ANNUAL REPORT

of the

ART GALLERY OF SOUTH AUSTRALIA

for the year

1 July 2013 – 30 June 2014 North Terrace ADELAIDE SA 5000 Phone: 8207 7075 www.artgallery.sa.gov.au

ISSN 0728-7925 ABN 52 290 987 817

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The Hon Jack Snelling, Minister for the Arts Sir, I have the honour to present the seventy-first Annual Report of the Art Gallery of South Australia for the Gallery’s 134th year, ended 30 June 2014 Michael Abbott, AO QC, Chairman

Art Gallery Board 2013–14

Chairman Mr Michael Abbott AO QC

Members Mr Andrew Gwinnett (Deputy Chair) (until 7 February 2014)

Emeritus Professor Anne Edwards AO Ms Frances Gerard (until 18 July 2013)

Ms Sandra Sdraulig AM Mrs Sue Tweddell Mrs Tracey Whiting (until 25 June 2014)

Mr Robert Whitington QC Mr Neil Balnaves AO (from 15 August 2013)

Mr John Phillips (from 8 February 2014)

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TABLE OF CONTENTS Principal Objectives 6

Major Achievements 2013–2014 7-9

Key Challenges Facing the Gallery 10

Strategic Goals 2012–2015 11-12

Resources and Administration 13-33

Collections 34-42

APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 43

Appendix B1 Art Gallery Board 45

Appendix B2 Art Gallery of South Australia Foundation Council and Contemporary Collectors Committee

45-46

Appendix B3 Art Gallery Organisational Chart 47-54

Appendix B4 Art Gallery Staff and Volunteers 55-58

Appendix C Staff Public Commitments 59-63

Appendix D Conservation 64-65

Appendix E Donors 66-67

Appendix F Acquisitions 68-83

Appendix G Inward Loans 83-92

Appendix H Outward Loans 93-96

Appendix I Exhibitions and Public Programs 97-107

Appendix J Schools Support Services 108

Appendix K Gallery Guide Tour Services 109-115

Appendix L Gallery Publications 116-117

Appendix M Annual Attendances 118

Appendix N Information Statement 119

Appendix O Financial Statements 121-151

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PRINCIPAL OBJECTIVES

OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act 1939 and can be summarised as the preservation, research and communication associated with heritage and contemporary works of art of aesthetic excellence and historical or regional significance. MISSION The mission of the Art Gallery of South Australia is to serve the South Australian and wider communities by providing access to original works of art of the highest quality. Through its permanent collections, temporary exhibitions and other public programs, the Art Gallery seeks to foster, promote and enhance understanding and enjoyment of the visual arts in general. VISION To be a leading art museum in Australia and the Asia Pacific Region that:

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

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

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

is a major attraction for interstate and international visitors to South Australia. GOVERNMENT OBJECTIVES In addition, the Art Gallery plays a significant role in delivering specific elements of the South Australian Government’s seven strategic priorities:

Creating a vibrant city

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

Every chance for every child

Learning and children’s programs are at the core of the Art Gallery’s artistic program, as it is recognised that building a lifelong love of the visual arts and the Art Gallery begins at an early age.

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MAJOR ACHIEVEMENTS 2013–2014

(Note: Where appropriate, relationship to South Australia’s Strategic Plan is indicated)

