ANNUAL REPORT - Amazon Web Services · 8 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 9 PRINCIPAL OBJECTIVES PRINCIPAL

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ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 1

ANNUAL REPORT

A R T G A L L E R Y O F S O U T H A U S T R A L I A

2015–16 HIGHLIGHTS

• More than 780,000 visitors came through

the doors of the Art Gallery of South Australia

• 292 works were added to the collection

• Our family program START facilitated workshops, art making

activities and tours for nearly 10,000 families & children

• Over 40,000 students & teachers participated

in Learning at the Gallery programs

• AGSA Facebook likes increased by 26%

• The AGSA website received over 170,000

unique users

ACCOUNTABLE OFFICER DECLARATION The Hon Jack Snelling MP, Minister for the Arts

Sir, I have the honour to present the seventy –second Annual Report of the Art Gallery of South Australia for the Gallery’s 136th year, ended 30 June 2016.

Tracey Whiting, Chair Art Gallery Board, 2015–16

ART GALLERY OF SOUTH AUSTRALIA North Terrace ADELAIDE SA 5000 +61 8 8207 7075

artgallery.sa.gov.au

ISSN 0728–7925 ABN 52 290 987 817

image detail (page 4): teamLab, Japan, formed

2001, Ever Blossoming Life II – A whole year per hour, Gold, 2016, Tokyo, four channel,

digital artwork, endless, edition 4/6; Gift of the

Neilson Foundation through the Art Gallery

of South Australia Foundation 2015,

Art Gallery of South Australia, Adelaide.

Image courtesy of the artists and Martin

Browne Contemporary, Sydney

CONTENTS PRINCIPAL OBJECTIVES 9

OVERVIEW 2015–16 11–17

ADMINISTRATION 19–28

ARTISTIC PROGRAMS 29–32

PRIVATE GIVING 33–34

Appendices

A Charter and Goals of the Art Gallery of South Australia 35

B1 Art Gallery Board of South Australia 37

B2 Art Gallery of South Australia Foundation Council,

Audit Committee, Board Funds Management Committee 37

B3 Art Gallery Organisational Chart 39

B4 Art Gallery Volunteers 42

C Art Gallery Staff External Representation 44

D Acquisitions 46

E Donors and Partnerships 61–65

F Exhibitions and Public Programs 66–78

G Teaching & Learning at the Gallery and

School Support Services 79–83

H Gallery Guide Tour Services 84–86

I Gallery Publications 87

J Annual Attendances 88

K Information Statement 90–91

L Financial Statements 92–127

6 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 7

Our role as storytellers is to create experiences for our audiences that are exciting, meaningful and memorable, while still respecting the tradition and history of the Gallery. From the cutting edge of global contemporary art to historic European, Asian and Australian art, our 2015–16 program engaged with the public like never before. As a result we experienced an upward trend in our visitor numbers – an incredible achievement in the ever-evolving business of museums.

Our highlights included the 2016 Adelaide Biennial of Australian Art, which enchanted audiences across five locations in an unprecedented expansion of the exhibition. The city-wide event transformed Adelaide, doubling the 2014 event attendances. Well received by audiences in South Australia and Western Australia, the ambitious Treasure Ships: Art of the Age of Spices presented spectacular art produced for global markets in the era of the spice trade, dating from the fifteenth to early nineteenth centuries.

TARNANTHI: Festival of Contemporary Aboriginal & Torres Strait Islander Art was the largest Aboriginal visual art event ever staged in South Australia, bringing Aboriginal art and culture to the forefront. A critical success, TARNANTHI showcased over a thousand artists across the Gallery, and received the highest number of visitors for a free exhibition in the Gallery’s history.

The Board and Executive Team continue to work towards the long term goals of the 2015–2020 Strategic Plan, most notably engaging with stakeholders to develop a business case for a second site proposal, giving the Gallery greater capacity to showcase our collection of works currently in storage.

Making art accessible is a task made possible through the generosity of our supporters, benefactors, volunteers and friends. I would like to extend a warm thank you to our Board, led by Chair Tracey Whiting, as well as Gallery staff for their infinite ingenuity and enthusiasm in presenting outstanding programs and exhibitions.

2015–16 has been an incredible year of growth, and I look forward to taking the Gallery further in the years to come.

Nick Mitzevich DIRECTOR

DIRECTOR’S REPORT

2015–16 has been

an incredible year

of growth, and I look

forward to taking

the Gallery further

in the years to come.

Looking back on the 2015–16 year, it is gratifying to pause and reflect on the incredible achievements of the Art Gallery of South Australia. Breaking attendance records, diversifying its audience and bringing art to life, the Gallery has continued to build its reputation as one of the most relevant and vibrant contributors to the State.

Holding four major temporary exhibitions as well as thir ty-six collection displays over the past year, the Gallery has become a space that not only educates and inspires, but creates stimulating experiences through its innovative public programming and curatorial approach. Attracting people from all walks of life, the Gallery’s strategic focus has been to expand its teenage and family offerings. Engaging with this important segment has been incredibly successful, with more than 50,000 patrons attending The Studio, First Fridays, Neo and START collectively, with many visiting for the first time.

Almost 780,000 visitors visited the Art Gallery in 2015–16, increasing attendances by 31% from the previous year and endorsing South Australia’s reputation as a key cultural destination.

Through its exhibition program the Gallery had a real presence across the state, from the ever-expanding Adelaide Biennial to the record-breaking TARNANTHI.

Private giving, philanthropy and sponsorship continue to play a pivotal role in the Gallery’s self-sustainability plan. A huge thank you to the Contemporary Collectors chaired by Jane Yuile, the Foundation chaired by Andrew Gwinnett, to Gallery Members, partners and donors. Through gift-giving and fundraising, as well as corporate philanthropy, the Gallery has received funding that has supported the acquisition of new work; enabled accessibility with free exhibitions, events and programs; assisted with the general care of the collection and enabled us to deliver original exhibitions and publications.

On behalf of the Board, I would like to congratulate the dynamic leadership of Director Nick Mitzevich, Deputy Director Mark Horton and Assistant Director, Artistic Programs Lisa Slade, as well as the entire staff who have played an essential role in delivering an outstanding year.

Tracey Whiting CHAIR OF THE ART GALLERY OF SOUTH AUSTRALIA BOARD

CHAIR’S REPORT

ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 98 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA

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PRINCIPAL OBJECTIVESOBJECTIVESThe Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act 1939 and can be summarised as the preservation, research and communication associated with heritage and contemporary works of art of aesthetic excellence and historical or regional significance.

MISSIONTo serve the South Australian and wider communities by providing access to original works of art of the highest quality. Through the permanent collection, temporary exhibitions, publications, education and public programs, the Gallery seeks to become part of the daily life of Australians – to champion art, artists and ideas.

VISIONTo be a leading art museum in Australia and the Asia Pacific Region that:

• is highly respected for the quality and display of its collection, exhibitions, programs, interpretation and research;

• engages South Australians from all walks of life in the visual arts;

• enlivens and enriches the cultural dimension of the city and the state; and

• is a major attraction for interstate and international visitors to South Australia.

GOVERNMENT OBJECTIVESIn addition, the Art Gallery plays a significant role in delivering specific elements of the South Australian Government’s seven strategic priorities:

CREATING A VIBRANT CITYCreating an eclectic and exciting artistic program which attracts local and interstate visitors to the North Terrace precinct, greatly increasing the numbers of people in the city while bringing vibrancy to the city streets. This in turn will enhance the city’s atmospheric appeal and build upon the South Australian brand.

EVERY CHANCE FOR EVERY CHILDLearning and children’s programs are at the core of the Art Gallery’s artistic program, as it is recognised that building a lifelong love of the visual arts provides a framework for children to think creatively.

image left: Launch of TARNANTHI | Festival

of Contemporary Aboriginal and Torres

Strait Islander Art, October 2015.

photo: Ben Searcy


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OVERVIEW 2015 –2016This year saw the implementation of the Art Gallery of South Australia Strategic Plan 2015-20. Over the next five years the Gallery plans to:

• Advocate for support of the Gallery’s much needed expansion and development. The Gallery’s long history of benefaction and collection development has carved out a niche in the national landscape, however the challenge ahead is to secure the future care of and presentation opportunities for the collection. For many decades growing the collection has been the prevailing focus and the Gallery’s resources have been directed towards this end. Now the time has come to activate the collection in the fullest sense and this can only be achieved by caring adequately for the collection – ensuring its access and preservation.

• Extend its signature innovative curatorial approaches on North Terrace where the past and the present are in dialogue with each other physically, thematically and conceptually, into the Gallery’s exhibition and collection displays, learning and public programs. The Gallery also plans to engage a global audience through dynamic online learning experiences of the Gallery’s collection and exhibitions.

• Undertake projects that reflect the Gallery’s unique position in Australia on the edge of the desert and in close proximity to Aboriginal Australia. The Gallery plans to increase the prominence of Aboriginal and Torres Strait Islander art, South Australian artists, arts professionals and audiences in all of its activities.

• Create experiences for the Gallery’s visitors that are formal but friendly – experiences that reflect the identity of the city, which is compact, eccentric and agile and yet has a respect for tradition and history. The Gallery plans to embed its creative artistic program in the fabric of the city by co-programming with state festivals and events to nurture a broad understanding of, and passion for, art.

• Secure sustainable growth by increasing the Gallery’s financial capacity through the refocusing of resources for the development of its online capacity, commercial operations, benefaction and membership.

Key projects for the past twelve months have included:• The commencement of a new digital strategy,

including scoping the Gallery’s new digital platform with a project delivery horizon of 2018.

• Advancement and elevation of the Gallery’s hallmark project, the Adelaide Biennial of Australian Art by expanding the presence of the Biennial across the city.

• Presentation of and focus on Aboriginal and Torres Strait Islander art across all facets of the Gallery’s program, including the inaugural presentation of TARNANTHI.

• Business case development for a second site proposal to effectively resolve storage, expand education opportunity and increase collection display.

The Gallery’s key performance in 2015–16 under the Strategic Plan priorities for 2015–20 are as follows:

1 Present a dynamic, unique and eclectic artistic program that builds the collection and places the Gallery at the forefront of the nation’s art museums.

1.1 Temporary exhibitions: Four major temporary exhibitions were presented from primary research at the Gallery: Treasure Ships: Art in the Age of Spices; TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art; Riverland: Yvonne Koolmatrie; and the 2016 Adelaide Biennial of Australian Art: Magic Object. (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions; SASP Target 3 Cultural vibrancy – arts activities).

1.2 Collection displays: With a strong emphasis on activating a dynamic collection display program, thirty-six collection and special project displays were staged at the Gallery. (SASP Target 4: Tourism industry;

image left: Gilles Street Primary

School students participating

in a guided visit with Gallery Guide

Nic Carstensen. photo: Saul Steed


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SASP Target 3: Cultural engagement – institutions; SASP Target 3: Cultural vibrancy – arts activities).

1.3 Publications and research: The Gallery produced the following publications: Adelaide Biennial of Australian Art ; TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art; Riverland: Yvonne Koolmatrie; Robert Hannaford ; and four editions of Articulate. (SASP Target 99: Cultural engagement – institutions; SASP Target 3: Cultural vibrancy – arts activities).

1.4 Adelaide Biennial of Australian Art: In 2016 the Adelaide Biennial was expanded to a city-wide event with five venues, defining it as a national signature visual arts event. The expansion of the program was facilitated by a national ambassadors program supporting the increase in its scale. The total attendance figure was 220,433, which represents a 100% increase in visitor numbers since 2014.

1.5 Aboriginal engagement: The Gallery’s commitment to Aboriginal and Torres Strait Islander programming was significantly enhanced with a $4 million grant from BHP Billiton to present a festival of contemporary Aboriginal art which included 22 partners across the State with a total attendance figure of 311,063. This project developed a greater focus on Aboriginal and Torres Strait Islander content across the whole artistic program of the Gallery and to date is the most successful exhibition ever undertaken.

1.6 Collection development: The Gallery continued to build the collection across all collecting areas with 336 works acquired. Highlights included a significant collection of Aboriginal contemporary art, major works by Dorrit Black, Joy Hester, Arthur Streeton, Sean Scully, a major collection of Indonesian ceramics, and a group of works acquired through the Adelaide Biennial of Australian Art. (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions; SASP Target 27: Understanding of Aboriginal culture; SASP Target 6: Aboriginal wellbeing).

1.7 Gifts and purchases: The total value of gifts and purchases this year was $8,789,983.

1.8 Provenance: Following the introduction of the Gallery’s Due Diligence and Provenance Policy, work continues on improving the Gallery’s provenance history. The Gallery’s website now displays works which have incomplete information and more detail is being sought. This includes works in the Asian and European collections. Further research has been undertaken in preparation for field research in India by the Curator of Asian Art in late 2016.

2 Inspire new audiences and nurture audience loyalty to develop a broad demographic profile including children and families and generate lifelong relationships with the Art Gallery.

2.1 Attendances: 788,453 people visited the Gallery to see the permanent collection and temporary exhibitions, an increase from 756,846 visitors in the last financial year. This total increased to 1,049,205 people with the inclusion of off-site exhibitions. This is a 31% increase over the last financial year and continues the upward trend in visitor numbers. (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions).

It’s a tour-de-force for the undervalued Australian art scene, and a reminder of one of the reasons we go to art galleries: to experience a sense of wonder.

SYDNEY MORNING HERALD ON THE ADELAIDE BIENNIAL OF AUSTRALIAN ART

Installation view: 2016 Magic Object:

Adelaide Biennial of Australian Art

featuring Hiromi Tango Lizard Tail (breaking cycle)

photo: Saul Steed

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2.2 Public engagement: With the introduction of the Gallery’s new ‘gateway’ initiative First Fridays, a total of 24,145 people attended these twelve events, lectures and talks in the Gallery. (SASP Target 3: Cultural vibrancy – arts activities).

2.3 School engagement: 40,205 school students and support staff visited the Gallery as part of the Schools Support Services and 989 teachers received professional development, an increase of 16%. During the year 16,634 students, educators and accompanying adults attended 1,033 guided tours delivered by the Gallery’s volunteer Guides.

2.4 Guided tours: During the year 21,194 visitors attended 2,350 guided tours delivered by the Gallery’s volunteer guides.

2.5 The Studio: The Gallery continued to implement its successful programs for children and families. This critical audience development program has introduced many first time young visitors to the Gallery through hands-on workshops. A total of 34,311 patrons participated in the program in the 2015–16 year, an increase of 51%. (SASP Target 3: Cultural vibrancy – arts activities).

2.6 Teen engagement: Following significant growth with children’s programs, this year the Gallery initiated a new program targeting 13–17 year olds. This inaugural program, supported by the Balnaves Foundation, aims to grow audiences in this age bracket and follows the success of The Studio and START to nurture life-long learning and engagement with the Gallery.

3 Enrich the cultural life of all South Australians and promote art appreciation, cultural understanding and economic growth.

3.1 Cultural partnerships: To ensure the Gallery is connected to state-wide events to enhance audience development, the Gallery undertook seven cultural partnerships which was a 50% increase on the previous year. These included the South Australian Living Artists Festival, OzAsia Festival, Adelaide Film Festival, Adelaide Fashion Festival, Feast Festival, Adelaide Fringe Festival and Adelaide Festival of Arts.

3.2 Off-site projects: To expand the Gallery’s reach, 22 projects were undertaken through TARNANTHI with a total of 241,083 people attending these exhibitions. This is a dramatic increase from 22,399 the previous year.

4 Nurture collective achievement by building new partnerships, growing existing relationships and strengthening membership.

4.1 Private giving: New strategies to expand the Gallery’s patrons program were initiated, both diversifying specific giving and nurturing giving from across the country. This has resulted in a significant increase in private giving with $10.3m received in this financial year. The total amount raised through private giving and corporate philanthropy was $11.9m.

4.2 National Biennial Ambassadors program: To reflect the true nature of the Adelaide Biennial an Ambassadors program was expanded to attract national supporters. For the 2016 event, 41 donors from throughout Australia were nurtured, raising $333,750.

4.3 Corporate philanthropy: The Gallery continued to advance its relationships with over 30 organisations (including private foundations) supporting the Gallery’s operation through the provision of cash, product and/or media support, brokered in a combination of multi-year, annual or project-specific arrangements. Corporate sponsorship, private foundation and other grant revenue received in the 2015–16 financial year totalled $1.6m, with a further $2.6m committed during the year for future funding. This figure excludes the project grant for TARNANTHI.

TARNANTHI may be our most important Indigenous Festival yet.

ARTS HUB

image: Kulata Tjuta Inma and Installation, 9 October 2015, Government House, Adelaide, commissioned by TARNANTHI | Festival of Contemporary Aboriginal and Torres Strait Islander Art, courtesy Art Gallery of South Australia and Ernabella Arts, Iwantja Arts, Kaltjiti Arts, Mimili Maku Arts, Ninuku Arts, Tjala Arts and Tjungu Palya. photo: Ben Searcy


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4.4 TARNANTHI partnership: A special project grant was also received from BHP Billiton, which partnered with the Government of South Australia and the Gallery to present, for the first time, TARNANTHI, a contemporary Aboriginal and Torres Strait Islander Visual Arts Festival. This extraordinary support of $4m over two years involved 25 collaborators and over 1,068 artists from across Australia.

4.5 Education and family program partners: Support from The Balnaves Foundation and the James & Diana Ramsay Foundation enabled the ongoing delivery of Gallery programs The Studio (all-age activity space), START (kids and family programs), and Neo (designated teens program). This critical support enabled more than 100,000 people to access these programs free of charge and facilitated involvement by a large proportion of first-time visitors.

4.6 Appeals: The expansion of the artistic program has been primarily driven by the diversification and growth of private philanthropy support for projects through both the Foundation and Contemporary Collectors groups. During the year the Foundation supported Treasure Ships: Art in the Age of Spices exhibition with a major appeal and Contemporary Collectors facilitated the acquisition of Fiona Hall’s sculptural installation, All the King’s Men.

4.7 Membership: Building membership by developing targeted programs that extend into new and different audiences and encourage online interaction.

5 Deliver financial sustainability to create a strong fiscal foundation for the Art Gallery.

5.1 Commercial review: A review and analysis of the Gallery’s retail activities was undertaken and a plan to develop the retail revenue potential was accepted for implementation in the 2016–17 financial year.

5.2 Digital strategy: A grant of $300,000 over three years from the Ian Potter Foundation has facilitated the development of a new digital strategy to build business capacity in e-commerce, collection accessibility, and

other web-based functions. This project will be fully realised in the 2018–19 year.

6 Achieve efficient and purposeful implementation of administrative processes to ensure the safe and smooth management of the Art Gallery.

6.1 Audit processes: The Gallery’s Audit Committee focuses on the assessment and adequacy of the Gallery’s administrative internal controls and also functions as the primary committee that considers the annual interim audit conducted by the Auditor-General’s Department. A major achievement during the year was the completion of the Gallery’s comprehensive Risk Register, which identifies the full spectrum of risks that impact or could potentially impact the institution.

6.2 Masterplan Business Case: A preliminary Business Case for the long-term collection storage and building infrastructure needs of the Gallery was completed. A $500,000 State Government grant has been awarded to progress the Business Case.

6.3 Volunteer workforce: An extremely valuable support is the work of the Gallery’s 261 volunteers, undertaking Front of House, Library, Public Programs, Education, Curatorial, and Gallery Guide services. (SASP Target 24: Volunteering).

6.4 Safe workplace: The Gallery continued to implement Workplace Health and Safety policies and Systems and make improvements as necessary with no major incidents in the past year. (SASP Target 21: Greater safety at work).

TARNANTHI showcased over

1,068 artists, 22 partner exhibitions

attendances of over

300,000and reached total

image left:Pepai Jangala Carroll, Australia, born 1950,

Pitjantjatjara people, South Australia/Luritja people,

Northern Territory, Ernabella, South Australia,

Australia, Walungurru, 2014, Ernabella, South Australia, synthetic polymer paint on

canvas, 122.0 x 182.0cm; Acquisition through

TARNANTHI | Festival of Contemporary Aboriginal and Torres Strait Islander Art supported by BHP

Billiton 2016, Art Gallery of South Australia, Adelaide.

Courtesy the artist and Ernabella Arts


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ADMINISTRATIONLEGISLATIVE RESPONSIBILITY AND THE ART GALLERY BOARD

The role and function of the Board of the Art Gallery of South Australia is described in the Art Gallery Act, 1939. The Art Gallery Board is a body corporate and consists of up to nine members appointed by the Minister for the Arts.

Members of the Board as at 30 June 2016 were: Mrs Tracey Whiting (Chair), Neil Balnaves AO, Emeritus Professor Anne Edwards AO, John Phillips, Mrs Susan Armitage, Ms Jane Yuile, Adrian Tisato.

FINANCIAL MANAGEMENT AND RESOURCES

REVENUE 2016 $’000

Bequests and donations of cash 2,157

Donations of heritage assets 7,485

Fees and charges 604

Grants 830

Investment income 368

Net gain from disposal of non current assets 5

Rent and facilities hire 409

Resources received free of charge 855

Sale of goods 977

Sponsorships 1,113

Other 86

PERFORMANCE DEVELOPMENTWhilst regular Performance Development Reviews are carried out, none were performed in the 2015–2016 financial year.

BOARD MEMBER FEESThe overwhelming proportion of Board fees has been donated or forgone by Board Members.

SELF-INSURANCE/INDEMNIFICATIONThe Gallery’s fund for self-insurance against minor claims below $20,000 was maintained at satisfactory levels.

image left: Front of the Gallery featuring

Eko Nugroho Mooi Anomaly, 2015


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ORGANISATIONAL STRUCTURE AND SENIOR GALLERY MANAGEMENTThe Art Gallery of South Australia, founded in 1881, is governed by the Art Gallery Board of South Australia. The Gallery comprises the following distinct divisions: Directorial, Curatorial & Public Programs, Administration and Corporate Services.

FRAUDThere have been no instances of fraud detected.

MEASURES TO PREVENT FRAUDThe Art Gallery reviewed and maintained risk management systems throughout the year and conducted reviews of security arrangements.

CONTRACTUAL ARRANGEMENTSLocher provided a Graphic Designer to assist in undertaking graphic design projects where necessary.

The Art Gallery of South Australia regularly uses contractors for normal gallery business such as Public Programs and Publications.

CONSULTANTSExternal consultants Ernst & Young and Woods Bagot were engaged to undertake a preliminary business case for the Art Gallery second site.

DISABILITY ACCESS AND INCLUSION PLANS REPORTINGThe Art Gallery endeavours to support the plan in the following manner:

• Ensure accessibility to services All patrons are encouraged to avail themselves of disability services including

wheelchair access, wheelchair lifters and toilets for the disabled.

• Ensure information about the Art Gallery is inclusive of those with disabilities

Information was available to those with disabilities via the website, printed guides to the Art Gallery and telephone enquiry services.

• Provide services with awareness and understanding of issues affecting people with disabilities

The Art Gallery provided guided tours for persons with disabilities and also conducted public events that were accompanied by Auslan sign language interpretation for people with hearing disability. Hearing loops are installed in the Radford Auditorium.

Installation view: Melrose Wing of

European Art, Art Gallery of South Australia, 2013,

featuring Thomas Hirschhorn, Twin-

subjecter. photo: Sam Noonan


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TOTAL NUMBER OF EMPLOYEES WITH DISABILITIES (ACCORDING TO COMMONWEALTH DDA DEFINITION)TYPES OFDISABILITIES (WHERE SPECIFIED) FEMALE MALE OTHER TOTAL % OF AGENCY

Disability requiring Workplace Adaptation 0 0 0 0 0.0%

Physical 0 0 0 0 0.0%

Intellectual 0 0 0 0 0.0%

Sensory 0 0 0 0 0.0%

Psychological/Psychiatric 0 0 0 0 0.0%

EXECUTIVE BY GENDER AND CLASSIFICATION – TOTALSTOTALS BY CLASSIFICATION

CLASSIFICATION FEMALE % MALE % OTHER % TOTAL

SAES -1 0 0% 1 100% 0 0% 1

Total 0 0% 1 100% 0 0% 1

EXECUTIVE BY GENDER AND CLASSIFICATION – CONTRACT TYPECLASSIFICATION ONGOING TERM TENURED TERM UNTENURED OTHER (CASUAL)

FEMALE MALE OTHER FEMALE MALE OTHER FEMALE MALE OTHER FEMALE MALE OTHER

SAES-1 0 0 0 0 0 0 0 1 0 0 0 0

0 0 0 0 0 0 0 1 0 0 0 0

LEAVE DAYS TAKEN AND LEAVE DAYS TAKEN PER AVERAGE FTEAVERAGE FTE 59.8

TOTAL AVERAGE

Sick Leave 368.7 6.2

Family Carer’s Leave 61.6 1.0

Sick and Family Carer’s Leave 430.3 7.2

Special Leave With Pay 27.0 0.5

TRAINING AND DEVELOPMENT EXPENDITUREThe Art Gallery’s expenditure for Training and Development is $10,567 for the 2015–2016 financial year.

LEADERSHIP AND MANAGEMENT DEVELOPMENTThe Art Gallery of South Australia supports its staff in their professional development and during the financial year Nick Mitzevich attended the Global Museum Leaders Colloquium at the Metropolitan Museum of Art in New York.

GREENING OF GOVERNMENT OPERATIONS REPORTING / SUSTAINABILITYThe Art Gallery is very aware of its environmental footprint as it continues to implement the following strategies:

• Reuse of building materials in exhibition spaces

• Dual flush toilets in all areas

• Paper and cardboard recycling

• Bottle and can recycling

• Solar panels

• Green waste recycling

• Toner recycling

• E-waste

ENERGY EFFICIENCY ACTION PLAN REPORTINGThe Art Gallery’s energy efficiency statistics are captured in the Department of State Development Annual Report.

AGENCY DATA REPORT

NUMBER OF EMPLOYEES BY AGE BRACKET AND GENDER

AGE BRACKET FEMALE MALE OTHER TOTAL

25–29 4 1 0 5

30–34 5 0 0 5

35–39 6 2 0 8

40–44 4 2 0 6

45–49 4 5 0 9

50–54 4 6 0 10

55–59 8 2 0 10

60–64 5 2 0 7

65+ 1 0 0 1


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WORK HEALTH AND SAFETY AND INJURY MANAGEMENT

EMPLOYMENT OPPORTUNITY PROGRAMSAs an equal employment opportunity employer, the Art Gallery is committed to employing on merit regardless of race, gender, sexuality, marital status, age, pregnancy or physical or intellectual impairment for all positions within the organisation. This is supported by our diverse workforce profile.

Through TARNANTHI: Festival of Aboriginal and Torres Strait Islander Art the Gallery developed an employment pathway program for early-to-mid-level career Aboriginal and Torres Strait Islander staff. This included an Assistant Curator position partially funded through the Australia Council Emerging Curator Program as well as an employee secondment with Tandanya, National Aboriginal Cultural Institute.

ASBESTOS MANAGEMENTIn compliance with the Work Health and Safety Regulations 2012, all asbestos products have been identified and are recorded in the Asbestos Register.

The Asbestos Register contains the Management Plan, Inspection Report and Register of Asbestos Containing Products.

ANNUAL ASBESTOS MANAGEMENT REPORT CATEGORY NUMBER OF SITES CATEGORY INTERPRETATION: DESCRIPTION ONE OR MORE AT START AT END ITEM(S) AT OF YEAR OF YEAR THESE SITES

1 0 0 Remove Should be removed promptly.

2 4 4 Remove as soon Should be scheduled as practical for removal at a practicable time.

3 0 0 Use care during May need removal maintenance during maintenance works.

