which is deeply embedded within the fabric of our building, inside and out. Each year, our multi-sensory Bella Room Commission encourages

thousands of Bella participants of all ages to engage with contemporary art through visual, tactile and auditory activities.’ After spending time with Bella participants developing her commission, Lara Merrett commented: ‘This unique opportunity given to me by the MCA has allowed me to investigate new ways of connecting with painting – as a refuge, sanctuary and nurturing place – and inviting the viewer to interact with the artwork through touch and movement.’

Lara Merrett, Paint me in (detail), 2018, synthetic polymer paint and ink on canvas, steel, commissioned by the Museum of Contemporary Art Australia for the Jackson Bella Room, 2018, image courtesy and © the artist, photograph: Jacquie Manning

Commissions —


During 2018 C3West realised two major projects in Western Sydney and continued development of the Sydney Metro Northwest project, due to be launched in 2019.

The Blacktown Native Institution Project 2018

The Blacktown Native Institution Project 2018, a partnership with Blacktown Arts with support from Landcom, engaged visual artists Tony Albert and Sharyn Egan and Moogahlin Performing Arts to work with Aboriginal communities in Blacktown, responding to the history and bringing to life the culture of the Blacktown Native Institution – and to imagine a future for this important place. Sharyn Egan worked with local weavers to create a large- scale sculpture in memory of the Institution’s residents, while Tony Albert and Blacktown children used ceremony and objects to share positive memories across time. MoogahlinPerforming Arts developed a dance performancewith community members to honour growing up Aboriginal in Western Sydney. The artworks were presented at a major public event - Ngara – Ngurangwa Byallara (Listen, hear, think – The Place Speaks) – onsite on Saturday 9 June 2018, attracting more than 500 people, the majority of whom were members of the local Aboriginal community. In November this project received an Imagine award.

Druitt Days Live

Druitt Days Live, a partnership with St Vincent de Paul Society NSW with support from Blacktown Arts, Blacktown City Council, Street University Mount Druitt and MECA, comprised two new projects, by artists Hannah Brontë and Dean Cross, which were presented as part of a public event in Mount Druitt on Saturday 18 August 2018. Sharing her skills as an artist, musician and event organiser, Brontë collaborated with local young people to produce Mount Druitt Block Party, 2018, a concert featuring local musical acts. Throughout the project, she created a series of photographic portraits of participants and community. Dean Cross’s Pilot, 2018, took as its starting point the television show Home and Away. Cross worked with a group of young people, including Liberian refugee group LIB Comedy, to devise, write, perform and produce a pilot episode of a new soap opera. More than 150 young people were involved in the project and/or attended the event.

Janawi Dance Clan with Moogahlin Performing Arts, manuwi jam ya murong (footprints in the sand), 2018, performance documentation, Ngara – Ngurangwa Byallara (Listen, hear, think – The Place Speaks), 2018, Oakhurst NSW, co-commissioned by Blacktown Arts on behalf of Blacktown City Council and C3West on behalf of Museum of Contemporary Art Australia, image courtesy and © the artists, photograph: Anna Kučera

C3West is supported by Crown Resorts Foundation and Packer Family Foundation

C3West

Top Left: Traditional Darug custodians lead the Welcome to Country and Smoking Ceremony to launch Ngara – Ngurangwa Byallara (Listen, hear, think – The Place Speaks), 2018, Oakhurst NSW, co-commissioned by Blacktown Arts on behalf of Blacktown City Council and C3West on behalf of Museum of Contemporary Art Australia, photograph: Anna Kučera Bottom Right: Jesswar performing for Hannah Bronte’s, Mount Druitt Block Party (performance documentation), 2018, co-commissioned by C3West on behalf of Museum of Contemporary Art Australia and St Vincent de Paul Society NSW for Druitt Days Live, 2018, image courtesy and © the artist, photograph: Anna Kučera

Above: Dean Cross, Pilot (still), 2018, co-commissioned by C3West on behalf of Museum of Contemporary Art Australia and St Vincent de Paul Society NSW for Druitt Days Live, 2018, image courtesy and © the artist


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Curator Anna Davis

Design Katherine Johnson

Description 144 pages, hardcover, full colour, coated / uncoated paper

Contributors Anna Davis, Hou Hanru and Sun Xun

Print Run 750

RRP $49.95

Awards Shortlisted, Exhibition Catalogue (Major), Level B, Museums Australia Publication Design Awards

Curator Rachel Kent

Design Alex Torcutti

Description 404 pages, hardcover

Contributors Rachel Kent, Alexandra Dodd

Print Run 1,200

RRP $89.95 (sold out)

Awards Winner, Exhibition Catalogue (Major), Level B, Museums Australia Publication Design Awards50 Books Winner, 50 Covers Winner, AIGA professional association for design Awards

Curators Clothilde Bullen, Natasha Bullock, Nici Cumpston, Lisa Slade

Design Alex Torcutti

Description 400 pages, hardcover (MCA) and softcover (AGSA), full colour, coated / uncoated paper

Managing Editor Natasha Bullock

Print Run 1,250 hardcover, 1,500 softcover

Awards Shortlisted for the Cornish Family Prize for Art and Design Publishing 2019Winner, Best Designed Fully Illustrated Book over $50, Australian Book Designers AwardsHighly Commended, Exhibition Catalogue (Major), Level B, Museums Australia Publication Design Awards50 Books Winner, 50 Covers Winner, AIGA professional association for design Awards

Curator Anne Loxley

Design Rose McEwen, Alex Torcutti

Description 116 pages, soft cover, full colour, uncoated paper

Contributors Rebekah Elliot, Gerry Andersen, Anne Loxley, Alexandria Iljadica, Danny Ngov, Diego Bonetto, Dr Jason Reynolds, Pastor Mick Agius, Painora Nukunuku, Donna Pomare, Chockeo Bounpraseuth, Anna Slater, Irene Capra, Vi Girgis, Peter Johnson and Nicola Frew

Print Run 1,000 copies

RRP $19.95

Curator Megan Robson

Design Rose McEwen

Description 142 pages, softcover, full colour, coated / uncoated paper

Contributors Megan Robson, Naomi Cass, Liz Nowell, Talia Linz, James Tylor, Sheila Ngoc Pham, Joanna Bayndrian, Ellie Buttrose, Tess Maunder

Print Run 500

RRP $29.95

Awards Shortlisted for the Cornish Family Prize for Art and Design Publishing 2019Shortlisted, Exhibition Catalogue (Major), Level B, Museums Australia Publication Design Awards

Sun Xun David Goldblatt: Photographs 1948–2018

John Mawurndjul: I am the old and the new

Food Fight: The Battle for Food Security Primavera 2018: Young Australian Artists

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Publications

MCA Collection Gifts 2018

Juan DavilaLove 1988oil on canvasMuseum of Contemporary Art and Tate, donated through the Australian Government’s Cultural Gifts Program by the artist and with the support of the Qantas Foundation, 2018

Rosalie GascoigneHabitation 1984enamel and woodMuseum of Contemporary Art and Tate, donated through the Australian Government’s Cultural Gifts Program Martin Gascoigne, and with the support of the Qantas Foundation, 2018

Richard BellScratch an Aussie 2008single channel video, soundMuseum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Ken Fehily, 2018

Daniel von SturmerTableaux Plastique (Sequence 8) 2008single channel video, silentMuseum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Ken Fehily, 2018

John CitizenInterior (Orange Chair) 2007acrylic on linenMuseum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Michael Eliadis, 2018

Gordon BennettNumber Fourteen 2005acylic on linenMuseum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Michael Eliadis, 2018

Ken WhissonRecollection of the Bush 2012oil on linenMuseum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2018

Ken WhissonFantasy Farm Painting 2007oil on canvasMuseum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2018

Christian Thompson AODead Tongue 2015single channel video, soundMuseum of Contemporary Art, donated by Mark Wakely in loving memory of Steven Alward, through the Australian Government’s Cultural Gifts Program, 2018

Christian Thompson AOBerceuse 2017three channel video installation, soundMuseum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2018

Bede TungutalumEagle With Snake #1 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede TungutalumEagle With Snake #2 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Eddie PuruntatameriBird and butterfly #1 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Eddie PuruntatameriBird and butterfly #2 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede TungutalumDuck Catching Fish 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Unknownbutterfly Circa 1974screenprint on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede TungutalumBird in flight 1970woodblock print on zpaperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Giovanni TipungwutiLizard 1970woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede TungutalumButterfly 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede TungutalumTurtle 1971woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede TungutalumPossum 1971woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Eddie PuruntatameriKangaroo 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede Tungutalum[untitled] circa 1970woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede Tungutalum[untitled] 1970woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

















Bede Tungutalum[untitled] Circa 1970woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018

Bede Tungutalum[untitled] Circa 1970woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018


Eddie Puruntatameri[untitled] 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018





Giovanni Tipungwuti[untitled] Circa 1970woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018



Giovanni Tipungwuti[untitled] 1969woodblock print on paperMuseum of Contemporary Art, gift of Madeleine and Tim Clear, 2018









Liam BensonParticipatory Community Embroidery, Untitled (flag) 2013–2017glass seed and bugle beeds, sequins, cotton, organza, steelMuseum of Contemporary Art, gift of the artist, 2018

Liam BensonParticipatory Community Embroidery, You and Me 2017glass seed and bugle beads, sequins, cotton organza, timber, steel Museum of Contemporary Art, gift of the artist, 2018

MCA Collection Purchases 2018 Juan DavilaYawar Fiesta (Fiesta Sangrienta) 1998oil and jetspray on vinylMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Keg de SouzaImpossible Utopia 2011nylon, screenprint on acrylicMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Patricia PiccininiThe Struggle 2017fibreglass, automotive paint, leather, glassMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Helen JohnsonBad Debt 2016acrylic on canvas, woodMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Helen JohnsonSeat of Power 2016acrylic on canvas, woodMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Helen JohnsonA Feast of Reason and a Flow of Soul 2016acrylic on canvas, woodMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Ian BurnBlue Reflex 1966automobile-lacquer over epoxy base on mounted plywood panelMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018


—Gifts and Purchases

Imants TillersKangaroo Blank 1988oil stick, gouache, oil paint and synthetic polymer paint on 78 canvas boards, nos. 16231–16308Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Maria Fernanda CardosoCorn Cob Coil (Espiral de Tusas) 1989corn cobs on metalMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Maria Fernanda CardosoCorn Drawings 1985–1989slides and carousel projectorMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Maria Fernanda CardosoOn the Origins of Art I–II 2016single or dual-channel HD video, hyper realistic sound by Andrew BellettyMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Maria Fernanda CardosoOn the Origins of Art – Actual Size II Maratus Splendens 2016pigment print on paperMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

Maria Fernanda CardosoOn the Origins of Art – Actual Size I Maratus Volans 2016pigment print on paper, framedMuseum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018

John MawurndjulAncestral bones and Ngandarrayo 2018earth pigments on Stringybark (Eucalyptus tetrodonta)Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Alex GawronskiVault 2013timber, MDF, acrylic, enamel, combination dial, bracketsMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Alex GawronskiStand-off (Property of M.B.) 2013PVC, plywood, MDF, blackboard paint, enamel, chain, screw eyesMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Alex GawronskiLimit 2013digital print on cotton rag, framedMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Claire Healy and Sean Cordeiro, Martu ArtistsFixing old Motorcar, make it good 2017wool, grass, acrylic, metalMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Ryan PresleyBlood Money—Infinite Dollar Note— Bembulwoyan Commemorative 2018watercolour on arches paper, framedMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Tom NicholsonCartoons for Joseph Selleny 2014charcoal on paperMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Lauren Brincat, Bree van ReykMolto Echo 2016performanceMuseum of Contemporary Art Australia, purchased with funds provided by the MCA Foundation, 2018

Karla DickensIn the ‘hood #2 2017calico, printed cotton and waxed cottonMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018






Tom NicholsonCartoons for Joseph Selleny 2014charcoal on wallMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

Tom NicholsonCartoons for Joseph Selleny 2014off-set printed bookMuseum of Contemporary Art, purchased with funds provided bythe MCA Foundation, 2018

Ryan PresleyBlood Money—Infinite Dollar Note — Fanny Balbuk Commemorative 2018watercolour on arches paper, framed Museum of Contemporary Art, purchased with funds provided by Bernard Shafer, in memory of Anna Boeske-Shafer and Samuel Shafer, 2018

Institute of Modern ArtTom NicholsonUntitled wall drawing 2009–2018pencil on wallMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2013

Ian Potter Museum of Art, The University of MelbourneStieg PerssonOur Faith Part 1: The Case For and Against Colour B 1985–1986oil on composition board and oil and blackboard paint on primed canvas (reversed)Museum of Contemporary Art, gift of Loti Smorgon AO and Victor Smorgon AC, 1995

Queensland Art Gallery/Gallery of Modern Art

Patricia PiccininiThe Struggle 2017fibreglass, automotive paint, leather, glassMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2018

National Gallery of VictoriaRobert HunterUntitled no 4 1991–1992synthetic polymer paint on plywoodMuseum of Contemporary Art, gift of anonymous donors, 1993

Robert HunterUntitled no. 4 1985synthetic polymer paint on boardMuseum of Contemporary Art, gift of Loti Smorgon AO and Victor Smorgon AC, 1995

Latvian National Museum of ArtImants TillersHeart of the wood 1985oilstick, oil, synthetic polymer paint on canvas boardsJ W Power Collection, University of Sydney, managed by Museum of Contemporary Art, purchased 1985

Imants TillersWhite Aborigines 1983oilstick, oil, synthetic polymer paint on canvas boardsMuseum of Contemporary Art, gift of Loti Smorgon AO and Victor Smorgon AC, 1995

Imants TillersTabula Rasa (for my father) 2011synthetic polymer paint, gouache on canvas boardsMuseum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2013

National Gallery of SingaporePeter Kennedy Neon Light Installation 1970–2002neon, composition board, synthetic polymer paintMuseum of Contemporary Art, purchased 2004

Lawrence Weiner(This & that) put (here & there) out of sight of Polaris 1988acrylic on wallMuseum of Contemporary Art, purchased in collaboration with the Art Gallery of New South Wales, 1995

Mornington Peninsula Regional Art Gallery

Christian Capurro Elements from: Another Misspent Portrait of Etienne de Silhouette 1999–2014an erased and inscribed magazine; shortwave broadcasts, talks and performances; a painted object; a magazine in a library; photographs, posters, recordings, documents and ephemera, oil and liquin on linen Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2013

Jan NelsonWalking in Tall Grass, Lily 2 2012Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2015

University of SydneyJohn Power1,144 various worksJW Power Bequest, University of Sydney Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2013

246 selected works from Ramingining Collection

Bridget RileyStatic 3 1966synthetic polymer paint on linenJ W Power Collection, University of Sydney, managed by Museum of Contemporary Art, purchased 1967

Edward KeinholzProcess documentation: photo album for Five Car Stud Tableau and the Sawdy Editionphoto albumJ W Power Collection, University of Sydney, managed by Museum of Contemporary Art, purchased, 1972


Gifts and Purchases Outward Loans

AUDIENCE ENGAGEM

ENT

In 2018 the Audience Engagement teams worked with exhibiting artists, both international and national, as well as artist-educators to deliver learning and public programs that provided scope for collaboration, emphasised dialogue rather than imparted knowledge and supported audiences to bring their own stories to encounters with contemporary art.