Community Engagement 674 393 people visited the Gallery to see the permanent collection and exhibitions, an increase from 655 613 visitors in the last financial year which continues the upward trend in visitor numbers. Since 2010/11 visitor numbers have increased by 27% (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions). A total of 8 139 visitors attended 150 talks and tours; 22 practical workshops and demonstrations were attended by 2 470 people; in addition 19 991 visitors attended 2 953 guided tours delivered by the Gallery volunteer Guides; 6 498 visitors attended the Gallery’s children’s and family programs and events; and, 31 613 school students and support staff visited the Gallery as part of the Schools Support Services and 745 teachers received professional development (SASP Target 3: Cultural vibrancy – arts activities). The 2014 Adelaide Biennial of Australian Art: DARK HEART attracted more than 111 000 visitors which represented a daily average of 1 542 visitors per day. The exhibition occupied an unprecedented amount of Gallery space with Galleries 17, 6, 7, 8, 9, 10, 11, 22, 23, 24 and 25, as well as The Studio, dedicated to the Biennial (SASP Target 3: Cultural vibrancy – arts activities). As part of the Adelaide Biennial an off-site exhibition, Urpflanze street plants by Caroline Rothwell, was presented at the Santos Museum of Economic Botany, Adelaide Botanic Gardens (SASP Target 3: Cultural vibrancy – arts activities). The Studio, presented by the James and Diana Ramsay Foundation, has proven to be very successful. The Studio is a permanent hands-on activity centre offering free programs seven days a week with the space and activities reconfigured on a regular basis to reflect current exhibitions. From Monday to Friday the schedule is focused on school groups while weekends and school holidays are programmed for family visits. A total of 27 509 patrons participated in the program in the 2013–14 year. (SASP Target 3: Cultural vibrancy – arts activities). The Gallery Website had 237 971 unique visits, with 874 594 pages viewed. Artistic Program The Gallery lent a total of 113 works to 24 exhibitions, including major national touring exhibitions (SASP Target 4: Tourism Industry; SASP Target 3: Cultural vibrancy – arts activity). Five temporary exhibitions were staged at the Gallery: HEARTLAND: Contemporary art from South Australia; Realms of Wonder: Jain, Hindu and Islamic Art of India; 2014 Adelaide Biennial of Australian Art: Dark Heart; Dorrit Black: unseen forces; and The World of Mortimer Menpes: Painter, Etcher, Raconteur (a complete list of exhibitions and public programs is at Appendix I) (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions; SASP Target 3 Cultural vibrancy – arts activities).

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Twenty-two special collection displays were staged at the Gallery: The Minds Eye; Keeping Places; Big Country; Bill Viola the return; Correspondences; Unsettled: recent acquisitions of Australian art; Time to Time: The Films of Bill Morrison; Metamorphoses; Warka iritja munu kuwari kutu = Work from the past and present: Ernabella Arts the last thirty years; Ian Burns Clouds; Hard Edge Abstraction; The Gamekeeper’s Gibbet; Decent/Descent; Max Klinger’s Intermezzi; A Civilised Thing to do: Jam Factory 40 Years; The Hugo Van Dam Bequest: an Oriental Fantasy; Lace: the Art of Adornment; Paradise on earth: Flowers in the Arts of Islam; Stairway to heaven: Art from the Himalayas; Elements in Harmony: Contemporary Japanese Ceramics; Noble Shadows – Ancestral art of Indonesia and Australia; Netsuke and other Miniatures (SASP Target 4: Tourism industry; SASP Target 3: Cultural engagement – institutions; SASP Target 3: Cultural vibrancy – arts activities). The Gallery produced the following publications and other merchandise: HEARTLAND: Contemporary art from South Australia; Realms of Wonder: Jain, Hindu and Islamic Art of India; 2014 Adelaide Biennial of Australian Art: Dark Heart; Netsuke and other miniatures; Highlights: Aboriginal and Torres Strait Islander Collection; Dorrit Black: unseen forces; The World of Mortimer Menpes: painter, etcher, raconteur; Spring 2013, Summer 2013–14, Autumn and Winter 2014 Articulate magazines; children’s activity trails; and a range of merchandise including boxed greeting cards and postcards, umbrellas, jigsaw puzzles, fridge magnets and various leaflets and brochures promoting exhibitions (SASP Target 99: Cultural engagement – institutions; SASP Target 3: Cultural vibrancy – arts activities). Collection Development 214 works of art were acquired across all areas of the collection. Details of significant additions to the collection are available in the section Collections Development with a complete list of acquisitions at Appendix F (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions; SASP Target 27: Understanding of Aboriginal culture; SASP Target 6: Aboriginal wellbeing). A stock-check of the Gallery’s high-value items and the furnishing loans has been completed. Audience Development The Gallery staged four DepARTure events, aimed at the 18–40 year old age group, attracting 2 243 participants (SASP Target 99: Cultural engagement – institutions; SASP Target 3: Cultural vibrancy – arts activities). The Gallery continued to run the Graduate Program in Art History in conjunction with the University of Adelaide (SASP Target 47: Jobs). Benefaction and Fund-raising The combined value of gifts of cash to fund purchases of works of art and donations of works of art was $8.4m for the 2013–14 year. This is a record amount and an increase from $5.8m in the 2012–13 year.