4 0 0 Monitor Has asbestos present. condition Inspect according to legislation and policy.

5 0 0 No asbestos (All asbestos identified identified/ as per OHS&W identified asbestos 4.2.10(1) has been has been removed removed).

6 0 0 Further information (These sites not required yet categorised).

WORK HEALTH AND SAFETY MANAGEMENT SYSTEMThe Art Gallery continues to address this issue through the Art Gallery’s Welfare Health and Safety Committee, chaired by the Manager Operations and Projects , Kym Hulme. Kym is also the Art Gallery Management representative with Vicki Petrusevics, Employee Representative on the Arts South Australia Arts Coordinating Committee. The continuous review of WHS policies, procedures and work practices is now an integral part of the workplace.

KEY ACHIEVEMENTSThe Internal Audit and Workplace Inspection Procedure ensured that injury management processes are conducted in accordance with legislative requirements and internal policies and procedures. Thirty employees received a flu vaccination as part of the Flu Vaccination Program. The Art Gallery Audit Committee completed a complete revision of the Art Gallery’s Risk Register, which was duly accepted by the Art Gallery Board.

STOCK-CHECKSStock-checks of the Gallery’s high-value items and the Noye Photographic collection and Furnishing Loans were completed.

ART GALLERY FOOD + WINEThe operator of Art Gallery Food + Wine, Efficient Catering Pty Ltd, continues to attract strong patronage and bookings for catered functions.

FACILITIES HIREThe Gallery continued to be a popular hire venue for a wide range of functions. This year 168 events were held in the various Art Gallery function spaces. These events included workshops, conferences, cocktail parties, wedding receptions, formal dinners, theatrical productions, award presentations, product launches and concerts.

CLEANING CONTRACTThe contract for the provision of Cleaning Services to the Gallery is provided by ISS Facility Services.

SECURITYThe contract for the provision of Security Services to the Gallery is provided by Wilson Security.

STAFF DEVELOPMENT AND TRAININGThe Gallery continued its program of staff training in a range of areas including WHS courses and information sessions to ensure it had the necessary skills and information.

COMMITTEESWork, Health & Safety, AGSA; Art Gallery Food + Wine, AGSA; Disaster Recovery Group; ACCC; Precinct Risk Management; Arts SA Facilities Management (FM) Forum; Art Gallery Audit Committee; Board Funds Management Committee; Art Gallery Foundation Council.


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PUBLIC COMMENTS AND COMPLAINTSDuring the 2015–2016 financial year the Art Gallery of South Australia received a total of 70 written visitor comments, queries, suggestions and complaints, submitted via the information desk.

CATEGORY OF COMMENT BY SUBJECT 2015–2016

Displays and exhibitions 27

View works 19

Seating 1

Marketing 2

Gallery Guides 3

Maintenance 5

Disabled access 2

Lighting 1

Café 1

Kids and families 5

Security 1

Donations 3

Total 70

STAFF OVERSEAS TRAVELA full listing of the Art Gallery staff Overseas Travel can be found on the Gallery website at artgallery.sa.gov.au in the About section and listed as Overseas Travel.

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ARTISTIC PROGRAMSEXHIBITIONSThe Art Gallery of South Australia delivers an eclectic program of exhibitions, collection based displays and special projects each year. This year the Gallery held 26 collection and special project displays and presented 4 major exhibitions. A total visitation of 788,453 was achieved between July 2015 and June 2016.

UNDERPINNING THE PROGRAM IS A COMMITMENT TO:• Generating greater awareness and increasing the presence and profile of South

Australian art and artists;

• Increasing the display and presence of Aboriginal art in the collection displays and exhibitions;

• Activating the collection using a curatorial signature that employs a combination of chronological, thematic and pan-historical approaches;

• Developing national and international partnerships to create unique experiences for audiences; and

• Embedding the Gallery’s artistic program in the fabric of the city by participating in major events including Festivals.

PUBLIC PROGRAMSPublic Programs serve to enhance and expand the experiences of the artistic program – to bring the audience closer to the art and the artists. This year, a range of approaches has been developed to generate an ongoing conversation between the audience, the collection, displays and exhibitions. These included:

• Daily collection and exhibition tours for the general public presented by Gallery Guides;

• Curated tours for special groups and students;

• Demonstrations, workshops and other hands on activities;

• Talks presented by artists and curators;

• In conversation style presentations involving artists, art historians and curators;

• Extended hours programs including First Fridays that offer art and entertainment;

• Discrete offerings for teens through the Neo program, supported by the Balnaves Foundation;

• START monthly family events supported by the James and Diana Ramsay Foundation; and

• Year round access to art making linked to exhibitions and the collection in The Studio, presented by the James and Diana Ramsay Foundation.

VOLUNTEERSThe Art Gallery values the contribution of its many volunteers who provide a variety of services to visitors and staff in the areas of guiding, education, public programs including children and families, front of house visitor services, curatorial research, library services, registration and administration. For the year ending 2015–2016, the Art Gallery was supported by 261 registered volunteers.

On Tuesday 1 December 2015, in recognition of the valuable contribution made throughout the year by all volunteers, the Gallery hosted the annual end of year celebration. The Volunteer of the Year Award was presented to long serving Gallery Guide, Lorraine Franzin, for her exceptional commitment and service to the Gallery. Recipients of Volunteer Excellence Certificates were Faye Duncan, Anne Keast, Anne Marcon, Lucy MacDonald, Annette Masters, Claudia Saade and Kyoko Schultz. The Face of the Gallery award was presented to Front of House volunteer, Skye Bennett, for outstanding customer service. A special award was presented to the Gallery Guides for their exceptional efforts in presenting the National AAGGO Conference in October 2015.

As part of the ongoing process to ensure excellence in service amongst AGSA volunteers, all volunteers receive orientation, relevant training and sign a Volunteer Agreement to confirm their understanding and awareness of the Gallery’s expectations in terms of appropriate behaviours relating to personal conduct. All volunteers and interns are also required to provide a current and satisfactory National Police Certificate or equivalent.

Based on an average contribution of three hours of service each week, Art Gallery volunteers have provided over 40,000 hours of service to the Gallery over the past 12 months.

FRONT OF HOUSEVisitor services to the Art Gallery continue to be provided by a team of Front of House volunteers numbering 118. These volunteers staff the Visitor Desk at the main entrance in the Vestibule and the Information Desk in the Santos Atrium, welcoming visitors and promoting the Gallery, selling exhibition tickets and memberships, receiving school groups and providing information to the general public 364 days of the year as well as providing a reception and telephone service for visitors and staff on weekdays.

Throughout the year, Front of House volunteers filled over 4,000 shifts and handled over 75,000 enquiries.

Volunteers provide over

of service each year40,000 hours


AR

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PR

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LEARNING AT THE GALLERYThe Learning at the Gallery program is the result of a partnership between the Art Gallery of South Australia and the Department for Education and Child Development (DECD). It is part of Outreach Education (OE), a team of DECD educators based in major South Australian public organisations. Their role is to bring together learner needs, curriculum, and best practice pedagogy with the expertise, collections and events at their organisations to create exciting learning experiences for Foundation to Year 12 (F–12) children, students and educators.

Gallery-based DECD Education Manager, Mark Fischer, planned, coordinated and delivered a range of learning programs in the period under review supported by AGSA Education Support Officer Ryan Sims (full-time, July 2015–June 2016), AGSA Education Support Officer Karina Morgan (part-time, July–December 2015), and Acting AGSA Education Support Officer Kelly Day (part-time, May 2016).

Mark Fischer participated in The South Australian Collaborative Childhood Project, conducting research relating to the Re-imagining Childhood: The inspiration of Reggio Emilia education principles in South Australia report. The early years Me, Myself, I program facilitators, Amanda Nichols and Judith Sweetman participated in this project. This was preceded in 2015 by the Time to Connect student inquiry project with Rose Park Primary School educators, which observed repeat visitation by a group of children.

Ryan Sims planned learning and public programs, undertook curriculum research, coordinated the Pilbili project, coordinated education resource development and design, developed The Studio activity space content and designs, and facilitated The Studio workshops in his additional role as Education Coordinator for TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art (part-time, July–December 2015).

The volunteer Gallery Guides were supported and coordinated to make links to the Australian Curriculum and the South Australian Certificate of Education (SACE) by the DECD Education Manager, and the AGSA Education Support Officers, to maximise face-to-face learning opportunities for children and young people visiting the Art Gallery.

The Australian Curriculum (AC) from Foundation (F - the year of schooling prior to Year 1) to Year 10, has impacted the design and delivery of learning area programs developed to suit the needs of schools and early childhood services. Learning areas supported by Learning at the Gallery included Visual Arts, Design, Humanities and Social Sciences (History, Geography, Civics and Citizenships), Science, English and Languages.

GRADUATE STUDIES IN ART HISTORYPostgraduate Programs in Art History and Curatorial and Museum Studies have been offered jointly with the Art Gallery of South Australia since 2001. This program of co-teaching postgraduate degree programs, developed by an Art Gallery and a University together, is unique in Australia. Developed and delivered jointly by the University of Adelaide and the Art Gallery of South Australia, the program enables students to study the collections of the Gallery, taught by curatorial and academic staff at both institutions and by national experts. On-campus classes at the University are combined with workshops at the Art Gallery.

A 20 day internship during semester two for Curatorial and Museum Studies students is a dynamic and professionally productive component of this innovative course. A large number of graduates from the program have found work in galleries and museums following their internships, and graduates have built careers in public and commercial galleries in curatorship, marketing and communications, public programs and education as well as in the auction industry and arts journalism.

ENROLMENTSSEMESTER 2 2015Curatorial and Museum Studies B 12

Curatorial Placement 1

Asian Art 22

European Art 28

European Art online 5

Research Project / Dissertation fulltime and online 8

SEMESTER 1 2016Curatorial and Museum Studies A 10

Art Museum Internship 4

Curatorial Placement 5

Contemporary Art 24

Japanese Art 17

Portraiture and Power online 14

Research Project / Dissertation 8


PRIV

AT

E G

IVIN

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PRIVATE GIVINGTHE ART GALLERY FOUNDATIONAt the Annual General Meeting on 19 November 2015 Andrew Gwinnett was re-elected to continue his role as the Chair of the Art Gallery of South Australia Foundation. Max Carter AO was elected to continue serving as Deputy–Chair.

The Foundation is dedicated to the development of the Gallery’s collection and its diverse exhibitions, programs, publications and infrastructure. The magnificent support of benefactors over the past year means that the Foundation has once again achieved outstanding results. The many generous donations to the Foundation and the enthusiasm of the Gallery’s loyal donors and supporters have made a significant contribution to the ongoing development of South Australia’s art collection and to the Gallery in general. The Foundation is the vehicle through which the majority of gifts to the Art Gallery is received and 2015–16 brought a large number of noteworthy acquisitions, strengthening each area of the Gallery’s permanent collection.

The Foundation continued to raise funds through encouraging financial donations, membership subscriptions, grants, bequests and generating income from fundraising events and investments. The Foundation raised $8.06m in total for 2015–16, which comprised works of art given valued over $6.4m and income raised of $1.66m. At 30 June 2016 there were 510 Foundation members.

The Foundation conducted several appeals throughout the financial year. These included South Australian Artists Fund, the Belinda Morgan in Memorial Fund, Treasure Ships Appeal, Geoffrey Hackett-Jones In Memoriam Fund, Hanging Scroll Appeal, Power of Pattern Publication Appeal, Olive Cotton Appeal, Departure from Kashima Hanging Scroll Appeal, Old Pine Screen Appeal, Robert Hannaford Appeal, Heather B. Swann Banksia Men Appeal, Michael Zavros The Phoenix Appeal, Augustus Earle Appeal, Jacques Henri Lartigue Appeal and the Ken Shimmin In Memoriam Fund.

The Thomas Elder Circle is the Foundation’s group established to recognise bequests. At 30 June 2016 there were 24 members of the Thomas Elder Circle.

The Foundation hosted 13 events throughout the year, giving members the opportunity to engage more closely with the Art Gallery, while also raising essential funds for works of art. The major event during the reporting period was A Taste of South Australia Dinner, which was held in support of the Robert Hannaford exhibition. The Foundation Collectors Club dinner, held on 30 October, was a major acquisition event this year, raising $309,000. In 2015, there were 48 members.

CONTEMPORARY COLLECTORSContemporary Collectors is a benefaction group at the Art Gallery of South Australia dedicated to advancing the Art Gallery’s permanent collection of contemporary art. Contemporary Collectors raises funds through membership fees, fundraising initiatives and appeals aimed at acquiring specific works of art. Jane Yuile is the Chair of Contemporary Collectors.

During the reporting period Contemporary Collectors continued to raise funds for the acquisition of contemporary art by expanding its membership base and introducing new fundraising projects. In this financial year, Contemporary Collectors raised $2.2m which comprised works of art given valued over $1.53m and income raised of $677,001 from Membership subscriptions, events, and donations. At 30 June 2016 there were 203 Contemporary Collectors members.

Also, during the reporting period Contemporary Collectors conducted the Trent Parke Appeal and the Fiona Hall Appeal. In addition the Biennial

RESEARCH LIBRARYAGSA Library continues to provide a wide range of services to staff, guides and art history students, as well as external researchers by appointment. It also manages archives and records.

Volumes accessioned 1,041. Of these, 170 were purchases, 62 exchanges, 10 reproductions and 799 donations. Acquisitions support the research into exhibitions and the collection as well as the art history and public programs.

Volumes catalogue 1,040. Total number: 43,360. All the Library’s holdings are added to Trove to enhance the accessibility of the Library collection.

Loans 1,208.

Interlibrary Loans 151 received and 94 supplied.

The Library software system, Inmagic DB/Textworks, has been upgraded to Version 15. There are nearly 20 databases in the suite, including the library catalogue, serials check-in, exhibitions, document delivery, purchase orders, accessions, indexes to the National Gallery of South Australia Bulletin and Articulate. In line with our mission to continually improve access to research documents, an important new database has been created by indexing and scanning all available (Royal) South Australian Society of Arts exhibition catalogues since the Society’s inception. This was a collaboration between AGSA Library and the RSASA, which shared their joint holdings of catalogues.


APP

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IX A

APPENDIX A

CHARTER AND GOALS OF THE ART GALLERY OF SOUTH AUSTRALIA

To enable the South Australian and wider community to directly experience high-quality works of visual art; to ensure that the experience is enlivening and enriching; and to demonstrate that a significant expression of South Australian life can be experienced in South Australian works of art.

GOALSCOLLECTIONThe Gallery will identify and hold historically important works of art of aesthetic excellence and of regional significance in accordance with the Gallery’s collections policies. Works on loan to the Gallery’s collections will also be subject to those policies.

PRESERVATIONThe Gallery will ensure the preservation and conservation of its collections by maintaining them in standard environmentally controlled conditions, by handling them safely and by ensuring their security at all times. The Gallery should stabilise or restore deteriorating or damaged works in its collections. Works temporarily in the Gallery’s custody will receive the same environmental safeguards, safe handling and security as works in the Gallery’s collections.

DOCUMENTATIONThe Gallery will fully document its collections with a central catalogue system that includes complete visual as well as written records. Undocumented works temporarily in the Gallery’s custody will also receive written and visual documentation.

RESEARCHThe Gallery will research and evaluate its collections (and related material) so that the collections’ display, interpretation and promotion are carried out with integrity. The Gallery should make its collections and associated documentation accessible to others for the purposes of research.

Ambassadors Program was launched for its second iteration, in association with the 2016 Adelaide Biennial of Australian Art: Magic Object. The Biennial Ambassadors Program is a fundraising initiative supporting the Adelaide Biennial of Australian Art, with donations directed towards commissioning works of art and developing public programs for the exhibition. In 2016, the Program raised $333,750. A further $163,000 was raised to support the acquisition of works of art from the Biennial.

In the reporting period, members of Contemporary Collectors were offered 20 events and tours that included social, educational and travel opportunities, giving members unique engagement with contemporary art and artists.

Following the appointment of Jane Yuile as Chair of Contemporary Collectors, several sub-committees were established to strategically develop specific aspects of Contemporary Collectors. The sub-committees and their membership include:

Biennial Anna Davison, Candy Bennett, Stephanie Grose

Membership Strategy Cherise Conrick, Marc Allgrove, Pia Tsoutouras

Social Eli Zaikos-Ridley, Mark Van Tenac

Tours Candy Bennett, Silvana Rositano, Zoe Elvish, Thelma Taliangis

MEMBERSHIPMembership at the Art Gallery has continued to grow again this year due to various new member promotions, including three additional months of membership for free and a complimentary Robert Hannaford catalogue during exhibition season.

In the 2015–16 financial year Membership raised $191,018 income from membership subscriptions and events. At 30 June 2016 there were 3,168 Members. Thirty three Members’ events were held during the reporting period including the monthly Guide to the Gallery, Book Club and New Members’ Welcome Tours.

AGSA Research Library acquisitions were boosted by donations from Ray Choate, the retiring University Librarian, University of Adelaide, who had a substantial private library which included many art books, a reflection of his early years as an art librarian.

A large number of books from James Mollison, the inaugural Director of the National Gallery of Australia, also found their way to us, via the Art Gallery of New South Wales Research Library. The subject coverage revealed the remarkable breadth and depth of his book collecting and scholarship.

The Library was also given many books from the estate of Gallery Guide, Jenni Scrymgour, through her daughter Trudi.


APP

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IX B

1 A

ND

B2

APPENDIX B1

ART GALLERY OF SOUTH AUSTRALIA BOARD

There were six meetings of the Board during the year, attended as indicated.

Mrs Tracey Whiting 6

Emeritus Professor Anne Edwards AO 4

Mrs Sue Tweddell (until 19 December 2015) 3

Mr Robert Whitington QC (until 11 November 2015) 2

Mr Neil Balnaves AO 5

Mr John Phillips 6

Ms Jane Yuile 5

Mrs Susan Armitage 6

Mr Adrian Tisato (from 10 December 2015) 2

APPENDIX B2

ART GALLERY OF SOUTH AUSTRALIA FOUNDATION COUNCIL 2015–2016

Chairman Andrew Gwinnett

Deputy Chair Max Carter AO

Members Susan Armitage

Shane Le Plastrier

Pam McKee

John Phillips

Ex Officio Tracey Whiting (Chair)

Mary Abbott

Nick Mitzevich (Director)

Diana Ramsay AO

Thelma Taliangis

Jane Yuile

Executive Officer Charlotte Smith

DISPLAYThe Gallery will display its collections and program its temporary exhibitions in ways which enhance appreciation of the collections; displays should provide pleasure and education by being visually pleasing as well as appropriate for the particular public for whom they are intended; displays will be devised for the special interests of the specialist visual arts community as well as for the general public. Temporary exhibitions should be programmed to provide displays of works of art belonging to categories poorly represented in South Australia’s collections. The Gallery will provide accurate and intelligible labels for works on display. Within normal security and conservation constraints, and provided there is clear public benefit, the Gallery should make works from its collections available for display elsewhere.

INTERPRETATIONThe Gallery will provide easily accessible interpretative information about the collection displays and the temporary exhibitions in the form of signs and wall texts as well as public programs of publications, films, lectures, seminars and the services of Education Officers, Gallery Guides and other communicators. Interpretative services will be provided at various levels relevant to the Gallery’s various publics, from the specialist visual arts community to the least informed members of the general public.

PROMOTIONThe Gallery will promote its collections and temporary exhibitions, will promote in the community an awareness of art museum functions and of what can be gained from works of art, and should evaluate and act on the public’s needs and responses to the Gallery’s activities.

ADVICEThe Gallery should responsibly exercise its legislative function of advising the South Australian Government on the allocation of South Australian resources to works of art, art collections, art museums and art associations.

REVIEWThe Gallery will frequently evaluate and review its goals and tasks and the effectiveness of their implementation.


APP

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IX B

3

APPENDIX B3

ORGANISATIONAL STRUCTURE

CHAIR, ART GALLERY BOARD Tracey Whiting

AGSADIRECTOR

Nick Mitzevich

DEPUTY DIRECTOR Mark Horton

ADMINISTRATION

OPERATIONS & PROJECTS

FINANCE

INFORMATION TECHNOLOGY

COMMERCIAL/RETAIL

REGISTRATION

LIBRARY

CURATORIAL

PUBLIC PROGRAMS

EXHIBITIONS

EDUCATION

COMMUNICATIONS

PUBLICATIONS

FOUNDATION

CONTEMPORARY COLLECTORS

PRIVATE GIVING

DEVELOPMENT

ASSISTANT DIRECTOR ARTISTIC PROGRAMS

Lisa Slade

MARKETING

&

IMAGE SERVICES

ART GALLERY OF SOUTH AUSTRALIA AUDIT COMMITTEE 2015–2016

Chairman Emeritus Prof Anne Edwards AO

Members Robert Whitington QC

Brian Morris

Executive Officer Mark Horton (Deputy Director)

ART GALLERY OF SOUTH AUSTRALIA BOARD FUNDS MANAGEMENT COMMITTEE 2015–2016

Chairman Rob Patterson

Members David McKee

John Phillips

Tracey Whiting (Chair)

Nick Mitzevich (Director)

Ex Officio Mark Horton (Deputy Director)

Bill Stathoulis (Management Accountant)

Executive Officer Richard Coorey


APP

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IX B

3

Registrar Jan Robison

Associate Registrar, Exhibitions & Loans Vicki Petrusevics

Associate Registrar, Collections Management Georgia Hale

Registration Assistant Anne Wright

Collection Database Assistant Sue Smith

Senior Registration Officer Tim Tyler

Registration Officer Noel White

Registration Officer John Webster

Registration Officer Stephen Oates

Registration Officer Graham Christopher

Registration Officer Richard King

Registration Officer Daniel Schutt

Manager, Publications & Sales Antonietta Itropico

Gallery Shop Manager Tisha Ashworth

Gallery Shop Supervisor Suzi Clift

Gallery Shop Assistant Lorinda Curnow

Artisan/Carpenter Darren Hehir

Artisan/Painter Franz Nieuwenhuizen

CURATORIALSenior Curator of Prints, Drawings & Photographs Julie Robinson

Curator of Australian Paintings & Sculpture Tracey Lock

Curator of Aboriginal & Torres Strait Islander Art Nici Cumpston

Curator of Asian Art James Bennett

Curator of Contemporary Art Leigh Robb

Curator of European and North American Art Tony Magnusson

Curator of European & Australian Decorative Arts Rebecca Evans

Assistant Curator Asian Art Russell Kelty

Associate Curator of Prints, Drawings & Photographs Maria Zagala

Assistant Curator of Prints, Drawings & Photographs Alice Clanachan

Associate Curator of Australian Paintings & Sculpture Gloria Strzelecki

Associate Curator of Australian Paintings, Sculpture and Aboriginal & Torres Strait Islander Art Elle Freak

ART GALLERY OF SOUTH AUSTRALIA STAFF

Director Nick Mitzevich

Deputy Director Mark Horton

Assistant Director, Artistic Programs Lisa Slade

Associate to the Director Lindsay Brookes

Manager, Operations and Projects Kym Hulme

Management Accountant Bill Stathoulis

Administrative Services Coordinator Margaret Bicknell

Executive Officer, Benefaction and Membership Charlotte Smith

Membership/Foundation Officer Robyn Lademan

Coordinator, Benefaction Gloria Strzelecki

Bookings and Database Officer Victoria Cnotek

Communications Manager Marika Lucas-Edwards

Head of Marketing and Image Services Susie Barr

Senior Marketing Coordinator Heidi Chamberlain

Graphic Designer, Marketing and Exhibitions Jacqueline Schaare

Senior Coordinator, Image Services Tracey Dall

Photographer Saul Steed

Photography & Logistics Officer Stewart Adams

Development Manager Gillian Mercer

Marketing and Development Officer Rosie Riggir

Exhibitions & Public Programs Coordinator Megan McEvoy

Exhibitions & Public Programs Officer Anika Williams

Exhibitions, Public Programs Officer Alex Reinhold

Teens Programs Officer Celeste Aldahn

Front of House and Volunteer Coordinator Cate Parkinson

DECD Education Manager Mark Fischer

Education Support Officer Ryan Sims

Education Support Officer Karina Morgan

Curatorial Administrative Assistant (shared position) Heather Brooks

Curatorial Administrative Assistant (shared position) Miranda Comyns

Information Manager Jin Whittington

Library Technician Ju Phan

Manager, Information Technology David Mikos

Information Technology Support Officer John O’Rielley


APP

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IX B

4

LEARNING AT THE GALLERY – VOLUNTEER SUPPORTAnn Keast, Lucy Macdonald, Kyoko Schultz

GALLERY GUIDESBente Andermahr, Dianne Atwa, Hasmik Balayance, Jill Becker, Josephine Ben-Tovim, Christine Briggs, Helen Bulis, Nic Carstensen, Rosemary Collins, Paul Corcoran, Robyn Cowan, Kathy Crockett, Jenny Cunningham, Alma Daehn, Jan Darling, Diane Davies, Gillian Davis, Michelle Davis-Wanzek, Kelly Day, Tina Dolgopol, Gai Dudley, Estelle Farwell, Trish Finnimore, Lorraine Franzin, Christine Guille, Julian Hafner, Karen Hammond, Pamela Harding, Raine Harker, Jennifer Harris, John Hayes, John Hown, Barbara Humphries, Jenny Jarvis, Julienne Keane, Jenifer Klenner, Jessica Knight, Brian Knott, Kirsty Kurlinkus, Philip LaForgia, James Lainas, Helga Linnert, Judy Lloyd, Virginia Lynch, Meredithe Madigan, Mary Marston, Gillian Morris, Robyn Mullins, Christopher Nance, Maureen Nimon, Ann Noble, Pamela Norman, Rosemary Nursey-Bray, Michael O’Donoghue, Jennifer Palmer, Wendy Parsons, Margaret Payne, Heather Pearce, Marion Queale, Julie Redman, Naomi Reschke, Mary Rivett, David Roach, Meredith Ross, Christabel Saddler, Mary Schinella, Michael Shepherd, Ken Shimmin (deceased), Perla Soberon-Brittle, Dianne Speck, Nel Steele, David Stokes, Jill Swann, Pamela Terry, Jo Thyer, Helen Trebilcock, Barry Trowse, Kay Vears, Ruth Walter, Carol Watson, Sandra Winder, John Woodrow

LIBRARYKathy Boyes, Heather Cunningham, Clare Eacott, Barbara Fargher, Danni Feng, Judy Gall, Judith Herd, Sarah Linke, Annette Masters, Finula McCrossan, Yvonne McMurray, Margot Osborne, Patricia Paddick, Jacqueline Polasec, Lois Taverner, Jose White, Susan Woodburn

ADMINISTRATION Ron Cortis, Lynne Erskine, Anne Marcon, Ros Matson, Lorraine Phillips, Sybil Schlesinger

REGISTRATIONJessica Erceg, Conxita Ferrer, Peter Lane

CURATORIALMeg Apsey, Ann Axelby, Annette Chalmers, Vanessa Cianfaglione, Caitlin Eyre, Stephanie Fabian, Bella Hone-Saunders, Annie Johns, Kate Jordan-Moore, Eunju Kim, Craig Middleton, Alexandra Mowbray, Heather Pearce, James Presnell, Ashlyn Schwenke, Daniela Taddeo, Susan Woodburn

INTERNSVanessa Cianfaglione, Jessica Erceg, Alice Evans, Alexandra Mowbray, Anna Richardson