The digital space is a key part of connecting with audiences providing information, learning resources, audio-guides and interpretation; and telling stories, sharing ideas and inviting conversation.

The MCA continued to take a leading role in championing access to art and deepening engagement with audiences. Staff delivered presentations and research findings across Australia and internationally about MCA programs, including:

— initial findings of the Art & Wonder Early Learning Research Project, conducted by the MCA in partnership with Macquarie University, at the Early Years Australia Conference in April and the VADEA (Visual Art and Design Educators Association) annual conference;

— the MCA Together school subsidy program at the Museums and Galleries Conference, Education and Evaluation Network Meeting, in Melbourne in June; and

— Conversation Starters at Communicating the Museum in Chicago, USA.

Highlights from 2018— 2,676 programs took place, with a total

of 91,310 particiipants— #whatsyourmca, the major brand campaign

created by the Marketing & Communications team in partnership with Ogilvy Sydney in 2017, won two awards at the 2018 Cannes Lions International Festival of Creativity

— The MCA was voted ‘Most Loved Local Cultural institution’ by Time Out Sydney

— MCA held the first National Primary Visual Arts Teachers Conference, Art Every Day, in collaboration with John Goh, Principal of Merrylands East Primary School. The one-day conference sold out and received incredible feedback

— For the first time the Jackson Bella Room was opened to the public across three open afternoons

Rhada La Bia, Borders, 2018, performance documentation, ARTBAR – curated by Tina Havelock Stevens, 27 April 2018, image courtesy and © the artist, photograph: Ken Leanfore

Audience Engagement encompasses Public Engagement, Student and Teacher Engagement, Visitor Experience and Communications and Marketing. These teams create a variety of experiences connecting people with contemporary art, culture and ideas, deepening engagement for broad and diverse audiences and providing a place for experiencing creativity, engagement, and critical exchange.


Deepening Audience Engagement

Engaging audiences with contemporary art and ideas through diverse and vibrant programs for all ages, MCA’s public programs provide a range of ways for different audiences to explore and learn through contemporary art. Programs including workshops, artist-led art-making, performances, talks, mini-festivals, hand-on family activities and after-hours events attracted and inspired all ages.

2018 Highlights

— Talks in eight different languages, a free screening of Ten Canoes (2006), and an Elders morning tea with a performance by the Gujaga Child Care Centre in both English and Dharawal took place on International Mother Tongue Language Day (21 February 2018).

— Created in collaboration with Bastian Fox Phelan, the initiator of the first Sydney Writers’ Festival Zine Fair in 2007, Zine Fair celebrated its 10th year and featured over 100 zinesters from all over Australia selling, swapping and making with over 3,000 people attending.

— Conversation Starters engaged 2,560 visitors over two days to think about what is truth, fiction, deception and lies through a wide range of experiences including workshops, panels, in-gallery poetry tours, a family space and an intimate dining event.

— As part of an artwork titled Workshop, artist Ciara Philips collaborated with five groups to create prints for the 21st Biennale of Sydney. These groups included volunteers from the Jessie Street Library and Big Fag Press, students from Liverpool Girls High School, women from an Afghan Community group and members of the MCA’s Young Guides.

— 1,243 people attended Art Baby sessions in 2018 and enjoyed the baby blanket made by Artist Educator Liam Benson. Participant numbers have almost doubled since 2016 with six sessions a month and private group tours now offered.

Public Engagement

— Artist Educators Katy Plummer and Giulia Corradi created a series of wearable artworks, puppets and other resources that respond to individual works in the MCA collection and being used across the MCA’s Kids & Families activities.

— With 43% of GENEXT audiences in 2018 coming from West and South-Western Sydney, the MCA Youth Committee collaborated with CPAC Youth at Casula Powerhouse to present GENEXT GOES WEST in August. Over a third of attendees experienced GENEXT for the first time and nearly two thirds had never been to Casula Powerhouse before.

— 2018 saw the most highly attended MCA ARTBAR ever. The Vivid edition, curated by Jonny Niesche, drew 1,437 attendees.

— In celebration of the 70th year since the creation of the United Declaration of Human Rights, a special performance of Acts of Memory by UK artist Monica Ross was held on 10 December. MCA staff members and students from Granville East Primary and Merrylands East Primary recited from memory the 30 Articles of the Declaration of Human Rights in over 22 different languages.

Program Type Number of Programs

Number of Participants

Adult Public Programs 205 28,747

ARTBAR 9 6,398

Kids and Families 190 13,267

Young Creatives 96 4,553

Artful: Art and Dementia 37 673

Total 537 53,638

Top left: MCA Zine Fair 2018, photograph Anna Kučera Top right: MCA Contemporary Kids Program, Installation view, Jon Campbell: MCA Collection, Museum of Contemporary Art Australia 2018, image courtesy and © the artist, photograph: Anna Kučera Bottom: Genext, December 2018, photograph: Maja Baska


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Program Type Number of Groups/ Programs


Early Learning 45 1,135

Primary 120 5,165

Secondary 384 9,556

Tertiary (ESL groups included) 160 3,281

Teachers 42 1,804

Digital Programs 4 774

Corporate/Community& Social Groups 41 1,072

Djurali (onsite & offsite) 2 38

Momentum 2 26

C3West Learning Programs 11 179

Bella (0-18yrs) 43 742

Bella Plus (Adults) 97 1,918

Together: School Access 34 1,308

Total 985 26,998

Through the National Centre of Creative Learning (NCCL), Student and Teacher Engagement provides tailored creative learning programs and online resources to support engagement with the MCA Collection, Exhibitions and Touring Exhibitions, at home and in the classroom. The MCA’s teacher professional development program supports a community of practice, focused on sharing ideas, resources and inspiration for creative learning through contemporary art. In 2018, MCA Artist Educators facilitated 985 gallery experiences, hands-on workshops and online learning programs that encouraged 26,998 students and teachers to look and think about contemporary art in new ways.

2018 Highlights

— More teacher professional development programs were offered with attendance up 109%.

— Completed the ground-breaking pilot research project Art & Wonder: Young children and contemporary art developed in collaboration with Macquarie University and Mia Mia Child and Family Study Centre and presented the research at several conferences.

— 50 schools and 864 students signed up for Hello Big Institution, the Digital Learning course for high school students developed with artist Lara Thoms. Many are based in regional and rural areas as far away as Broken Hill and far north Queensland.

— Launched the MCA’s first National Primary Visual Arts Teachers Conference Art Every Day with 130 teachers and practitioners taking part in the one-day event.

— Three MCA Together four-day programs and 31 single subsidised visits took place as part of the MCA School Access program. The progress of this wprogram was presented at the 2018 Museums and Galleries Conference, Education and Evaluation Network Meeting, Melbourne.

— The Bella Plus Connect drop-in program for adults with disability has consistently been at capacity with more than 100 participants each month, and collaborations with artists, Studio A and the Australian Chamber Orchestra proved popular.

— 26 young people from across NSW came together in July to explore contemporary art and what it means to be an artist at Momentum, a partnership with The Smith Family’s Learning for Life program.

— Presenting the offsite Djurali Youth Art Careers Workshop at Condobolin High School, in western NSW. Artist Lorraine Connelly-Northey and MCA Artist educators led workshops that supported Aboriginal and non-Aboriginal students to learn about study and career pathways in the visual arts, and other creative and cultural industries.

— The annual Engaging Students with a Disability Forum presented in collaboration with the Sydney Opera House focused on the ways in which dance, music, theatre and visual arts can unlock potential for students’ learning and empowerment, and offered ideas, inspiration and support for teachers, families and artists.

— Working with Liverpool Girls High School students on the C3 West program highlighting food security

Student and Teacher Engagement

Top right: Casula Public School, Winangali Program. Featured: Barayuwa Munungurr, Manbuynga, 2015, installation view, MCA Collection: Today Tomorrow Yesterday, Museum of Contemporary Art Australia, 2016, purchased with funds provided by the MCA Foundation, 2018, image courtesy and © the artist, photograph: Anna KučeraBottom Left: Liverpool Boys High School, MCA Together, School Access program, installation view, 2ist Biennale of Sydney: SUPERPOSITION: Equilibrium & Engagement, Museum of Contemporary Art Australia, Sydney, 2018, photograph: Anna Kučera


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The MCA is committed to connecting people with disability and access requirements of all ages with contemporary art, demonstrating the Museum’s core convictions that art is for everyone; and that everyone is creative.

During 2018, 256 programs were delivered for 5,054 participants of all ages with disability and access requirements including students, teachers, children, young people, families, adults and their support networks.

In 2018 a peer review reflected on learnings from the delivery of the MCA’s 2016-2017 Accessibility Action Plan informing the development of the new plan. Celebrating Difference: Access, Diversity and Inclusion Plan 2018–2020 outlines strategies to further reduce obstacles to access and participation, seeking greater opportunities for meaningful inclusion.

2018 Highlights

— Completion of the three-year research program Artful: Art and Dementia funded by the Vincent Fairfax Foundation and conducted in collaboration with the Brain and Mind Centre at the University of Sydney, one of the most robust studies conducted of its kind.

— Working with Autism Spectrum Australia, relaxed gallery openings from 8.45-9.45am followed by a creative workshop for children with autism and their families took place for the first time in 2018. Gallery modifications to support the sessions included sensory adjustments such as turning off sound or modifying lighting, the creation of a temporary yellow line on the gallery floor for visitors to follow, and the design of a sensory map that identified the key sensory components of the gallery, such as low lighting and flashing lights.

— A series of social stories available online were developed for Bella Programs, GENEXT and ARTBAR to assist individuals with access needs and reduce barriers to access.

— The launch of the Lara Merrett Bella Room Commission saw over 350 guests attending the opening celebrations, which included a lunch time talk by artists Lara Merrett and David Capra; drop-in creative making activities and a VIP evening event.

— Director, Audience Engagement, Gill Nicol spoke as part of a panel for University of Sydney’s innovation Week on Wednesday 1 August 2018 at the Seymour Centre to around 750 people. The event ‘Art and neuroplasticity – are they linked?’ brought together medical researchers and arts professionals working at both ends of the demographic spectrum: youth mental health and dementia.



Access Support 24 86

Auslan Tours 4 57

Audio Description Tours 2 27

Total 30 170

Top left: Installation view, MCA Collection: Today Tomorrow Yesterday, Museum of Contemporary Art Australia, 2018. Featured: Callum Morton, Monument #28: Vortex (detail), 2011, Museum of Contemporary Art Australia, purchased with funds provided by the MCA Foundation, 2015, 2015, image courtesy and © the artist, photograph: Jacquie Manning Top right: ARTFUL: Art and Dementia Program participants 2018. Featured: Lara Merrett, Paint me in (detail), 2018, installation view, Museum of Contemporary Art Australia, 2018, synthetic polymer paint and ink on canvas, steel, commissioned by the Museum of Contemporary Art Australia for the Jackson Bella Room, 2018, image courtesy and © the artist, photograph: Jacquie Manning Bottom: Installation view, MCA Collection: Today Tomorrow Yesterday. Featured: Fiona Hall, Manuhiri (Travellers), 2014–2015, driftwood, Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Judith Neilson, 2018, image courtesy and © the artist, photograph: Jacquie Manning

Art is for Everyone


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Conversations have the power to open up possibilities for exchange, empathy and empowerment. When art and conversation are fused, a really powerful combination is created, with the ability to bring together the most unexpected groups of people to meet and find common ground.

This year’s Conversation Starters program, titled ‘Truth or Dare’, exemplified this. A broad spectrum of events, inspired by the exhibition Sun Xun, attracted a wildly diverse audience. It was a weekend of chats, confessions, debates, exchange, ideation, learning, misdirection, poetry, truth, questions and above all else, conversations.

Highlights included: — A magician revealing methodologies for misdirection — Video confessions of lies we’ve told our mum — A psychologist, philosopher and linguist who held up a mirror to

show us the part we play in creating a post-truth world — The MCA Youth Committee starting conversations with strangers

about our relationship with social media

Another highlight was the panel discussion about fake Aboriginal art. Chaired by Clothilde Bullen, MCA Curator, Aboriginal and Torres Strait Islander Collections and Exhibitions, with Gabrielle Sullivan, CEO of the Indigenous Art Code, Amala Groom, a Wiradjuri artist, and Maiko Sentina, a solicitor at Terri Janke and Company.

This quote shared by Maiko highlights the importance of agency for Aboriginal artists: ‘The ecosystem, the environment we live in, is full of natural resources. Our art is our resource, it belongs to us, we use it in a ceremonial context, it is a resource for our survival. If control of that resource is taken away from us we cannot meet our cultural obligations, we cannot use it for our families’ benefit. Exploiting our resource needs to be negotiated on our terms; we need to have control of how that’s done.’Giving space for such issues is a key part of the MCA’s public program agenda; always responding to issues raised by the depth of our exhibition program in an attempt to find other ways to communicate and learn.