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The Gallery Foundation successfully conducted a Masterwork Appeal which raised $4.55m of private funding for the acquisition of Camille Pissarro’s Prairie à Éragny, 1886. This is the largest benefaction program undertaken by the Gallery. The Gallery initiated a new benefaction campaign at the Art Gallery of South Australia titled the ‘Biennial Ambassadors Program’ which raised $200 000. This Program was conceived to attract donations from interstate benefactors to support the 2014 Adelaide Biennial of Australian Art: DARK HEART. Donations raised through the Ambassadors Program were directed towards funding artists, commissioning works of art and the support of public programs for schools and families. The Director’s Project, a fund initiated through the Gallery’s Contemporary Collectors and supported by visionary benefactors to secure extraordinary works for the Art Gallery’s collection, is raising funds to secure Alex Seton’s work Someone died trying to have a life like mine, 2013, as the third acquisition of the Director’s Project. The Director’s Project has raised $704 000 over the past three years. An extremely valuable support is the work of the Gallery’s 257 volunteers; undertaking Front of House, Library, Public Programs, Education, Curatorial, and Gallery Guide services (SASP Target 24: Volunteering). Strategic Development The Gallery has been working with the State Government on various options to alleviate its storage problems. Much of the strategic work has been focused on an accessible storage facility through the development of an Art Discovery Centre concept. The Art Discovery Centre proposes a blurring of the boundaries between storage, education and display to ensure that the collection can be used for research, education and recreational purposes. The Gallery is developing a plan for a new digital strategy and funding options are currently being explored. It is envisaged that over the course of the next twelve months funding will be identified to initiate this new approach to managing the Art Gallery’s digital environment. The Gallery introduced a Due Diligence and Provenance Policy in late 2012 and as a result new guidelines for acquisitions were implemented in 2013–14. Work continues on improving the Gallery’s provenance history particularly in the Asian art collection. The Gallery continued to implement Occupational Health, Safety and Welfare policies and systems and make improvements as necessary (SASP Target 21: Greater safety at work).

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KEY CHALLENGES FACING THE GALLERY

The Art Gallery faces a number of challenges in delivering upon its artistic vision and building upon gained success. The Art Gallery’s most serious challenge is displaying the full range of its collection of 65 000 works of art as only 3% of the collection can be on display at any given time. The full range of significant collections of Aboriginal art, works on paper, textiles and coins and stamps cannot be adequately displayed within the Gallery. Of equal significance is the grave lack of suitable collection storage with the current facility at maximum capacity. A long term plan to manage the Gallery’s collection storage needs must be developed. The building infrastructure of the Art Gallery is the physical embodiment of South Australia’s commitment to the visual arts and as such, the interior and exterior spaces of the Art Gallery are paramount. The Art Gallery requires constant maintenance and improvement to ensure excellence in presentation of the collection, and a physical infrastructure that allows accessibility for all visitors regardless of age or ability. Developing commercial operations and increasing revenue through retail, publishing and licensing income streams requires much needed investigation to grow. A strategy to address the lack of specialist merchandising expertise, improve the current retail activity and increase revenue in these areas must be continued. Finally, the development of a long-term major exhibitions partnership is critical to ensuring that the Art Gallery remains relevant on a national and international stage, and delivers upon the goal to develop South Australia as a cultural tourism destination. A long term planning cycle with appropriately supported recurrent funding is critical to achieving this aim to build on the success of the Turner from the Tate in 2013 and the forthcoming Fashion Icons exhibition.