APPENDIX B4

ART GALLERY VOLUNTEERSGALLERY GUIDE EXECUTIVE Coordinator Jill Swann

Coordinator Elect Helen Bulis

Secretary Treasurer Karen Hammond

Continuing Education Program Manager Christine Briggs

Roster Manager Raine Harker

Special Projects Pamela Norman

START, teens and school holiday program liaison Gillian Morris and Kelly Day

Learning at the Gallery Jenny Cunningham

IT Manager Nic Carstensen

Floor Talks Manager Nel Steele

FRONT OF HOUSEINFORMATION DESK AND VESTIBULE DESKKaren Adams, Wendy Alland, Margaret Archer, Sophie Armstrong, Di Atwa, Anne Ballard, Kate Barrett, Nina Bellati, Skye Bennett, Anne Berry, Cheryl Bowen, Patsy Brebner, Isabelle Bryce, Michael Buckley, Gini Bungey, Ali Carpenter, Barry Carter, Vanessa Cianfaglione, Kristin Clark, Judy Clarke, Ron Cortis, Kathy Crockett, Frances Cumming, Michelle Daniell, Doreen Dare, Penny Davis, Bob Davis, Barbara Day, Beatrice De Alexandris, Rod de’Hoedt, Bice Della Putta, Tina Dolgopol, Kate Driscoll, Gai Dudley, Faye Duncan, Lorna Elcombe, Cynthia Elford, Lesley Ewens, Conxita Ferrer, Genevieve Forster, Mary Gaillard, Ingrid Goetz, Bev Golding, Phoebe Gunn, Karen Hammond, Carol Harrison, Olga Hoepner, Geraldine Jennings, Dee Jones, Jacqui Jones, Mai-Lin Kan, Ruth Kaukomaa, Casey Kendrick, Suzy Kidd, Madeleine Kiley, Jenifer Klenner, Renate Leak, Doris Lei, Gloria Lloyd, Ros Matson, Wendy McCormick, Jane McGregor, Sing-Chean Moo, Kirstie Morey, Christine Morey, Violetta Mount, Margaret Neagle, Pamela Norman, Andrea Num Glover, Christine O’Connor, Margot O’Donnell, Rita Pemberton, Rhonda Perriam, Barbara Phillips, Lorraine Phillips, Priscilla Pincus, Steven Pinhorn, Ann Podzuweit, Polasec, Liz Pritchard, Twisha Pujara, Marion Queale, Ruth Retallack, Sandra Richardson, Sue Rieger, Diana Roberts, Eric Rossi, Jan Rowell, Debra Russell, Kyoko Schultz, Alison Shaw, Ken Shimmin (deceased), Julie Smith, Margaret Stevens, Daisy Sugars, Glennis Syddell, Julie Tammo, Trina Tan, Deanna Temme, Barry Trowse, Rebecca Tuck, John Tuit, Carl Vail, Andrea van den Hoek, Ted Van Dijk, Hannah Van Noordennen, Christine Venning, Paul Verbeeck, Maxie Walker, Yvonne Waller, Kim Watson, Lorraine White, Margaret White, Amanda Wilksch, Naomi Williams, Liz Wilson, Pauline Wood, Zeyu Xiao, Na Xu (Xuna)

PUBLIC PROGRAMS – START & STUDIOEmily Addison, Maria Botros, Natalie Carfora, Judi Christofis, Nathan Erdely, Alice Evans, Debbie Finch, Naomi Fry, Melanie Fulton, Molly Garcia-Underwood, Jessye Gelder, Ingrid Goetz, Hannah Graney, Kari-lee Harris, Margaret Lloyd, Kate Loeckenhoff, Hannah Mallard, Julia McCarthy, Leah Metaxas, Polly Metzner, Kirstie Morey, Luisa Moser, Maria Patane, Janine Petkovic, Thomas Readett, Claudia Saade, Melody Silvestri, Lauren Walker, Georgia Walker, Michelle Worm

PUBLIC PROGRAMS – EVENTSJanette Gay


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GLORIA STRZELECKI Committee Member Art Gallery and Curatorship Alumni Network (AHCAN)

LEIGH ROBB Acadamic Board Member Adelaide Central School of Art

Board Member Art Monthly Australasia Magazine

GILLIAN MERCER Committee Member SA Arts Development Collective

Board Director Slingsby Theatre Company

MARK FISCHER Member DECD Outreach Education team

Committee Member Friends of South Australian School of Art

Executive Committee Visual Arts Educators of South Australia (VAESA)

JAN ROBISON Committee Member Australian Registrars

Team Leader Disaster Plan Team

VICKI PETRUSEVICS Committee Member Australian Registrars

Committee Member WH&S, Arts South Australia Coordinating Committee

GEORGIA HALE Committee Member Australian Registrars

Member Disaster Plan Team

SUE SMITH Member Disaster Plan Team

ANNE WRIGHT Member Disaster Plan Team

JIN WHITTINGTON Secretary/Treasurer Arlis/ANZ SA Chapter

MARGARET BICKNELL Member Disaster Plan Team

APPENDIX C

ART GALLERY STAFF EXTERNAL REPRESENTATION

NICK MITZEVICH Chair Council of Australian Art Museum Directors

Member National ABC Arts Reference Panel

Board of Governors Helpmann Academy

Board Member SALA Festival

Senior Executive Group Member Department of State Development

Senior Management Group Member Arts South Australia

Joint Committee Member Graduate Studies in Art History

Committee Member Adelaide Fashion Festival

MARK HORTON Member Precinct Management Group

Member Art Gallery Corporate Management Group

LISA SLADE Chair of the Board of Directors Artlink Australia

Member Advisory Group, School of Art, Architecture and Design, University of South Australia

JULIE ROBINSON Affiliate Senior Lecturer University of Adeiaide

Board Member Contemporary Art Centre of South Australia

Member VACSIG Committee, Museums Australia

NICI CUMPSTON Board Member Australian Experimental Art Foundation, Adelaide

(since December 2015)

TRACEY LOCK Committee Member Nora Heysen Foundation

RUSSELL KELTY Public Art Round Table (PART) Adelaide City Council

Committee Member Art History Council Alumni Network (AHCAN)

REBECCA EVANS Committee Member Adelaide Fashion Festival


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Arthur Streeton, Australia, 1867–1943, An Impression from the Deep, 1889, Cape Woolamai, Victoria, oil on canvas on wood; M.J.M Carter AO through the Art Gallery of South Australia Foundation in recognition of the abilities of Antonietta Itropico for developing the high professional standards of Gallery Publications 2016. Donated through the Australian Government’s Cultural Gifts Program

Roland Wakelin, Australia, 1887–1971, Painting class, c.1923, London or Sydney, oil on board; Gift of the Art Gallery of South Australia Foundation 2015

Robin Wallace-Crabbe, Australia, born 1938, Flinders Ranges morning, c.1968, Adelaide, synthetic polymer paint on paper; Gift of Milton Moon through the Art Gallery of South Australia Foundation 2016

after Thomas Watling, Australia, 1762–c.1814, View of the town of Sydney in the colony of New South Wales, c.1799, probably painted in Britain from sketches made in Sydney, oil on canvas; Gift of M.J.M Carter AO through the Art Gallery of South Australia Foundation in recognition of the abilities of James Bennett to promote public awareness and appreciation of Asian art and culture 2015. Donated through the Australian Government’s Cultural Gifts Program

Bryan Westwood, Australia, 1930–2000, Jockey, c.1970s, Adelaide, oil on canvas; Gift of Milton Moon through the Art Gallery of South Australia Foundation 2016

AUSTRALIAN & INTERNATIONAL ART POST 1980

Abdul-Rahman Abdullah, Australia, born 1977, Merantau, 2016, Fremantle, Western Australia, wood, bronze, oil paint and pencil; Gift of the Art Gallery of South Australia Contemporary Collectors 2016

AES+F, Russia, est 1987/1995, Panorama #4, from the Last Riot 2 series, 2005–06, Moscow, digital collage, digital print on canvas, acrylic varnish; Gift of Candy Bennett through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Khadim Ali, Pakistan/Australia, born 1978, Transition 5, 2014, Sydney, gouache and gold leaf on wasli ; Gift of Clinton Ng through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Howard Arkley, Australia, 1951–1999, Chair, 1991, Oakleigh, Melbourne, synthetic polymer paint and vinyl on wood; Gift of Patrick Corrigan AM through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Charlotte Balfour, Australia, born 1947, Summertown pottery, 1981, Adelaide, gouache on board; Gift of Milton Moon through the Art Gallery of South Australia Foundation 2016

del kathryn barton, Australia, born 1972, Red, 2015, Sydney, high resolution digital video, edition 2/3, duration 15 minutes; Gift of the Art Gallery of South Australia Contemporary Collectors 2016

Lionel Bawden, Australia, born 1974, Esque X, 2001–02, Sydney, coloured pencils, epoxy glue and linseed oil; Gift of Brett Stone through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Rick Clise, Australia, born 1955, Artist’s statement/ Self-portrait, 2005–13, Adelaide, welded steel, clay bust, mirror, timber; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2016

Elisabeth Cummings, Australia, born 1934, The pink outcrop, 2013, Wedderburn, Victoria, oil on canvas; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Giovanni Della Putta, Australia, 1926–1990, Boy meets girls, 1989, Adelaide, bronze; Gift of Bice Della Putta in memory of her husband, the artist through the Art Gallery of South Australia Foundation 2016

Jeff Elrod, United States of America, born 1966, Echo Painting (Untitled), 2015, New York, UV ink on canvas; Gift of Steven and Alisa Nasteski through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Neil Frazer, Australia, born 1961, Mavis – Portrait of artist Mavis Ngallametta, 2015, Sydney, synthetic polymer paint on canvas; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Tony Garifalakis, Australia, born 1964, Untiltled #1, from the Mob Rule (Family series), 2014, Melbourne, enamel on C type print; Gift of Clinton Ng through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Marea Gazzard, Australia, 1928–2013, Selini 1, 2009, Sydney, bronze; Gift of James and Jacqui Erskine through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

APPENDIX D

ACQUISITIONS

Eliza Hartland Auld (nee Strawbridge), Britain/ Australia, 1818–1897, Album of memorabilia, watercolour, pencil, ink, gouache, crayon and dried flowers on paper; Gift of the Cleland Family in memory of their forebear, the artist and educator Eliza Strawbridge 2016

Dorrit Black, Australia, 1891–1951, Cliffs at Second Valley, c.1949, Magill, Adelaide, oil on composition board; Gift of the artist’s great-nephews Paul, Richard and James Black through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Knut Bull, Australia, 1811–1889, Ashgrove, near Oatlands, Tasmania, 1855, Hobart, oil on canvas; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Giovanni Della Putta, Australia, 1926–1990, Legami della vita 3, 1978, Adelaide, wood; Gift of Bice Della Putta in memory of her husband, the artist through the Art Gallery of South Australia Foundation 2016

William Ford, Australia, 1823–1884, Between the showers, at milking time, 1877, Melbourne, oil on canvas; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Millicent Hambidge, Australia, 1872–1938, Quicksilver, c.1897, Adelaide, watercolour and gouache on paper; Gift of Helen Crompton in memory of her grandfather Francis George Scammell (1861–1927), 2016

Joy Hester, Australia, 1920–1960, Pauline and Loy, 1947, Melbourne, oil on board; Gift of Will Abel-Smith, Colin Cowan, Dr Neo Douvartzidis, Dr Michael Drew, Emeritus Professor Anne Edwards AO, Elizabeth H Finnegan OAM, Frances Gerard,

Andrew Gwinnett, Sam Hill-Smith, Klein Family Foundation, Lipman Karas, Mark Livesey QC, Gemma Mansfield, Tom Pearce, John Phillips, Jill Russell and Janette Thornton through the Art Gallery of South Australia Foundation Collectors Club, assisted by Mrs JJ Byam Shaw through the Australian Paintings Fund 2015

Rayner Hoff, Australia, 1894–1937, The birth of Pegasus, 1925, Sydney, plaster, patinated; Gift in memory of Geoffrey Hackett-Jones QC through the Art Gallery of South Australia Foundation 2016

attributed to Thomas James Lempriere, Australia, 1796–1852, Portrait of a man, 1830s, Hobart, oil on canvas; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

John William Lewin, Australia, 1770–1819, The grey opossum of New Holland, c.1807, Sydney, watercolour on paper; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Andrew MacCormac, Australia, 1826–1918, (View of Victor Harbor from Port Elliot), 1896, Adelaide, oil on canvas; Gift of Lesley Ewing (née MacCormac) the artist’s great grand-daughter through the Art Gallery of South Australia Foundation 2015

Richard Noble, Australia, c.1812–after 1900, The favourite gig horse, Napoleon, the property of Michael Farrell Esq, 1858, Sydney, oil on canvas; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

AUSTRALIAN ART PRE 1980C Douglas Richardson, Australia, 1853–1932, Acrasia or the Enchanted Bower, 1889, London, oil on canvas; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

John Michael Skipper, Australia, 1815–1883, French sentiment, 1845–55, South Australia or Victoria, brush & ink on paper on card; Gift of the John Skipper Family through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

John Michael Skipper, Australia, 1815–1883, Richard III, 1845–55, South Australia, water-colour, brush & ink on paper on card; Gift of the John Skipper Family through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

John Michael Skipper, Australia, 1815–1883, Early specimen of water colour painting, c.1836, South Australia, watercolour, brush & ink on paper on card; Gift of the John Skipper Family through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Eliza Strawbridge, Britain/Australia, 1818–1897, Album of botanical watercolour studies, Melbourne, watercolour and pencil on paper (24 pages); Gift of the Cleland Family in memory of their forebear, the artist and educator Eliza Strawbridge 2016


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Heather B Swann, Australia, born 1961, Banksia Men, 2015, Canberra, wood, metal, silk, glass, 9 elements, Music score: Thomas Green (composition and production); Kevin Brophy (poetry); Jack Swann (voice); James Nightingale and Martin Kaye (saxophone); Dr Christine Annette Lunam Bequest through the Art Gallery of South Australia Foundation 2016

Amy Joy Watson, Australia, born 1987, Tinsel Falls #1, 2015, Adelaide, watercolour and metallic thread on paper; Gift of the Art Gallery of South Australia Contemporary Collectors 2015

Amy Joy Watson, Australia, born 1987, Tinsel Falls #2, 2015, Adelaide, watercolour and metallic thread on paper; Gift of the Art Gallery of South Australia Contemporary Collectors 2015

Guan Wei, Australia/China, born 1957, Looking for enemies: No 6, 2004, Sydney, synthetic polymer paint on canvas; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Neville Weston, Australia, born 1936, Old market, 1984, Adelaide, synthetic polymer paint on board; Gift of Milton Moon through the Art Gallery of South Australia Foundation 2016

Michael Zavros, Australia, born 1974, The Phoenix, 2015, Brisbane, oil on canvas; James & Diana Ramsay Fund supported by Philip Bacon AM through the Art Gallery of South Australia Foundation 2016

AUSTRALIAN & INTERNATIONAL PRINTS, DRAWINGS & PHOTOGRAPHS

AUSTRALIAN DRAWINGSJohn Henry Chinner, Australia, 1865–1933, Sketchbook: 40 caricatures of South Australian personalities, c.1920s, Adelaide, pencil on paper; Gift of Ken Chinner, grandson of John Henry Chinner, 2015

Ivor Hele, Australia, 1912–1993, June reading, 1956, Aldinga, South Australia, black chalk on paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Study of June, 1956, Aldinga, South Australia, black chalk on paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Life study, back view, 1962, Aldinga, South Australia, black, white and red chalk on brown paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Back view of woman reclining, 1969, Aldinga, South Australia, black chalk on buff paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Studies of brothel scenes, 1930s–40s, Europe, Libya or Egypt (?), pen & brown ink, brown ink wash on paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Portrait of seated man, 1940s–50s, South Australia, black chalk on paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Study of two men, one lying in bed, 1940s–50s, Libya, Egypt, Papua New Guinea or Korea (?), pen & brown ink on green paper; Gift of the ar tist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Back view of ballet dancer, 1950s–60s, South Australia, black chalk on paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Sketchbook #3: with two landscape drawings, 1950s–60s, Port Willunga or Aldinga, South Australia, black ball point pen and black chalk on paper; black ball point pen on paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Still life with skull, 1950s–60s, Aldinga, South Australia, black and white chalk on brown paper; Gift of the ar tist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Studies of seagulls, 1950s–60s, South Australia, black chalk on paper; Gift of the ar tist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Two studies: study of a man on a beach with umbrella; study of a man on a horse, 1950s–60s, Port Willunga or Aldinga, South Australia, pencil on paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Tarryn Gill, Australia, born 1981, Guardians, 2014–16, Perth, nine sculptures with soundscape, composition by Tom Hogan, mixed media including speakers, dimensions variable; Gift of the Art Gallery of South Australia Contemporary Collectors 2016

Peter Hennessey, Australia, born 1968, My Mission Control (The act of observation changes the object observed), 2005, Melbourne, plywood, steel, television monitors and DVD players, video; Gift of Paul Greenaway OAM through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Tim Johnson, Australia, born 1947, Nirvana, 2005, Sydney, synthetic polymer paint on canvas; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Jonathan Horowitz, United States of America, born 1966, Group Self-portrait in “Mirror #3 (Six Panels)” (Li Huan, Jacob, Ian, Cathleen, Dom, Karin), 2015, New York, synthetic polymer paint on canvas; Gift of JF Woodward & E Krebs-Woodward ATF The Woodward Family Super Fund through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Juz Kitson, Australia, born 1987, Something Sacred no II, 2015–16, Jingdezhen and Sydney, Jingdezhen porcelain, southern ice porcelain, paraffin wax, horse hair, merino wool, goat horns, polyester thread, bone, marine ply and treated pine; Maude Vizard-Wholohan Fund, assisted by the Art Gallery of South Australia Contemporary Collectors 2016

Euan MacLeod, Australia, born 1956, Cross sights, 2014, Sydney, oil on polyester; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2016

Euan MacLeod, Australia, born 1956, Wrestle (Dardanelles), 2014, Sydney, synthetic polymer paint on linen; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2016

Dani Marti, Australia, born 1963, Troughman (the yellow peril), 2005, Laguna, New South Wales, polyester, polypropylene, nylon and wood frame on castor wheels; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Milton Moon, Australia, born 1926, Untitled, 2004, Adelaide, oil on canvas mounted on board; Gift of the artist through the Art Gallery of South Australia Foundation 2016

Nell, Australia, born 1975, I remember birth, 2008, Australia, gouache on linen; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Nell, Australia, born 1975, Working drawing for ‘I remember birth’, 2008, Sydney, synthetic polymer paint on paper; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Nell, Australia, born 1975, The Wake, 2014–15, Sydney and Ernabella, South Australia, stoneware, earthenware, concrete, bronze, glass, underglaze, glaze, polyurethane, varnish, acrylic paint, enamel paint, spray paint, fabric paint, pigment, varnish, oxide, bondcrete, decals, silver leaf, gold leaf, copper, glitter, wood, branches; Gift of John and Jane Ayers, Candy Bennett and Edwina Lehmann, Andrew and Cathy Cameron, Chris Cuthbert and Sally Dan-Cuthbert, Rick and Jan Frolich, Julian and Stephanie Grose, Jane Michell, Brenda Shanahan, Vivienne Sharpe, Rae-Ann Sinclair and Nigel Williams, Paul and Thelma Taliangis, Lisa and Peter Weeks, Dr Terry

Wu, through the Art Gallery of South Australia Contemporary Collectors 2016

Ramesh Mario Nithiyendran, Australia/Sri Lanka, born 1988, Fuck You, 2016, Sydney, earthenware, glaze, gold lustre, platinum lustre, polystyrene and enamel; Pauline Colley Bequest through the Art Gallery of South Australia Foundation 2016

John Packham, Australia, born 1966, Stolen generation, 1998, Murray Bridge, South Australia, synthetic polymer paint on canvas, wood; Gift of Harold and Neriba Gallasch through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Baden Pailthorpe, Australia, born 1984, Spatial Operations, 2014, Sydney, papier-mâché (PVA, cellulose powder, paper pulp); Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Sally Smart, Australia, born 1960, Femmage (Insectology), 2003, Melbourne, synthetic polymer paint, canvas, linen and felt on canvas; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Ben Quilty, Australia, born 1973, The lot, 2006, Bowral, New South Wales, oil on canvas; Gift of Ben Quilty through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Sean Scully, United States of America, born 1945, Wall of light grey pink, 2010, United States, oil on aluminium; Gift of James and Jacqui Erskine through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program


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Gwendolyn Morris, Australia, 1904–1993, (Construction site, London; vertical view), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Construction site near Victoria Embankment, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Entrance to the Strand, Trafalgar Square, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Fleet Street, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Horse Guards, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Imperial Camel Corps. Memorial, Victoria Embankment Gardens), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Imperial Camel Corps. Memorial, Victoria Embankment Gardens, London; viewed from the left), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Imperial Camel Corps Memorial, Victoria Embankment Gardens, London; viewed from the right), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, The Houses of Parliament and Westminster Bridge, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, The lime trees at Hampton Court, c.1930, Hampton Court, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (The Strand, from Trafalgar Square, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (The Tower of London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Tower Bridge, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Tower Bridge at low tide, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Trafalgar Square from the National Gallery, London, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Trafalgar Square, London, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (View from Savoy Hill, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Lunchtime, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Park scene), c.1930, London?, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, South Downs Sussex, England. Near Chanctonbury Ring, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Southampton Street, from The Strand, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (St Martin-in-the-Fields, Trafalgar Square, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (St Olaf ’s, Hay’s Company Wharf, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, The Adelphi Arches, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (The Batavia I), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (The Houses of Parliament and Big Ben), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Ivor Hele, Australia, 1912–1993, Willunga landscape, 1950s–60s, Port Willunga, South Australia, pen & brown ink, brown ink wash on paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Ivor Hele, Australia, 1912–1993, Centaur chasing woman, c.1963, Aldinga, South Australia, black chalk on yellow paper; Gift of the artist’s niece Marcia Rankin through the Art Gallery of South Australia Foundation 2015

Sangeeta Sandrasegar, Australia, born 1977, Untitled, from the series The shadow of murder lay upon my sleep, 2006, London, glitter glue on cut paper; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Sangeeta Sandrasegar, Australia, born 1977, Untitled, from the series The shadow of murder lay upon my sleep, 2006, London, glitter glue on cut paper; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

AUSTRALIAN PHOTOGRAPHSNarelle Autio, Australia, born 1969, Trent processing films, Fraser Island, Queensland, 2003, Queensland, pigment print; Acquired through the Art Gallery of South Australia Contemporary Collectors Trent Parke Appeal 2015

Olive Cotton, Australia, 1911–2003, Max after surfing, 1939, Sydney, gelatin-silver photograph; Gift of Shane Le Plastrier through the Art Gallery of South Australia Foundation 2015

Marian Drew, Australia, born 1960, Wombat and watermelon, from the series Still Life/ Australiana, 2005–08, Brisbane?, pigment print; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated

Gwendolyn Morris, Australia, 1904–1993, Embankment London. Cleopatra’s Needle and Savoy Hill behind, 1931, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Savoy Chapel, London, 1931, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, St Pauls from Bankside, c.1929–30, London, gelatin-silver photographs; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (St Pauls from Bankside, vertical view), c.1929–30, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (65 & 66 York Terrace at night, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, At the zoo. The pelican, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Big Ben, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Chanctonbury Ring, South Downs, c.1930, Chanctonbury, South Downs, West Sussex, England, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, Cleopatra’s Needle and Sphinxes, c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

through the Australian Government’s Cultural Gifts Program

Max Dupain, Australia, 1911–1992, (Moira in the Mirror), 1951, Sydney, gelatin-silver photograph; d’Auvergne Boxall Bequest Fund 2016

Max Dupain, Australia, 1911–1992, Petty’s Hotel, Sydney, 6pm, 1941, Sydney, gelatin-silver photograph; d’Auvergne Boxall Bequest Fund 2016

Helen Johnson, Australia, born 1979, The Ambassador returned, 2006, Melbourne, digital print on paper; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Helen Johnson, Australia, born 1979, The cannibal machine, 2006, Melbourne, digital print on paper; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Rosemary Laing, Australia, born 1959, a dozen useless actions for grieving blondes#1, 2009, Sydney, type C photograph; Gift of anonymous donors through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Rosemary Laing, Australia, born 1959, a dozen useless action for grieving blondes #2, 2009, Sydney, type C photograph; Gift of anonymous donors through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Rosemary Laing, Australia, born 1959, a dozen useless actions for grieving blondes #3, 2009, Sydney, type C photograph; Gift of anonymous donors through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Robert McFarlane, Australia, born 1942, ‘B’, nude, Darlinghurst, 1978, Darlinghurst, Sydney, gelatin-silver photograph; Gift of John Hutchinson 2016


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Rick Amor, Australia, born 1948, Untitled (Skull, pram and woman), 1968, Melbourne, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The goat, 1984, Melbourne, woodcut on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, John Perceval, 1986 or 1989, Cottles Bridge, Victoria, woodcut on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Garden, 1988, printed 1990, Cottles Bridge, Victoria, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The sea (with giant squid), 1989, Cottles Bridge, Victoria, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, A town by the sea, 1990, Cottles Bridge, Victoria, mezzotint on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Foreshore, 1990, Cottles Bridge, Victoria, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The city, 1990, Cottles Bridge, Victoria, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The gate, 1990, Cottles Bridge, Victoria, mezzotint on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Out to sea, 1991, Cottles Bridge, Victoria, etching, drypoint on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The boat, 1991, Victoria; printed by Doug Hails, Baldessin Press, St Andrews, Victoria, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The judge, 1991, Cottles Bridge, Victoria, mezzotint on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Overpass, 1991 or 1996, Alphington, Victoria, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The dog, 1991, printed 2002, Victoria; printed by Doug Hails, Baldessin Press, St Andrews, Victoria, etching, burnishing on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The arcade, 1993, Cottles Bridge, Victoria, woodcut on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The long sea, 1995, Alphington, Victoria, etching over burnished drypoint on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Sailing west, 1996, Alphington, Victoria, mezzotint on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Returning storm, 1998, printed 2001, Victoria; printed by Martin King, Australian Print Workshop, Melbourne, etching, burnishing on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Outlying district, 2001, Victoria; printed by Martin King, Australian Print Workshop, Melbourne, etching, burnishing on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, The visitor, 2002, Victoria; printed by Martin King, Australian Print Workshop, Melbourne, lithograph on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program



Gwendolyn Morris, Australia, 1904–1993, (View of European city square with fountain), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (View of Savoy House, from Waterloo Bridge, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (View taken through stone balustrade, Waterloo Bridge, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (View towards Waterloo Bridge (first bridge) from Savoy Hill, London), c.1930, London, gelatin- silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (View towards Waterloo Bridge (first bridge) from Savoy Hill, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Waterloo Bridge (first bridge) from Savoy Hill, London), c.1930, London, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Bridge of Sighs, Venice, Italy), c.1920s–30s, Venice, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Elevated view of European city, with river and church spire), c.1920s–30s, Venice, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Road with poplar trees, France?), c.1920s–30s, France?, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (Tropical landscape with figures on top of rocks), c.1920s–30s, France?, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Gwendolyn Morris, Australia, 1904–1993, (View from ship in harbour, Colombo?), c.1920s–30s, possibly India, gelatin-silver photograph; Gift of Hugh Wilmot Griffiths in memory of his mother Gwendolyn Morris 2015

Ian North, Australia, born 1945, Daniel Thomas, Henley Beach, Adelaide, 1987 (printed 2015), Adelaide, digital type C photograph; Gift of the artist through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Selina Ou, Australia, born 1977, Caged pigeons, 2003, Melbourne, lightjet print; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Selina Ou, Australia, born 1977, Paper phoenix, 2003, Melbourne, lightjet print; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Deborah Paauwe, Australia, born 1972, Promise, 2002, Adelaide, type C photograph; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Trent Parke, Australia, born 1971, Shattered portrait, Newcastle, New South Wales, 2009, New South Wales, pigment print; Acquired through the Art Gallery of South Australia Contemporary Collectors Trent Parke Appeal 2015