Top: Eat These Truths dinner participants, Conversation Starters, 2018, Museum of Contemporary Art Australia, photograph: Anna Kučera Bottom: The Moment of Truth: Conversation Wall, Conversation Starters, 2018, Museum of Contemporary Art Australia, photograph: Anna Kučera

Top left: Conversation Starters, 2018, Museum of Contemporary Art Australia, photograph: Anna Kučera Top right: Fake Aboriginal art: Ethics and appropriation talk, Conversation Starters, 2018, Museum of Contemporary Art Australia, photograph: Anna Kučera Bottom: Would you like a poem with that? Conversation Starters, 2018, Museum of Contemporary Art Australia, photograph: Anna Kučera

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Conversation Starters 2018: Truth or Dare

Case Study

The Visitor Experience team interpret, guide, and talk with visitors to deliver a world-class experience; in this way, we help connect visitors to contemporary art. The team comprises dedicated, knowledgeable and passionate Gallery Hosts, Ticketing Hosts and Volunteer Guides who make sure that all visitors to the MCA are welcomed warmly and made to feel included. The MCA’s Librarian and team of Library volunteers offer visitors deeper insights into the Museum’s permanent Collection through specialist library services and activities including archival exhibitions and research assistance. Many MCA Gallery Hosts are practicing artists themselves, working across diverse disciplines – painters, sculptors, illustrators, photographers, sound artists and curators. The expertise they develop in their artistic practice enhances their knowledge of MCA artists and exhibitions, and shows in the quality of their conversations with visitors from across the globe.

2018 Highlights — 16 new trainee guides were recruited undertaking a 12-week guide training

and mentoring program. — Tours of the MCA Collection now take place every weekday, and

additional Aboriginal and Torres Strait Islander art tours have been added due to demand, now taking place every Saturday and Sunday.

— 43% of Spotlight talks delivered by MCA Hosts were on Aboriginal and Torres Strait Islander artists, up by 16% from the previous year, a fulfilment of one of the MCA’s key objectives in 2018 to support Hosts develop confidence, research skills, and knowledge in order to be able to talk about Aboriginal and Torres Strait Islander art.

— Over a period of four months, Deaf Artist Educator Angie Goto taught the Hosts an Auslan sign a week – culminating in a vocabulary of 16 signs, enabling hosts to engage with deaf visitors more effectively.

— New bespoke Visitor Communications training was developed with the Australian Film Television and Radio School (AFTRS). 68 Hosts took part in the new program throughout 2018.



Guided Tours 876 8,554

Spotlight Talks 248 1,950

Total 1124 10,504

Top: Guided tour, Installation view, John Mawurndjul: I am the old and the new, Museum of Contemporary Art Australia, 2018, image courtesy and © John Mawurndjul/ Copyright Agency, 2019, photograph: Leslie Liu, Bottom: Spotlight talk, photograph Leslie Liu. Featured Nicole Foreshew, ngayirr

(sacred), 2015–2017, installation view, MCA Collection: Today Tomorrow Yesterday, Museum of Contemporary Art Australia, Sydney, 2018, minerals, salt, wood, Museum of Contemporary Art Australia, purchased with funds provided by the MCA Foundation, 2017, image courtesy and © the artist.

Top left: Guided tour, Installation view, David Goldblatt Photographs 1948–2018, Museum of Contemporary Art Australia, 2018, image courtesy and © the artist, photograph: Maja Baska Top right: MCA Hosts greet visitors at the entrance of Pipilotti Rist: Sip my Ocean, photograph: Yaya Stempler Bottom: Language tour, MCA Collection: Today Tomorrow Yesterday, 2018, photograph: Anna Kučera

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Visitor Experience

The MCA’s Communications and Marketing team create integrated campaigns to engage with audiences.

In 2018, the MCA’s Communications and Marketing team actively contributed to deepening audience engagement both onsite and online, driving overall attendance and further positioning the MCA as a leading cultural destination:

2018 Highlights

— Integrated campaigns were rolled out to promote key exhibitions, commissions and public programs. Overall, the PR team generated over 1,500 items of media coverage over the year, reaching a cumulative audience of 59M.

— Pipilotti Rist: Sip my Ocean was the MCA’s most successful Sydney International Art Series exhibition since the re-opening of the building in 2012, attracting over 114,879 attendees and became the MCA’s most Instagrammed show ever. Together, the exhibition and its programs including a world-first kids opening, ‘unplugged’ phone-free event, Colour Fields summer pop-up bar, family creative space and naturist tours generated over 280 media stories and reached an audience of over 29 million.

— The generation of media stories and creation of exclusive website and social media content for the John Mawurndjul: I am the old and the new exhibition led to major coverage including by international news outlets such as the Washington Post. Guardian Australia featured the exhibition in their first story ever published in an Indigenous language, and NITV’s news program ‘The Point’ ran a live-cross from the MCA’s Sculpture Terrace for NAIDOC Week.

— Key campaigns to support the MCA’s revenue-generating activities included digital campaigns to promote MCA Venues, MCA Store, Annual Appeal, Membership and Young Ambassadors; the launch of a limited-edition clutch for the MCA Store inspired by MCA Collection artist Nell; announcements of new major partners (including Red Energy as inaugural Touring Partner and LG Electronics as inaugural Innovation & Learning Partner); and the official unveil of Kamilaroi artist Archie Moore’s United Neytions installation at Sydney Airport’s T1 International Marketplace.

Major awardsThe MCA was voted ‘Most Loved Local Cultural institution’ by Time Out Sydney at their annual ‘Love Sydney’ Awards, a testament to the high standards of MCA exhibitions and overall visitor experience (through programs and activations such as the summer pop-up bar, ARTBAR, the MCA Cafe’s Chinese menu in conjunction with Sun Xun; the Ruinart Deluxe Sketch Club series; and the popular Young Henrys’ Sounds on the Terrace series).

#whatsyourmca, the major brand campaign created in partnership with Ogilvy Sydney in 2017, won a prestigious London International Design Award and Bronze Lion award at the 2018 Cannes Lions International Festival of Creativity, a global competition recognising the best in creative communications, marketing and advertising.

DigitalLaunch of the new MCA website provided a powerful platform to share the Museum’s stories and engage a broad range of audiences around contemporary art. Highlights include rich content about the MCA Collection, a new ‘Stories & Ideas’ portal, and an enhanced browsing experience to create serendipitous connections between stories, artists and artworks.

The MCA’s social media footprint continued to grow across all platforms, especially on Instagram (96,000 followers at the end of 2018, an 8% increase over 2017) and Facebook (124,000 followers).

Communications and Marketing

Top left: Installation view, Word: MCA Collection, photograph: Ken Leanfore Top right: T-shirt activation during the What’s Your MCA? campaign, photograph: Anna Kučera Bottom: Young Henry’s Sounds on the Terrace, photograph: Jodie Barker


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Audience Research Throughout 2018, the MCA continued to work with award-winning arts management consultancy Morris Hargreaves McIntyre (MHM) to help gain an understanding of who the MCA visitors are in order to develop new audiences and transform existing relationships. The audience research investigated people’s motivations and behaviours onsite, enabling MHM to identify and articulate the MCA’s key cultural segments.MHM’s Culture Segments is a leading international standard segmentation system used by arts and culture organisations such as the Sydney Opera House, Tate Modern, British Museum, Shakespeare’s Globe, Melbourne Arts Centre, Australian Chamber Orchestra, National Gallery Victoria and Queensland Art Gallery to drive audience development. It is based on people’s deep-seated cultural values and their beliefs about the role that culture plays in their lives, getting to the heart of what motivates them.

Key findings— In 2018 research questions focused more deeply on first-time visitors to

the MCA. In this period first-time visits made up over half of total visits and the majority of first-time visitors were from overseas. Targeted questioning of first-time visitors revealed that most first-time visitors come to MCA for a general visit and on average spend slightly less time (six minutes less!) in the Museum than repeat visitors.

— Visitors seeking information from the MCA website saw a significant increase throughout 2018, demonstrating the value of the website redevelopment.

— Visitors in the first half of the year were typically younger – almost half of visits were by 20-34 year olds (46%), reflecting the visitation of the very popular Pipilotti Rist: Sip my Ocean visitor demographic.

— Female visitors increased in the first half of the year, representing 65% of total visits to the MCA compared to 58% in the previous period. The increase can partially be explained by the success of the Pipilotti Rist exhibition which attracted female visits in particular (72%, 7 percentage points more than average).

— Visits throughout the year were more focused on a specific aspect of the MCA. The MCA Collection remains the most popular exhibition for those who visit and more visitors included Aboriginal Art in their visit than initially intended.

GENEXTDuring 2018, the MCA undertook a targeted piece of research around one of the Museum’s most significant public programs to better understand its impact and to identify future development opportunities.

Since launching in 2005, almost 27,000 young people have experienced GENEXT. During 2018, the MCA conducted a research study to measure the impact of the GENEXT program on young people, framed around the question: How does participation in GENEXT impact individuals in real time and later in life? As a recognised leader in peer-led, youth engagement programs within the Australian cultural sector, this research will provide important and timely insights not just for the MCA but also for the sector and for all organisations with an interest in youth welfare.

Patternmakers, a Sydney-based research agency, were commissioned to conduct the research and have worked with MCA staff and past and current Youth Committee members to co-design the methodology. The agency located past Youth Committee members and past GENEXT participants willing to participate in the research, a large undertaking given that over the past 12 years GENEXT has seen 26,948 young people participate in the event from across Greater Sydney and beyond – as far afield as Wollongong, the Blue Mountains and Newcastle.

The research is due to be published in 2019.

Research ProgramsThe MCA is increasingly working with University partners to deepen engagement and understanding of contemporary art in a museum context. Ongoing research program partnerships in 2018 were:

— Evaluating the impact of art on neuroplasticity with the University of Sydney Brain and Mind Institute and Alzheimer’s Australia

— A pilot program looking at museum-based visual arts pedagogy for children in the Early Childhood years with Macquarie University Department of Educational Studies and Mia Mia Child & Family Study Centre

— Looking at visual and cultural awareness for medical students with the University of Sydney Medical SchoolInstallation view, Lena Yarinkura:

Artist Room, 2018, Today Tomorrow Yesterday: MCA Collection, MCA, 2016-2020, image courtesy and © the artist, photograph Ken Leanfore

Genext, December 2018, photograph: Maja Baska

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Research and Evaluation

DEVELOPMENT

AND ENTERPRISES

The MCA relies on the support of its generous private donors, corporate partners and members, as well as income earned through commercial activities such as Venues and the MCA Store to deliver its exhibitions, programs and operational activities each year. In 2018, the MCA raised more than $14.5 million via sponsorships and philanthropy, membership programs and fundraising events, as well as commercial hire and MCA Store sales.

A dedicated team in the Development and Enterprises division work in collaboration with colleagues across all divisions to create special experiences and opportunities for partners and supporters.

Highlights from 2018— Nearly $700,000 was raised at the annual

Bella Dinner fundraiser. — The MCA in partnership with Qantas and

the Tate announced the third round of acquisitions of leading artists Ian Burn, Juan Davila, Rosalie Gascoigne, Imants Tillers and Maria Fernando Cardoso. All works were hung in the MCA Collection. Juan Davila’s ‘Love’ travelled in June to the Tate and is currently hung in Tate Modern.

— Long-term partner Telstra supported two membership drive campaigns in 2018 and generously offered to cover an additional one year of membership upon renewal. The offer proved very popular and each allocation was taken up within an hour.

— 2018 saw several new partnerships launched including Jaguar, LG Electronics and Bombay Sapphire. In collaboration with Bombay Sapphire, a pop-up bar was positioned on the Sculpture Terrace which attracted hundreds of gin-loving visitors to enjoy the spectacular view of Vivid.

— LG Electronics signed a three-year partnership in support of the MCA’s Creative Learning Programs for Teachers and Students which sees Western Sydney schools engage with programs and the use of LG technology utilised in the MCA.

— MCA Venues generated more than $3.5 million for the Museum’s activities.

— The exciting public art project with partner Sydney Airport, commissioned in 2017, came to fruition with the installation of Archie Moore’s incredible artwork United Neytions airside in the International Terminal Marketplace. Archie’s artwork is a standout attraction within this high traffic location of 16 million local and international visitors per annum.

As a not-for-profit independent organisation, income generated through non-government sources represents nearly 80% of the MCA’s annual revenue.

MCA Store, photograph: Anna Kučera

Annual Report 2018

Supporting Creativity

The Philanthropy Program raised a total of $1,948,000 in 2018, continuing to be a major contributor to the MCA’s ability to deliver ground-breaking exhibitions and creative learning programs and to grow the MCA Collection.

Key activities and initiatives in 2018 included: — Special access to the Museum, its programs and curators for 420

households through the Ambassador program with donors attending exhibition previews, curatorial tours and buying tickets for artists’ dinners where the new exhibitions were celebrated with artists and supporters. In 2018, donations to the Ambassador Program raised nearly $800,000.

— Over $21,000 contributed by visitors via the donation boxes placed around the Museum helping to keep entry to the MCA free.

— $323,000 raised during 2018 by the MCA Foundation raised for acquisition of artworks for the MCA Collection, with total funds raised to date by December totalling $2,772,744.

— The 2018 Bella Dinner which raised over $696,650 towards the MCA’s Access and Creative Learning programs. These funds provide an enriching engagement with contemporary art and the MCA for children and adults with access needs.

— $72,563 raised during the 2018 Annual Appeal enabling free access to the MCA’s creative learning programs for students from low socio-economic areas

— The annual Ambassador trip in June led by Blair French (Director, Curatorial and Digital) saw Ambassadors visit Auckland Art Fair, artist’s studios and galleries, Gibbs Farm and private home collections.

— Major Gifts campaign to raise $3 million over three years reached its target of over $1 million in its first year contributing to exhibitions and programs such as the GenNext, Art and Wonder, Artful and Aboriginal and Torres Strait Islander creative learning programs, C3 West events, and the Maningrida Project. Patrons also supported staffing positions in the organisation including curatorial and creative learning and digital roles.

Vital support from trusts and foundations throughout 2018 continued to enable the MCA to provide enriching engagement with contemporary art and the Museum for a broad and diverse audience. Grants from The Balnaves Foundation, Campbell Edwards Trust, Vincent Fairfax Family Foundation, Swiss Arts Council Prohelvetia, Linnell/Hughes Trust, ETA Basan Charitable Trust, Crown Resorts Foundation, Packer Family Foundation and Gordon Darling Foundation contributed to the development of key MCA projects, including publications, exhibitions, community projects, and access programs.