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STRATEGIC GOALS 2012–2015 1. Present a dynamic artistic program and build our collection

The goal is to have a collection and an artistic program that:

are unique to Australia and increase the profile of both the Art Gallery and the state as cultural tourism destinations;

place the Art Gallery at the forefront of the nation’s art museums, such that it is highly respected for the quality and innovation of its collection and exhibitions, and its curatorship;

build upon the reputation of the Art Gallery as a hub for research on South Australian art and artists, utilising both the collection and archival resources;

enable the careful management, research and preservation of the collection to maintain its relevance and accessibility to a wide and diverse audience; and

engage a global audience through a dynamic online experience of the Art Gallery’s collection and exhibitions.

2. Inspire new audiences

The Art Gallery perceives audience engagement to be at the heart of its role as an initiator of innovative exhibitions and visual arts-based public programs in South Australia, and as such must:

deliver one major, international and unique annual exhibition that restores South Australia to its rightful place as a national leader in the visual arts;

develop the Adelaide Biennial of Australian Art as a nationally recognised landmark event;

engage with and attract people with a different demographic profile in the community, specifically focusing on children and young families, with the aim of educating, informing and inspiring South Australians about all aspects of the visual arts;

generate long-term relationships with the Art Gallery by introducing children to art and encouraging them to engage with the collection through interactive activities, thereby establishing the foundations for a lifelong love of the arts, specifically, the visual arts;

entice young adults into the Art Gallery by creating tailored events such as Departure, for an urban professional demographic who will be nurtured into the next generation of supporters and benefactors;

communicate using focused and innovative digital marketing strategies to attract visitors with a different demographic profile to the Art Gallery; and

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create an online presence for the Art Gallery to extend the reach of the artistic program.

3. Enrich the cultural life of all South Australians

Communication and connection with audiences are at the heart of building a lifelong relationship with the visual arts. Therefore, the Art Gallery’s public programs must:

recognise diversity and promote cultural understanding, by creating an artistic program and collection that will attract audiences with diverse demographic profiles in the community;

establish stronger connections and strategic partnerships with festivals, regional programs and cultural institutions to collaborate on shared goals and promote the arts throughout the state;

engage and inspire students of all ages by embedding targeted learning in our artistic program;

collaborate with all tiers of the education sector to both nurture artistic talent in our young people and confirm the Art Gallery’s position as the educational hub for visual arts within South Australia; and

contribute to the economic and cultural development of South Australia by promoting the state as a cultural tourism destination, and contributing to the broader government agendas.

4. Nurture collective achievement

The Art Gallery recognises that creating an artistic program that inspires, educates and provides aesthetic enjoyment relies on a broad community of participants and supporters, especially those who support the Art Gallery through sponsorship and benefaction. As such, the central focus must always be on:

delivering an eclectic and rich artistic program that attracts and enhances community support through benefaction, attendance and volunteering;

attracting significant contributions from private benefaction to enable the ongoing expansion of the collection, while encouraging broader support for the Art Gallery’s artistic program;

building membership by developing targeted programs that extend into new and different audiences and encourage online interaction; and

strengthening relationships with the corporate sector to create mutually beneficial and relevant partnerships.