Trent Parke, Australia, born 1971, Kids cubby house, backyard, Adelaide, 2010, Adelaide, pigment print; Acquired through the Art Gallery of South Australia Contemporary Collectors Trent Parke Appeal 2015

Trent Parke, Australia, born 1971, Rabbit, Adelaide, from the series Building a darkroom, 2010, Adelaide, pigment print; Acquired through the Art Gallery of South Australia Contemporary Collectors Trent Parke Appeal 2015

Trent Parke, Australia, born 1971, The fox, Adelaide, from the series Building a darkroom, 2010, Adelaide, pigment print; Acquired through the Art Gallery of South Australia Contemporary Collectors Trent Parke Appeal 2015

Robyn Stacey, Australia, born 1952, Lighthouse Wharf, Hotel, Port Adelaide, from the series Ray of Light, 2016, Port Adelaide, type C print; Gift of David and Pam McKee through the Art Gallery of South Australia Foundation 2016

AUSTRALIAN PRINTSRick Amor, Australia, born 1948, Newspaper seller, 1968, Melbourne, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program


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the Australian Government’s Cultural Gifts Program

Tjilpi Kunmanara Kankapankatja, Australia, 1930–2012, Pitjantjatjara/Yankunytjatjara people, South Australia, Mungawinki kukaku ankuntja – Early morning going hunting, 2012, Kaltjiti Arts, Fregon, South Australia, etching, screenprint on paper; Art Gallery of South Australia Foundation’s South Australian Artists Fund 2016

Tjilpi Kunmanara Kankapankatja, Australia, 1930–2012, Pitjantjatjara/Yankunytjatjara people, South Australia, Mungamaruringu kunkunaritjaku – Dark Night: everyone goes to sleep, Kaltjiti Arts 2012, Fregon, South Australia, etching, screenprint on paper; Art Gallery of South Australia Foundation’s South Australian Artists Fund 2016

Tjilpi Kunmanara Kankapankatja, Australia, 1930–2012, Pitjantjatjara/Yankunytjatjara people, South Australia, Mungartja kukatjara malaku pitjanyi – Afternoon: coming back after hunting, Kaltjiti Arts, Fregon, South Australia, etching, screenprint on paper; Art Gallery of South Australia Foundation’s South Australian Artists Fund 2016

Tjilpi Kunmanara Kankapankatja, Australia, 1930–2012, Pitjantjatjara/Yankunytjatjara people, South Australia, Mungartji Mungantji kukaku patara nyinanyi warungka pauntjangka – Dusk: getting ready to eat before bedtime, Kaltjiti Arts, Fregon, South Australia, etching, screenprint on paper; Art Gallery of South Australia Foundation’s South Australian Artists Fund 2016

Patsy Marfura, Australia, born 1942, Ngangiwumerri people, Northern Territory, Durrmu, from the portfolio Republic Unlimited: Common Ground, 2008, printed by Basil Hall, Basil Hall Editions, published 2008 by 21C, Sydney, etching on paper; Gift of Leo Christie OAM through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Rosella Namok, Australia, born 1979, Angkum people, Queensland, Blue water,

from the portfolio Republic Unlimited: Common Ground, 2005, printed by Basil Hall and Natasha Rowell, Basil Hall Editions, published 2005 by 21C, etching, printed in coloured inks on paper; Gift of Leo Christie OAM through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Dorothy Robinson Napangardi, Australia, c.1956–2013, Warlpiri people, Northern Territory, Dancing up country (Karntakulangu Jukurrpa), from the portfolio Republic Unlimited: Common Ground, 2002, printed by Basil Hall, Basil Hall Editions, published 2002 by 21C, Sydney, etching on paper; Gift of Leo Christie OAM through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Gloria Tamerr Petyarre, Australia, c.1945, Anmatyerre/Alyawarr people, Northern Territory, Untitled (Leaves), from the portfolio Republic Unlimited: Common Ground, 2003, printed by Basil Hall, Basil Hall Editions, published 2003 by 21C, Sydney, etching, printed in coloured inks on paper; Gift of Leo Christie OAM through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Artist unknown, after Edward Farndell, Australia, 1837–1874, Opening of Victoria Bridge over the River Torrens, South Australia, 1870, Adelaide, engraving, hand-coloured with watercolour, on paper; Gift of Elders Limited 2015

Regina Pilawuk Wilson, Australia, born 1948, Ngangikurrungurr people, Northern Territory, Message sticks, from the portfolio Republic Unlimited: Common Ground, 2008, printed by Jacqueline Gribbin and Merran Sierakowski, Basil Hall Editions, published 2008 by 21C, etching, printed in coloured inks on paper; Gift of Leo Christie OAM through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Gulumbu Yunupingu, Australia, 1945–2012, Yolngu people, Northern Territory, Gan’yu (stars), from the portfolio Republic Unlimited: Common Ground, 2005, printed by Basil Hall, Basil Hall Editions, published 2005 by 21C, Sydney, etching, screenprint, printed in red ink on paper; Gift of Leo Christie OAM through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

EUROPEAN PRINTSRobert Havell, Britain, 1769–1832, after Thomas Sautelle Roberts, Ireland, 1760–1826, London. Taken Near the New Customs House, 1816, London, etching, aquatint, hand-coloured with watercolour, on paper; Gift of Elders Limited 2015

Mortimer Menpes, Britain/Australia, 1855–1938, Reading, c.1898–99, London, drypoint, printed in coloured inks on paper; Gift of the Art Gallery of South Australia Foundation 2015

Mortimer Menpes, Britain/Australia, 1855–1938, Magdalen Bridge, Oxford, c.1902–08, Pangbourne, England, drypoint, plate tone, printed in sepia ink on paper; Gift of Eric Denker in honour of Gary Morgan through the Art Gallery of South Australia Foundation 2015

INTERNATIONAL PHOTOGRAPHSChristo, Bulgaria/United States of America, born 1935, Jeanne-Claude, Morocco/United States, 1935–2009, Wrapped coast, one million square feet, Little Bay, Sydney, Australia, 1968–69, 1969, Little Bay, Sydney, gelatin-silver photograph; Gift of Vivienne Sharpe through the Art Gallery of South Australia Contemporary Collectors 2016. Donated through the Australian Government’s Cultural Gifts Program

Jacques Henri Lartigue, France, 1894–1986, Cousin Bichonnade in flight, 40 rue Cortambert, Paris, 1905, Paris (printed 2003 by 31 Studio, Paris for

Peter Drew, Australia, born 1983, Advance Australia Fair, 2013, printed 2015, Adelaide, screenprint on brown paper; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2015

Peter Drew, Australia, born 1983, Courage, sacrifice, Australia, 2015, Adelaide, screenprint on brown paper; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2015

Peter Drew, Australia, born 1983, Real Australians say welcome, 2015, Adelaide, screenprint on brown paper; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2015

Peter Drew, Australia, born 1983, Stop the boats, 2015, Adelaide, screenprint and watercolour on brown paper; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2015

Augustus Earle, Britain/Australia, 1793–1838, A government jail gang, Sydney, N.S. Wales, part 2, plate 3 from the series Views in New South Wales and Van Diemen’s Land. Australian Scrap Book, 1830, London, printed by C. Hullmandel, published by J. Cross, lithograph on paper; Gift of Shane Le Plastrier through the Art Gallery of South Australia Foundation 2016

Augustus Earle, Britain/Australia, 1793–1838, Natives of N.S. Wales drinking bool, or sugar water, 1826, Sydney, lithograph on paper J.C Earl Bequest Fund with the assistance of M.J.M Carter AO through the Art Gallery of South Australia Foundation 2016

Robert Punnagka Fielding, Australia, born 1969, Western Arrernte/Yankuntjatjara/Pitjatjantjara people, Northern Territory/South Australia, Milkali Kutju, 2015, created at Negative Press, Melbourne, screenprint on fine art paper; Art Gallery of South Australia Foundation’s South Australian Artists Fund 2016

Frearson Brothers, Australia, active 1871–1896, Adelaide Jubilee International Exhibition to be opened June 20th 1887,

Rick Amor, Australia, born 1948, The ship (light), 2003, Victoria; printed by Martin King, Australian Print Workshop, Melbourne, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Portal, plate 1 from the Venice series, 2007, Victoria; printed by Ros Atkins with assistance from Martin King, Australian Print Workshop, Melbourne, aquatint, burnishing, etching, drypoint on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Woman pissing, Venice, plate 8 from the Venice series, 2007-10, Victoria; printed by Ros Atkins at Murray Walker’s studio, Melbourne, etching on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Titan, 2009–10, Victoria; printed by Ros Atkins at Murray Walker’s studio, Melbourne, etching, drypoint on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

Rick Amor, Australia, born 1948, Gary Catalano, 1947–2002, Mirrored images, 1993, Victoria and Cobargo, New South Wales, folio comprising title page, contents page, six single sheet woodcuts and six single sheet hand type set poems, woodcut and letterpress on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2015. Donated through the Australian Government’s Cultural Gifts Program

1887, Adelaide, wood engraving, hand-coloured with watercolour on paper; Gift of Elders Limited 2015

Frearson Brothers, Australia, active 1871–1896, after Albert Charles Cooke, 1836–1902, Port Adelaide, 1880, Adelaide, wood engraving, hand-coloured with watercolour on paper; Gift of Elders Limited 2015

Donald Friend, Australia, 1915–1989, Songs of the vagabond scholars, 1982, Sydney, bound artist’s book; 30 leaves, 14 lithographs printed in black ink on paper; leather bound with slipcase; Gift of Nola and Alun Leach-Jones in memory of Geoffrey Brown 2015

Fiona Hall, Australia, born 1953, Cross purpose, from the portfolio Republic Unlimited: Common Ground, 2003, printed by Martin King, Australian Print Workshop, published 2003 by 21C, Sydney, colour photo-lithograph on paper; Gift of Leo Christie OAM through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Fiona Hall, Australia, born 1953, Burning bright, 2010, printed at Basil Hall Editions, Darwin, Northern Territory, folio of 6 prints; Gift of Susan Armitage through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Jake Holmes, Australia, born 1988, C’mon Aussie C’mon, 2015, Adelaide, screenprint on paper; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2015

Kitty Kantilla, Australia, c.1928–2003, Tiwi people, Northern Territory, Untitled (Pumpuni Jilamara), from the portfolio Republic Unlimited: Common Ground, 2002, printed by Franck Gohier, Red Hand Prints, published 2002 by 21C, Sydney, colour screenprint on paper; Gift of Leo Christie OAM through the Art Gallery of South Australia Foundation 2015. Donated through


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Acquisition through TARNANTHI | Festival of Contemporary Aboriginal and Torres Strait Islander Art supported by BHP Billiton 2015

Yvonne Koolmatrie, Australia, born 1944, Ngarrindjeri people, South Australia, Sister basket, 2015, Berri, South Australia, woven spiny-headed sedge (Cyperus gymnocaulos); Acquisition through TARNANTHI | Festival of Contemporary Aboriginal and Torres Strait Islander Art supported by BHP Billiton 2015

Yvonne Koolmatrie, Australia, born 1944, Ngarrindjeri people, South Australia, Sister basket, 2015, Berri, South Australia, woven spiny-headed sedge (Cyperus gymnocaulos); Acquisition through TARNANTHI | Festival of Contemporary Aboriginal and Torres Strait Islander Art supported by BHP Billiton 2015

De Porceleyne Claeuw (The Porcelain Claw), manufacturer, Delft, Netherlands, est.1658–1840, Vase (floral display design), 18th Century, Delft, Netherlands, earthenware, glazed; Hugo van Dam Bequest 2012

De Porceleyne Claeuw (The Porcelain Claw), Delft, Netherlands, est.1658–1840, Vase (flower and fence design), 18th Century, Delft, Netherlands, earthenware, glazed; Hugo van Dam Bequest 2012

Julius Schomburgk, Australia, 1819–1893, Henry Steiner, Australia, 1835–1914, Covered cup, c.1863, Adelaide, silver, emu egg; Bequest of John Wolfe St Alban and family 2015

Stokes & Sons, Melbourne, Australia, est.1856, Ernst August Altmann, Australia, c.1850–1920, Adelaide jubilee international exhibition 1887 (obverse die), 1887, Melbourne, steel; Gift of Stokes Limited 2015

Strathalbyn, South Australia, Meat safe, c.1880, Strathalbyn, South Australia, pine, original paint patina, tin, brass, (replacement latch); Gift of Dr Robert Lyons through the Art Gallery of South Australia Foundation 2015

attributed to J.M. Wendt, Adelaide, Australia, est.1854, Cameo demi-parure, c.1865, Adelaide, gold, shell, in original box; Gift of Helen Bowden in memory of her husband John Bowden 2015

EUROPEAN ARTMortimer Menpes, Britain/Australia, 1855–1938, Midday – Puebla, c.1895, Mexico or London, oil on panel; Gift of the Art Gallery of South Australia Foundation 2015

ASIAN ARTCERAMICSChina, Double gourd vase, for the export market, with flowers and auspicious motifs, c.1600, Jingdezhen, Jiangxi, porcelain, underglaze with blue decoration; Gift of Aldridge Family Endowment, Colin Beer, M.J.M Carter AO, David Cottrell, Dr Peter Dobson, Hiroko Gwinnett, Jennifer Hallett, Dr Michael Hayes, Shane Le Plastrier, Lipman Karas, Mark Livesey QC, Leo Mahar, Jane McGregor, David McKee, Pamela McKee, Peter McKee, Lady Porter, Judith Rischbieth, Dr P.J.W. Verco, Marion Wells, Peter Wilson and Zena Winser through the Art Gallery of South Australia Foundation Collectors Club 2015

China, Jar, with flowers and garden scene, c.1850, Jingdezhen, Jiangxi, porcelain, under-glaze cobalt blue, overglaze enamels; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2016

China, Decorated eave tile, mid–late 19th Century, Guangzhou or Fujian, reportedly found in vicinity of former Chinese temple, Hindley St, Adelaide, stoneware, green glaze, moulded decoration; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

China–Indonesia, Storage jar with spout, 9th–10th Century, Guangdong, China, found in Indonesia, probably Kalimantan, stoneware with green glaze; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

China–Indonesia, Storage jar with spout, 9th–10th Century, Guangdong, China, found in Indonesia, probably Kalimantan, stoneware with green glaze; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

China–Indonesia, Large bowl, with single flower in cavetto, c.1600, Zhangzhou, Fujian or Guangdong, China, found in Indonesia, stoneware with underglaze blue decoration; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

China–Indonesia, Large plate, decorated in Vietnamese style, c.1600, Zhangzhou, Fujian or Guangdong, China, found in Indonesia, stoneware, underglaze blue decoration; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

China–Indonesia, Vase, with two flying dragons, c.1600, Zhangzhou, Fujian or Guangdong, China, found in Indonesia, stoneware with underglaze blue decoration; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Donation Jacques Henri Lartigue), platinum print; Gift of Barbara Fargher and family through the Art Gallery of South Australia Foundation 2016

Jacques Henri Lartigue, France, 1894–1986, Rouzat – Zissou and his tyre boat, 1911, Paris (printed 2003 by 31 Studio, Paris for Donation Jacques Henri Lartigue), platinum print; Gift of Barbara Fargher and family through the Art Gallery of South Australia Foundation 2016

Stanley Wong, (anothermountainman), Hong Kong, born 1960, Lanwei 4/ fly away, 2006, Guangzhou, type C photograph; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Glenn Barkley, Australia, born 1972, Time Fades Away, 2016, Sydney, earthenware and slip; Pauline Colley Bequest through the Art Gallery of South Australia Foundation 2016

Barossa Valley, South Australia, Australia, Hymm board, c.1890, Barossa Valley, South Australia, stained pine; Gift of Dr Robert Lyons through the Art Gallery of South Australia Foundation 2015

Stephen Bird, Australia, born 1964, The surveyor, 2015, Sydney, glazed earthenware; The Pauline Colley Bequest Fund 2016

Pepai Jangala Carroll, Australia, born 1950, Pitjantjatjara people, South Australia/Luritja people, Northern Territory, Walungurru, 2015, Ernabella Arts Incorporated, South Australia, stoneware; Pauline Colley Bequest through the Art Gallery of South Australia Foundation 2016

Pepai Jangala Carroll, Australia, born 1950, Pitjantjatjara people, South Australia/Luritja people, Northern Territory, Walungurru, 2015, Ernabella, South Australia, stoneware, glazed; Art Gallery of South Australia Foundation’s South Australian Artists Fund 2015

Lorraine Connelly-Northey, Australia, 1962, Waradgerie people, New South Wales, Narbong (string bag), 2009, Swan Hill, Victoria, bed base wire, fencing wire; Gift of Susan Armitage through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Lorraine Connelly-Northey, Australia, born 1962, Waradgerie people, New South Wales, Narbong (string bag), 2009, Swan Hill, Victoria, rusted galvanised iron with fencing wire; Gift of Susan Armitage through the Art Gallery of South Australia Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program

Joungmee Do, Australia, born 1966, Rocks necklace, 2015, Melbourne, sterling silver, fine silver, gold, steel;

Rhianon Vernon-Roberts Memorial Collection 2015

Europe, Tea gown (for Emily Dutton of Anlaby house, Kapunda, South Australia), c.1910–20, Europe, trapunto quilting, wool, satin, wadding, button; Gift of Leonie Matherson 2015

attributed to C.E. Firnhaber, Germany/Australia, 1805–1880, Covered Cup, c.1862, Adelaide, silver, emu egg, ebonised base; Bequest of John Wolfe St Alban and family 2015

C.E. Firnhaber, Australia, 1805–1880, Covered Cup (for Thomas Graves), 1864–65, Adelaide, silver, emu egg, malachite, azurite; Bequest of John Wolfe St Alban and family 2015

Daniel and Charles Houle Silversmiths, Britain, est. 1845, Bank of India presentation tray, 1864, London, silver; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2016

Hugentobler & Sturm, Blumberg (Birdwood), South Australia, Australia, working c.1878, Henry Hugentobler, Australia, working c.1878–c.1891, Conrad Sturm, Australia, 1851–1907, Chest of drawers, 1878, Birdwood, South Australia, cedar (Toona ciliata), pine, stringy bark, red gum; Bequest of John Wolfe St Alban and family 2015

Kath Inglis, Australia, born 1974, Waterfalls neckpiece, 2016, Adelaide, polyvinyl chloride (PVC); Rhianon Vernon-Roberts Memorial Collection 2016

Yvonne Koolmatrie, Australia, born 1944, Ngarrindjeri people, South Australia, Eel trap, 2015, Berri, South Australia, woven spiny headed sedge (Cyperus gymnocaulos); Acquisition through TARNANTHI | Festival of Contemporary Aboriginal and Torres Strait Islander Art supported by BHP Billiton 2015

Yvonne Koolmatrie, Australia, born 1944, Ngarrindjeri people, South Australia, Shrimp scoop, 2015, Berri, South Australia, woven spiny-headed sedge (Cyperus gymnocaulos);

AUSTRALIAN & INTERNATIONAL DECORATIVE ARTS

Arthur Merric Boyd Pottery, Murrumbeena, Melbourne, Australia, 1944–1962, Neil Douglas, Australia, 1911–2003, John Perceval, Australia, 1923–2000, Bowl, 1950, Murrumbeena, Melbourne, earthenware; The Pauline Colley Bequest Fund 2015

Arthur Merric Boyd Pottery, Murrumbeena, Melbourne, Australia, 1944–1962, Neil Douglas, Australia, 1911–2003, John Perceval, Australia, 1923–2000, Large bowl, 1950, Murrumbeena, Melbourne, earthenware; The Pauline Colley Bequest Fund 2015

Glenn Barkley, Australia, born 1972, Golden Euphorbia Pot, 2016, Sydney, stoneware and gold paint; Pauline Colley Bequest through the Art Gallery of South Australia Foundation 2016


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(Take kawa) Chapter 44, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III), Japan, 1786–1864, Spring shoots (Wa kana) Chapter 34 and New wisteria leaves(Fuji no uraba) Chapter 33, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III), Japan, 1786–1864, The bluebell (Asa gao) Chapter 20 and Wisps of cloud (Usu gumo) Chapter 19, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III), Japan, 1786–1864, The cicada shell (Utsu semi) Chapter 2 and The broom tree (Haha kigi) Chapter 3, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, The cressets (Kaga ribi) Chapter 27 and The fireflies Chapter 25 (Hotaru), 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III), Japan, 1786–1864, The floating bridge of dreams (Yume no ukihashi) Chapter 54 and Writing practice (Ten ari) Chapter 53, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, The oak tree (Kashi wagi) Chapter 36 and The bell cricket (Suzu mushi) Chapter 38, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, The safflower (Suetsu mu hana) Chapter 6 and The paulownia pavilion (kiri tsubo) Chapter 1, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, The twilight beauty (Yugao) Chapter 4 and Heart to Heart (Aoi) Chapter 9, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, The typhoon (No waki) Chapter 28, and The pink (Toko natsu) Chapter 26, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, The warblers first song (Hatsune) Chapter 23 and The maidens (O tome) Chapter 21, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, Wind in the pines (Matsu kaze) Chapter 18 and The picture contest (E awase) Chapter 17, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, Young Murasaki (Waka Murasaki) Chapter 5 and The festival of red leaves (Momiji no ga) Chapter 7, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Wakabayashi Shokei, Japan, 1858–1938, Old pine, late 19th–early 20th

Century, Osaka, six panel screen, ink on paper; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2016

Tanba Shuji, Japan, 1828–1908, Mizoguchi Gekko, Japan, active c.1870, The study of grasses (Oshie gusa), 1872–76 (Meiji 5–9), Tokyo, 20 leaves, colour woodblock print on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Yoshiiku, Japan, 1833–1904, Pictures of foreign men and women of all nationalities (bankoku danjo jinbutsu zu), 1861, Japan, colour woodblock (nishiki-e) tryptich on paper; Gift of Shane Le Plastrier through the Art Gallery of South Australia Foundation 2016

MOVING IMAGEteamLab, Japan, formed 2001, Ever Blossoming Life II – Gold, 2015, Tokyo, four-channel, digital, endless, edition 4/6; Gift of the Neilson Foundation through the Art Gallery of South Australia Foundation 2015

China–Indonesia, Lidded box, with horses on lid and crab on base, late 16th–early 17th Century, Jingdezhen, Jiangxi, China, found in Indonesia, stoneware with blue underglaze decoration; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

China–Indonesia, Oval lidded box, with flying phoenix, late 16th–early 17th

Century, Jingdezhen, Jiangxi, China, found in Indonesia, stoneware with blue underglaze decoration; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Indonesia, Shallow bowl with ceplokan pattern, 17th–18th Century, Central Java, bronze; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Indonesia, Mosque vessel for prayer ablutions (wudhu), 1900 or earlier, Demak, Central Java, terracotta; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Japan, Large bowl, with butterflies, late 19th Century, Japan, porcelain, underglaze blue decoration; Gift of Mrs H.W. Rymill through the Art Gallery of South Australia Foundation 2016

Japan, Square flask in the shape of a Dutch bottle, late 17th Century, Arita, Saga Prefecture, porcelain, underglaze blue decoration; Gift of M.J.M Carter AO Collection in memory of Dr. Brian Crisp AM (1924–2012) through the Art Gallery of South Australia Foundation 2015

Thailand, Bowl, with deer, 15th Century, Wiang Kalong, Chiang Rai, stoneware, underglaze decoration; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Vietnam, Bowl, with carved floral decoration, 14th–15th Century, Thanh Hoa region, stoneware with degraded celadon glaze, carved decoration; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

WORKS ON PAPERChina, Independence and self-reliance, 1978, Beijing or Shanghai, paper, pigment; Gift of Dr Stephanie Schrapel through the Art Gallery of South Australia Foundation 2016

Egypt, Al-Quran, late 19th Century, Egypt, ink, water colour and gold on polished paper, leather, 302 folio-bound volume; Gift of Mrs S.M.D. Butler through the Art Gallery of South Australia Foundation 2016

Gonkar Gyatso, Britain/Tibet, born 1961, Buddah in our times, 2010, London, screen print and silver and gold leaf on paper; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Utagawa Kunisada I (Toyokuni III), Japan, 1786–1864, Akashi (Akashi) Chapter 13 and Suma (Suma) Chapter 12, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III), Japan, 1786–1864, At the pass (Seki ya) Chapter 16 and A waste of weeds (Yomogiu) Chapter 15, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, Beneath the Oak (Shiiga moto) Chapter 46 and The maiden of the bridge (Hashi hime) Chapter 45, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, Bracken shoots (Sawarabi) Chapter 48 and Trefoil knots (Age maki) Chapter 47, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, Butterflies (Kocho) Chapter 24 and The tendril wreath (Tamaka zura) Chapter 22, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e), Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III) , Japan, 1786–1864, Evening mist (Yugiri) Chapter 39 and The law (Minori) Chapter 40, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III), Japan, 1786–1864, Falling flowers (Hana chiru sato) Chapter 11 and Under the cherry blossoms (Hana no en) Chapter 8, 1852 (Kaei 5), from an untitled series of Genji pictures (Genji-e) Japan, colour woodblock (nishiki-e) on paper; Gift of an anonymous donor through the Art Gallery of South Australia Foundation 2016

Utagawa Kunisada I (Toyokuni III), Japan, 1786–1864, Red plum blossoms (Ko bai) Chapter 43 and Bamboo river


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APPENDIX E

DONORS AND PARTNERSHIPSFOUNDATION

PATRONSMax Carter, AODiana Ramsay, AOJames Ramsay, AO*

FOUNDERSMary AbbottMichael Abbott, AO, QCWilliam Bowmore, AO, OBE*James and Jacqui ErskineJames Fairfax, ACAndrew GwinnettHiroko GwinnettTom and Elizabeth Hunter*Christine Michell*G Howard Michell, AC*Javier and Arantza MollMary Overton, AM*The Balnaves FoundationJames & Diana Ramsay FoundationGovernment of South Australia

GOVERNORSSusan ArmitageHelen BowdenHelen BrackMaurice A. Clarke*Barbara CrispDr Brian Crisp, AM*Ann DouglasTimothy Fairfax, ACBarbara FargherJohn Ferguson and Lindsay OsbornDr Michael FungLee Grafton and Alan MyrenGeoffrey Hackett-Jones, QC*Barrie and Judith HeavenPrue LeeIan LloydLesley LynnDr Robert LyonsTim MaguireRick MartinBarbara Mullins*Douglas Mullins*John PhillipsDavid Roche, AM*Wendy St AlbanWin Schubert, AOPhilip Speakman

Dr Michael TucksonDr Edward Tweddell*Sue TweddellLyn Williams, AMMargaret Olley Art TrustSantos LimitedSitehost Pty Ltd

PRINCIPALSSuzanne Brookman*Frank ChoateMary ChoateColin CowanLauraine DigginsMarjory Edwards, OAM*Dr Peter Elliott, AMFrances GerardJulian and Stephanie GroseRobert Hannaford, AMAnthony HurlAnthony KnightBeverly KnightThe Hon. Diana Laidlaw, AMTrevor LandsShane Le PlastrierKhai LiewChristina LittDr John Litt*Alan McGregor, AO*Skye McGregorDavid McKeePam McKeePamela McKeePeter McKeeJohn Mansfield, AMJames Mollison, AOPeter Muller, AOThe Hon Dr Kemeri Murray, AO*Mike ParrJean Pearce*Tom PearceTom Phillips*Anna PlattenLady PorterKenneth Reed, AMProfessor Graeme SmithGeorgina TaylorAndrew Tennant*Aida TomescuPeter TyndallProfessor Barrie Vernon-Roberts, AO*Dr Jane Vernon-Roberts