Following the launch of the MCA Bequest Program and the formation of the MCA Benefactors Circle last year, 2018 saw the number of pledged Bequests in support of the MCA grow. The first exclusive event to thank this group of generous supporters was held in December 2018. Bequests are vital to ensure the ongoing success of the Museum through providing funds for the development of the MCA Collection; supporting artists through exhibitions, commissions and public programs; and enabling future generations to access and engage with contemporary art.

Top: MCA Ambassadors enjoy a Curator Tour of Primavera 2018: Young Australian Artists, photograph: Jacquie Manning Bottom: MCA Ambassadors visit Gibbs Farm, NZ. Featured: Anish Kapoor, Dismemberment, Site 1, 2009, Mild steel tube and tensioned fabric, image courtesy and © the artist, photograph: Jane Whiston

Top: MCA Bella Dinner 2018, photograph: Tim Levy Bottom: MCA Patron Cynthia Jackson at the Bella Dinner 2018, photograph: Tim Levy

MCA Young Ambassadors Program supported by


Philanthropy —

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MCA supporters

MCA Life MembersNeil Balnaves AO & Diane BalnavesAndrew Cameron AM & Cathy CameronJudy Friend OAMGinny & Leslie GreenDr Edward Jackson AM & Mrs Cynthia Jackson AMJohn Kaldor AMDr Colin Laverty OAM & Mrs Elizabeth LavertyAnn Lewis AOCatriona & Simon Mordant AM Roslyn Oxley OAM & Tony Oxley OAMJohn B Reid AOReg Richardson AMLoti Smorgan AO & Victor Smorgan ACStewart Wallis AO

MCA Major GiftsPrincipal PatronsThe Balnaves FoundationCrown Resorts FoundationSimon Mordant AM & Catriona Mordant AMPacker Family Foundation

PatronsAndrew Cameron AM & Cathy CameronNoel CressieGeoff & Dawn DixonVincent Fairfax Family FoundationGRANTPIRRIE PrivateThe Hansen FamilyPeter Ivany AM & Sharon IvanyCynthia Jackson AMNeilson FoundationOranges & Sardines FoundationKatie Page-HarveyPlatypus Asset ManagementThe Bill & Patricia Ritchie FoundationRockendSusan Rothwell

MCA FoundationMajor BenefactorSimon Mordant AM & Catriona Mordant AM

Major DonorSally Breen & Kate MillsDavid & Michelle CoeAri & Lisa DrogaRichard Elmslie & Leslie TillyFraser HopkinsJohn & Frances Ingham FoundationAnthony MedichDr Dick Quan & Mr John McGrathAndrew & Andrea RobertsPenelope Seidler AMNick Langley & Lorraine TarabayRichard Weinberg & Monica Saunders-WeinbergWheen Family FoundationShannan WhitneyYang Yang

DonorDavid Fite & Danita LowesDavid SeargeantJennifer Stafford & Jon NicholsonSuzanne Rose & Alan SegalAnonymous

Supporter Dylan & Nicolette FarrellCarole Lamerton & John CourtneyThe Mayo GroupBeverly Ng & Ash HopperBernard Shafer in memory of Anna ShaferVictoria TaylorNick Tobias & Miranda Darling TobiasJacki Vidor & Phil Staub

MCA AmbassadorsVisionariesAnita Luca Belgiorno-Nettis FoundationAndrew Cameron AM & Cathy CameronDavid & Michelle CoeDavid GonskiJoelle GoudsmitGinny & Leslie GreenJohn & Frances Ingham FoundationDr Edward Jackson AM & Mrs Cynthia Jackson AMMr Alan Joyce AC & Mr Shane LloydIan & Wendy MacounAnthony & Suzanne Maple-BrownNelson Meers FoundationCatriona & Simon Mordant AM Lachlan & Sarah MurdochLisa & Egil PaulsenScott Perkins & Yael HeynoldLoti Smorgan AO & Victor Smorgan ACNick Langley & Lorraine TarabayPaul & Sue TaylorAnonymous

InnovatorsChum Darvall AMAri & Lisa DrogaRichard & Harriett EnglandKerry Gardner AM & Andyinc FoundationStephen Grant & Bridget GrantPirrieChris & Sue HadleyCatherine Harris AO PSMMichael Hawker AM & Jill HawkerThe Howarth FoundationMark HughesPeter Ivany AM & Sharon IvanyEugenia LangleyElizabeth LavertyTina & Roy MelickThe Myer FoundationVicki OlssonThe Penn FoundationJohn B Reid AO & Lynn Rainbow Reid AMSuzanne Rose & Alan SegalAlan Schwartz AM & Carol Schwartz AMAnn Sherry AO & Michael HoganSandi & John SzangoliesMonika Tu & Jad KhattarMalcolm Turnbull & Lucy Turnbull AOMark Wakely & Steven Alward Isaac Wakil AO & Susan Wakil AOStewart Wallis AO & Gwenyth WallisJane-Marie WhistonAnonymous

FuturistsDavid & Maxine BachmayerTimothy & Stacey BishopAndrew Cameron AM & Cathy CameronJulia Champtaloup & Andrew RotheryVictor & Chrissy CominoDoug Dean AM & Cathy DeanRobert & Jasmine DindasHelen Eager & Christopher HodgesRichard Elmslie & Leslie TillySusan & Penelope FieldDavid Fite & Danita LowesStephen Freiberg & Donald CampbellRichard & Jane FreudensteinJudy Friend OAM & Jim FriendDeborah FullwoodRyan GollanFraser HopkinsJohn & Frances Ingham FoundationGordon & Tasmin JacksonKate JeroginAlexandra & Carina MartinKeith & Maureen KerridgeVivien KnowlesDr Devora Lieberman & John van der WallenAmanda & Andrew LoveTory Maguire & David MilesJohn & Gail MarshallRhonda McIverAnthony MedichZareh NalbandianMark & Louise NelsonLouise Olsen & Stephen OrmandyTimothy OlsenGeraldine PalmerRuth RitchieJulia RitchieKalli & Brian RolfeAnna Schwartz & Morry Schwartz AMKate & Julian SextonSheila McGregor & John ArthurGreg & Kathy ShandDr Gene Sherman AM & Mr Brian Sherman AMEzekiel Solomon AMAntony Sukkar AM & Josephine Sukkar AMUrsula Sullivan & Joanna StrumpfMichael & Eleonora TriguboffDr Terry WuAnonymous (2)

ContemporariesLindy AinsworthAntoinette AlbertJoy AndersonAranday FoundationJohn Armati OAM & Kate ArmatiHayley BaillieBrad Banducci & Anna DudekVictoria & Tony BannonJane BarnesJulian Beaumont OAM & Annie BeaumontLarissa Behrendt & Michael Lavarch AORoger Salkeld & Helen BellSteve & Carrie BellottiAnn & David BennettJohn BeresfordBerg Family FoundationDaniel BesenTeresa BietChristine Bishop

Patricia BlauAnnette & William BlincoEllen BordaLuisa & Kyp BosciJan & Kelvin BoydRoslynne Bracher AMNatalia Ottolenghi BradshawMichael Bremner & Elizabeth MackenzieCatherine & Phillip BrennerJane BridgeJillian Broadbent AOBrad BuckleyFrank & Lucy CalabriaDr Bruce CaldwellRichard CaldwellRobert & Janelle CannBruce CarmichaelAnne-Marie CaseyAdam CasseldenLuisa CatanzaroEloise CatoPhebe Chan & Paris CoburnDuncan Chappell & Rhonda MooreMarie & Olivier ChretienLeo Christie OAM & Marion BorgeltLindsay Clement-MeehanNichola ClutterbuckSusan CollessStephen CollierAnna & Garry ConneryJ. Andrew CookPhillip Cordony & Helen DalleyPhilip & Caroline CornishPatrick Corrigan AMSarah Cottier & Ashley BarberJohn & Dawne CoxSilas & Kath CreelJohn Curtis AMJoan DaleSally Dan-CuthbertGordon Darling AC CMG & Marilyn Darling ACDavid Friedlander & Deborah WoodrupSuzanne Davies & Prof. Richard DunnSandy & Jane DawsonSophia de Mestre & Antony KnepSusanne Z de FerrantiSir Roderick & Lady Gillian DeaneSandra & Geoff DenmanAndy DinanMicheal Do & Tony KerridgeBeverley & Robert DommettDr David Dossetor & Professor Elizabeth Elliott AMDaniel & Lyndell DrogaPaul & Saadia DurhamNaomi EliasHenry ErgasNick & Sandra FairfaxMark FergusonMichele FergusonLuke FildesErin Flaherty & David Maloney AMBarbara FlynnMatthew & Kristina FosterPaul & Debra FoulkesWendy FraserEva GalambosSam GazalTim GerrardDavid Golovsky AM & Beverley GolovskyChristina & Maurice Green AMRobert Green & Maria JohnsonPhillip & Vivien Green

Lucy Greig & Josh BlackRachel Griffiths & Andrew TaylorJulie & Garry GrossbardLinda & Jason HabakSuzanne Hampel & Fran ClarkPamela HanrahanKate Harper & Jack WhelanAlexa & David HaslingdenMiranda HassettAngelo & Despina HatsatourisDr Garry HelprinJennifer HershonJohn HirschfieldAndrew L HorsleySerena Horton & Malcolm PatchJudy & Peter HowarthPaul & Diane HowarthSir Barry HumphriesAly & Balthasar IndermühleArthur & Charlotte InglisDiane IpkendanzTheresa Jackson & Ian IvesonMr Leigh Johns OAM & Mr Craig AndradeStephen & Michele JohnsErika JumikisPhillip Keir & Sarah BenjaminBarry KeldoulisLynley & Robert KellyGabriella Kennard OAMDr Dave Kennedy & Jane HanksAngela & David KentAssociate Professor John Keogh & Professor Nadia Badawi AMJohn Kiley & Eugene SilbertKaren & Nigel KingMichael KingAdriana & Joel KligmanTim & Skye KlingenderBeverly Knight & Anthony Knight OAMDarren Knight & Suzie MelhopDoug & Sue KnoxKate Irvine & Sarah KnoxSimeon Kronenberg & Hilarie MaisChristopher KuanCarole Lamerton & John CourtneyRon & Rhonda LangleyMark & Danielle LangsworthMichael & Alison LawlessLeathan FamilySkye Leckie OAMSonia Legge & Greg San MiguelAntonia Leigh & Chris DentJill & Tim L’EstrangeChristine McNamee Liddy AO & David B LiddyHarvey LightAgnes Lingane & James GowRobert Linnegar & Randi LinnegarAnita MackenzieKim MaloneyJenny MantonPenelope MappPaul & Anne MasiProf Michael McDaniel & Paul GaleaDavid & Roslyn McGovernPeter McGovern AM & Jan McGovernJulia McGrath ColemanRoss McLean & Fiona BeithAntoinette McSharryTony & Fran MeagherIrene MichaelJosh & Danielle MilaniPenelope & Greg MilesJustin Miller

Angus & Brielle MordantMaryrose Morgan & Michael MorganSean MungovanJan MurphyDr Clinton NgApril & Phil NichollsPeter Nottle & Wendy MaddoxAlicia ParlbyNaomi ParryDr Timothy Pascoe AMJames & Michelle PatersonZoe PaulsenGreg PeirceDrew Pearson & Liam ThomasJoshua Penn & Benjamin PalmerMark Phibbs & Nikki SouthAssociate Professor Jonathan Phillips AM & Irene SniatynskyjAndrew O’Connell & Vera McElroy Belinda Piggott & David OjerholmChloe & Andrew PodgornikLouisa Powell HirstBelinda & Bill PulverMandie & Andrew PurcellJames QuinlanFay RavenPeter Reeve & Jaycen FletcherCarolyn RendleSarah & Andrew RennieAlison RenwickPipilotti RistJustine & Damian RocheMichael Rose AM & Jo D’AntonioClaudia Rossi Hudson & Roger HudsonJames Roth & Susan AcretRae RothfieldAmanda RowellLouise & Paul RushGraeme & Trudy RussellJay Ryves & Nathan McLayJohn & Rosalinda SampleEva & Mark ScottVivienne SharpeMaryanne ShearerGlenn & Jo ShorrockDr Fiona SimAndrew Silberberg & Michelle KatzGillian Simon & Darren KindrachukFiona Anne Sinclair & Peter KingGary Singer & Geoffrey SmithMichael Sirmai & Rebecca FinkelsteinMerilyn Sleigh & Raoul de FerrantiPhilomena & Andrew SpearrittAdam SpencerBianca Spender & Samuel McGuinnessJennifer Stafford & Jon NicholsonMaisy StapletonRoss Steele AMHephzibah Rebecca StehliNigel & Penelope StewartJaclyn StrelowJames Sullivan & Judy SoperIrene SuttonRowena Talacko & Andrew FinckhLou & Rob TandyEric Tang MBE & Eileen TangGeorgie & Alastair TaylorPeter & Maree ThomasLinda ThompsonItay & Jana TuchmanLanne TuckerJulie Green & Frans VandenburgPeter Vogliotti & Angela McHughRhianna WalcottAnna Waldmann

John S Walton AMShaun & Kati WatsonPenelope WeirDavid & Kate WenhamWheen Family FoundationDan & Samantha WhiteKathy WhiteSonia Whiteman & Paul MiddleditchProfessor Ian WilcoxRay Wilson OAM in memory of James Agapitos OAMBill WinningDawin WongsodihardjoAngela & Andrew WoodNicholas & Elizabeth WrightVera YakimenkoDi & Ali YeldhamMatthew YovichMaria-Teresa Zamora & Victoria Sweetie ZamoraBrian ZulaikhaAnonymous (14)

Benefactors CircleThe Museum of Contemporary Art Australia would like to thank the MCA Benefactors Circle who have generously pledged to support the future of the Museum via a gift in their Will.

Gillian Appleton Jane Barnes Susanne Z de FerrantiLawrence Harding Peter Ivany AM & Sharon Ivany John Kiley & Eugene Silbert Michael KingCarole Lamerton Antoinette McSharryNizza & Max Siano Gillian Simon & Darren Kindrachuk Mark Wakely & Steven AlwardAnd all those who wish to remain anonymousAs at 1 April 2019

BequestsBequests are vital to ensure the ongoing success of the Museum of Contemporary Art Australia. By choosing to support the Museum in your Will, your gift will create a legacy that helps us to develop the MCA Collection; support artists through exhibitions, commissions and public programs; and enable future generations to access and engage with contemporary art.For further information, please contact:Hannah Dickson Bequest Manager E: [email protected] E: [email protected] P: 9250 8474

MCA Membership and the Young Ambassadors program provides people with the opportunity to engage with contemporary art and artists across a range of enriching informative and social experiences while supporting the activities of the Museum.