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RESOURCES AND ADMINISTRATION

LEGISLATIVE RESPONSIBILITY AND THE ART GALLERY BOARD

The role and function of the Board of the Art Gallery of South Australia is described in the Art Gallery Act, 1939. The Art Gallery Board is a body corporate and consists of up to nine members appointed by the Minister for the Arts. Members of the Board as at 30 June 2014 were: Mr Michael Abbott AO QC (Chairman), Neil Balnaves AO, Emeritus Professor Anne Edwards AO, John Phillips, Ms Sandra Sdraulig, Ms Sue Tweddell and Mr Robert Whitington QC

FINANCIAL MANAGEMENT AND RESOURCES

ACCOUNT PAYMENT PERFORMANCE

Treasurer's Instruction 11 payment of creditor's accounts report 2013-2014

Client: Art Gallery of South Australia

June 2014

YTD as at 30 June 2014 Number of Accounts

Paid

% of Total Accounts Paid

Value of Accounts Paid

% $ of Total Accounts

Paid

Paid by Due Date* 4 141 97% $20 971 418.13 100%

Paid Late & Paid < 30 Days from Due Date

87 2% $ 63 874.80 0%

Paid Late & Paid > 30 Days from Due Date

22 1% $ 21 873.96 0%

Total Accounts Paid 4 250 100% $21 057 166.89 100%

BOARD MEMBER FEES The overwhelming proportion of Board fees have been donated or forgone by Board Members.

SELF-INSURANCE/INDEMNIFICATION

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

Revenue 2014 $’000

Sale of goods Fees and Charges Bequests and Donations of cash Donations of Heritage Assets Grants Sponsorships Resources Received Free of Charge Interest and Investment Income Rent and Facilities Hire Net gain from disposal of non current assets Other

907 488

3 531 4 141

943 1 071

724 469 147 301 121

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ORGANISATIONAL STRUCTURE AND SENIOR GALLERY MANAGEMENT

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

FRAUD There have been no instances of fraud detected.

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

CONTRACTUAL ARRANGEMENTS Locher provided a Graphic Designer to undertake graphic design projects whilst a new Gallery Graphic Designer was recruited. The Art Gallery of South Australia regularly uses contriactors for normal gallery business such as Public Programs and Publications.

CONSULTANTS No external consultants were engaged.

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

Ensure accessibility to services All patrons are encouraged to avail themselves of disability services including wheelchair access, wheelchair lifters and toilets for the disabled.

Ensure information about the Art Gallery is inclusive of those with disabilities Information was available to those with disabilities via the website, printed guides to the Art Gallery, telephone enquiry services.

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

GREENING OF GOVERNMENT OPERATIONS REPORTING / SUSTAINABILITY Mark Horton, Deputy Director, is part of the Department of the Premier and Cabinet Sustainability and Greenhouse Gas Reduction Task Group which is responsible for the development of an Environmental Sustainability Policy and the Sustainability Action Plan.

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ENERGY EFFICIENCY ACTION PLAN REPORTING The Art Gallery’s energy efficiency statistics are captured in the Department of the Premier and Cabinet Annual Report.

EXECUTIVE EMPLOYMENT, STAFF EMPLOYMENT AND OTHER HUMAN RESOURCES MATTERS Details of employment in the Art Gallery of South Australia as at 30 June 2014 are provided in the tables below: Table 1: Employee Numbers, Gender and Status

Total Number of Employees

Persons 73

FTEs 61.5

Gender % Persons % FTEs

Male 32.9% 36.80%

Female 67.1% 63.20%

Number of Persons During the 2013-14 Financial Year

Separated from the agency 12

Recruited to the agency 11

Number of Persons at 30 June 201438.24

On Leave without Pay 1

Table 2: Number of Employees by Salary Bracket

Salary Bracket Male Female Total

$0 - $54 799 8 16 24

$54 800 - $69 699 8 15 23

$69 700 - $89 199 6 15 21

$89 200 - $112 599 1 3 4

$112 600+ 1 0 1

TOTAL 24 49 73

Note: Salary details relate to pre-tax income excluding super and FBT. Non-executive employees on salary sacrifice arrangements are shown as pre-sacrifice values. Executive employees are shown as the value of the financial benefits component of their Total Remuneration Package Value excluding super. Non-financial benefits and allowances are excluded for all employees. The salary brackets have been constructed as an approximation for the level of responsibility, and are based on the current remuneration structures of the PS Act Administrative Services Stream with consideration of the Operational, Professional, Technical and Executive Streams.