Dick Whitington, QCZena WinserBankSAThe Gordon Darling FoundationIan Potter FoundationMacquarie Group FoundationNeilson FoundationThyne Reid Foundation

GUARDIANSMary Baker*Colin Beer*Joan BeerMargaret BennettLeo Christie, OAMBarbara CromptonDr David Crompton, AO*James CromptonElisabeth CummingsDr Michael DrewEmeritus Professor Anne Edwards, AODiana EvansElizabeth H Finnegan, OAMJulian GossePhilip GosseTony GossePaul Greenaway, OAMDr Michael HayesAnne Kidman*Jessica KnightGosia Kudra SchildMark Livesey, QCJoan LyonsCatriona MordantSimon Mordant, AMMarcia RankinRonald Rankin*Judith RischbiethDr Jamie Simpson and Judy WheelerJo SteeleMargaret Tuckson*Justice Ann VanstoneMarion WellsRay Wilson, OAMLipman KarasPerpetual LtdThe Walker Lowe CollectionThe Wood Foundation

BENEFACTORSCarol AdamsRoss Adler, ACBeverley A AndersonGeoffry Angas Parsons*Philip Bacon, AMAlbert BensimonDr James BlackPaul BlackRichard BlackH.R. Bonython AC, DFC, AFC*Julie BonythonKathy BoothMarion BorgeltProfessor Peggy BrockJennifer BrownLeonard BrownJoseph Catanzariti, AMJoan Clift*Shirley CrinionAnn CroserDavid de BrequetDr Peter DobsonLady Downer*Ivan DurrantDr Robert Edwards, AOProfessor Norman Etherington, AMMary GabbHarold and Neriba GallaschHugh GriffithsDavid HallettJennifer HallettSam Hill-SmithChristopher Hodges and Helen EagerCarol JollyReverend William Jolly*Grant JorgensenInge King*Richard and Blanche KoehneElizabeth Le MessurierThe Hon Christopher Legoe, AO, QCJenny LegoeJane McGregorDiana McLaurinBelinda Morgan*Delcie Norton*Roslyn and Tony OxleyJanice PleydellLady Potter, AC

PAINTINGSBosai Kameda, Japan, 1752–1826, Autumn sunlight brightens the forest in late afternoon ..., c.1810, Japan, hanging scroll, ink on silk, wood; Gift of Shane Le Plastrier through the Art Gallery of South Australia Foundation 2016

Dadang Christanto, Australia, born 1957, Mutilation: 5, 2003, Sydney, synthetic polymer paint, ink and pencil on linen; Gift of Julian & Stephanie Grose through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

TEXTILESChina, Loose-sleeved woman’s jacket, c.1900, China, embroidered and plain weave silk, gold thread, natural dyes, couching and stitching; Gift of Rosemary Attwood through the Art Gallery of South Australia Foundation 2016

India, Canopy for Jain image (chandarva), 20th Century, probably Gujurat, brocade and plain weave silk, stitching; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

India, Canopy for Jain image (chandarva), 20th Century, probably Gujarat, brocade and plain weave silk, stitching; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

India, Canopy for Jain image (chandarva), 20th Century, Gujarat or Rajasthan, embroidered and plain weave silk, stitching; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

India, Man’s formal coat, early 20th

Century, northern India, brocade and plain weave fabric, natural dyes, metallic thread; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

India – Indonesia, Ceremonial cloth and sacred heirloom, depicting poppy flowers, early-mid 18th Century, Coromandel Coast (Tamil Nadu and Andhra Pradesh), India, found in Indonesia, cotton, mordant dyes, block print; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Indonesia, Shrine cloth hanging (lamak), 20th Century, Bali, possibly Kesiman, Badung, cotton, natural dyes; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Indonesia, Woman’s court jacket (paes), 20th Century, Central Java, velvet, synthetic plain weave fabric, plastic beads, metal sequins; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Indonesia, Woman’s court jacket (paes), with peacocks, 20th Century, Central Java, velvet, synthetic plain weave fabric, plastic beads, metal sequins; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Indonesia, Uncut ritual cloth (kekombong), 19th Century, Lombok, West Nusa Tenggara, cotton, natural dyes; Gift of Michael Abbott AO QC and Sue Crafter through the Art

Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

Japan, The departure from Kashima (Kashima dachi shin ei zu), 17th–18th

Century, Nara, hanging scroll, ink, colour and gold on silk; M.J.M Carter AO Collection through the Art Gallery of South Australia Foundation 2016

DECORATIVE ARTSChina, Bracelet with carved ivory plaques and case, late 19th Century, China, gold, ivory, metal, felt; Bequest of Merrily Jeanne Hallsworth 2015

India, Presentation ewer, 1883, possibly Ahmedabad, silver with gilded interior; Gift of Michael Abbott AO QC and Sue Crafter through the Art Gallery of South Australia Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program

India, Games table, c.1850, Vizagapatam, (Vixakhapatnam), Andhra Pradesh, sandalwood, elephant ivory, sadeli micro-mosaic inlay; Gift in memory of Belinda Morgan through the Art Gallery of South Australia Foundation 2015

Netherlands or Indonesia, Chest, with Dutch East Indies Company (VOC) insignia, c.1700, Indonesia, wood, brass; Gift of Andrew and Hiroko Gwinnett through the Art Gallery of South Australia Foundation 2015

The Gallery lent a total of 212 works to 33 exhibitions including 4 major national touring exhibitions. 36 works were lent to 10 local exhibitions and 176 works were lent to 23 national exhibitions. In addition 73 works were lent to 7 Government Departments under the Furnishing Loans program.


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Ann Hawker John Heard Annabel Hill Smith Robert Hill Smith Anne Hirsch Dr Ernest Hirsch Richard Holland Antonietta Itropico Jenny Jarvis Deane Jarvis Dr Neil Jensen Norma Jensen Professor Nicholas Jose Peter Kay Bill Keneley Joe Kertesz Carla Kertesz Adam Knight Connie Kosti The Hon Robert Lawson, QCPamela Lawson Alun Leach-Jones Nola Leach-Jones The Hon Anne Levy, AOArthur Littlejohns Dr Jane Lomax-Smith David Macfarlane Caryl Macfarlane Dr Leo Mahar Theo Maras, AM OLJDr Ruth Marshall Dr Geoffrey Martin Leonie Matheson Zeenee Michael Dr Gorana Milosevic Ayako Mitsui Dr Graeme Moffatt Dr Gary Morgan Christine Morony Dr Lloyd Morris, AMHeather Motteram Robert Motteram Jennifer Neill Timothy Neill Jane Newland Craig Noble Sofia Orfanos Dr John Overton Melinda Parent Harry Patsouris Rosemary Paull Mark Penniment Robert Piper, AORobert Pontifex, AM

Sally Powell Dr Rick Power Ann Price Anna Raptis Julie Redman Elaine Rischbieth Henry Rischbieth Alexander Rix Dr Claire Roberts Dr Ben Robinson Christina Ross Tricia Ross Richard Ryan, AOGreg Sanderson Elizabeth Sanderson Meredyth Sarah, AMDr Stephanie Schrapel Chris Searcy Marilyn Seidel Ron Seidel Michael Shearer, AMMary Simpson Rosemary Smith Terry Smith Linden Smith Glenys Steele Scott Dr Mary Sutherland Peter Sutherland Paul Swain Rod Taylor, AMR Taylor Pamela Terry Dr Daniel Thomas, AMJude Tolley Jonathan Tolley Linnett Turner Dr David Turner Regina Twiss Prudence Walker Rilka Warbanoff Virginia Ward Louise Ward Joan Weber Dr Orietta Wicks June Wilhelm Mary Wilson Judith Worrall Dr Andrew Zacest Enhance Travel KPMG Sullivan+Strumpf The Edmund & George Whitlock Foundation* Deceased

CONTEMPORARY COLLECTORS

GOVERNORSCandy BennettBen QuiltyTracey and Michael Whiting

PRINCIPALSDani MartiJane Michell and Sadie MichellSteven and Alisa NasteskiDr Clinton NgRoslyn and Tony OxleyJohn Phillips and Abram PhillipsMary Ann SantinThe Balnaves Foundation

GUARDIANSKate BreakeyElisabeth CummingsJames Darling, AM and Lesley ForwoodRick and Jan FrolichPaul Greenaway, OAMAndrew and Hiroko GwinnettEuan MacLeodWilliam Nuttall and Annette Reeves

BENEFACTORSJohn and Jane AyersMartin BellCherise ConrickDr Peter DobsonTimothy Fairfax, ACJulian and Stephanie GroseDr Michael Hayes and Janet HayesIan Little and Jane YuileJohn McBride, AMDr Peter McEvoyDavid and Pam McKeeDanie MellorHugo and Brooke MichellJan MinchinDr Dick Quan and John McGrathBrett StonePaul and Thelma Taliangis

Tiffany Wood-ArndtMacquarie

CIRCLEGeoff Ainsworth, AM and Johanna FeatherstoneMichael and Silvana AngelakisPhilip Bacon, AMAndrew and Cathy CameronDr Andrew CloustonColin and Robyn CowanScott and Zoë ElvishRob GreensladeBrent HarrisKlein Family FoundationGosia Kudra SchildSonia LaidlawSam LeachEdwina LehmannAnthony and Helen LewisJan MurphyPeter and Jane NewlandCreagh O’ConnorMaureen RitchieCaroline RothwellVivienne SharpeSue TweddellDouglas WatkinPeter and Lisa WeeksDr Terry Wu

CORPORATE GOLDCleverdicksLipman Karas

MEMBERSTony AlbertDon and Veronica AldridgeSusan ArmitageBenjamin ArmstrongKent AugheyDr Sally BallMerrie BeasleyBecky BlakeSue BoettcherMarc BowdenDr William BoyleCheryl BridgartSam and Tania BroughamKaren Brown

Professor Wilfrid PrestThe Hon Graham Prior, QC*Dr Ron Radford, AMDr Christine RothauserLady Rymill*Don Sarah, AMBill TaylorRobert Thomas, AO*Janette ThorntonJohn ThorntonDavid UrryThe Hon. John von Doussa, AO, QCJanet WorthDr William YoungSA Power Network

FELLOWS Will Abel Smith Marjorie Andrew Janet Angas David Angel Anita Angel Dr Mandy Ayres Neil Balnaves, AOPeggy Barker Catherine Boros Jeffrey Bowden Dr William Boyle Beverley Brown, OAMDr Marcus Brownlow Dr David Bullen Christina Carli Deborah Cocks Susan Cocks Dr Mark Coleman Josephine Cooper Paul Corcoran Carolyn Corkindale Dr Wendy Craik, AMDr Bertine Cramond Kathy Crosby Dr Frances Cumming Anne Davidson Elizabeth Davies Tom Davies Bice Della-Putta Elspeth Doman, OAMDr Neo Douvartzidis Colin Dunsford Dr Lesley Ewing Estelle Farwell David Farwell

Dr Stephen Freiberg Richard Frolich Loene Furler Neriba Gallasch Harold Gallasch Howard Galloway Charlotte Galloway Maxine Gemmell Jennifer Genion Karen Genoff Albert Gillissen Darryl Gobbett John Goodman Robin Greenslade Dr Noel Grieve Rachel Grimshaw Penelope Hackett-Jones Grant Hawley Anne Hetzel OAMMargo Hill-Smith John Hindmarsh, AMPenny Holmes Harley Hooper Dr Louise Howell Professor Peter Howell Dr Gregory Jaunay Ian Jones Bronwen Jones Dee Jones Dr Jim Katsaros Franz Kempf, AMUlrike Klein Richard Krantz Sonia Laidlaw Liz Lander Roger Lang Julie Lawry The Hon Justice Robyn Layton, AO, QCAlexandra Legge Cheong Liew OAMVirginia Ligertwood Dr Michael Llewellyn-Smith, AMWilliam MacKinnon Fiona MacLachlan, OAMBetty Maddern Kate Mansfield Rosalyn Marshall The Hon Roderick Matheson, AM, QCJean Matthews Wayne McGeoch Janet McLachlan

Danie Mellor Pauline Menz Dr Patricia Michell H Michell Milton Moon Damon Moon Peter Morgan Jan Murphy Tomoko Nakayama Professor Ian North, AMMargot Overton Kaaren Palmer Richard Pash Robert Patterson The Hon Carolyn Pickles Robin Pleydell Anne Prior Joyce Quin Rosemary Radden Carolyn Rankin PSMDon Rankin Marietta Resek Dick Richards Josie Robertson John Russell Rosalind Russell Jill Russell Trisha Ryan Beverley Seaton Professor Anthony Seymour John Sheahan Antony Simpson Rob Skipper Dr John Skipper Linda Sly Dr Lesley Smith Carol Spangler Raphy Star Barbara Stewart Marcia Thomas Ian Thornquest Susan Thyer Dr Joe Verco Simone Vinall Dr Barbara Wall Richard Walsh, AMTracey Whiting Naomi Williams Peter Wilson Pamela Yule Ord Minnett

MEMBERS Thomas Abbott Lucy Abbott Sophie Abbott Catherine Abbott Will Angove Ann Axelby Elaine Barker Margaret Beard Josephine Ben-Tovim Dr David Ben-Tovim David Black Nick Bolkus Robert Bolton David Bridges Robert Brown Barbara Brown The Hon Dean Brown, AOMarjorie Brown Rosslyn Brown Graham Buckett Nona Burden Angela Burford Margaret Burrell Helen Carreker James Carreker Annabelle Chan Gaelle Clements Diane Colton Professor Suzanne Corcoran Karina Cosoff Robert Crabtree John Crosby Susan Damin Kelly Day Eric Denker Anne Dow Charlie Downer Perry Fabian Stephanie Fabian The Hon Justice Paul Finn Terry Finnegan Mimi Forwood Toby Forwood Penny Fowler Anne Marie Graham Jill Gray Dr Adam Graycar Pat Grummet Naomi Guerin Anne Haddad Raine Harker


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Martin Browne ContemporaryJudy BuchanSandra Byrne GilbertLyndie CarracherJim and Helen CarrekerBruce CarterJulia Champtaloup and Andrew RotheryPatty ChehadeDr Natasha ChowElma ChristopherMary ClarkJonnie ClarkRick CliseSusan CocksDr Patrick Corrigan, AM and Barbara CorriganLouise CrosbyMichael CrouchDr David CullumChris Cuthbert and Sally Dan-CuthbertVirginia DahlenburgSam and Caroline DaniellAnna DavisonSully DetmoldRon DewhurstKatie DewhurstRachel DollingCatherine Ellice-FlintTerry FinneganDean and Melanie FlintoftAndrew FoxNeil FrazerSophie and Frazer GannonDenise GeorgeDr Noel GrieveAntony and Wendy GrzeskowiakEmma HackEdward HartleyCarolyn HewsonRobert and Annabel Hill SmithSam and Margo Hill-SmithChristopher Hodges and Helen EagerMark Hoffmann, QCKim Thomas and Adrienne HolmesPenny Hope MurrayAmanda Hurley

John HurleyKarin JallandPhilippe and Diana JaquillardLise KruuseThe Hon Diana Laidlaw, AMAmanda LambertMark LandauDr Stephen LaneAnnette LarkinLiz LavertyDenise LeMessurierNick LeMessurierProfessor Megan LewisAmanda LoveAdam LuceyMark and Claire LuckettClaire LuckettProfessor Malcolm MacKinnonDr Sorayya Mahmood MartinSally MansonRick MartinDr Paul McHughInese MedianikHannah MichellDr Russell MillsDr James Muecke, AM and Mena MueckeJan MurphyCatherine NelsonJulian Forwood and Bernice OngMartin PalmerAlair PambeganJenny PappasBruce ParncuttChrissy PatersonChristopher PennyChristine PhelpsDr Rick Power and Ms Trina CrawfordThelma Pye and Paula Nagel, AMSpero and Anna RaptisKatrina RaymondJonathon RaymondDr Silvana RositanoTricia RossJulia Champtaloup and Andrew Rothery

Jill RussellMaria RyanJulie SallisEleanor ScicchitanoDr Priya Selva-NayagamBrenda M ShanahanDr Gene Sherman, AMRae-Ann Sinclair and Nigel WilliamsDavid SmithMelissa SmithDr Michael Snow and Janice SnowAndrew and Barbara StanifordUrsula Sullivan and Joanna StrumpfPaul SwainVictoria TaylorDawn TaylorPia TsoutourasPamela UptonNicholas and Louise VadaszAnthony VanstoneThe Hon Leesa Vlahos MPPeter WalkerJanet Whiting, AM and Phil LukiesSydney WilliamsPeter and Karen WilsonAnn WilsonDr Xen Xenophou

GOVERNMENT PARTNERS Government of South Australia through Arts South Australia

Australia Council for the Arts

Adelaide City Council

TARNANTHI PARTNERBHP Billiton

MAJOR PARTNERSantos Ltd

FOUNDATION PARTNERSThe Balnaves Foundation

James & Diana Ramsay Foundation

The Ian Potter Foundation

GALLERY PARTNERSChannel 7

The Advertiser

891 ABC Adelaide

Yalumba

EY

Adelaide Airport

Lipman Karas

InterContinental Adelaide

Tiffany & Co.

Solitaire Automotive

PARTNERSHIPS

GALLERY SUPPORTERSVisualcom

Aesop

InDaily

Avant Card

The Adelaide Review

Peroni

Premier Art Supplies

Tiro/Splitrock

CONTEMPORARY COLLECTORS PARTNERSPenny’s Hill

Kwik Kopy Norwood

TypeSpace Graphic Design


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2016 ADELAIDE BIENNIAL OF AUSTRALIAN ART: MAGIC OBJECT

27 February – 15 May 2016

Admission Free, School Groups: Free.

Free Guided Tours Daily, 11am & 2pm.

Opening speaker David Sefton, Director of the Adelaide Festival of Arts.

Curator Lisa Slade.

Additional Venues Anne & Gordon Samstag Museum of Art, UniSA, JamFactory, Carrick Hill, The Santos Museum of Economic Botany in the Adelaide Gardens.

Principal Donor The Balnaves Foundation. In Association with: Government of South Australia, Arts South Australia, University of South Australia/Samstag Museum, Australian Government/Australia Council for the Arts, Adelaide Festival of the Arts.

Family Program Partner James & Diana Ramsay Foundation.

Exhibition Partners Lipman Karas, EY, Adelaide Airport, Cummins & Partners.

Media Partners Channel Seven, 891 ABC Adelaide, The Advertiser.

First Friday Partner Santos.

City Partners Adelaide City Council.

Titled Magic Object, the 2016 Biennial included 25 exhibiting artists ranging in age from 27 to 105 years.

There were 344 loans to the exhibition from 26 lenders. One hundred and seventeen loans were from four local lenders and 227 loans were from 22 interstate lenders.

TOTAL ATTENDANCE 220,433 (ALL VENUES)

RIVERLAND: YVONNE KOOLMATRIE

12 September 2015 – 10 January 2016

presented as part of TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art



Opening Speaker Hon PJ Keating.

Curator & Artistic Director Nici Cumpston.

Presenting Partners Government of South Australia, Arts South Australia.

Principal Partner BHP Billiton.

Curated by Hetti Perkins, Jonathan Jones and Nici Cumpston.

A comprehensive survey exhibition at the Art Gallery of South Australia presenting the works of master Ngarrindjeri weaver and internationally esteemed artist, Yvonne Koolmatrie. TARNANTHI also partnered with Carclew Youth Arts to present Pilbili, a project working with Hampstead Gardens Primary School students to learn about Ngarrindjeri culture and to respond formally to Riverland: Yvonne Koolmatrie by producing an audio tour. This incredibly successful project received media attention on ABC3 and was well received by the general public as well as school groups. An education resource was created for this project.

There were 68 loans to the exhibition from 31 lenders. Fourteen loans were from seven local lenders (four institutional lenders and three private collections), 53 loans from 24 interstate lenders (16 institutional lenders and eight private collections).

APPENDIX F

EXHIBITIONS AND PUBLIC PROGRAMS

TREASURE SHIPS: ART IN THE AGE OF SPICES

13 June – 30 August 2015

Admission Adult $15, Concession $12, Member $10, Members Season Ticket $40, Family $35, Student $10, Child (5–12 years) $5 Under 5 years free. School Groups: $30 per class.

Guided Tours daily, 11am & 2pm.

Opening Speaker Hon Jack Snelling MP, Minister for the Arts. Curators: James Bennett, Curator of Asian Art, Russell Kelty, Assistant Curator Asian Art.

Government Partners Government of South Australia via Arts South Australia.

Exhibition Partner Gordon Darling Foundation.

Media Partners The Advertiser, 891 ABC Adelaide, Channel 7, In Daily, Avant Card.

Event Partners Carlton & United Breweries, Heggies wine, Jansz Tasmania, Penny’s Hill.

Foundation Partners James & Diana Ramsay Foundation, The Balnaves Foundation.

Supporting Partners Adelaide Airport, Singapore Airlines, Visualcom Printing & Signage Solutions, InterContinental Adelaide.

Treasure Ships: Art in the Age of Spices charted complex artistic and cultural interactions between Europe and Asia from the sixteenth to the nineteenth centuries – a period known as the ‘Age of Spices’. There were 172 loans to the exhibition from 36 local, national and international lenders from India, Portugal, Singapore and the United States. Fifty four loans were from 12 local lenders (five institutional lenders and seven private collections), 81 loans were from 16 national lenders (13 institutional lenders and three private collections) and 37 loans were from eight international lenders (five institutional lenders and three private collections).

This exhibition was presented in collaboration with the Art Gallery of Western Australia.

TOTAL ATTENDANCES

SOUTH AUSTRALIA 13 JUNE–30 AUGUST 2015: 29,799

WESTERN AUSTRALIA 10 OCTOBER 2015 – 31 JANUARY 2016: 19,669

TARNANTHI: FESTIVAL OF CONTEMPORARY ABORIGINAL AND TORRES STRAIT ISLANDER ART

8 October 2015–17 January 2016



Opening Speaker Hon PJ Keating.

Curator & Artistic Director Nici Cumpston.

Presenting Partners Government of South Australia, Arts South Australia.

Principal Partner BHP Billiton.

TOTAL ATTENDANCE 311,063 (ALL VENUES)

Presented by the Art Gallery of South Australia in partnership with BHP Billiton and the Government of South Australia, TARNANTHI showcased over 1,068 artists across 22 partner exhibitions presenting 1,283 individual works of art and an Art Fair featuring 40 art centres.

There were 324 loans to the TARNANTHI exhibition from 29 lenders. Thirty four of the loans were from six local lenders and 290 loans were from 23 interstate lenders.

In addition there were 102 loans from 26 lenders to the Tarnanthi Art Fair held at Tandanya.

The Gallery exhibitions ran from 8 October–16 January 2016 and attracted 127,115 visitors to exhibitions and events at the Gallery.

OFFSITE EXHIBITION ATTENDANCE 183,948

MAJOR EXHIBITIONS


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Gallery 15

Guildhouse Collections Project: Kate Kurucz, 3 June–ongoing, curated by Leigh Robb, Curator of Contemporary Art. The artist loaned two works for this exhibition.

Gallery 18

Rembrandt and the Etching Revival, until 8 July 2015, curated by Julie Robinson, Senior Curator, Prints, Drawings & Photographs.

The Pre-Raphaelite Brotherhood, 11 June 2015–10 December 2015, curated by Maria Zagala, Associate Curator of Prints, Drawings & Photographs and Alice Clanachan, Assistant Curator of Prints, Drawings and Photographs.

William Blake’s Engravings: the Book of Job and Dante’s The Divine Comedy, 10 December 2015–ongoing, curated by Alice Clanachan, Assistant Curator of Prints, Drawings and Photographs.

Gallery 19A

A Chance Beginning: Lyons Collection of Australian Decorative Art, until 23 August 2015, curated by Robert Reason, Curator European & Australian Decorative Arts.

Making & Meaning: Contemporary Aboriginal and Torres Strait Islander Craft and Design, 29 August 2015–13 July 2016, curated by Robert Reason, Curator European & Australian Decorative Arts.

Gallery 19B

Paradise on Earth: Flowers in the Arts of Islam, continuing – 26 July 2015, curated by James Bennett, Curator of Asian Art.

More Ink than Ocean: The Art of Writing in Islam, 7 August 2015–11 July 2016, curated by James Bennett, Curator of Asian Art. There were seven loans for this exhibition from two lenders (one local and one interstate).

Gallery 20

Elegant Pursuits: Arts of the East Asian Scholar, until 23 August 2015, curated by Russell Kelty, Associate Curator, Asian Art.

The Power of Pattern: The Ayako Mitsui Collection, 4 September 2015–13 March 2016, guest curated by Dr. Jennifer Harris, Visiting Research Fellow, University of Adelaide. There were 40 loans to this exhibition from four lenders (three local lenders and one interstate lender).

Great Tales in Asian Art: Love, 25 March 2016–ongoing, curated by James Bennett, Curator of Asian Art and Russell Kelty, Associate Curator of Asian Art.

Gallery 21

Gond Paintings from India: The Barry and Judith Heaven Collection, 9 May 2015–13 March 2016, curated by James Bennett, Curator of Asian Art.

Great Tales in Asian Art: Conflict, 25 March 2016–ongoing, curated by James Bennett, Curator of Asian Art and Russell Kelty, Associate Curator of Asian Art.

Vestibule

TARNANTHI Bush Footy, 12 September 2015 – 31 January 2016, curated by TARNANTHI Artistic Director Nici Cumpston.

2016 Adelaide Biennial of Australian Art: Magic Object – Kate Rohde, 27 February–July 2016, curated by Lisa Slade, Assistant Director, Artistic Programs.

Atrium corridor:

Geoffrey Brown: Perennial landscapes, 17 November 2014–27 July 2015, curated by Alice Clanachan, Assistant Curator, Prints, Drawings and Photographs.

Warlayirti Artists from Balgo Hills, 29 July 2015–3 March 2016, curated by Sally Foster, Acting Associate Curator, Prints, Drawings and Photographs.

Franz Kempf, 24 June 2016–continuing, curated by Alice Clanachan, Assistant Curator of Prints, Drawings and Photographs.

COLLECTION DISPLAY EXHIBITIONS

2016 Adelaide Biennial of Australian Art: Magic Object, Robyn Stacey, 27 February–15 May 2016, curated by Lisa Slade, Assistant Director, Artistic Programs.

Carrying Culture, from 28 May 2016–ongoing curated by Nici Cumpston, Curator of Aboriginal and Torres Strait Islander Art.

Gallery 8

Recent Acquisitions, 17 April–2 August 2015, curated by Jane Messenger, Curator of European and North American Art.

TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art – Warwick Thornton, 8 October 2015–17 January 2016. Curated by TARNANTHI Artistic Director Nici Cumpston.

Cabinet of Curiosities from the Collection, 27 February–19 June 2016, curated by Lisa Slade, Assistant Director, Artistic Programs. There were two loans to this exhibition from two local lenders.

Galleries 9, 10 & 11

New Acquisitions, 17 April–2 August 2015, curated by Jane Messenger, Curator of European and North American Art, with assistance from Maria Zagala, Associate Curator of Prints, Drawings & Photographs.

2016 Adelaide Biennial of Australian Art: Magic Object – Tom Moore, Fiona McMonagle and Gareth Sansom, 27 February–22 May 2016, curated by Lisa Slade, Assistant Director, Artistic Programs.