Over 1,000 Members attended 40 Member exclusive events in 2018 and a further 1,500 attended ticketed public programs. Members continue to create value for the MCA through direct membership fees and events, purchases at the MCA Store and MCA Café, through donations and through attendance at ticketed public programs. Membership retention increased to an average of 68%. Thanks to MCA Corporate Partner Telstra, 250 Members benefited from an extra year of free Membership when they renewed.

The MCA Young Ambassadors attended more than 20 events enjoying behind-the-scenes access in artist studios, gallery previews, private collections and at the MCA and more. 29 Young Ambassadors travelled to Melbourne for the Art Fairs, and attended more than 11 events over three days. A major prospecting event in October saw 13 new Young Ambassadors sign up, supported by a LinkedIn marketing campaign.

Top: MCA Young Ambassadors at Isaac Julien artist talk, Roslyn Oxley9 gallery, photograph: Jacquie Manning Bottom: MCA Membership Gift Pack featuring Matthys Gerber, Dove Tail (detail), 2013, synthetic polymer paint on wall, Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Matthys Gerber and Pamela Hansford, 2015, photograph: Daniel Boud

Top left: MCA Young Ambassadors. Featured: Gordon Bennett, Number Nine (detail), 2008, Tate and the Museum of Contemporary Art Australia, purchased jointly with funds provided by the Qantas Foundation 2016, image courtesy and © the Estate of the Gordon Bennett, photograph: Anna Kučera Top right: Members Creative Drawing Activity, National Centre for Creative Learning, photograph: Jacquie Manning Bottom: MCA Young Ambassadors. Featured: Kerrie Poliness, OMG (detail), 2014, Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2014, image courtest © the artist/ Copyright Agency, 2019, photograph: Anna Kučera


Membership and Young Ambassadors —

Partnerships with leading brands and companies provide a significant source of revenue for the Museum and extend the MCA’s reach to new audiences and markets.

In 2018 the Corporate Partnerships team worked with colleagues across the Museum to attract and deliver partnerships to a value of around $1.7 million, an increase of over 40% above 2017. The value of in-kind partnerships also increased in 2018 with new partner Coleman Greig joining and long-term partner AV1 doubling their support.

2018 Highlights — The MCA, in partnership with Qantas and the Tate, announced the

third round of acquisitions for this ground-breaking international program with works from leading artists Ian Burn, Juan Davila, Rosalie Gascoigne, Imants Tillers and Maria Fernando Cardoso acquired. All works were shown in the MCA Collection during 2018 and Juan Davila’s Love travelled to the UK in June to be shown at Tate Modern.

— Long-term partner Telstra worked with the MC on two membership drives in 2018. Telstra generously offered to cover an additional one year of membership for existing members renewing their membership. The offer proved so popular that the allocation was exhausted within the first hour.

— 2018 saw the launch of several new partnerships including Jaguar, LG Electronics and Bombay Sapphire. In collaboration with Bombay Sapphire, a pop-up bar was positioned on the Sculpture Terrace attracting hundreds of gin-loving visitors during the Vivid festival.

— LG Electronics signed a three-year partnership in support of the MCA’s Creative Learning Programs for Teachers and Students which facilitates access and engagement for Western Sydney schools with MCA programs and will foster the use of LG technology throughout the MCA.

— An exciting public art project with partner Sydney Airport came to fruition with the incredible artwork of Archie Moore being installed airside in the International Terminal Marketplace. Archie’s artwork is a standout attraction within this high traffic location of 16 million local and international visitors per annum.

Top: Students from Ifran College in Sydney, with MCA Director, Elizabeth Ann Macgregor OBE and LG Corporate Marketing Manager, Parvinder Gill in the MCA’s National Centre for Creative Learning, 2018, photograph: Anna Kučera Bottom: Bombay Sapphire Bar, MCA Sculpture Terrace, photograph: Leticia Almeida

AesopAV1Cafe SydneyColeman Greig LawyersCulinary EdgeDeloitte Services

The Balnaves FoundationThe Bill & Patricia Ritchie FoundationBradcorp Community Partnership FundCampbell Edwards TrustCrown Resorts FoundationE T A Basan Charitable TrustGordon Darling FoundationThe Ian Potter FoundationThe Linnell/Hughes TrustNeilson FoundationOranges & Sardines FoundationPacker Family FoundationSwiss Arts Council Pro HelvetiaVincent Fairfax Family Foundation

BloombergBrookfieldHarroldsJardine Lloyd ThompsonPanasonicScoundrel Projects

Trusts and FoundationsCorporate Members Technology Services PartnerSupporting Partners

Beverage PartnersHotel PartnerMedia Partners

Major Partners

Lecture Theatre PartnerStrategic Sponsor Official Airline PartnerCommunication Partner

Government Partners


Corporate Partnerships Our Partners

The diverse and beautiful MCA event spaces including the spectacular rooftop spaces and the prestigious Foundation Hall, continue to attract a wide range of clients and events including corporate conferences, industry seminars and trade presentations, gala dinners, media events, amazing weddings, breakfast and lunch meetings, award ceremonies and product launches. Private and corporate hire of the MCA’s venues generated $3.5 million for the Museum’s activities in 2018 and attendance of 55,000.

2018 Highlights: — IKEA Democratic Design Days taking over the Foundation Hall for three

days, giving Australians a behind-the-scenes glimpse of IKEA design and product development

— MCA Partner Jaguar launching their new compact five-seat SUV with a stunning display in the Foundation Hall

— Hospitality events for the Sydney-hosted SIBOS Conference (world premier financial services event)

— The welcome reception for the UK Invictus Games Team

— A number of award events including NSW Australian of the Year Ceremony, the Stella Prize and the AMP Tomorrow Fund Awards Dinner

— MCA venues remain a popular location for wedding celebrations and with the introduction of marriage equality in late 2017, 2018 saw same sex couples able to marry at the MCA for the first time

— Introduction of a new venue in late 2018, the Garden Terrace on the Quayside ground floor which proved popular for seasonal functions

Event partners The Fresh Collective, Culinary Edge, Bimbadgen, Ruinart, Young Henrys and AV1 continue to work with the MCA to provide venues clients with exceptional food and beverage offerings as well as sound, lighting and staging to enhance event experiences

The MCA Store completed a full refurbishment in September 2018. The refurbishment not only provides an updated space that improves visitor experience, it also provides the opportunity to showcase the four main product categories of the MCA Store: MCA catalogues and self-produced merchandise; Aboriginal and Torres Strait Islander artworks and gifts sourced directly from several community art centres; products and books devoted to children’s creativity; and a wide selection of wares produced by Australian artists, designers and jewellers.

Store performance since the refurbishment has improved with the average spend per transaction increasing by 20-25%. Whilst the budgeted surplus wasn’t achieved in 2018, the store is well placed to meet the 2020 KPI of a 15% increase in profitability. In 2018 over 300,000 people visited the store, this represented a slight decrease on 2017 but this is attributed to the store closure for three weeks during refurbishment.

In 2018 the MCA Store became a member of the Indigenous Art Code, the code seeks to preserve and promote ethical trading in Indigenous art. As a signatory the MCA Store ensures that all Indigenous art works and merchandise available in store are sourced directly from the art centres that represent the artist. The code states that: ‘Signing the Code is a commitment by sellers of Aboriginal and Torres Strait Islander art to build strong, ethical and sustainable Indigenous art commerce and to end exploitation, which takes advantage of artists and negatively impacts communities. Dealers, galleries, art centres and other individuals and organisations across Australia have committed to the Code and to always conduct their business with Indigenous artists with the highest standards of ethics and respect.’

Top: MCA Sculpture Terrace, photograph: Leticia Almeida Bottom: MCA Garden Terrace, photograph: Rhiannon Hopley

Top: MCA Store, photograph Anna Kučera Bottom: Clutch inspired by Nell, Sunset, 2002, a collaboration between the artist, From St Xavier and the MCA Store, 2017, photograph: Anna Kučera


MCA StoreVenues and Events

FINANCE AND CORPORATE SERVICES

The Finance & Corporate Services division comprises the Finance, Human Resources, Information Technology, Building Services, Design Studio and Records Management departments of the MCA. The Division keeps the core of the MCA running in an efficient and effective way, in order to create a strong foundation that supports the whole organisation to achieve its ambitions. The division also works to transform this core, modernising it to increase the organisation’s efficiency and more effectively support the vitality of the organisation.

2018 saw the continued development and deployment of the whole-of-organisation Digital Transformation project, with more functions of the MCA now being delivered through the new core system. All digital screens throughout the Museum were upgraded thanks to a partnership with LG, allowing greater flexibility and visibility for information display.

Significant work was done on the climate conditioning systems through the building and the Foundation Hall had extensive repair and restoration to its beautiful scagliola work. The MCA’s Cultural Awareness program for staff continued during 2018, and the organisation is exceeding its KPIs for Aboriginal and Torres Strait Islander employment.

Highlights from 2018— An excellent financial result for the year, with

a small surplus proving efficient forecasting and excellent financial management.

— An impressive number of major national and international awards were won for the design of the Pipilotti Rist: Sip my Ocean catalogue.

— Extensive work on much-needed climate conditioning plant and equipment took place.

— The innovative and well-received Cultural Awareness Program continued and Aboriginal and Torres Strait Islander staff numbers increased.

— 2018 saw a 20% increase in the number of graphic design jobs completed over the prior year, including five major publications, with numerous award wins.

— Achieved the complete reorganisation and cataloguing of the archives of the MCA’s rich exhibition history.

Photograph: Anna Kučera

With a focus on efficiency and effectiveness, the Finance and Corporate Services Division supports the whole of the MCA to achieve its goals.

Providing the Tools


Finance and Building Services Information Technology and Records Management

Finance The MCA delivered a strong financial result in 2018. The year finalised with a surplus of $1,914, proving efficient forecasting and prudent financial management.

This excellent result was driven by increases in income across multiple areas, with ticketing income associated with the continuation of the Pipilotti Rist: Sip my Ocean exhibition being particularly impressive. Rigorous cost control throughout the organisation also brought a number of expense lines under budget. Income diversity is a strength of the MCA, with the organisation generating nearly 80% of its revenue through commercial operations, corporate partnerships and philanthropy.

The annual audit was again overseen by Crowe Horwath and the detailed annual financial statement can be found on page 71 of this report.

Building ServicesExtensive work was done on upgrading the MCA’s climate conditioning equipment during 2018 – a multi-faceted and highly complex project, working around exhibition periods in a building that is open 364 days per year. The core mechanical plant and equipment was replaced in many areas, and air flow ducting was reconfigured on level three. Air Controllers were replaced, as were the humidifiers on two levels of the MCA. The building management system was replaced with a new system, allowing greater visibility and control of climate conditions. Extensive commissioning, air balancing and fine tuning was done to optimise this new equipment and further work will be done in this area during 2019. Heritage experts were engaged to do major repair and restoration works to the scagliola tiles on the walls, floors and columns in the Foundation Hall. Broken tiles were replaced and all tiles were repaired, cleaned and polished. The heritage brass fixtures were also repaired by a brass specialist. The Robert Emerson Curtis mural on the northern wall was also cleaned and restored by the MCA conservation team during the year.

Double glazing has been installed to the eastern windows on one level of the MCA in order to reduce the heating and cooling load and electricity usage. This work will also be done on the western side and other parts of the galleries will be done in 2019 to further improve environmental efficiencies for the MCA.

Information Technology2018 saw the continuation of MCA’s Digital Transformation, with continued development and deployment of the Ungerboeck ERP System. Mike Heness, MCA’s Ungerboeck Project Manager, gave a presentation on the organisation’s need for this system and MCA’s delivery of it at the annual Ungerboeck Conference, receiving international acclaim.

A new Point-of-Sale system was implemented for the MCA Store that is integrated with the core financial and CRM systems, and allows greater functionality of the e-commerce site. This has provided the MCA with the foundations to further streamline business processes as well improving visitors experience within the shop and online store.

The migration of legacy software systems neared its completion during the year, with the MCA now being able to shift the focus towards improving and extending the systems now in place, improving transparency and efficiencies throughout the organisation.

As part of the new Partnership with LG, the MCA was able to update and replace the digital screens throughout the building, resulting in more sophisticated display technology while also delivering more energy efficient solutions for the organisation. The long standing partnership with Telstra also provided the MCA with new telephony and internet solutions that will greatly reduce our ongoing operational costs.

Records ManagementIn 2018 efforts in Records Management were focused on processing archival materials and bringing care of collection to national standards. The contents of some 1,500 boxes – the MCA’s exhibition history, education and public programs, collection management documents, promotional materials, photographs, sound recordings, publications and other corporate records – were rehoused and catalogued to meet industry guidelines for best practice. Records relating to MCA exhibitions were described in detail, allowing for increased access and engagement with this aspect of the archive collection. As a result of this work, the organisation now has the means to explore and unpack its rich history.

Another key area of work was the development of the MCA’s new Digital Asset Management System, and contributions were made to both system design and procedures and processes.

MCA Foundation Hall with scagliola tiles

Graphic rendering of the proposed LG video wall


Human ResourcesDesign

The Design Studio touches every area of operation at the MCA, including supporting the delivery of exhibitions and events, enhancing the visitor experience through signage and wayfinding, and creating collateral to encourage and acknowledge support. 2018 was an exceptionally busy year, with a 20% increase in the volume of work requiring graphic design support compared with the previous year.