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Table 3: Status of Employees in Current Position

FTEs Ongoing Short-Term

Contract Long-Term Contract

Other (Casual)

Total

Male 17.4 2.8 1 1.4 22.6

Female 29.1 4.2 3.8 1.8 38.9

TOTAL 46.5 7 4.8 3.2 61.5

PERSONS Ongoing Short-Term

Contract Long-Term Contract

Other (Casual)

Total

Male 18 3 1 2 24

Female 31 5 4 9 49

TOTAL 49 8 5 11 73

Table 4: Executives by Gender, Classification and Status

Ongoing Term Tenured

Term Untenured Other (Casual) Total

Classification M F M F M F M F M % F % Total

SAES 1 0 0 0 0 1 0 0 0 1 1.3% 0 0 1.3%

SAES 2 0 0 0 0 0 0 0 0 0 0 0 0 0

EXEC OFF 0 0 0 0 0 0 0 0 0 0 0 0 0

Total 0 0 0 0 1 0 0 0 1 1.3% 0 0 1.3%

Table 5: Average Days Leave Per Full Time Equivalent Employee

Leave Type 2010-11 2011-12 2012-13 2013-14

Sick Leave 8.2 8.1 7.0 7.3

Family Carer’s Leave 1.0 1.1 1.1 1.1

Miscellaneous Special Leave 0.5 1.0 1.0 0.5

Table 6: Aboriginal and/or Torres Strait Islander Employees

Salary Bracket Aboriginal Employees

Total Employees

% Aboriginal Employees

Target*

$0 - $54 799 0 24 0 2%

$54 800 - $69 699 0 23 0 2%

$69 700 - $89 199 0 21 0 2%

$89 200 - $112 599 1 4 1.36% 2%

$112 600+ 0 1 0 2%

TOTAL 1 73 1.36% 2%

* Target from SASP – Target 53

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Table 7: Number of Employees By Age Bracket By Gender

Age Bracket Male Female Total % of Total 2014 Workforce

Benchmark*

15-19 0 1 1 1.36% 5.5%

20-24 0 4 4 5.47% 9.7%

25-29 1 6 7 9.58% 11.2%

30-34 1 5 6 8.21% 10.7%

35-39 2 6 8 10.95% 9.6%

40-44 6 6 12 16.43% 11.4%

45-49 4 3 7 9.58% 11.1%

50-54 4 10 14 19.17% 11.4%

55-59 3 4 7 9.58% 9.1%

60-64 3 4 7 9.58% 6.7%

65+ 0 0 0 0% 3.6%

TOTAL 24 49 73 100 100.0

*Source: Australian Bureau of Statistics Australian Demographic Statistics, 6291.0.55.001 Labour Force Status (ST LM8) by sex, age, state, marital status – employed – total from Feb78 Supertable, South Australia at November 2013

Table 8: Cultural and Linguistic Diversity

Male Female Total % of

Agency SA

Community*

Number of employees born overseas 3 8 11 15.06% 22.1%

Number of employees who speak language(s) other than English at home

1 2 3 4.1% 14.4%

* Benchmarks from ABS Publication Basic Community Profile (SA) Cat No. 2001.0, 2011 census.

Table 9: Total Number of Employees With Disabilities (According to Commonwealth DDA Definition)

Male Female Total % of Agency

0 0 0 2.0%

Table 10: Types of Disability (where specified)

Disability Male Female Total % of Agency

Disability Requiring Workplace Adaptation 0 0 0 0

Physical 0 0 0 0

Intellectual 0 0 0 0

Sensory 0 0 0 0

Psychological / Psychiatric 0 0 0 0

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Table 11: Voluntary Flexible Working Arrangements by Gender

Male Female Total

Purchased Leave 0 2 2

Flexitime 22 36 58

Compressed Weeks 0 2 2

Part-time 0 0 0

Job Share 0 3 3

Working from Home 0 1 1

Note: Employees may be undertaking more than one type of Flexible Working Arrangement at the same time. In this way, the total is unlikely to add to 100%.