Gallery 9

Catherine Truman SALA, 11 June 2016 – ongoing, curated by Rebecca Evans, Robert Reason, Curator European & Australian Decorative Arts. There were 299 loans to this exhibition from seven lenders. Two hundred and ninety two loans were from the artist and five loans were from local lenders. Two loans were from an interstate lender.

Gallery 10

Sue Kneebone, 11 June 2016–ongoing, curated by Elle Freak, Assistant Curator of Australian Paintings and Sculpture. There were two loans to this exhibition from two local lenders.

During the year 380 works were borrowed from 25 lenders for eight Collection Display exhibitions. In addition 10 works were borrowed from four lenders for General Collection Display.

ELDER WING SPECIAL PROJECTS AND COLLECTION DISPLAYS

Gallery 3

Between the Lines: Australian Artists and War, 25 April 2015–ongoing, curated by Tracey Lock-Weir, Curator of Australian Paintings and Sculpture and Gloria Strzelecki, Associate Curator of Australian Paintings and Sculpture.

Guildhouse Collections Project, Maarten Daudeij, until 10 January 2016, curated by Robert Reason, Curator European & Australian Decorative Arts.

Gallery 6

Guildhouse Collections Project: Jason Sims, 4 July– 27 September 2015, curated by Robert Reason, Curator European & Australian Decorative Arts. There were three loans for this exhibition from one local lender.

TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art, 8 October 2015–17 January 2016. Curator & Artistic Director: Nici Cumpston.

Public Image, Private Lives: Family, Friends and Self in Photography, 5 February –18 September 2016, curated by Julie Robinson, Senior Curator, Prints, Drawings and Photographs, assisted by Sally Foster, Associate Curator, Prints, Drawings and Photographs, and Alice Clanachan, Assistant Curator of Prints, Drawings and Photographs. There were 25 loans to this exhibition from six lenders (two local lenders and four interstate).

Gallery 7

Above and Below: Landscapes from the Australian Art Collection, 2 August 2014–5 July 2016, curated by Elle Freak, Acting Associate Curator of Australian Paintings and Sculpture and Aboriginal and Torres Strait Islander Art.

Crossing Time: Highlights from the Aboriginal and Torres Strait Islander Collection, 11 July 2015– 10 February 2016 curated by Elle Freak, Acting Associate Curator of Australian Paintings and Sculpture and Aboriginal and Torres Strait Islander Art.


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COMMUNITY PARTNERSHIPSThe Gallery partnered with local arts and community organisations throughout the year supporting various cultural events and community groups. These community level partnerships reflect Adelaide’s broader city calendar of events within the Gallery boundary. These events included:

SOUTH AUSTRALIAN LIVING ARTISTS (SALA) FESTIVAL

31 July 2015

The opening event for SALA was held on Friday 31 July and attended by 769 artists, industry peers and art enthusiasts. The following weekend included the suite of SALA and Gallery co-presented events including a weekend of artist talks and panel discussions on 22–23 August titled The Artists’ Voice. START on the road for SALA headed to Whyalla and Port Augusta on 8–9 August where 126 people enjoyed the activities. SALA Children’s exhibitions included our annual Start Art prize and the Senior Secondary School Exhibition.

ADELAIDE FESTIVAL CENTRE’S OZASIA FESTIVAL

September 2015

In partnership with the 2015 OzAsia Festival, Indonesian Artist Eko Nugroho‘s new large-scale outdoor work was hung across the entrance of the Gallery’s North Terrace facade. This bold and colourful work was complemented with a display of Nugroho’s works from the permanent collection in Gallery 21.

TOTAL ATTENDANCE 40,600

ADELAIDE FILM FESTIVAL

October 2015

Artist Warwick Thornton’s new work, The Way of the Ngangkari, was co-commissioned in partnership with the Adelaide Film Festival and presented as part of TARNANTHI, on display from 8 October–17 January 2016. The Gallery’s closing night for TARNANTHI (18 October) also included partnered activity with the Film Festival including the Gallery’s Sculpture Courtyard being used as the official after-party venue following the premiere of Spear, directed by Stephen Page.


ADELAIDE FASHION FESTIVAL

24 October 2015

The 2015 Adelaide Fashion Festival program closed with the event A Night of Fashion at the Art Gallery, presented in partnership with Gallery partner Opinion Media on 26 October. The Fashion Festival collaborated with the Gallery to create a 25 metre catwalk and parade off the front steps of the North Terrace Forecourt for fashion enthusiasts, while 550 ticket buyers attended A Night of Fashion in the Elder Wing and Gallery Courtyard, celebrating the fusion of fashion and art.

TOTAL ATTENDANCE 550

Treasure Ships: Art in the Age of Spices, 10 October 2015–31 January 2016. The Treasure Ships exhibition partner was the Art Gallery of Western Australia.

TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art, 8 October 2015–17 January 2016. The TARNANTHI exhibition partners included Adelaide Festival Centre/Ananguku Arts. Our Mob, 5 September–10 October 2015 in Port Augusta, 10 October–6 December at the Adelaide Festival Centre.

SASA Gallery (University of South Australia), 22 September–13 November 2015. Kapi Ungkupayi/He Gave Us Water, Roma Peterman Butler, Ivy Laidlaw, Jennifer Mitchell, Tjawina Roberts and Tjayangka Woods – Minyma Kutjara Arts Project.

Flinders University City Gallery, 26 September– 29 November 2015. The world is not a foreignland, Timothy Cook, Djambawa Marawili, Ngarra, Rusty Peters, Freda Warlapinni and Nyapanyapa Yunupingu.

Adelaide College for the Arts – Light Square Gallery, 24 September–22 October 2015. Balnhdhurr: A Lasting Impression, celebrating 20 years of printmaking at the Yirrkala Print Space at Buku-Larrnggay Mulka.

JamFactory/South Australian Museum, 2 October–28 November 2015. Shimmer, Sebastian Arrow, Tamara Baillie, Maree Clarke, Dale Harding, Janet Fieldhouse, Nicole Foreshew, Grace Lillian Lee and Vicki West.

JamFactory, 2 October–28 November 2015. Jewellery Has Always Been Here, Niningka Munkuri Lewis, Marissa Thompson and Anne Thompson from Ernabella Arts, and Virginia Ngalaia Napanangka and Walter Jugadai Tjungurrayi from Ikuntji Arts.

Migration Museum, 3 October–6 December 2015. Near Horizons, Christina Gollan, Beaver Lennon, Damien Shen, Jacob Stengle.

State Library of South Australia, 8 October– 1 November 2015. Desart Photography Prize – Nyankuntjaka (Have a Look) and Nyanganyi Kuru Nganampangku (Seeing Stories Through Our Eyes) Prints from the Cicada Press Printmaking Workshop – Curated by art workers from Desart Aboriginal Artworkers’ Program, Robert Fielding, Unrupa Rhonda Dick, Marisa Maher, Rosina Ryder and Rhonda Plummer.

OFF SITE EXHIBITIONS

Santos Museum of Economic Botany, 8 October 2015–31 January 2016. Nganmarra – The Container of Life, Julie Djulibing Malibirr, Robyn Djunginy, Evonne Munuyngu, Mary Dhapalany and Frances Djulibing Daingangan.

Contemporary Art Centre of South Australia, 9 October–22 November 2015. Biting the Air, Fiona Foley (changed to Biting the Cloud by the artist after the festival opened) and Overseer/Officer, Jason Wing.

Anne and Gordon Samstag Museum of Art, 9 October–4 December 2015. A Darker Shade of Dark #1– 4, Daniel Boyd and Les Eaux D’Amoore, Archie Moore.

Nexus Arts, 10 October–13 November 2015. One Love, One Family: Barngarla Stories of Resilience

Fontanelle, 10–31 October 2015. White Bred.

Country Arts SA (Prospect Gallery), 11 October–1 November 2015. Handheld II.

Adelaide Central School of Art, 13–30 October 2015. Mina Lakapawa, Vicki West.

Tandanya National Aboriginal Cultural Institute, 17 October–5 December 2015. TARNANTHI Textiles.

2016 Adelaide Biennial of Australian Art: Magic Object. In 2016 attendances across partner venues accounted for 57,135 of total exhibition attendances for the Adelaide Biennial of Australian Art. The four venues in addition to the Art Gallery of South Australia were:

• The Anne & Gordon Samstag Museum of Art, University of South Australia

• JamFactory

• Santos Museum of Economic Botany in the Adelaide Botanic Garden

• Carrick Hill


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PUBLIC PROGRAMSDEPARTUREDEPARTURE was the Art Gallery of South Australia’s after-dark cultural events program for people aged in their 20s and 30s. The Friday night events were held four times a year and offered a unique experience where guests gained exclusive after-hours access to outstanding art, heard from curators and artists, and enjoyed live music, performances with great food and drinks.

Two events were held during the reporting period. DEPARTURE: Treasure Ships was held on 28 August and featured the exhibition Treasure Ships: Art in the Age of Spices. Guests experienced a tour of the exhibition led by curators James Bennett and Russell Kelty. Four hundred and three guests attended this event. DEPARTURE: TARNANTHI was the final event held in the program and took place on 13 November. Two hundred and forty guests attended this event.

At the end of 2015, after 10 successful years, DEPARTURE was replaced by a new program, First Fridays, to be presented 12 times a year with a wider audience development focus.

FIRST FRIDAYSFrom January 2016 the Gallery replaced DEPARTURE with First Fridays, supported by major partner Santos. Held on the first friday of every month, the entire Art Gallery remains open until 9pm. Supported by Santos and InDaily, the program presents a curated program including live music, talks and activities. A total of six First Fridays events were held.


TUESDAY LUNCHTIME TALKS A total of 52 regular Tuesday floor talks were presented by Gallery curators, Gallery Guides, artists and guest speakers, either about displays of the Art Gallery’s collection or temporary exhibitions.


FEAST FESTIVAL

20 November 2015

Working with regular Feast Festival artist Dr Gertrude Glossip (Will Sergeant), the Gallery participated in the Feast Festival registration program with an event that responded to works in the Gallery’s collection and displays that have LGBTG themes.


ADELAIDE FRINGE FESTIVAL

12 February – 14 March 2016

For the first two weeks of Fringe, the Art Gallery partnered with the Adelaide Fringe Festival to present Fringe Illuminations. Working closely with 2016 Adelaide Biennial of Australian Art: Magic Object artist, Tom Moore and Electric Canvas transformed the North Terrace facade of the Art Gallery into an ever-evolving glass sculpture. The Gallery sat alongside other North Terrace illuminated institutions including the State Library of South Australia, South Australian Museum and Adelaide University buildings.

ADELAIDE FESTIVAL OF ARTS

26 February 2016

The visual arts program of the 2016 Festival included the Gallery’s autumn exhibition offering, the 2016 Adelaide Biennial of Australian Art: Magic Object. The exhibition was opened by the Festival’s Artistic Director on the opening weekend, ensuring the exhibition capitalised on visiting media, arts industry and government kudos associated with Adelaide’s iconic festival season. New in 2016, the Gallery presented the former Adelaide Festival Artists’ Week in a reinvigorated weekend program of talks and debate across both the Gallery and Samstag Museum under the new program title of Vernissage Weekend. This event attracted 8,209 attendees.

image previous pages: Tarryn Gill,

Australia, born 1981, Guardians, 2014–16,

Perth, nine sculptures with soundscape,

composition by Tom Hogan, mixed media

including speakers, dimensions variable;

Gift of the Art Gallery of South Australia

Contemporary Collectors 2016,

Art Gallery of South Australia, Adelaide.


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Transforming three or four times over the course of the year, in response to our temporary exhibitions, The Studio offered a diverse range of activities. Transformed in response to the exhibition Treasure Ships: Art in the Age of Spices, The Navigator’s Studio focused art activities on the overarching theme of sea voyage, exploration and trade. Visitors to The Navigator’s Studio illustrated their own voyage of discovery; constructed treasure chests; designed a nautical flag and imagined mythical creatures from the deep. In the education workshops delivered to school groups, participants were introduced to botanical illustration.

Reimagined for the inaugural TARNANTHI Festival, The Bush Footy Studio was inspired by the witty and engaging works of exhibiting artists Dinni Kunoth Kemarre and Josie Kunoth Petyarre. Visitors were invited to get a run on the ‘footy field’ and add to the sport spectacle by making their own footballer or fan to adorn The Studio or to design their own sports kit and join the ‘Bush Footy’ Hall of Fame.

For the 2016 Adelaide Biennial of Australian Art: Magic Object the luminescent Magic Object Studio lured art lovers of all ages with activities inspired by the work of exhibiting artist Kate Rohde. Using neon pens, visitors transformed the white wall patterns into hyper-colour which illuminated under the black lights. In addition, visitors also drew intricate curved patterns using the giant spirographs.

Access by the general public (after 2pm daily, when The Studio was not booked for school groups and on weekends) recorded a total 23,782 patrons visiting The Studio to engage in art making.


START AT THE GALLERYPresented on the first Sunday of every month, START presented tours, art making activities, storytelling, live performances and musical events, utilising the services of highly qualified artist facilitators and guides. A continued emphasis was placed on learning while also creating a fun environment for the whole family.

Some 2,576 START attendees joined the special Guided START Tours presented by Gallery Guides as part of the START program, indicating a key value for the program in art education. START Art Club membership increased by 889 children with total membership at 3,372 members.

This was the first year that START at the Gallery program had been presented by the James & Diana Ramsay Foundation. Their generous support has allowed the successful development of the START program, encouraging greater family visitation.


IN CONVERSATIONS, LECTURES, FLOOR TALKS AND OTHER EXHIBITION-SPECIFIC EVENTSA total of 35 exhibition-specific lectures, in conversations, panel discussions and performances were held including one Magic Object up late.


WORKSHOPSA total of nine practical workshops were held throughout the year.


ART FAIRTARNANTHI Art Fair was held over 2 days.


NATURE FOUNDATION TREASURE HUNTTOTAL ATTENDANCE 800

THE STUDIOThe Studio recorded significant attendances from school groups and the general public in its fourth year of operation, welcoming and engaging patrons of all ages in hands-on art activities inspired by the Art Gallery’s exhibition program and collection. The Studio is made available free thanks to the generous support of the James and Diana Ramsay Foundation.

A total of 10,529 students, educators and supporting adults, spanning preschools, primary and secondary schools as well as tertiary groups visited The Studio.

Three hundred and sixty four student and educator groups participated in The Studio workshop activities representing over 150 different Government, Catholic and Independent schools, home school students, students with disabilities and Aboriginal and Torres Strait Islander student groups. The Studio also welcomed educators participating in Educator Briefings and Educators Connect professional learning events.

Class groups represented schools and sites from across Adelaide. Regional attendance of school groups and educators represented the following regions: The Adelaide Hills, Barossa, Eyre Peninsula, the Far North, Fleurieu Peninsula and Kangaroo Island, Limestone Coast, Murray and Mallee, Yorke Peninsula and the Mid-North. In addition, one interstate school from Melbourne, Victoria also participated in The Studio activities.


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APPENDIX G

TEACHING & LEARNING AT THE GALLERY AND SCHOOL SUPPORT

TEACHING & LEARNINGLearning at the Gallery programs were based on the DECD priorities and were designed to connect to the Australian Curriculum, SACE and the Early Years Learning Framework through a range of learning areas including the visual arts.

Programs for children and young people promoted and engaged with:

• higher order thinking and communication skills

• exploring history and cultures

• student creativity through responding and making activities

• visual literacy and viewpointsLearning at the Gallery programs supported educator professional learning

through: artist-led studio workshops; creation of online education resources and educator-specific topic trails ; coordination of The Studio art-making activities to support AC: Arts (Visual Arts); interactive primary performances; partner Outreach Education programs in collaboration with Artlab Australia and the Migration Museum; individual support for self-guided group visits, as well as individual student and educator requests.

Thirty five percent of Learning at the Gallery visitors participated in face-to-face interpretation of works of art for permanent and temporary exhibitions with volunteer Gallery Guides or Gallery staff.

A total of 2,319 early years, primary and senior secondary students participated in Learning at the Gallery programs with practising South Australian visual or performance artists.

A total of 10,529 early years, primary and secondary students participated in facilitated workshops in The Studio.

Learning at the Gallery offered a range of specialised teaching and learning programs for educators, children and students including:

• Artist/educator facilitated making activities in The Studio, F–12

• Me Myself I self-portraiture program, Early Years

• Bilingual Me Myself I self-portraiture program for Greek language learners, Years 2–7

• Art Alive interactive performances, Years 3–7

• NAIDOC Week guided sessions, Years 4–7

• Life-drawing, self-portraiture and fashion illustration drawing workshops, Years 10–12

• Art Careers Forum, Years 10–12, educators and parents/guardians

• Year 12 Visual Arts Forums, Years 10–12, educators and parents/guardians

• 2016 Adelaide Biennial of Australia Art: Magic Object Curatorial Insights workshops, Years 11–12

• Bringing Languages to Life for students and educators studying/teaching French, German, Greek, Indonesian, Italian, Japanese or Spanish, Years 9–12 and educators

• 2015 Secondary Drawing Exhibition (SALA Festival), Radford Auditorium, Years 10–12, and schools communities

• Pilbili, a collaborative learning program for Hampstead Primary School students in association with TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Arts and Carclew Youth Arts

SCHOOL HOLIDAY PROGRAMSSchool holiday programs presented art appreciation and art making activities inspired by the exhibition program for children aged 5–12 years, in addition to accompanying parents/carers. Four hundred and sixty six children and adults participated in family Lantern Light tours conducted after hours of the Treasure Ships exhibition. Additional school holiday workshops for teen audiences were also presented by professional artists and associated with the exhibitions, Treasure Ships: Art in the Age of Spices and the Power of Pattern: The Ayako Mitsui Collection display Art Gallery. These workshops offered in the July and October school holidays attracted 65 participants.


NEOPresented by The Balnaves Foundation, Neo was the Art Gallery’s new dedicated program to audiences aged 13–17. The inaugural Neo program took place on 4 March, coinciding with the Art Gallery’s First Fridays programming, and included artist-led activity inspired by the work of Adelaide Biennial artist Hiromi Tango.

Two Neo programs were held to 30 June 2016. The first centred on the work in Magic Object and teens were introduced to some of Hiromi’s art making techniques by artist ambassador Celeste Aldahn. The event was held in Galleries 22–25 and set against a backdrop of aerial performances by Jo Nauman-Curren, hula hoop demonstrations and performative hairdressing in which most of the Neo visitors participated. Fifty six teens registered and attended the event from 14 schools across the North, South, East, West, Adelaide City and the Adelaide Hills.

The second Neo, Time Travellers Unite, took place on 6 May and offered a program which sought to ‘unlock the secrets of the Melrose Wing.’ Teens participated in five activities across the Melrose Wing led by Neo Ambassadors and emerging South Australian artists, which introduced them to big moments in art history. The evening included an artist talk by AGSA’s resident Guildhouse artist and Neo Artist Ambassador Kate Kurucz; a performance by Australian Dance Theatre; UV body art inspired by the Baroque period and the work of Adelaide Biennial artist Kate Rohde; a photo booth; creative competitions; and light meals and refreshments. Sixty registered and attended the event, representing 32 schools.

REGIONAL ENGAGEMENTIn August 2015, START hit the road to Whyalla and Port Augusta for the SALA Festival, providing broad access to art and free art-making experiences for children and families in two regional communities that have experienced economic hardship. These workshops provided an opportunity to introduce and trial the activities planned for the forthcoming TARNANTHI.

On Saturday 8 August, at the Middleback Theatre in Whyalla, a total of 71 people participated in the mobile ‘Bush Footy’ Studio. The majority of children and adults had never visited the Art Gallery of South Australia. On Sunday 9 August, START on the Road was held at the Institute Theatre, located within Yarta Purtli, the Port Augusta Cultural Centre Middleback Art Centre in Port Augusta and attracted 21 attendees.


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Four Educator Briefings were coordinated by Learning at the Gallery with the support of Curators for the following exhibitions and displays:

• TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art, 8 October 2015–17 January 2016 Two briefings

• 2016 Adelaide Biennial of Australian Art: Magic Object 27 February–15 May 2016 Two briefings

A total of 315 educators participated in these briefings.

Educator professional learning programs included a series of artist-led studio workshops linked to the AGSA collection and temporary exhibitions including:

• Botanical Illustration Workshop (one day), facilitated by Gilbert Dashorst

• Life Painting Workshop (two days), facilitated by Deidre But-Husaim

• Self-portraiture, life drawing and fashion illustration workshops one day), facilitated by Ruby Chew, Yanni Floros, Sue Ninham and Renate Nisi

EDUCATOR PROFESSIONAL LEARNINGNine hundred and eighty nine educators participated in professional learning sessions including exhibition and collection based teacher briefings, workshops and forums. Introductory and specialised training for educators, provided information about current programs and supported development of skills in accessing and utilising the Art Gallery’s resources, exhibitions and displays.

A key outcome of these programs was that educators enhanced their knowledge and capabilities to support teaching and learning through responding and making, and being audiences of the visual arts.

Professional learning outcomes included:

• Engaging as an audience to improve responding and making practice

• Identifying and supporting out-of-school learning opportunities for children and young people

• Exploring content and teaching strategies in visual art and design

• Planning, structuring and sequencing learning programs

• Selecting and using Gallery resources

• Engaging with professional artists, teaching networks and broader visual art communities

Professional Learning opportunities included:

• Six Educator CONNECT events, professional learning on selected First Fridays

September 2015: The Power of Pattern: The Ayako Mitsui Collection guided session and orizogami workshop

October 2015: Riverland: Yvonne Koolmatrie guided session and Bush Footy Studio workshop

November 2015: Pilbili, a collaboration between Hampstead Primary School, Carclew and TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Arts presentation and weaving workshop inspired by Yvonne Koolmatrie: Riverland

December 2016: Albert Namatjira presentation and watercolour workshop

February 2016: Public Image, Private Lives presentation and photography workshop

April 2016: Great Tales in Asian Art guided visit and Bringing Languages to Life guided visits in German, Greek and Italian and 2016 Adelaide

Biennial of Australian Art: Magic Object workshop June 2016: More Ink than Ocean presentation and calligraphy workshop

• VAESA Winter Solstice Conference

• Indonesian educators guided visit of permanent collection

• Child and Adolescent Mental Health workers and educators guided visit of permanent collection and workshop in The Studio


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LEARNING AT THE GALLERY –SCHOOL SUPPORT SERVICESLEARNING AT THE GALLERY VISITATIONGROUP VISITS/ENQUIRIES

Student Gallery visitation 33,280

Support staff for Gallery visitation 5,894

Student workshops, forums and performances 2,319

Support staff for student workshops, forums and performances 484

Individual student research enquiries 25

Sub-total (all students/support staff) 42,002

TEACHER PROFESSIONAL LEARNING

Teacher Briefings (exhibitions/displays) 315

Individual educator assistance 17

Educator professional learning programs 674

Sub-total (all educators) 1,006

TOTAL SCHOOL VISITATION 43,008

ANNUAL ATTENDANCES 2006–2016SCHOOLS2015–2016 2014–2015 2013–2014 2012–2013 2011–2012

40,205 34,633 32,812 32,593 26,050

CLIENT USE – PERCENTAGE ANALYSIS GOVERNMENT CATHOLIC INDEPENDENT (DECD) (CEO) (ISB)

2015–2016 59% 22% 19%

2014–2015 56% 26% 18%

2013–2014 57% 21% 22%

2012–2013 56% 27% 17%

2011–2012 41% 25% 34%

2010–2011 55% 20% 25%

2009–2010 50% 24% 26%

LEARNING AT THE GALLERY WEBSITE AND E-NEWSLETTERLearning at the Gallery actively promotes teaching and learning programs to DECD, Catholic and Independent educators via the Gallery Learning homepage, and distributes a regular Learning eNews to over 2,800 subscribers.

LEARNING AT THE GALLERY LEARNING AT THE GALLERY (ALL PAGES) (HOMEPAGE ONLY)

2015–16 2015–16 2014–15

unique page views 36,545 12,541 10,703 (4.76% of entire AGSA website)

average time 80s 29s 27s

bounce rate 61.6% 23.29% 24.08%

LEARNING AT THE GALLERY RESOURCESCoordinated education resources for:

• TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Arts Tony Albert & Alair Pambegan | Bonefish Story Yvonne Koolmatrie | Riverland Dinni Kunoth Kemarre & Josie Kunoth Petyarre | Bush Footy Ngurratjuta Iltja Ntjarra / Many Hands Art Centre | Namatjira Collection Brian Robinson | Custodian of the Blooms Yhonnie Scarce | Thunder Raining Poison Spinifex Arts Project Douglas Watkin | The Queen & I

• 2016 Adelaide Biennial of Australian Art: Magic Object

Changing Worlds: A South Australian story, a web-based resource aligned with Years 4, 5 and 6 Australian Curriculum (AC): History and Arts, continues to support pre and post visit connections to the colonial art collection. Download available at changingworlds.sa.edu.au


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PUBLIC PROGRAM AND LEARNING AT THE GALLERY PROGRAMArt Gallery Guides were involved in programs of tours for the public, as well as special interest groups and members, talks, book clubs, celebratory Art Gallery events, START, school holidays and outreach events for increasingly diverse audiences. Articulate and CONNECT (print and digital) describe all of the opportunities that Guides provide to enhance visitor experiences. The single greatest increase in tour and visitor numbers in the Guide program has been for the student groups in learning tours. Statistics for tours, and for numbers of visitors guided, appear elsewhere in this Annual Report.

GUIDES’ CONTINUING EDUCATION PROGRAMAs well as their touring commitments, the Art Gallery Guides meet every Tuesday morning (in school term dates) for a program of talks by Curators and other Art Gallery staff, visiting speakers, their guiding peers and other specialists in visual arts. Guides appreciate that this varied program is vital in maintaining and building on their professional skills and knowledge about the Art Gallery collections, exhibitions and audiences; the roles of Art Gallery staff; innovations in art in regional, national and global arenas; as well as building relationships within their group and sharing their ideas and views in a collaborative setting.

REVIEW OF EXHIBITION GUIDINGA new process for reviewing guiding experiences in major exhibitions has been established. From an initiative of Maureen Nimon, this process has been further streamlined by Di Davies and Di Atwa. A number of reviewing and data collection tools were trialled during, and following, the recent Biennial exhibition Magic Object. After analysis of the data, recommendations were formulated to guide decision-making, by both the Guides’ Executive and Art Gallery staff, with a view to continually evolving the preparation for, and implementation of, guided tours for future exhibitions.

AAGGO 2015 CONFERENCE –

Engage with Art, Engage with Audiences, Engage with Adelaide

The Australian Art Gallery Guides Organisation Conference in October 2015 – which coincided with the opening of TARNANTHI – was declared hugely successful by the 280 state and regional gallery guides from all states and territories, as well as New Zealand. Conference Convenor, Pamela Harding, and the numerous Art Gallery and Carrick Hill Guides, with Lisa Slade as consultant, were deservedly rewarded for their three years’ voluntary labour in planning and facilitating every detail of the extensive and thought-provoking program. The roving venues for talks, tours and special presentations, plus fine SA food and beverages from the Wine Centre, to Art Gallery, the Museum of Economic Botany, Samstag, Jam Factory, Carrick Hill and The Cedars, gave conferees an exceptional experience of our cultural offerings and the ways in which they can be shared with visitors.

APPENDIX H

GALLERY GUIDE TOUR SERVICES

This report provides a brief overview of the Guides’ organisation and its key achievements in 2015–2016. The Art Gallery Guides feel personally rewarded on a daily basis by their volunteering activities at the Gallery, and welcome conversations about their role at any time. A total of 21,194 people participated in 2,350 tours for the general public, children and families. A total of 40,205 students and accompanying adults participated in 1,033 tours.