In 2018 projects included: — design and production of printed acrylic neck pieces featuring

artwork by Tony Albert to be used outdoors at the Blacktown Native Institution site;

— creating the visual identity, communication campaign and catalogue for the collaborative MCA and Art Gallery South Australia exhibition John Mawurndjul: I am the Old and the New, one of the MCA’s largest catalogues at 400 pages plus hardcover;

— the evolution of the campaign identity and expansion of materials to promote Conversation Starters, the annual weekend program of art and ideas;

— a major catalogue featuring the comprehensive archive of the esteemed South African photographer David Goldblatt using tri-tone techniques – another of the largest publications the MCA has produced at 404 pages plus fabric inlaid and embossed hardcover;

— designs for a range of merchandise to accompany the MCA Collection: Jon Campbell exhibition playfully referencing the artist’s text-based works, including a tissue pack emblazoned with ‘Snot Block’ and a mug proclaiming ‘Absolutely Disgusting’;

— a diverse array of unusual wayfinding and internal signage such as gender neutral bathroom signage, cloakroom tags, store shelf labels and bin stickers; and

— an identity, communication materials and signage for Druitt Days Live a major public event in Mount Druitt presented by C3West.

During 2018, the colourful 502-page catalogue accompanying the 2017-18 Pipilotti Rist: Sip my Ocean exhibition, designed by Alex Torcutti, won a number of national and international awards and the communications campaign, also designed by Alex, won the Exhibition Branding Package Category at the Museums Australasia Multimedia and Publication Design Awards (MAPDAs).

Throughout 2018, the Human Resources team continued to support the organisational commitment to delivering useful and relevant cultural awareness, training, professional development and wellbeing programs for MCA employees.

The Cultural Awareness Program continued with a number of on-site and off-site events taking place throughout the year including cultural tours, presentations, discussion panels and building online resources that enabled employees to further develop their knowledge and awareness of the Aboriginal and Torres Strait Islander cultures. The MCA has an employment target of 2.5% of employees identifying as First Peoples (increasing from 2% the prior year). In 2018 the Aboriginal and Torres Strait Islander employment rate was at 4.64%, above the MCA’s KPI and a 2.15% increase on the 2017 results.

Professional development included an Executive Program for the Leadership team, individual programs for managers and team workshops with the focus on strengthening communication and collaboration. The Bullying and Harassment policy was updated during the year and training in this area took place for all employees.

In January 2018, the MCA launched a new Access, Diversity and Inclusion Plan 2018–2020. Celebrating Difference is a three-year plan that continues to focus on access across the organisation and further outlines the Museum’s commitment to diversity and inclusion. As part of the new plan, the MCA delivered a Diversity and Inclusion Program for all employees which included lunchtime talks, Disability Awareness training and gender training sessions to aid awareness and capacity. The MCA also partnered up with Create NSW to deliver the Createability Internship Program, which is a paid internship for people with disability seeking professional development opportunities within the arts industry.

MCA Merchandise featuring illustration by Jeff McCann

MCA Staff with members of the Metropolitan Local Aboriginal land Council during the MCA Staff Cultural Awareness Program visit to the historic Australian Hall, Elizabeth St, Sydney, 2018, photograph: MCA staff


FINANCIAL

REPORT

64 Annual Report

Financial Report for the year ended 31 December 2018

Contents

66 Directors’ Report70 Auditor’s Independence Declaration71 Financial Statements71 — Statement of Profit or Loss and

Other Comprehensive Income72 — Statement of Financial Position73 — Statement of Changes in Equity73 — Statement of Cash Flows74 Notes to the Financial Statements82 Directors’ Declaration83 Independent Auditor’s Report

The financial statements were authorised for issue by the directors on 30 April 2019. The directors have the power to amend and reissue the financial statements.

Museum Of Contemporary Art Limited (ABN 15 003 765 517)

The financial statements are presented in Australian currency.

Photograph: Brett Boardman

Annual Report 2018

Directors’ Report

The directors of the Museum of Contemporary Art Limited (MCA or the Company) present their report for the year ended 31 December 2018.

DirectorsThe names and details of the Company’s directors in office during the financial year and until the date of this report are as follows. Directors were in office for this entire period unless otherwise stated.

Simon Mordant AM (Chairman)Elizabeth Ann Macgregor OBEDoug Dean AMGeoff Dixon (Retired: 14 March 2018)Ari DrogaKerry Gardner (Retired: 28 February 2018)Joyce Hinterding (Retired: 31 July 2018)Michael McDaniel Naomi Parry (Appointed: 2 July 2018)Scott Perkins Patricia Piccinini (Appointed: 28 August 2018)Ann Sherry AO Lorraine Tarabay Ivan Wheen

Company Secretary: Anh Thi Do

Mission StatementMCA’s vision is to take a leadership role in promoting contemporary art and facilitating artists to transform lives and shape a creative Australia.

We exist because contemporary art matters: it stimulates the imagination, creatively engages our aesthetic senses and has the power to transform lives. Contemporary artists address complex ideas, they challenge us to think and see the world differently to inform our outlook on life and society.

ValuesThe MCA embodies a number of key values:

— We value artists and place them in the centre of all our activities We respect and highly value the perspectives that artists, at all stages of their careers, bring to our core mission.

— We make complex and challenging artworks accessible We actively work to make contemporary art accessible to a broad and diverse public by creating multiple methods of engagement, interpretive materials and programs for all audiences.

— We foster creativity and critical thinking We believe creativity plays an important role to provoke thought and stimulate the imagination; we offer our visitors diverse opportunities and experiences to spark their creativity.

— We have an entrepreneurial outlook We seek and respond to opportunities, embracing change and thinking outside of the box to ensure our organisation is resilient and sustainable.

— We see collaboration as key to our success We believe that collaboration generates and promotes innovation and progress, so embed collaboration in our daily working practices both internally and externally.

— We embrace diversity and inclusion We value diverse opinions and perspectives, and embrace different voices in our programming and work practices, ensuring accessibility and inclusion for our audiences.

Short-Term And Long-Term ObjectivesConnecting a broad and diverse public with the work of living artists, the Museum of Contemporary Art Australia pursues curatorial excellence and innovation in audience engagement.

The MCA has six key goals that underpin all its activities: — Excellence in organisation wide programming — Build, care for and engage audiences with a significant collection

of contemporary Australian art — Deepening engagement and extending reach — Influencing the Influencers — Unlocking organisational potential — Integrating Aboriginal and Torres Strait Islander perspectives

StrategiesThe Museum has adopted a number of strategies to achieve the above objectives:

— Deliver exceptional programs through collaboration; develop and maintain deep relationships with artists; and place Australian artists in an international context.

— Acquire outstanding artworks in accordance with the Museum’s Collection and Acquisitions Policy; develop and present programs and campaigns about the MCA Collection to increase audience engagement; maintain and develop Collection records; and secure a new storage facility with a plan for the long-term care and conservation of the MCA Collection in accordance with best museum practice.

— Maintain and build the National Centre Creative Learning as a leader in creativity and learning; provide enriching and inspiring programs which reach a broad and diverse spectrum of visitors; increase access and understanding; leverage the Museum’s digital platforms; convert visitors to supporters; build local, national and international partnerships; and create impactful collaborative marketing campaigns across all platforms showcasing the breadth of the MCA’s visitor offer.

— Capitalise on the uniqueness of the MCA’s voice and position through the implementation of a communications strategy; articulate MCA’s vision to the business community; leverage relationships with influential arts industry

and government bodies; position the MCA as a key authoritative voice on issues around contemporary art and artists; and undertake research to determine the social impact and effectiveness of MCA programs.

— Develop and implement an information governance framework; underpin activities with a robust financial plan including the generation of additional funds; ensure highly efficient and effective business practices including organisational planning and staff development and support; and develop sustainability initiatives.

— Deliver the objectives as set out in the MCA’s Aboriginal and Torres Strait Islander Policy; undertake targeted programs and creative learning projects with and for Aboriginal and Torres Strait Islander and non-Aboriginal and Torres Strait Islander audiences; create programs that encourage visitation by Aboriginal and Torres Strait Islander audiences; increase access to Aboriginal and Torres Strait Islander works; create employment, Board and Advisory Committee opportunities for Aboriginal and Torres Strait Islanders; apply Cultural Learning Framework and Awareness program across the MCA.

Principal Activities The principal activities of the Company undertaken during the year in pursuit of the short and long term objectives were: — Delivery of ten contemporary art exhibitions (three continuing from

2017 and six new) and the MCA Collection presentation, with 1,089,551 on-site exhibition visitors

— Delivery of three touring exhibitions and one co-delivered exhibition in partnership with seven venues in five states and territories of Australia, welcoming a further 91,028 visitors

— 18 new artist projects and commissions — Five new books created and published — Launched a completely new MCA website, with 854,570 unique users

across the year — 91,310 participants in creative learning and public programs

(including 26,998 in student and teacher programs; 53,368 in public programs including kids and families, youth and disability programs; and 10,674 across guided and access tours and talks)

— 374,475 people were connected to the MCA through social media platforms at 31 December 2018 (Facebook, e-news, Twitter, Instagram and YouTube)

— Nearly 80% of total revenue is earned by the MCA from outside government sources to support the Company’s objectives

— 92 works by 24 artists for the MCA Collection were acquired, including 9 by First Peoples artists

— The third round of artworks were acquired with Tate as part of the MCA/ Tate joint acquisition program funded by support from Qantas

There were no changes in the principal activities of the Company throughout the year.

Key Performance IndicatorsStrategies have been developed across the MCA to ensure the organisation will deliver its goals. Each of these strategies has a number of clear Key Performance Indicators, which will be used to measure progress against the realisation of these aims. Each division within the organisation also

has detailed Operational Plans with measurable outputs that clearly outline how it will contribute to achieving each of the organisation’s broader KPIs. These implementation plans will consider resources, objectives, time frames, deadlines, budgets and performance targets.

A summary of activities that have Key Performance Indicators for the Company are: — Numbers and mix of exhibitions, commissions and acquisitions to the MCA

Collection, including significant and consistent representation of Australian and Aboriginal and Torres Strait Islander content within all programs

— Expansion of digital engagement with audiences through infrastructure improvements, collaborations with other organisations and targeted digital activity

— Numbers and mix of creative learning and public programs, including those embracing new technologies and their success in connecting more people with artists

— Numbers and mix of touring and innovative external projects, and their success in reaching new audiences

— Strong visitor attendance figures and positive feedback of the visitor experience onsite, offsite and online

— Sustainable financial results and the continuing exploration of new income streams and deepening engagement with stakeholders

— A strong management team and Board, with clear succession arrangements in place, engagement with and of artists, positive staff satisfaction rates and low turnover

— Governance and business practices, including the ongoing identification and management of risk

—


Directors’ Qualifications and Experience Directors’ Responsibilities Meetings of DirectorsThe number of meetings of the Company’s Board of Directors and of each Board Committee held during the year ended 31 December 2018 and the number of meetings attended by each Director were:

Director Qualifications Experience

Simon Mordant AM Fellow, Institute of Chartered Accountants

Philanthropist, Corporate adviser and member of numerous Boards and Councils locally and internationally

Elizabeth Ann Macgregor OBE

MA History of Art (Hons), Post Dip Mus and Gal Studies

Director, Museum of Contemporary Art

Doug Dean AM Bachelor of Commerce, FCPA, FAIM

Chairman, Veolia Environment

Geoff Dixon Company Director and Chairman of the Garvan Research Foundation

Ari Droga BA U Syd, LLB U Syd, LLM Cambridge University

Partner, Global Infrastructure Partners Australia

Kerry Gardner MA Film & Television, UMELB & Grad Dip Marketing, RMIT

Non-Executive Director

Joyce Hinterding Grad Dip Visual Arts U Syd

Contemporary Artist and Lecturer at University of Sydney

Michael McDaniel Professor of Indigenous Education, UTS

Professor in Indigenous Education and Director of Jumbunna Indigenous House of Learning at UTS

Naomi Parry Bachelor of Arts (Hons) U Syd

Founder and Director, Black Communications

Scott Perkins Bachelor of Commerce and a Bachelor of Laws (Hons)

Director of Woolworths, Origin Energy and Brambles, Chairman and board member of charitable organisations, former corporate adviser

Patricia Piccinini BA (Fine Arts) and PhD Honoris Causa (Visual Arts) VCA

Artist

Ann Sherry AO BA UQLD, Grad Dip Industrial Relations QUT

Executive Chairman, Carnival Australia

Lorraine Tarabay Bachelor of Business (Finance & Economics), Bachelor of Business (Finance & Economics) (Hons) UTS

Corporate adviser/investment banker, Company Director

Ivan Wheen Bachelor of Commerce (Hons) UNSW

Company Director

DIRECTORS’ MEETINGS

Full Meetings of Directors

Finance Committee Meetings

Director Number Eligible To Attend

Number Attended

Number Eligible To Attend

Number Attended

Simon Mordant AM 6 6 - -

Elizabeth Ann Macgregor OBE

6 6 6 4

Doug Dean AM 6 5 6 5

Geoff Dixon 1 0 - -

Ari Droga 6 4 - -

Kerry Gardner 1 1 - -

Joyce Hinterding 3 3 - -

Michael McDaniel 6 4 - -

Naomi Parry 4 4 - -

Scott Perkins 6 4 6 3

Patricia Piccinini 2 1 - -

Ann Sherry AO 6 3 - -

Lorraine Tarabay 6 6 6 6

Ivan Wheen 6 6 6 4

Director Responsibilities

Simon Mordant AM Chairman of the Board, Member of the Nominations Committee

Elizabeth Ann Macgregor OBE Member of the Board, Member of the Nominations Committee, Member of the Finance Committee

Doug Dean AM Member of the Board, Chairman of the Finance Committee

Geoff Dixon Member of the Board, Member of the Nominations Committee

Ari Droga Member of the Board, Member of the Nominations Committee, Chair of the MCA Foundation Council

Kerry Gardner Member of the Board

Joyce Hinterding Member of the Board, Chair of the Artist Advisory Group

Michael McDaniel Member of the Board, Chair of the Indigenous Advisory Panel

Naomi Parry Member of the Board

Scott Perkins Member of the Board, Member of the Finance Committee

Patricia Piccinini Member of the Board, Chair of the Artist Advisory Group

Ann Sherry AO Member of the Board, Member of the Nominations Committee

Lorraine Tarabay Member of the Board, Member of the Finance Committee, Chair of the Director’s Circle

Ivan Wheen Member of the Board, Member of the Finance Committee, Member of the MCA Foundation Council

Indemnification and Insurance of Directors and OfficersDuring the financial year, the Company paid a premium in respect of a contract insuring the directors of the Company against a liability incurred as such a director, secretary or executive officer to the extent permitted by the Corporations Act 2001. The contract of insurance prohibits disclosure of the nature of the liability and the amount of the premium. The Company has not otherwise, during or since the financial year, indemnified or agreed to indemnify an officer or auditor of the Company against a liability incurred as such an officer or auditor.

Operating and Financial ReviewThe operations of the Company during the financial year were the exhibition, collection and interpretation of contemporary art.

The Operating Result for the year ended 31 December 2018 is a surplus of $109,158. [2017: surplus of $244,641].

The Comprehensive Result for the year ended 31 December 2018 is a surplus of $1,914. [2017: deficit of $291,161].

Members’ GuaranteeThe Company is a company limited by guarantee and as such does not have authorised or issued capital.

Every member of the company undertakes to contribute to the property of the company, in the event of the Company being wound up during the time that the member is a member, or within one year of the cessation of membership, for payment of the debts and liabilities of the Company contracted before the time at which the member ceased to be a member, and of the costs, charges and expenses of winding up the same, and for the adjustment of the rights of the contributors amongst themselves, such amounts as may be required not exceeding twenty dollars ($20.00). There were 14 members in 2018 [2017: 13 members].

Auditor’s Independence The Directors have received an independence declaration from the auditor. A copy has been included with this Annual Report.

This Directors’ report is signed in accordance with a resolution of the Board of Directors.

On behalf of the Board

Scott PerkinsChair, Finance CommitteeSydney, 30 April 2019

Directors’ Report


Auditor’s Independence Declaration Financial Statements

Statement of Profit or Loss and Other Comprehensive Income

FOR THE YEAR ENDED 31 DECEMBER 2018 NOTE 2018 ($) 2017 ($)

Revenue from Operating Activities

Exhibition and Creative Learning income 2,311,615 2,349,757

Corporate and Individual Support 5,483,429 4,609,343

Grant income 13 4,961,219 5,177,914

Commercial income 9,421,100 9,637,563

Interest received 93,570 73,817

Revenue from Operating Activities 22,270,933 21,848,394

Expenses from Operating Activities

Depreciation and amortisation expenses (659,536) (573,465)

Employee benefits expense (11,361,060) (10,911,532)

Exhibition, creative learning and commission project costs (5,184,796) (5,084,045)

Repairs and maintenance, insurance, security and utilities (3,380,115) (3,114,164)

Cost of goods sold (980,267) (1,094,317)

Other expenses (596,001) (826,230)

Expenses from Operating Activities (22,161,775) (21,603,753)

Net Surplus/(Deficit) from Operating Activities 109,158 244,641

Revenue from Outside Operating Activities

Gifts of works of art, acquisition and foundation fund 2,139,994 1,670,645

Capital building fund 244,334 192,243

Revenue From Outside Operating Activities 2,384,328 1,862,888

Expenses from Outside Operating Activities

Building depreciation and amortisation (1,810,757) (1,778,363)

Foundation, Gift, Bequest and acquisition costs (680,815) (620,327)

Expenses from Outside Operating Activities (2,491,572) (2,398,690)

Net Surplus/(Deficit) from Outside Operating Activities (107,244) (535,802)

Total Net Surplus/(Deficit) before Income Tax 1,914 (291,161)

Income tax from operating activities 2 – –

Income tax from outside operating activities – –

Surplus for the year after Income Tax 1,914 (291,161)

Other comprehensive income – –

Total Comprehensive Income/(Loss) 1,914 (291,161)

– –

The above statement of comprehensive income should be read in conjunction with the accompanying notes.

Crowe Horwath Sydney is a member of Crowe Horwath International, a Swiss verein. Each member of Crowe Horwath is a separate and independent legal entity. Liability limited by a scheme approved under Professional Standards Legislation. Liability limited other than for the acts or omissions of financial services licensees.

Crowe Horwath Sydney ABN 97 895 683 573 Member Crowe Horwath International

Audit and Assurance Services

Level 15 1 O'Connell Street Sydney NSW 2000 Australia

Tel +61 2 9262 2155 Fax +61 2 9262 2190 www.crowehorwath.com.au

30 April 2019 The Board of Directors Museum of Contemporary Art Limited 140 George St Sydney NSW 2000

Dear Board Members

Museum of Contemporary Art Limited In accordance with the requirements of section 60-40 of the Australian Charities and Not-for-profits Commission Act 2012, I am pleased to provide the following declaration of independence to the Directors of Museum of Contemporary Art Limited. As lead audit partner for the audit of the financial report of Museum of Contemporary Art Limited for the financial year ended 31 December 2018, I declare that to the best of my knowledge and belief, that there have been no contraventions of:

(i) the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 in relation to the audit; and

(ii) any applicable code of professional conduct in relation to the audit.

Yours sincerely Crowe Horwath Sydney

Leah Russell Senior Partner


Statement of Financial Position Statement of Changes in Equity

Statement of Cash Flows

AS AT 31 DECEMBER 2018 NOTE 2018 ($) 2017 ($)

Current Assets

Cash and cash equivalents 1(D) 6,405,717 8,483,737

Trade and other receivables 3 2,016,160 1,641,016

Inventories 4 222,506 230,803

Prepayments 5 79,088 62,895

Total Current Assets 8,723,472 10,418,451

Non-current Assets

Property, plant and equipment 6 45,702,830 47,144,117

Works of Art 6 22,392,070 20,858,333

Intangibles 7 1,080,329 995,035

Total Non-current Assets 69,175,229 68,997,485

Total Assets 77,898,701 79,415,936

Current Liabilities

Trade and other payables 8 2,320,323 3,149,172

Provisions 9 389,969 402,806

Income in advance 10 4,284,908 5,057,207

Total Current Liabilities 6,995,200 8,609,185

Non-Current Liabilities

Provision for long service leave 9 402,807 307,971

Total Non-current Liabilities 402,807 307,971

Total Liabilities 7,398,007 8,917,156

Net Assets 70,500,694 70,498,780

Members' Funds

Retained Surplus 70,500,694 70,498,780

Total Members' Funds 70,500,694 70,498,780

The above statement of financial position should be read in conjunction with the accompanying notes.


Total equity at the beginning of the financial year 70,498,780 70,789,941

Total comprehensive income/(loss) for the year 1,914 (291,161)

Total Equity at the end of the Financial Year 70,500,694 70,498,780

The above statement of changes in equity should be read in conjunction with the accompanying notes


Cash Flows from Operating Activities

Funding and operational receipts (inclusive of goods and services tax) 23,975,191 23,180,132

Payments to suppliers and employees (inclusive of goods and services tax) (24,040,664) (21,702,650)

Interest received 93,570 122,662

Net Cash Inflow from Operating Activities 28,097 1,600,144

Cash Flows from Investing Activities

Capital building funding 244,334 192,243

Payments for Foundation, Gift Transfer, Bequest and Collection Management costs (680,815) (620,327)

Payments for property, plant and equipment (1,398,998) (1,050,750)

Payments for intangibles (270,638) (435,928)

Net Cash Outflow from Investing Activities (2,106,117) (1,914,762)

Net Decrease In Cash and Cash Equivalents (2,078,020) (314,618)

Cash and cash equivalents at the beginning of the year 8,483,737 8,798,355

Cash and cash equivalents at the end of the year 6,405,717 8,483,737

The above statement of cash flows should be read in conjunction with the accompanying notes.

—Financial Statements


2 Income TaxThe Company has been granted an exemption from paying income tax under section 50-5 of the Income Tax Assessment Act (1997).

3 Current Assets – Trade and Other Receivables

Trade receivables are recognised initially at fair value. The Company holds the trade receivables with the objective to collect the contractual cash flows and therefore measures them subsequently at amortised cost using the effective interest method. Trade receivables are generally due for settlement within thirty days. They are presented as current assets unless collection is not expected for more than twelve months after the reporting date.

Collectability of trade receivables is reviewed on an ongoing basis, taking into account expected credit losses.

4 Current Assets – Inventories

Inventories are valued at the lower of cost and net realisable value. Net realisable value is the estimated selling price in the ordinary course of business less the estimated costs necessary to make the sale.

5 Current Assets – Prepayments

1 Summary of Significant Accounting Policies

The principal accounting policies adopted in the preparation of these financial statements are set out below. These policies have been consistently applied to all the years presented, unless otherwise stated.

(A) BASIS OF PREPARATIONThese general purpose financial statements have been prepared in accordance with Australian Accounting Standards – Reduced Disclosure Requirements, other authoritative pronouncements of the Australian Accounting Standards Board and the Australian Charities and Not-for-profits Commission Act 2012.

New and amended standards adopted by the CompanyNone of the new standards and amendments to standards that are mandatory for the first time for the financial year beginning 1 January 2018 affected any of the amounts recognised in the current period or any prior period and are not likely to affect future periods.

Early adoption of standardsThe Company has not elected to apply any pronouncements before their operative date in the annual reporting period beginning 1 January 2018.

Historical cost conventionThese financial statements have been prepared under the historical cost convention.

Critical accounting estimatesThe preparation of financial statements requires the use of certain critical accounting estimates. It also requires management to exercise its judgement in the process of applying the Company’s accounting policies. Where significant accounting estimates and judgement have been used, they have been included in the relevant section.

(b) Revenue RecognitionRevenue is recognised when it is probable that the economic benefit will flow into the company and the revenue can be reliably measured. Amounts disclosed as revenue are net of returns, trade allowances, duties and taxes paid. Revenue is recognised for the major business activities as follows:

(i) Government Grants Grants from the government are recognised at their fair value where

there is a reasonable assurance that the grant will be received and the Company will comply with all attached conditions.

Government grants relating to costs are deferred and recognised in the profit and loss over the period necessary to match them with the costs that they are intended to compensate.

(ii) Sponsorship and Donations Income received is recognised as revenue when MCA obtains

control of the sponsorship/donation or the right to receive the sponsorship/donation.

(iii) Function Room Hire and Fundraising Event Income Income is recognised when services are rendered.

(iv) Rental Income Rental income is recognised on a straight-line basis over the

related lease term.

(v) Entrance Fees Income Income from entrance fees is recognised upon the sale of the ticket

as long as the ticket is not transferrable or refundable, otherwise income is recognised upon the expiry of the ticket which is generally after the date of admission on the ticket.

(c) Exhibition Income and ExpenditureThe Company’s core activities include organising exhibitions and other projects of contemporary art, both from Australia and overseas, and providing enriching creative learning and public programs for broad and diverse audiences. The Foundation fund, bequests, gifts of works of art and capital fund contributions are activities outside of the Company’s normal operations.

These exhibitions and other projects may incur costs and expenses in years prior to them being held. In addition, the Company seeks sponsorships and grants to offset those expenses and these may also be received prior to the realisation of the exhibition or other project.

The exhibition income is recognised in line with note 1(B) above. The expenditure is recognised as it is incurred.

(d) Cash and Cash EquivalentsFor the purpose of presentation in the statement of cash flow, cash and cash equivalents includes cash on hand, deposits held at call with financial institutions, and other short-term, highly liquid investments with original maturities of three months or less, that are readily convertible to known amounts of cash and which are subject to an insignificant risk of changes in value.

(e) J W Power Bequest and the University Of SydneyThe MCA entered into a management agreement with the University of Sydney on 31 December 2001, in which the University appointed the Museum as manager of the JW Power Collection. At that time the University also waived all outstanding loans and interest owed by the Museum to the Bequest in return for an on-going agreement to provide Services to the Collection. The value of those works is not reflected in the financial statements.

(f) Goods and Services Tax (Gst)Revenues, expenses and assets are recognised net of the amount of associated GST, unless the GST incurred is not recoverable from the taxation authority. In this case it is recognised as part of the cost of acquisition of the asset or as part of the expense. Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the taxation authority is included with other receivables or payables in the statement of financial position.

Cash flows are presented on a gross basis. The GST components of cash flows arising from investing or financing activities which are recoverable from, or payable to the taxation authority, are presented as operating cash flows.

(g) Inkind/Pro-Bono ServicesSome services may be received by the organisation for no cost in the form of pro-bono services and contra agreements with suppliers and sponsors. The value of such contributions are not recognised in the financial report as the fair value for these contributions cannot be reliably measured.

NOTE 2018 ($) 2017 ($)

Trade Receivables 1,635,148 892,175

Other Receivables (*) 381,012 748,841

Total Receivables 2,016,160 1,641,016

(*) These amounts generally arise from transactions outside the usual operation activities of the Company.

NOTE 2018 ($) 2017 ($)

Finished goods 372,506 380,803

Less: Provision for Stock Write-down and Obsolescence (150,000) (150,000)

Total Inventories 222,506 230,803

NOTE 2018 ($) 2017 ($)

Other Prepayments 79,088 62,895

Total Prepayments 79,088 62,895

—Notes to the Financial Statements


6 Non-Current Assets – Property, Plant and Equipment and Works of Art

NOTE 2018 ($) 2017 ($)

Leasehold Improvements, at cost 58,449,952 58,264,845

Less: Accumulated Depreciation (14,126,562) (12,341,264)

Net Book Value 44,373,390 45,923,581

Plant and Equipment, at cost 1,567,958 1,299,693

Less: Accumulated Depreciation (1,096,433) (871,406)

Net Book Value 471,525 428,287

Books and Publications, at cost 113,822 113,822

Less: Accumulated Depreciation (113,822) (113,822)

Net Book Value – –

Furniture and Fittings, at cost 480,443 480,443



Computer Equipment, at cost 979,478 883,583



Motor Vehicle, at cost 73,936 73,936


Net Book Value – –

PP and E – Place Management NSW Capital Work 436,577 192,244



Total Property, Plant and Equipment 45,702,830 47,144,117

Works of Art, at cost 22,392,070 20,858,333

Less: Accumulated Depreciation - -

Net Book Value 22,392,070 20,858,333

Total Property, Plant and Equipment and Works of Art 68,094,900 68,002,450

Leasehold Improve-

ments

Plant and Equipment

Books and Publications

Furniture and Fittings

Computer Equipment

Motor Vehicle

PP and E – Property

NSW Capital Works

Works of Art

Total

$ $ $ $ $ $ $ $ $

Balance at the beginning of the year

45,923,581 428,287 – 243,475 360,037 - 188,737 20,858,333 68,002,450

Additions at cost 235,107 268,265 – – 95,895 244,334 1,533,737 2,377,338

Disposal – – – – – – - - -

Depreciation/ Amortisation expense

(1,785,298) (225,027) – (52,667) (196,499) - (25,397) - (2,284,888)

Carrying amount at the end of the year

44,373,390 471,525 – 190,808 259,433 - 407,674 22,392,070 68,094,900

Reconciliations of the carrying amounts of each class of plant and equipment at the beginning and end of the current financial year are set out below:

(a) Depreciation and AmortisationDepreciation is calculated using the straight-line basis to allocate the cost of assets net of their residual values, over their estimated useful lives, as follows:

Plant and Equipment 3–5 YearsMotor Vehicles 5 YearsBooks and Publications 5 YearsFurniture and Fittings 2–9 YearsComputer Equipment 3–5 YearsWorks of Art Refer (C) belowBuilding 40 YearsIT project 8 YearsWebsite project 5 Years

Amortisation of the leasehold improvements is calculated on the straight line basis so as to write off the net cost over the shorter of its useful life or the remainder of the lease term ending in 2039.