Membership: The Art Gallery Guides, including those formerly known as Education Guides, together with the two resource writers, now all form a cohesive group, who liaise with Art Gallery staff through Lisa Slade and Mark Fischer. Each volunteer supports a range of Public Programs and Learning at the Gallery tours, as well as many other support tasks. Over the past year, a total of 81 volunteers have served in this cohort. Their names appear at the end of this report.

The Gallery Guides’ Executive for 2015–16 include: Jill Swann – Coordinator, Helen Bulis – Coordinator Elect & AAGGO Representative, Karen Hammond – Secretary/Treasurer, Raine Harker– Roster Manager, Christine Briggs – Continuing Education Program Manager, Pam Norman – Special Projects Manager, Kelly Day/Helen Bulis – Children’s Tours Liaison, Jenny Cunningham - Learning at the Gallery Liaison, Lisa Slade – AGSA Senior Management representative, Mark Fischer and Ryan Sims – Learning at the Gallery Staff. The Executive, with diverse and comprehensive skills, meets bi-weekly with each member being responsible for a specific aspect of the management of the Guides’ organisation. A further non-Executive group includes: Nel Steele – Floor Talks Manager, Jenny Palmer – Floor Talks Paper Editor, Heather Pearce – Guides’ Archivist and Librarian, and Heather Pearce and Jill Becker – Catering Coordinators.

The most recently recruited group of Guides graduated in July 2015 after a year’s training with Jill Swann and Rosemary Collins, and have taken up guiding commitments across the full roster. Some members of this group have also assumed Executive roles.

GUIDE RECOGNITIONLorraine Franzin, currently our longest serving Guide, was honoured with the Volunteer of the Year Award in December 2015, for her service since 1993. The extensive group of Guides who, over three years, effected the planning and implementation of October’s AAGGO 2015 Conference were also honoured. Also acknowledged by the Director and the Guides, were Jenny Klenner and John Hown for their 20 years as Gallery Guides. Jo Ben-Tovim, Trish Finnemore, Julian Hafner, Pam Harding, John Hayes, Robyn Mullins, Jenny Palmer, Wendy Parsons, Margaret Payne, Marion Queale, Perla Soberon-Brittle, Pamela Terry, Jo Thyer, Ruth Walter and John Woodrow were honoured for their 10 years as volunteer Guides. Through the 2015–2016 period, Annette Chalmers, Robyn Cowan, Marion Queale and James Lainas retired, and we mourned the passing of Ken Shimmin.


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TARNANTHI: FESTIVAL OF CONTEMPORARY ABORIGINAL AND TORRES STRAIT ISLANDER ARTAuthors Nici Cumpston and various

224pages, 122 colour illustrated

ISBN 978-1-921668-25-8 paperback

Quantity 3,300

Designer Sandra Elms

RIVERLAND: YVONNE KOOLMATRIE Authors Nici Cumpston, Hetti Perkins, John Kean and Yvonne Koolmatrie

160 pages, 108 colour illustrated

ISBN 978-1-921668-24-1 paperback

Quantity 2,000

Designer Antonietta Itropico

2016 ADELAIDE BIENNIAL OF AUSTRALIAN ART: MAGIC OBJECT Authors Lisa Slade, Ted Snell, Gemma Weston, Sebastian Goldspink, Craig Judd, Lisa Havilah


ISBN 978-1-921668-26-5 hardback

Quantity 2,000


ROBERT HANNAFORD Authors Sally Foster, John Neylon, includes essay by Robert Dessaix, Caught you! Reflections on being painted


ISBN 978-1-921668-27-2 hardback

Quantity 1,992


APPENDIX I

GALLERY PUBLICATIONS

Bente AndermahrDi AtwaHazmik BalanceJill BeckerJo Ben-TovimChristine BriggsHelen BulisNic CarstensenRosemary CollinsRobyn CowanJenny CunninghamPaul CorcoranKathy CrockettAlma DaehnJan DarlingDi DaviesGillian Davis Michelle Davis-WanzekKelly DayTina DolgopalGai DudleyEstelle FarwellTrish FinnimoreLorraine FranzinChristine GuilleJulian HafnerKaren HammondRaine HarkerJennifer HarrisJohn HayesJohn HownBarbara HumphriesJenny Jarvis

Julienne KeaneAnne Keast*Jennifer KlennerJessica KnightBrian KnottPhilip LaForgiaJames LainasHelga Linnert Judith Lloyd Virginia LynchLucy MacDonald*Meredithe Madigan Mary Marston Gillian MorrisRobyn MullinsChristopher NanceMaureen NimonAnn NobleMichael O’DonoghuePam NormanRosemary Nursey-BrayJennifer PalmerWendy ParsonsMargaret PayneHeather PearceMarion QuealeJulie RedmanNaomi ReschkeMary RivettDavid RoachMeredith RossChristabel SaddlerMary Schinella

Michael ShepherdKen ShimminPerla Soberon-BrittleDianne SpeckNel SteeleDavid StokesJill SwannPamela TerryHelen TrebilcockBarry TrowseJo ThyerKay VearsRuth WalterCarol WatsonSandra WinderJohn Woodrow

* Resource writers

AGSA GUIDES WHO HAVE SERVED IN 2015–2016 ANNUAL REPORT OF THE ART GALLERY OF SOUTH AUSTRALIA 2014–15Authors Chairman, Director and staff

Co-ordinator Margaret Bicknell

ISSN 0728–7925

ARTICULATEWinter 2015 no. 19

Spring 2015 no. 20

Summer 2015–16 no. 21

Autumn 2016 no. 22

ISSN 1838 627X

64 pages, full-colour throughout, paperback

Editor Lena Fiorentini



APPENDIX J

ANNUAL ATTENDANCESAGSA VISITOR ATTENDANCE DAYTIME HOURS, AFTER HOURS AND SCHOOL STUDENTS

2011/12 2012/13 2013/14 2014/15 2015/16

Gallery day attendance 571,192 606,431 615,028 695,713 720,998

After hours attendance / special events 18,296 26,589 26,533 26,500 27,250

Gallery School attendance 26,050 32,593 32,812 34,633 40,205

Total 615,538 665,613 674,393 756,846 788,453

ADDITIONAL VISITORS TO AGSA THROUGH OFF-SITE AND TRAVELLING EXHIBITIONS

2011/12 2012/13 2013/14 2014/15 2015/16

Visitors to AGSA off-site and travelling exhibitions 63,070 46,216 16,244 22,399 *260,752

TOTAL AGSA ATTENDANCE AND OFF SITE EXHIBITIONS

2011/12 2012/13 2013/14 2014/15 2015/16

678,608 711,829 690,637 779,245 1,049,205

OFF SITE AND TRAVELLING EXHIBITIONS ATTENDANCE – (BREAKDOWN)

2015/16

*TARNANTHI SA sites other than AGSA 183,948

*Treasure Ships Art in the Age of Spices Art Gallery of Western Australia 19,669

10/10/15–31/1/16

*2016 Adelaide Biennial: Magic Object Samstag, MEB, Jam Factory, 57,135 Carrick Hill, Institute

Total 260,752

AFTER HOURS EVENTS (BREAKDOWN)

All after hours Gallery events 20,485

After hours private bookings 6,765

Total 27,250

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image right: Jack Buckskin

performing at START,

December 2015. photo Caspar

Buisman


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ACCESS ARRANGEMENTS, PROCEDURES AND POINTS OF CONTACT – SECTION 9(2)(E)(F)

To access Board documents, it is necessary to apply in writing under the Freedom of Information Act to:

Contact Officer Freedom of Information Art Gallery of South Australia North Terrace Adelaide SA 5000 Telephone (08) 8207 7004

WHISTLEBLOWERS PROTECTION ACT 1993The Art Gallery of South Australia has appointed a responsible offer for the purposes of the Whistleblowers Protection Act 1993 pursuant to Section 7 of the Public Sector Act 2009.

There have been no instances of disclosure of public interest information to a responsible officer of the Art Gallery of South Australia under the Whistleblowers Protection Act 1993.

APPENDIX K

INFORMATION STATEMENT FREEDOM OF INFORMATION ACT, 1991, PART II SECTION 9(2)

STRUCTURE AND FUNCTIONS OF THE ART GALLERY OF SOUTH AUSTRALIAInformation relating to the organisational structure of the Art Gallery, its objectives and functions, legislation and resource levels is contained elsewhere in the Annual Report and is deemed to be consistent with the requirements of the Freedom of Information Act 1991. There were no applications received in the 2015–16 financial year.

The Art Gallery aims to contribute to the economic, cultural and environmental development of the state in a socially inclusive manner, consistent with South Australia’s Strategic Plan.

EFFECT OF AGENCY’S FUNCTIONS ON MEMBERS OF THE PUBLICThe Art Gallery has a direct effect on the general public through:

• the acquisition, evaluation and display of its collections of works of art

• the display of temporary and major touring exhibitions

• an ongoing program of research and publications

• conducting public awareness and education programs.

Details of the activities undertaken by the Art Gallery during 2015–16 are included elsewhere in the Annual Report.

ARRANGEMENTS FOR PUBLIC PARTICIPATION IN POLICY FORMULATIONThe public has the opportunity to participate in the department’s policy development in a number of ways, including community consultation forums, panels, surveys, membership and committees.

DESCRIPTION OF KINDS OF DOCUMENTS HELD BY THE AGENCYThe Art Gallery Board of South Australia holds various policy statements and minutes of all meetings.


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STATEMENT OF COMPREHENSIVE INCOMEFOR THE YEAR ENDED 30 JUNE 2016

2016 2015 NOTE $’000 $’000

EXPENSES Staff benefits 4 6,034 6,154

Supplies and services 6 8,494 10,346

Accommodation and facilities 7 2,712 2,784

Depreciation and amortisation 8 1,263 1,249

Net loss from the disposal of non-current assets 13 – 18

Total expenses 18,503 20,551

INCOME Bequests and donations of cash 9 2,157 1,902

Donations of heritage assets 7,485 4,101

Fees and charges 10 604 1,467

Grants 11 830 1,863

Investment income 12 368 505

Net gain from the disposal of non-current assets 13 5 –

Rent and facilities hire 409 362

Resources received free of charge 14 855 950

Sale of goods 977 1,214

Sponsorships 15 1,113 2,408

Other 16 86 176

Total income 14,889 14,948

Net cost of providing services 3,614 5,603

REVENUES FROM SA GOVERNMENT Recurrent operating grant 17 12,199 10,565

Capital grant – 408

Total revenues from SA Government 12,199 10,973

Net result 8,585 5,370

OTHER COMPREHENSIVE INCOME Items that will not be reclassified to net result

Changes in asset revaluation surplus 22 134,715 –

Total other comprehensive income 134,715 –

Total comprehensive result 143,300 5,370

The net result and total comprehensive result are attributable to the SA Government as owner.

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

APPENDIX L

ART GALLERY BOARDFINANCIAL STATEMENTSFOR THE YEAR ENDED 30 JUNE 2016


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STATEMENT OF FINANCIAL POSITIONFOR THE YEAR ENDED 30 JUNE 2016

ASSET REVALUATION RETAINED SURPLUS EARNINGS TOTAL $’000 $’000 $’000

Balance at 30 June 2014 217,361 435,917 653,278

Net result for 2014–15 – 5,370 5,370

Total comprehensive result for 2014–15 – 5,370 5,370

Balance at 30 June 2015 217,361 441,287 658,648

Net result for 2015–16 - 8,585 8,585

Gain on revaluation of heritage collections during 2015–16 134,715 – 134,715

Total comprehensive result for 2015–16 134,715 8,585 143,300

Balance at 30 June 2016 352,076 449,872 801,948

All changes in equity are attributable to the SA Government as owner


STATEMENT OF FINANCIAL POSITIONFOR THE YEAR ENDED 30 JUNE 2016

2016 2015 NOTE $’000 $’000

CURRENT ASSETS Cash and cash equivalents 18 3,397 3,322

Receivables 19 397 476

Inventories 485 515

Other 24 207 173

Total current assets 4,486 4,486

NON-CURRENT ASSETS Receivables 19 6 5

Property, plant and equipment 20 43,201 44,413

Intangible assets 21 26 34

Heritage collections 22 752,693 608,875

Investments 23 4,186 3,788

Other 24 – 159

Total non-current assets 800,112 657,274

Total assets 804,598 661,760

CURRENT LIABILITIESPayables 25 505 976

Staff benefits 26 737 705

Provisions 27 26 24

Other 28 226 201

Total current liabilities 1,494 1,906

NON-CURRENT LIABILITIES Payables 25 95 78

Staff benefits 26 1,021 871

Provisions 27 40 72

Other 28 – 185

Total non-current liabilities 1,156 1,206

Total liabilities 2,650 3,112

Net assets 801,948 658,648

EQUITY Retained earnings 449,872 441,287

Asset revaluation surplus 352,076 217,361

Total equity 801,948 658,648

The total equity is attributable to the SA Government as owner

Unrecognised contractual commitments 29

Contingent assets and liabilities 30



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FOR THE YEAR ENDED 30 JUNE 2016

1 Objectives of the Art Gallery Board

2 Summary of significant accounting policies

3 New and revised accounting standards and policies

4 Staff benefits

5 Remuneration of board members

6 Supplies and services

7 Accommodation and facilities

8 Depreciation & amortisation

9 Bequests and donations of cash

10 Fees and charges

11 Grants

12 Investment income

13 Net gain (loss) from the disposal of non-current assets

14 Resources received free of charge

15 Sponsorships

16 Other income

17 Recurrent operating grant

18 Cash and cash equivalents

19 Receivables

20 Property, plant and equipment

21 Intangible assets

22 Heritage collections

23 Investments

24 Other assets

25 Payables

26 Staff benefits

27 Provisions

28 Other liabilities

29 Unrecognised contractual commitments

30 Contingent assets and liabilities

31 Financial instruments / financial risk management

32 Events after the reporting date

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTSSTATEMENT OF CASH FLOWS

FOR THE YEAR ENDED 30 JUNE 2016 2016 2015CASH FLOWS FROM OPERATING ACTIVITIES NOTE $’000 $’000

CASH OUTFLOWS Staff benefits (5,877) (6,104)

Supplies and services (7,445) (6,988)

Accommodation and facilities (2,712) (2,753)

Cash used in operations (16,034) (15,845)

CASH INFLOWS Sale of goods 975 1,234

Fees and charges 604 1,348

Bequests and donations 2,157 1,903

Grants 883 1,762

Sponsorships 470 276

Investment income 411 470

Rent and facilities hire 409 352

Other 90 168

Cash generated from operations 5,999 7,513

CASH FLOWS FROM SA GOVERNMENT

Receipts from SA Government 12,199 10,975

Cash generated from SA government 12,199 10,975

Net cash provided by operating activities 2,164 2,643

CASH FLOWS FROM INVESTING ACTIVITIES

CASH OUTFLOWS Purchase of heritage collections (1,625) (1,638)

Purchase of investments ( 398) ( 551)

Purchase of property, plant and equipment ( 71) ( 606)

Cash used in investing activities (2,094) (2,795)

CASH INFLOWS Proceeds from the sale of / maturity of investments 5 185

Cash generated from investing activities 5 185 Net cash used in investing activities (2,089) (2,610)

Net increase/(decrease) in cash and cash equivalents 75 33

Cash and cash equivalents at the beginning of the period 3,322 3,289

Cash and cash equivalents at the end of the period 18 3,397 3,322



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2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES

A Statement of Compliance

The Board prepared these financial statements in compliance with section 23 of the Public Finance and Audit Act 1987.

The financial statements are general purpose financial statements. The accounts have been prepared in accordance with relevant Australian Accounting Standards (Reduced Disclosure Requirements) and comply with Treasurer’s Instructions and Accounting Policy Statements promulgated under the provisions of the Public Finance and Audit Act 1987.

The Board has applied Australian Accounting Standards that are applicable to not-for-profit entities, as the Board is a not-for-profit entity.

B Basis of preparation

The preparation of the financial statements requires:

• the use of certain accounting estimates and requires management to exercise its judgement in the process of applying the Board’s accounting policies. The areas involving a higher degree of judgement or where assumptions and estimates are significant to the financial statements, are outlined in the applicable notes;

• the selection and application of accounting policies in a manner which ensures that the resulting financial information satisfies the concepts of relevance and reliability, thereby ensuring that the substance of the underlying transactions or other events are reported; and

• compliance with Accounting Policy Statements issued pursuant to section 41 of the Public Finance and Audit Act 1987. In the interest of public accountability and transparency the Accounting Policy Statements require the following note disclosures, which have been included in this financial report:

a) expenses incurred as a result of engaging consultants;

b) staff targeted voluntary separation package information;

c) staff whose normal remuneration is equal to or greater than the base executive remuneration level (within $10 000 bandwidths) and the aggregate of the remuneration paid or payable or otherwise made available, directly or indirectly, by the entity to those staff; and

d) Board/committee member and remuneration information, where a board/committee member is entitled to receive income from membership other than a direct out-of-pocket reimbursement.

The Board’s Statement of Comprehensive Income, Statement of Financial Position and Statement of Changes in Equity have been prepared on an accrual basis and are in accordance with historical cost convention, except for certain assets that were valued in accordance with the valuation policy applicable.

The Board’s financial statements and accompanying notes include all of the controlled activities of the Board including the Art Gallery Foundation. The Statement of Cash Flows has been prepared on a cash basis. The financial statements have been prepared based on a twelve month operating cycle and are presented in Australian currency.

The accounting policies set out below have been applied in preparing the financial statements for the year ended 30 June 2016 and the comparative information presented for the year ended 30 June 2015.

1 OBJECTIVES OF THE ART GALLERY BOARD

OBJECTIVESThe Art Gallery Board (the Board) is constituted pursuant to section 4 of the Art Gallery Act 1939 (the Act). The Board is charged with the management of the Art Gallery of South Australia under the Act.

The objectives of the Art Gallery of South Australia are to:

• Collect heritage and contemporary works of art of aesthetic excellence and historical or regional significance;

• Ensure the preservation and conservation of the Gallery’s collections;

• Display the collections and to program temporary exhibitions;

• Research and evaluate the collections and to make the collections and documentation accessible to others for the purposes of research and as a basis for teaching and communications;

• Document the collections within a central cataloguing system;

• Provide interpretative information about collection displays and temporary exhibitions and other public programs;

• Promote the Gallery’s collections and temporary exhibitions;

• Ensure that the Gallery’s operations, resources and commercial programs are managed efficiently, responsibly and profitably; and

• Advise the South Australian Government on the allocation of South Australian resources to works of art, art collections, art museums and art associations.


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F Cash & cash equivalents

Cash and cash equivalents in the Statement of Financial Position include cash at bank and on hand, and short-term deposits held with the Bank of South Australia and the Australian and New Zealand Banking Group Limited. For the purposes of the Statement of Cash Flows, cash and cash equivalents are as defined above.

Cash is measured at nominal value.

G Receivables

Receivables include amounts receivable from goods and services, prepayments and other accruals. Receivables arise in the normal course of selling goods and services to the public and other government agencies. Receivables are generally receivable within 30 days after the issue of an invoice or the goods/services have been provided under a contractual arrangement.

Collectability of receivables is reviewed on an ongoing basis. An allowance for doubtful debts is raised when there is objective evidence that the Board will not be able to collect the debt. Bad debts are written off when identified.

H Inventories

Inventories are measured at the lower of cost or their net realisable value. Cost of inventory is measured on the basis of the first-in, first-out method. Net realisable value is determined using the estimated sale proceeds less costs incurred in marketing, selling and distribution to customers. Inventories include books and publications held for sale.

The amount of any inventory write-down to net realisable value or inventory losses are recognised as an expense in the period the write-down or loss occurred. Any write-down reversals are recognised as an expense reduction.

I Investments

Investments are brought to account at cost in accordance with Accounting Policy Framework IV Financial Asset and Liability Framework APS 2.1.

J Non-current asset acquisition and recognition

The cost method of accounting is used for the initial recording of all acquisitions of assets. Cost is determined as the fair value of the assets given the consideration plus costs incidental to the acquisition. Assets donated during the year have been brought to account at fair value.

All non-current assets with a value of $10,000 or greater are capitalised.

K Valuation of non-current assets

All non-current assets are held at fair value and a revaluation of non-current assets or a group of assets is only performed when its fair value at the time of acquisition is greater than $1 million and estimated useful life is greater than three years.

Land and buildings and heritage collections are re-valued every six years. However, if at any time management considers the carrying amount of an asset materially differs from its fair value, then the asset will be revalued regardless of when the last valuation took place. Non-current assets that are acquired between revaluations are held at cost until the next valuation, where they are revalued to fair value.

Any revaluation increment is credited to the revaluation surplus, except to the extent that it reverses a revaluation decrement of the same asset class previously recognised as an expense, in which case the increase is recognised as income in the Statement of Comprehensive Income.

2 SU M MARY OF S IG N I F IC ANT ACCOU NT I NG POL IC I ES

C Source of funds

The Board’s principal source of current funding consists of grants from the State Government. In addition, the Board also receives monies from sales, admissions, donations, bequests, sponsorships, interest and investment income and other receipts, and uses the monies for the achievement of its objectives. Bequests, donations and grants can only be used in accordance with the terms and conditions attributable.

D Income and expenses

Income and expenses are recognised in the Board’s Statement of Comprehensive Income when and only when it is probable that the flow of economic benefits to or from the entity will occur and can be reliably measured. Income and expenses have been classified according to their nature and have not been offset unless required or permitted by a specific Accounting Standard, or where offsetting reflects the substance of the transaction or other event.

Interest revenue is recognised on a proportional basis taking into account the interest rates applicable to the financial assets. Dividend income is recognised when the right to receive a dividend has been established. Donations, bequests, subscriptions, grants and sponsorships are recognised as income in the period in which the Board obtains control over the income. Income from the sale of goods is recognised at the point of sale. Income from the rendering of a service is recognised when the Board obtains control over the income. Government grants are recognised as income in the period in which the Board obtains control over the grants.

Donated heritage collections received by the Board are recognised as income in the Statement of Comprehensive Income in the year of receipt at fair value.

Resources received free of charge

Resources received free of charge are recorded as income and expenditure in the Statement of Comprehensive Income at their fair value.

Under an arrangement with Arts SA and Artlab Australia, both divisions of the Department of State Development, Artlab Australia receives SA Government appropriation to perform conservation services on the heritage collections of the Art Gallery. The value of the work performed is recognised as resources received free of charge in income (note 14) and a corresponding amount included as conservation work expenditure in supplies and services (note 6).

Under an arrangement with the Department of State Development, financial services and human resource services are provided free of charge to the Board. The value of these services is recognised as resources received free of charge in income (Note 14) and a corresponding amount included as a business services charge in supplies and services (Note 6).

E Current and non-current classification

Assets and liabilities are characterised as either current or non-current in nature. The Board has a clearly identifiable operating cycle of 12 months. Therefore assets and liabilities that will be realised as part of the normal operating cycle have been classified as current assets or current liabilities. All other assets and liabilities are classified as non-current.



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Due to the size and nature of the art collection all high value assets (greater than $350,000) were valued individually with the remainder of the art collection valued by establishing an average value through the random sampling of items in each collection. Two high valued items in the numismatic collection were valued individually. All other items were valued as a collection. The library collection and the Noye collection of photographic material were both valued as collections. Items in the philatelic collection were valued individually.

All valuers have experience in the category of assets being valued. The valuation was prepared on the basis of replacement value and fair value. The valuation was carried out in accordance with the International Valuation Standards Framework and the relevant Australian Accounting Standards.

Replacement value for insurance purposes was defined as the estimated amount that one would expect to pay for the same or similar item in a retail setting from a reputable merchant at the date of valuation. Some of the heritage items valued are unique by vir tue of their history and could not be replaced with similar items. In these instances the valuers deduced values based on similar but not directly comparable items.

In instances where there were sufficient observable transactions of similar assets to the subject asset (generally in second hand markets), the market approach has been utilised to determine fair value. Inputs to the fair value measurement are considered level 2 in the fair value hierarchy as they have been observed from the market and the valuer has made relatively minor adjustments for differences in asset characteristics. Where possible, the valuations were based on recent market transactions for similar cultural and heritage assets and may include adjustment for factors specific to each asset including size, rarity, quality, condition, historical significance and associated restrictions.

Where the frequency of available market transactions has not permitted the use of observable inputs, the valuers have used significant professional judgement in determining the fair value measurements. These assets are therefore considered to be in level 3 of the fair value hierarchy.

Fair value measurement – Non-financial assets

In determining fair value, the Board has taken into account the characteristic of the asset (e.g. condition and location of the asset and any restrictions on the sale or use of the asset); and the asset’s highest and best use (that is physically possible, legally permissible, financially feasible).

The Board’s current use is the highest and best use of the asset unless other factors suggest an alternative use is feasible. As the Board did not identify any factors to suggest an alternative use, fair value measurement was based on current use.

L Impairment of assets

All non-current assets are tested for indications of impairment at each reporting date. Where there is an indication of impairment, the recoverable amount is estimated. The recoverable amount is determined as the higher of the asset’s fair value less costs of disposal and depreciated replacement costs. An amount by which the asset’s carrying amount exceeds the recoverable amount is recorded as an impairment loss.

For re-valued assets an impairment loss is offset against the revaluation surplus.

There were no indications of impairment of property, plant and equipment and intangibles as at 30 June 2016.


Any revaluation decrement is recognised as an expense in the Statement of Comprehensive Income, except to the extent that it offsets a previous revaluation increase of the same asset class, in which case the decrease is debited directly to the revaluation surplus to the extent of the credit balance existing in the revaluation surplus for that asset class.

Upon revaluation, the accumulated depreciation has been restated proportionately with the change in gross carrying amount of the asset so that the carrying amount, after revaluation, equals its revalued amount.

Upon disposal or de-recognition, any revaluation surplus relating to that asset is transferred to retained earnings.

Land and buildings

An independent valuation of the land and buildings was conducted as at 30 June 2014 by Valcorp Australia Pty Ltd. The valuation of land and buildings as at 30 June 2014 was prepared on a fair value basis in accordance with AASB 116 Property, Plant and Equipment and AASB 13 Fair Value Measurement.

Plant and equipment

Plant and equipment including computer equipment, on acquisition, has been deemed to be held at fair value.

Intangible assets

An intangible asset is an identifiable non-monetary asset without physical substance. Intangible assets are measured at cost. Following initial recognition, intangible assets are carried at cost less any accumulated amortisation and any accumulated impairment losses.

Heritage collections

The heritage collections are large and diverse. They include many items for which valuations are complex, given considerations of market value and their uniqueness. The heritage collections are independently valued every six years. The collections were valued as at 30 June 2016 by RHAS, an operating division of Aon Risk Services. RHAS was responsible for the selection of the specialist valuers as listed below.

Collection valuer Specialist

Australian paintings and sculptures Helen Miller

Australian, European and international decorative arts Helen Miller

Asian art Helen Miller

European paintings and sculptures Helen Miller

Australian prints and drawings Helen Miller

European prints and drawings Helen Miller

Australian and international photographs Helen Miller

Noye collection of photographic material Helen Miller

Library collection Peter Tinslay

Numismatics Jim Noble

Krichauff and Murray stamp collection John Pearson



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using market yields at the end of the reporting period on government bonds with durations that match, as closely as possible, the estimated future cash outflows.

On-costs

Staff benefit on-costs (payroll tax and superannuation) are recognised separately under payables.

Superannuation

Contributions are made by the Board to several superannuation schemes operated by the State Government and private sector. These contributions are treated as an expense when they occur. There is no liability for payments to beneficiaries as they have been assumed by the respective superannuation schemes. The only liability outstanding at balance date relates to any contributions due but not yet paid to the relevant superannuation schemes. The Department of Treasury and Finance centrally recognises the superannuation liability, for the schemes operated by the State Government, in the whole-of-government financial statements.