(b) Leasehold ImprovementsThe MCA entered into a lease agreement with Property NSW (formerly Sydney Harbour Foreshore Authority) for a term of thirty-three years, seven months and fifteen days from 1 August 2005 to 15 March 2039. The expenditure on Leasehold Improvements has been recognised as an asset of the Company. Leasehold Improvements are amortised over the shorter of their useful life or the remaining period of the lease.

The MCA entered into an agreement to lease storage facilities with Arts NSW for a term of ten years from 1 August 2003 to 31 July 2013. The Company is currently leasing the premises on a casual month-to-month basis, while negotiation for the next term progress.

(c) Works of ArtThe Company acquires and is gifted art from time to time. Such works when acquired are capitalised at their acquisition cost. Works of Art gifted to the Museum have been recognised at fair value at the time of the gift. Expenses relating to the acquisition, including freight and packaging where applicable, are written off in the year in which they are incurred.

The Company also, from time to time, holds in trust, works of art belonging to various other bodies. These works are not reflected within the financial statements of the Company.

The directors estimate that the total residual value of works of art in the aggregate, is at least equal to the cost. As a result, works of art are carried at cost and not depreciated. The total residual value and recoverable amount of work of arts is based on the directors’ view of the appreciating value of the MCA collection. The collection is revalued by a qualified valuer at periodic intervals subject to prevailing market conditions.

Gifts of works of art are recognised as income at their fair value at the time of the gift. Fair value is determined based on the average of two independent valuations from external approved valuers.

(d) Books and PublicationsBooks and publications acquired for the Library are capitalised at their acquisition cost. Books and publications gifted to the Museum are brought to account if of value. The books and publications are depreciated in accordance with note (A) above.

(e) Property, Plant and EquipmentAll other property, plant and equipment is stated at historical cost less depreciation. Historical cost includes expenditure that is directly attributable to the acquisition of the items.

Subsequent costs are included in the asset’s carrying amount or recognised as a separate asset, as appropriate, only when it is probable that future economic benefits associated with the item will flow to the Company and the cost of the item can be measured reliably. The carrying amount of any component accounted for as a separate asset is derecognised when replaced. All other repairs and maintenance are charged to profit or loss during the reporting period in which they are incurred.



Intangible assets are initially recognised at cost and subsequently measured at cost less amortisation and any impairment. The amortisation method and useful lives of finite life intangible assets are reviewed annually. Changes in the expected pattern of consumption or useful life are accounted for prospectively by changing the amortisation method or period.

8 Current Liabilities – Trade And Other Payables

These amounts represent liabilities for goods and services provided to the Company prior to the end of the financial year and which are unpaid. The amounts are unsecured and are usually paid within thirty days of recognition. Trade and other payables are presented as current liabilities unless payment is not due within twelve months from the reporting date. They are recognised initially at their fair value and subsequently measured at amortised cost using the effective interest method.

Employee Benefits and Short-Term Obligations Liabilities for wages and salaries, including non-monetary benefits, annual leave and accumulating sick leave expected to be settled within twelve months after the end of the period in which the employees render the related service, are recognised in respect of employees’ services up to the end of the reporting period and are measured at the amounts expected to be paid when the liabilities are settled. The liability for annual leave and accumulating sick leave is recognised in the provision for employee benefits. All other short-term employee benefit obligations are presented as payables.

7 Non-Current Assets – Intangible Assets

NOTE 2018 ($) 2017 ($)

IT Project, at cost – in progress 1,228,083 957,445



NOTE 2018 ($) 2017 ($)

Website Project, at cost 227,596 227,596



Total Intangible Assets 1,080,329 995,035

NOTE 2018 ($) 2017 ($)

Trade Payables 1,173,721 1,752,180

Other Payables 599,863 771,637

Provision for annual leave 546,739 625,355

Total Current liabilities 2,320,323 3,149,172

IT Project Website Project

Total

$ $ $

Balance at the beginning of the year 790,676 204,359 995,035

Additions at cost 270,638 – 270,638

Disposal – – –

Depreciation/Amortisation expense (139,825) (45,519) (185,344)

Carrying amount at the end of the year 921,489 158,840 1,080,329

Reconciliations of the carrying amounts of intangible asset at the beginning and end of the current financial year are set out below:

9 Provisions

Employee Benefits and Long-Term ObligationsThe liability for long service leave and annual leave which is not expected to be settled within twelve months after the end of the period in which the employees render the related service, is recognised in the provision for employee benefits and measured as the present value of expected future payments to be made in respect of services provided by employees up to the end of the reporting period. Consideration is given to expected future wage and salary levels, experience of employee departures and periods of service. Expected future payments are discounted using market yields at the end of the reporting period on national corporate bonds with terms to maturity and currency that match, as closely as possible, the estimated future cash outflows.

Sponsor benefitsThe obligations are presented as current liabilities unless payment is not due within twelve months from the reporting date. They are recognised initially at their fair value and subsequently measured at amortised cost using the effective interest method

10 Current Liabilities – Income In Advance

11 Related Parties Transactions(a) Directors The names of persons who were directors of the Company at any time during the financial year are as follows: Simon Mordant AM, Elizabeth Ann

Macgregor OBE, Doug Dean AM, Ari Droga, Michael McDaniel, Scott Perkins, Ann Sherry AO, Lorraine Tarabay and Ivan Wheen. Naomi Parry and Patricia Piccinini were appointed as directors on 2 July and 28 August 2018 respectively. Geoff Dixon, Kerry Gardner and Joyce Hinterding were directors until their retirement on 28 February, 14 March and 31 July 2018 respectively.

(b) Key management personnel Key management personnel compensation for the years ended 31 December 2018 and 2017 is set out below. The key management personnel are the

Executive Director of the Company and the five executives with the greatest authority for the strategic direction and management of the Company.

There were no other transactions with key management personnel during the year ended 31 December 2018 (2017: nil).

Current NOTE 2018 ($) 2017 ($)

Provision for sponsor benefits 10,000 10,000

Provision for long service leave 379,969 392,806

Total Current Provisions 389,969 402,806

Non-Current NOTE 2018 ($) 2017 ($)

Provision for long service leave 402,807 307,971

Total Non-Current Provisions 402,807 307,971

NOTE 2018 ($) 2017 ($)

Income in Advance 4,266,218 4,556,430

Income in Advance: grants 13 18,690 500,777

Total Income in Advance 4,284,908 5,057,207

NOTE 2018 ($) 2017 ($)

Key management personnel compensation 1,080,989 1,159,026



16 Financial Risk ManagementThe Company’s financial instruments consist mainly of deposits with banks, accounts receivable and payable.

12 Subsequent EventsThere has not been any matter of circumstance that has arisen since the end of the financial year that has significantly affected or may significantly affect the operations of the Company, the results of those operations or the state of affairs of the Company in subsequent years.

13 Income In Advance(a) Income in advance This amount includes the Qantas Foundation support for the International Joint Acquisition Program with Tate in the UK, Trust and Foundation

income and private support for 2019 projects; rental, sponsorship and venue income in advance.

(b) Income in advance: Grants

14 Contingent LiabilitiesThe Company does not have any contingent liabilities at 31 December 2018.

15 Leasing ArrangementCompany as lessorOperating leasesFuture minimum lease payments expected to be received in relation to non-cancellable operating leases are as follows:

Leases in which a significant portion of the risks and rewards of ownership are not transferred to the Company as lessee are classified as operating leases. Payments made under operating leases (net of any incentives received from the lessor) are charged to profit or loss on a straight-line basis over the period of the lease.

Lease income from operating leases where the Company is a lessor is recognised in income on a straight-line basis over the lease term.

Grant Details Unexpended grants brought forward

from 2017 ($)

Grant income received in 2018

($)

Grant expenditure in 2018 (net grant

income) ($)

Unexpended grants carried forward

to 2019 ($)

Create NSW Core Funding – 4,068,000 4,068,000 –

Australia Council Core Funding – Key Organisations and VACS

372,780 391,470 745,560 18,690

Australia Council Other grants 77,933 – 77,933 –

Department of Communications

Visions of Australia 4,827 – 4,827 –

Trusts and Foundations 45,237 19,662 64,899 –

Total: Income in Advance Grants

500,777 4,479,132 4,961,219 18,690

NOTE 2018 ($) 2017 ($)

Within one year 3,920,846 3,830,210

Later than one year but not later than 5 years 13,551,461 15,088,941

Later than 5 years 28,328,669 30,712,052

Total 45,800,976 49,631,203

NOTE 2018 ($) 2017 ($)

Financial Assets

Cash and cash equivalents 1(D) 6,405,717 8,483,737

Loans and receivables 3 2,016,160 1,641,016

Total Financial Assets 8,421,877 10,124,753

Financial Liabilities

Financial liabilities at amortised cost:

– Trade and other payables – current 8 2,320,323 3,149,172

– Trade and other payables – provisions 9 389,969 402,806

– Trade and other payables – non-current 9 402,807 307,971

Total Financial Liabilities 3,113,099 3,859,949



For the year ended 31 December 2018

In accordance with a resolution of the directors of the Museum of Contemporary Art, I state that:

In the opinion of the directors:

1. The financial statements and notes, as set out on pages 69 to 79, are in accordance with the Australian Charities and Not-for-profits Commission Act 2012 and:

(a) comply with Australian Accounting Standards – Reduced Disclosure Requirements; and

(b) give a true and fair view of the financial position of the Company as at 31 December 2018 and of its performance for the year ended on that date.

2. In the directors’ opinion there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable.

On behalf of the Board

Scott PerkinsChair, Finance CommitteeSydney, 30 April 2019

Directors’ Declaration Independent Auditor’s Report

Crowe Horwath Sydney is a member of Crowe Horwath International, a Swiss verein. Each member of Crowe Horwath is a separate and independent legal entity. Liability limited by a scheme approved under Professional Standards Legislation. Liability limited other than for acts or omissions of financial services licensees.

Crowe Horwath Sydney ABN 97 895 683 573 Member Crowe Horwath International

Audit and Assurance Services

Level 15 1 O'Connell Street Sydney NSW 2000 Australia

Tel +61 2 9262 2155 Fax +61 2 9262 2190 www.crowehorwath.com.au

Independent Auditor’s Report to the Members of Museum of Contemporary Art Limited

Report on the Audit of the Financial Report

Opinion

We have audited the financial report of Museum of Contemporary Art Limited (the Company), which comprises the statement of financial position as at 31 December 2018, the statement of profit or loss and other comprehensive income, the statement of changes in equity and the statement of cash flows for the year then ended, and notes to the financial statements, including a summary of significant accounting policies, and the directors’ declaration. In our opinion, the accompanying financial report of the Company is in accordance with the Division 60 of the Australian Charities and Not-for-profits Commission Act 2012, including:

(a) giving a true and fair view of the Company’s financial position as at 31 December 2018 and of its financial performance for the year then ended; and

(b) complying with Australian Accounting Standards – Reduced Disclosure Requirements and Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013.

Basis for Opinion

We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report section of our report. We are independent of the Company in accordance with the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We have also fulfilled our other ethical responsibilities in accordance with the Code. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.

Other Information

The directors are responsible for the other information. The other information comprises the information contained in the Company’s annual report for the year ended 31 December 2018, but does not include the financial report and our auditor’s report thereon. Our opinion on the financial report does not cover the other information and accordingly we do not express any form of assurance conclusion thereon.


Independent Auditor’s Report

In connection with our audit of the financial report, our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial report or our knowledge obtained in the audit or otherwise appears to be materially misstated. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact. We have nothing to report in this regard.

Responsibilities of the directors for the Financial Report

The directors are responsible for the preparation of the financial report that gives a true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the Australian Charities and Not-for-profits Commission Act 2012 and for such internal control as the directors determine is necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error. In preparing the financial report, the directors are responsible for assessing the Company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the directors either intend to liquidate the Company or to cease operations, or have no realistic alternative but to do so. The directors are responsible for overseeing the Company’s financial reporting process.

Auditor’s Responsibilities for the Audit of the Financial Report

Our objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with the Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of this financial report. As part of an audit in accordance with the Australian Auditing Standards, we exercise professional judgement and maintain professional scepticism throughout the audit. We also:

▪ Identify and assess the risks of material misstatement of the financial report, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control.

▪ Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Company’s internal control.

▪ Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by the directors.

▪ Conclude on the appropriateness of the directors’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events

or conditions that may cast significant doubt on the Company’s ability to continue as a going concern. If we conclude that a material uncertainty exists, we are required to draw attention in our auditor’s report to the related disclosures in the financial report or, if such disclosures are inadequate, to modify our opinion. Our conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the Company to cease to continue as a going concern.

▪ Evaluate the overall presentation, structure and content of the financial report, including the disclosures, and whether the financial report represents the underlying transactions and events in a manner that achieves fair presentation.

We communicate with the directors regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that we identify during the audit. Crowe Horwath Sydney Leah Russell Senior Partner 30 April 2019 Sydney

—

Annual Report 2018

mca.com.au

mca.australia

@mca_australia

@mca_australia

140 George Street, The Rocks NSW 2000

PO Box R1286, Sydney NSW 1223 Australia

T 61 2 9245 2400 F 61 2 9252 4361

Lily Lai, Rinse, 2018, performance documentation, ARTBAR – curated by Get to Work, 2018, image courtesy and © the artists, photograph: Sam Whiteside

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