P Workers compensation provision

The workers compensation provision is an actuarial estimate of the outstanding liability as at 30 June 2016 provided by a consulting actuary engaged through the Office for the Public Sector. The provision is for the estimated cost of ongoing payments to staff as required under current legislation.

Q Leases

The Board has entered into a number of operating lease agreements for accommodation, vehicles and multi-function printing devices where the lessors effectively retain all of the risks and benefits incidental to ownership of the items held under the operating leases. Operating lease payments are representative of the pattern of benefits derived from the leased assets and accordingly are charged to the Statement of Comprehensive Income in the periods in which they are incurred.

R Comparative information

The presentation and classification of items in the financial statements and accompanying notes are consistent with prior periods except where specific accounting standards and/or accounting policy statements have required a change.

Where presentation or classification of items in the financial statements have been amended, comparative figures have been adjusted to conform to changes in presentation or classification in these financial statements unless impracticable to do so.

The restated comparative amounts do not replace the original financial statements for the preceding period.

S Taxation

The Board is not subject to income tax. The Board is liable for payroll tax, fringe benefits tax, goods and services tax (GST) and emergency services levy.

Income, expenses, assets and liabilities are recognised net of the amount of GST except where the amount of GST incurred by the Board as a purchaser is not recoverable from the Australian Taxation Office (ATO), in which case the GST is recognised as part of the cost of acquisition of the asset or as part of an item of expense.


M Depreciation and amortisation of non-current assets

All non-current assets, having a limited useful life, are systematically depreciated/amortised over their useful lives in a manner that reflects the consumption of their service potential. Amortisation is used in relation to intangible assets such as software, while depreciation is applied to tangible assets such as property, plant and equipment. Assets’ residual values, useful lives and depreciation/amortisation methods are reviewed and adjusted if appropriate, on an annual basis. Land and heritage collections are not depreciated. Depreciation/amortisation is calculated on a straight line basis over the estimated useful life of the following classes of assets as follows:-

Class of asset Useful life (years)

Buildings and improvements 20 to 100

Plant and equipment 3 to 20

Intangibles 5

Heritage collections are kept under special conditions so that there is no physical deterioration and they are anticipated to have very long and indeterminate useful lives. No amount for depreciation has been recognised, as their service potential has not, in any material sense, been consumed during the reporting period.

N Payables

Payables include creditors, accrued expenses and staff on-costs.Creditors and accrued expenses represent goods and services provided by

other parties during the period that are unpaid at the end of the reporting period. All amounts are measured at their normal amount and are normally settled within 30 days after the Board receives an invoice.

Staff on-costs include superannuation contributions and payroll tax with respect to outstanding liabilities for salaries and wages, long service leave, annual leave and skills and experience retention leave.

O Staff benefits

No provision has been made for sick leave as all sick leave is non-vesting and the average sick leave taken in future years by staff is estimated to be less than the annual entitlement of sick leave.

Salaries, wages, annual leave and SERL

Liabilities for salaries, wages, annual leave and skills and experience retention leave have been recognised as the amount unpaid at the reporting date at current remuneration rates.The annual leave liability and the skills and experience retention leave liability are expected to be payable within 12 months and are measured at the undiscounted amount expected to be paid.

Long service leave

The liability for long service leave is measured as the present value of expected future payments to be made in respect of services provided by staff up to the end of the reporting period using the projected unit credit method.

The estimated liability for long service leave is based on actuarial assumptions over expected future salary and wage levels, experience of staff departures and periods of service. These assumptions are based on employee data over SA Government entities. Expected future payments are discounted



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2016 2015 $’000 $’000

Salaries and wages 4,552 4,633

Annual leave 386 421

Board fees 30 29

Long service leave 210 202

Payroll tax 281 290

Skills and experience retention leave 18 16

Superannuation 497 502

Targeted voluntary separation payments (refer below) – 87

Workers compensation provision adjustment ( 30) ( 81)

Other staff related expenses 90 55

Total staff benefits 6,034 6,154 REMUNERATION OF STAFF 2016 2015The number of staff whose remuneration received or receivable falls within the following bands: NUMBER NUMBER

$141,500 to $145,000 – 1

$145,001 to $155,0001 1 1

$225,001 to $235,0002 – 1

$315,001 to $325,000 – 1

$325,001 to $335,000 1 –

Total 2 4

1) This bandwidth in 2014–15 includes a staff member that received leave entitlement payments upon resignation.

2) This bandwidth in 2014-15 includes a staff member that received a targeted voluntary separation package (TVSP) payment and leave entitlement payments.

The table includes all staff who received remuneration equal to or greater than the base executive remuneration level during the year. Remuneration of staff reflects all costs of employment including salaries and wages, TVSPs, superannuation contributions, fringe benefits, fringe benefits tax paid or payable and any salary sacrifice benefits. The total remuneration received or receivable by these staff for the year was $473,000 ($836,000). The total remuneration received or receivable by ongoing senior management staff for the year was $473,000 ($460,000).

TARGETED VOLUNTARY SEPARATION PACKAGES (TVSPS) 2016 2015 $’000 $’000

Amounts paid during the reporting period to separated staff: TVSPs – 87

Annual leave, LSL and skills and experience retention leave paid to those staff – 41

– 128

Recovery from the Department of Treasury and Finance – –

Net cost to the Board – 128

There were no TVSPs paid in 2015–16. There was one paid in 2014–15.

4 STAFF BENEFITS

3 NEW AND REVISED ACCOUNTING STANDARDS AND POLICIES

The Board did not voluntarily change any of its accounting policies during 2015–16. The net GST receivable/payable to the ATO is not recognised as a receivable/payable in the Statement of Financial Position as the Board is a member of an approved GST group of which Arts SA, a division of the Department of State Development, is responsible for the remittance and collection of GST. As such, there are no cash flows relating to GST transactions with the ATO in the Statement of Cash Flows.

T State Government funding

The financial statements are presented under the assumption of ongoing financial support being provided to the Board by the State Government.

U Rounding

All amounts in the financial statements and accompanying notes have been rounded to the nearest thousand dollars ($’000).

V Insurance

The Board has arranged, through SAICORP, a division of the SA Government Financing Authority, insurance cover that insures all major risks of the Board. The excess payable is fixed under this arrangement.

W Unrecognised contractual commitments and contingent assets and liabilities

Commitments include operating, capital and outsourcing commitments arising from contractual or statutory sources and are disclosed at their nominal value.

Contingent assets and contingent liabilities are not recognised in the Statement of Financial Position, but are disclosed by way of a note and, if quantifiable, are measured at nominal value.

Unrecognised contractual commitments and contingencies are disclosed net of the amount of GST recoverable from, or payable to the ATO. If GST is not payable to, or recoverable from the ATO, the commitments and contingencies are disclosed on a gross basis.

X Events after the reporting period

Adjustments are made to amounts recognised in the financial statements, where an event occurs after 30 June and before the date the financial statements are authorised for issue, where those events provide information about conditions that existed at 30 June.

Note disclosure is made about events between 30 June and the date the financial statements are authorised for issue where the events relate to a condition which arose after 30 June and which may have a material impact on the results of subsequent years.



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6 SUPPLIES AND SERVICES 2016 2015 $’000 $’000

Administration expenses 403 398

Business services charge 267 205

Catering 245 124

Conservation work 687 850

Consultants 146 69

Contractors 328 215

Cost of goods sold 232 589

Freight, courier, postage 781 443

Entertainment 23 22

Fees - exhibitions and publications 871 1,727

Foreign currency (gains) losses ( 1) 11

Information technology 232 202

Insurance & risk management 489 531

Inventory written-off 182 172

Maintenance 126 173

Marketing and promotion 2,118 3,083

Materials 190 155

Minor equipment purchases and leasing 367 238

Motor vehicle expenses 45 39

Preservation activities 145 491

Public education 27 21

Travel and accommodation 445 384

Other 146 204

Total supplies and services 8,494 10,346

PAYMENTS TO CONSULTANTS

The number and dollar amount of consultancies paid/payable (included in supplies and services expense) that fell within the following bands: 2016 2015 2016 2015 NUMBER NUMBER $’000 $’000

Below $10,000 2 4 1 8

Above $10,000 2 3 145 61

Total paid/payable to consultants engaged 4 7 146 69

5 REMUNERATION OF BOARD MEMBERS

Members that were entitled to receive remuneration for membership during the 2015–16 financial year were:

ART GALLERY BOARD Mrs T Whiting (Chairman)

Ms S Armitage (term expired 3 June 2016)

Mr NR Balnaves

Ms A Edwards

Mr JN Phillips

Mr A Tisato (appointed 10 December 2015)

Ms S Tweddell (term expired 19 December 2015)

Mr R Whitington Q.C. (term expired 11 November 2015)

Ms J Yuile

THE NUMBER OF BOARD MEMBERS WHOSE REMUNERATION RECEIVED OR RECEIVABLE 2016 2015 FALLS WITHIN THE FOLLOWING BANDS: NUMBER NUMBER

$0 – $9,999 9 10

Total number of board members 9 10

Remuneration of board members reflects all costs of performing board member duties including sitting fees, superannuation contributions, fringe benefits tax and any other salary sacrifice arrangements. The total remuneration received or receivable by the board members for the year was $33,000 ($32,000).

Amounts paid or payable to superannuation plans for board members were $3,000 ($3,000).

Unless otherwise disclosed, transactions between board members and/or their related entities, are on conditions, no more favourable than those that it is reasonable to expect the Board would have adopted if dealing with the related party at arm’s length, in the same circumstances.


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12 INVESTMENT INCOME 2016 2015 $’000 $’000

Interest income 73 94

Dividends 205 288

Dividend imputation credits 90 123

Total interest and investment income 368 505

13 NET GAIN (LOSS) FROM THE DISPOSAL OF NON-CURRENT ASSETS

14 RESOURCES RECEIVED FREE OF CHARGE

15 SPONSORSHIPS

16 OTHER INCOME 2016 2015 $’000 $’000

Fundraising 31 140

Insurance recoveries 1 –

Other receipts 54 36

Total other income 86 176

7 ACCOMMODATION AND FACILITIES 2016 2015 $’000 $’000

Accommodation 536 652

Facilities 723 672

Security 1,453 1,460

Total accommodation and facilities 2,712 2,784

8 DEPRECIATION & AMORTISATION 2016 2015 $’000 $’000

Buildings and improvements depreciation 1,207 1,191

Plant and equipment depreciation 48 52

Intangibles amortisation 8 6

Total depreciation and amortisation 1,263 1,249

9 BEQUESTS AND DONATIONS OF CASH 2016 2015 $’000 $’000

Bequests 8 192

Donations 2,149 1,710

Total bequests and donations 2,157 1,902

Bequests and donations can only be used in accordance with the terms and conditions attributable. Therefore depending on the terms and conditions, they are not available for the operating activities of the Board.

10 FEES AND CHARGES 2016 2015 $’000 $’000

Fees for services 384 412

Admissions to temporary exhibitions 220 1,055

Total revenues from fees and charges 604 1,467

11 GRANTS 2016 2015 $’000 $’000

Commonwealth Government 65 143

State Government 20 1,376

Other external grants 745 344

Total grants 830 1,863

2016 2015 $’000 $’000

InCash sponsorships 470 276

In-kind sponsorships 643 2,132

Total sponsorships 1,113 2,408

2016 2015 $’000 $’000

Conservation services 588 745

Business services 267 205

Total resources received free of charge 855 950

2016 2015 $’000 $’000

Investments

Proceeds from the sale of investments 5 185

Less: Net book value of investments disposed – ( 203)

Net gain/(loss) from the disposal of investments 5 ( 18)

TOTAL ASSETS Proceeds from disposal 5 185

Less: Net book value of assets disposed – ( 203)

Net gain/(loss) from the disposal of non-current assets 5 ( 18)


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19 RECEIVABLES 2016 2015 $’000 $’000

CURRENT Prepayments 16 9

Receivables 235 278

Accrued income 146 189

Total current receivables 397 476

NON-CURRENT Prepayments 5 -

Receivables 1 5

Total non-current receivables 6 5

Total receivables 403 481

INTEREST RATE AND CREDIT RISK

Receivables are raised for all goods and services provided for which payment has not been received. Receivables are normally settled within 30 days. Receivables, prepayments and accrued income are non-interest bearing.

It is not anticipated that counterparties will fail to discharge their obligations. The carrying amount of receivables approximates net fair value due to being receivable on demand. There is no concentration of credit risk.

20 PROPERTY, PLANT AND EQUIPMENT 2016 2015 $’000 $’000

LAND, BUILDINGS AND IMPROVEMENTS Land at valuation 5,130 5,130

Buildings and improvements at valuation 71,519 71,519

Accumulated depreciation (33,863) (32,656)

Total land, buildings and improvements 42,786 4, 993

PLANT AND EQUIPMENT Plant and equipment at cost (deemed fair value) 906 876

Accumulated depreciation ( 491) ( 456)

Total plant and equipment 415 420

Total property, plant and equipment 43,201 44,413

VALUATION OF LAND AND BUILDINGS

An independent valuation of the land and buildings was conducted as at 30 June 2014 by Valcorp Australia Pty Ltd. The valuation of land and buildings at 30 June 2014 was prepared on a fair value basis in accordance with AASB 116 Property, Plant and Equipment and AASB 13 Fair Value Measurement.

17 RECURRENT OPERATING GRANT

2016 2015 $’000 $’000

RECURRENT OPERATING GRANT Recurrent operating grant - (excluding additional exhibition funding) from Arts SA per initial budget advice 9,964 8,343

Recurrent operating grant - additional exhibition funding from Arts SA per initial budget advice 1,799 1,850

Additional one-off exhibition funding provided by Arts SA – 50

Additional other one-off funding provided by Arts SA 436 322

Total recurrent operating grant 12,199 10,565

18 CASH AND CASH EQUIVALENTS 2016 2015 $’000 $’000

Deposits with the Treasurer 1,773 1,806

Deposits with banks 1,100 1,509

Cash on hand 524 7

Total cash and cash equivalents 3,397 3,322

DEPOSITS WITH THE TREASURER

Deposits with the Treasurer are a combination of funds held in the “Art Gallery Board Account”, an account held with the Treasurer of South Australia pursuant to section 21 of the Public Finance and Audit Act 1987, and funds held in the Arts SA Operating Account, an account held with the Treasurer of South Australia pursuant to section 8 of the Public Finance and Audit Act 1987.

DEPOSITS WITH BANKS

Deposits with the Bank of South Australia (BankSA) and the Australian and New Zealand Banking Group Limited (ANZ) are funds held in term deposit facilities.

CASH ON HAND

Cash on hand includes petty cash, cash and cheques held on-site and not banked, floats and change machines.

INTEREST RATE RISK

Cash and cash equivalents are recorded at nominal value. Interest is calculated based on the average daily balances of the interest bearing funds. The interest bearing funds of the Board are held in the section 21 interest bearing account titled the “Art Gallery Board Account” and the BankSA and ANZ accounts.

In 2015–16 deposits with the Treasurer were bearing a floating interest rate between 1.77% and 1.85% (2.03% and 2.35%). The interest rate for the term deposits held with BankSA and ANZ as at 30 June 2016 is 3.41% and 2.80% (2.0% and 3.31%) respectively.


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22 HERITAGE COLLECTIONS 2016 2015 AT VALUATION AT COST TOTAL AT VALUATION AT COST TOTAL $’000 $’000 $’000 $’000 $’000 $’000

Australian paintings and sculptures 275,459 – 275,459 240,103 11,989 252,092

Australian and European decorative arts 42,357 – 42,357 28,363 2,274 30,637

Asian art 27,772 – 27,772 44,301 3,241 47,542

European paintings and sculptures 339,366 – 339,366 223,714 7,929 231,643

Prints, drawings and photographs 52,842 – 52,842 35,814 1,935 37,749

Numismatics 10,450 – 10,450 6,753 – 6,753

Philatelic material 791 – 791 450 – 450

Library 2,898 – 2,898 1,744 75 1,819

Collections on instalments 758 – 758 – 190 190

Total heritage collections 752,693 – 752,693 581,242 27,633 608,875

Reconciliation of carrying amounts of heritage collections

2016 2015 BALANCE ADDITIONS REVALUATIONS BALANCE BALANCE ADDITIONS BALANCE 1 JULY 30 JUNE 1 JULY 30 JUNE $’000 $’000 $’000 $’000 $’000 $’000 $’000

Australian paintings and sculptures 252,092 5,022 18,345 275,459 249,636 2,456 252,092

Australian and European decorative arts 30,637 348 11,372 42,357 29,577 1,060 30,637

Asian art 47,542 749 (20,519) 27,772 46,802 740 47,542

European paintings and sculptures 231,643 1,936 105,787 339,366 230,447 1,196 231,643

Prints, drawings and photographs 37,749 464 14,629 52,842 37,160 589 37,749

Numismatics 6,753 – 3,697 10,450 6,753 – 6,753

Philatelic material 450 – 341 791 450 – 450

Library 1,819 16 1,063 2,898 1,803 16 1,819

Collections on instalments 190 568 – 758 321 ( 131) 190

Total heritage collections 608,875 9,103 134,715 752,693 602,949 5,926 608,875

23 INVESTMENTS 2016 2015 $’000 $’000

NON–CURRENT Shares and other direct investments in companies 4,186 3,788

Total investments 4,186 3,788

The market value of investments as at 30 June 2016 is $4.7 million ($4.6 million).

The valuation was based on recent market transactions for similar land and buildings (non specialised) in the area and includes adjustment for factors specific to the land and building being valued such as size and location. The valuer arrived at fair value using the market approach.

The valuer used depreciated replacement cost for specialised land and buildings, due to there not being an active market for such land and buildings. The depreciated replacement cost considered the need for ongoing provision of government services; specialised nature of the assets, including the restricted use of the assets; the size, condition and location. The valuation was based on a combination of internal records, specialised knowledge and the acquisition/transfer costs.

CARRYING AMOUNT OF PLANT AND EQUIPMENT

All items of plant and equipment had a fair value at the time of acquisition that was less than $1 million or had an estimated useful life that was less than three years, and have not been revalued in accordance with APF Ill. The carrying value of these items are deemed to approximate fair value. These asset are classified in level 3 as there has been no subsequent adjustments to their value, except for management assumptions about the asset’s condition and remaining useful life.

All other non-current assets have been deemed to be held at fair value.

IMPAIRMENT

There were no indications of impairment of property, plant and equipment as at 30 June 2016.

MOVEMENT RECONCILIATION OF PROPERTY, PLANT AND EQUIPMENT BUILDINGS TOTAL TOTAL AND PLANT AND TANGIBLE COMPUTER INTANGIBLE LAND IMPROVEMENTS EQUIPMENT ASSETS SOFTWARE TOTAL ASSETS 2016 $’000 $’000 $’000 $’000 $’000 $’000

Carrying amount at the start of period 5,130 38,863 420 44,413 34 34

Additions – – 43 43 – –

Depreciation/amortisation expense – (1,207) ( 48) (1,255) ( 8) ( 8)

Carrying amount at the end of period 5,130 37,656 415 43,201 26 26

21 INTANGIBLE ASSETS 2016 2015 $’000 $’000

INTANGIBLES Computer software 40 40

Less: accumulated amortisation ( 14) ( 6)

Total intangibles 26 34

IMPAIRMENT

There were no indications of impairment of intangibles as at 30 June 2016.


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26 STAFF BENEFITS 2016 2015 $’000 $’000

CURRENT

Annual leave 454 453

Long service leave 180 185

Skills and experience retention leave 25 24

Accrued salaries and wages 78 43

Total current staff benefits 737 705

NON-CURRENT Long service leave 1,021 871

Total non-current staff benefits 1,021 871

Total staff benefits 1,758 1,576

AASB 119 Employee Benefits contains the calculation methodology for long service leave liability. The actuarial assessment performed by the Department of Treasury and Finance has provided a set level of liability for the measurement of long service leave.

AASB 119 requires the use of the yield on long term Commonwealth Government bonds as the discount rate in the measurement of the long service leave liability. The yield on long term Commonwealth Government bonds has decreased from 2015 (3.0%) to 2016 (2.0%). The resulting financial effect is immaterial.

This decrease in the bond yield, which is used as the rate to discount future long service leave cash flows, results in an increase in the reported long service leave liability.

The net financial effect of the changes in the methodology and actuarial assumptions is immaterial.

The salary inflation rate remained unchanged at 4.0% for long service leave. The salary inflation rate applied to annual leave and skills and experience retention leave also remained unchanged at 3.0% . The resulting financial effect of the change is nil.

27 PROVISIONS 2016 2015 $’000 $’000

CURRENT Provision for workers compensation 26 24

Total current provisions 26 24

NON-CURRENT Provision for workers compensation 40 72

Total non-current provisions 40 72

Total provisions 66 96

PROVISION MOVEMENT Carrying amount at the beginning of the period 96 177

Reductions resulting from re-measurement or settlement without cost (30) ( 81)

Carrying amount at the end of the period 66 96

24 OTHER ASSETS 2016 2015 $’000 $’000

CURRENT Forward foreign exchange contract receivable 207 173

Total current other assets 207 173

NON-CURRENT Forward foreign exchange contract receivable – 159

Total non-current other assets – 159

Total other assets 207 332

25 PAYABLES 2016 2015 $’000 $’000

CURRENT Creditors and accruals 402 877

Staff on-costs 103 99

Total current payables 505 976

NON-CURRENT Staff on-costs 95 78

Total non-current payables 95 78

Total payables 600 1,054

As a result of an actuarial assessment performed by the Department of Treasury and Finance, the percentage of the proportion of long service leave taken as leave has increased from the 2015 rate of 37% to 40%. The average factor for the calculation of employer superannuation on-cost has decreased from the 2015 rate of 10.3% to 10.2%. These rates are used in the staff on-cost calculation.

The financial effect of the above change on staff on-costs and staff benefit expense is immaterial.

INTEREST RATE AND CREDIT RISK

Creditors and accruals are raised for all amounts billed but unpaid. Sundry creditors are normally settled within 30 days. Staff on-costs are settled when the respective staff benefit that they relate to is discharged. All payables are non-interest bearing. The carrying amount of payables approximates net fair value due to the amounts being payable on demand.


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30 CONTINGENT ASSETS AND LIABILITIESCONTINGENT ASSETS

The Board has been named as beneficiary in a number of testamentary bequests. By their nature it is not possible to accurately estimate the amount and timing of these bequests. Amounts paid to the Board as a result of these bequests will be recognised on receipt.

CONTINGENT LIABILITIES

The Board is not aware of any contingent liabilities as at 30 June 2016.

31 FINANCIAL INSTRUMENTS / FINANCIAL RISK MANAGEMENT

31.1 FINANCIAL RISK MANAGEMENT

Risk management is managed by the Board’s Audit Committee and Board risk management policies are in accordance with the Risk Management Policy Statement issued by the Premier and Treasurer and the principles established in the Australian Standard Risk Management Principles and Guidelines.

The Board is exposed to financial risk – liquidity risk, credit risk and market risk. There have been no changes in risk exposure since the last reporting period.

The Board is funded principally from grants from Arts SA a division of the Department for State Development. The Board works with Arts SA and the Department of Treasury & Finance to determine the cash flows associated with its Government approved program of work and to ensure funding is provided through SA Government budgetary processes to meet the expected cash flows.

31.2 CATEGORISATION OF FINANCIAL INSTRUMENTS

Details of the significant accounting policies and methods adopted including the criteria for recognition, the basis of measurement, and the basis on which income and expenses are recognised with respect to each class of financial asset and financial liability are disclosed in note 2 Summary of significant accounting policies.

The carrying amounts of each of the following categories of financial assets and liabilities: Held-to-maturity investments; loans and receivables; and financial liabilities measured at cost and fair value are detailed below.

2016 2015 CATEGORY OF FINANCIAL CARRYING FAIR CARRYING FAIR ASSET AND FINANCIAL STATEMENT NOTE AMOUNT VALUE AMOUNT VALUE LIABILITY OF FINANCIAL POSITION $’000 $’000 $’000 $’000

FINANCIAL ASSETSCash and cash equivalents Cash 18 3,397 3,397 3,322 3,322

Loans and receivables Receivables (1)(2) 19 369 369 467 467

Available for sale financial assets Investments 23 4,186 4,728 3,788 4,649

Forward foreign exchange contract receivable Other assets 24 207 207 332 332

28 OTHER LIABILITIES 2016 2015 $’000 $’000

CURRENT Deferred assets 17 26

Forward foreign exchange contract payable 209 175

Total current other liabilities 226 201

NON-CURRENT Deferred assets – 19

Forward foreign exchange contract payable – 166

Total non-current other liabilities – 185

Total other liabilities 226 386

29 UNRECOGNISED CONTRACTUAL COMMITMENTS

OPERATING LEASE COMMITMENTS Commitments under non-cancellable operating leases at the reporting date not recognised as liabilities in the financial statements are payable as follows: 2016 2015 $’000 $’000

Within one year 18 59

Later than one year but not longer than five years 4 28

Total operating lease commitments 22 87

The operating lease commitments comprise:

• Non-cancellable motor vehicle leases, with rental payable monthly in arrears. No contingent rental provisions exist within the lease agreements and no options exist to renew the leases at the end of their terms.

• A non-cancellable office under-lease, with rental payable monthly in advance. No contingent rental provisions exist within the lease agreement and no option exists to renew the lease at the end of its term; and

• A non-cancellable photocopier lease, with rental payable monthly in arrears. No contingent rental provisions exist within the lease agreement and no option exists to renew the lease at the end of its term.

EXPENDITURE COMMITMENTS – OTHER The Board’s other commitments are for contracts for works of art, exhibitions, investment settlements, security and cleaning. 2016 2015 $’000 $’000

Within one year 1,727 4,732

Later than one year but not longer than five years 144 1,160

Total other commitments 1,871 5,892

Contingent rental provisions within the security and cleaning contracts require the minimum contract payments to be increased by variable operating costs and wage rises. Options exist to renew the contracts for another 12 months.

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FINANCIAL LIABILITIESFinancial liabilities (at cost) Payables (1) 25 362 362 839 839

Deferred assets Other liabilities 28 17 17 45 45

Forward foreign exchange contract payable Other liabilities 28 209 209 341 341(1)

1) Receivable and payable amounts disclosed here exclude amounts relating to statutory receivables and payables. In government, certain rights to receive or pay cash may not be contractual and therefore in these situations, the requirements will not apply. Where rights or obligations have their source in legislation such as levy receivables/payables, tax equivalents, Commonwealth tax, audit payables, they would be excluded from the disclosure. The standard defines contract as enforceable by law. All amounts recorded are carried at cost (not materially different from amortised cost).

2) The receivables amount disclosed here, excludes prepayments. Prepayments are presented in note 19 as receivables in accordance with paragraph 78(b) of AASB 101. However, prepayments are not financial assets as defined in AASB 132 as the future economic benefit of these assets is the receipt of goods and services rather than the right to receive cash or another financial asset.

32 EVENTS AFTER THE REPORTING DATEThere has not arisen in the interval between the end of the financial year and the date of this report, any other item, transaction or event of a material and unusual nature likely, in the opinion of the members of the Board, to affect significantly the operations of the Board, the results of those operations, or the state of affairs of the Board in subsequent financial years.

Installation view Melrose Wing of European Art, Art Gallery of South Australia, 2013, featuring Thomas Hirschhorn, Twin-subjecter. photo: Sam Noonan

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126 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA

Documents

ANNUAL REPORT - Amazon Web Services · 8 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 9 PRINCIPAL OBJECTIVES PRINCIPAL