Table 12: Documented Review of Individual Performance Management

Employees with … % Total

Workforce

A review within the past 12 months 17.80%

A review older than 12 months 50.68%

No review 31.5%

Table 13: Leadership and Management Training Expenditure

Training and Development Total Cost % of Total Salary

Expenditure

Total training and development expenditure $6,600 0.1%

Total leadership and management development expenditure

$1,210 .02%

Table 14: Accredited Training Packages by Classification

Classification Number of Accredited Training Packages

ASO3 0

ASO4 1

ASO5 0

ASO6 3

ASO7 0

ASO8 0

MAS3 2

PO4 1

PO5 0

SAES 1

Note: Each employee classification used in the agency should appear as a separate row.

EQUAL EMPLOYMENT OPPORTUNITY PROGRAMS

As an EEO employer, the Art Gallery is committed to employing on merit regardless of race, gender, sexuality, marital status, age, pregnancy or physical or intellectual impairment for all positions within the organisation. This is supported by our diverse workforce profile. In addition, the Department established and trained an EO Contact Officer who is available to provide support and advice to employees.

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WORK HEALTH AND SAFETY AND INJURY MANAGEMENT (INCLUDING INJURY MANAGEMENT)

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

KEY ACHIEVEMENTS The Safety Action Management Plan (SMAP) and the Safety in the Public Sector (SIPS) reports were reviewed by the AGSA WHS Committee to ensure the relevance of their scope and content. Both documents are reported on in accordance with the Monitoring and Reporting Framework. Policies and procedures continue to be reviewed in consultation with employees to ensure their continued sustainability and effectiveness. The Internal Audit and Workplace Inspection Procedure ensured that injury management processes are conducted in accordance with legislative requirements and internal policies and procedures. Thirty employees received a flu vaccination as part of the Flu Vaccination Program.

Work Health and Safety Prosecutions, Notices and Corrective Acrion taken

Number of notifiable incidents pursuant to WHS Act Part 3 0

Number of notices serviced pursuant to WHS Act Section 90, Section 191 and Section 195 (Provisional improvement, improvement and prohibition notices

0

Agency gross workers compensation expenditure4 for 2013-14 compared with 2012-135

Expenditure 2013-14 ($m)

2012-13 ($m) + (-)

Variation ($m) + (-)

% Change + (-)

Income Maintenance 0 0 0 0

Lump Sum Settlements Redemptions – Sect. 42

.45 0 +.45 +100%

Lump sum Settlements Permanent Disability – Sect. 43

0 0 0 0

Medical/Hospital Costs combined .21 .10 -.11 +51%

Other

Total Claims Expenditure .66 .10 -.34 49%

4 before 3

rd party recovery

5 Information available from the Self Insurance Management System (SIMS)

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Meeting Safety Performance Targets6

6 Information available from the Self Insurance Management System (SIMS) (SIPS target report)

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BUILDING RESOURCES The program this year was focused on the Building Upgrade Project. These extensive works are directed at providing additional and enhanced infrastructure throughout the Art Gallery complex.

ART GALLERY RESTAURANT The operator of the Art Gallery Restaurant is Efficient Catering Pty Ltd. The Restaurant continues to attract strong patronage and bookings for catered functions.

FACILITIES HIRE The Gallery continued to be a popular hire venue for a wide range of functions. This year 172 events were held in the various Art Gallery function spaces. These events included workshops, conferences, cocktail parties, wedding receptions, formal dinners, theatrical productions, award presentations, product launches and concerts.

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

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

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

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OVERSEAS TRAVEL

Name Destination Reasons for travel Total cost

Nick Mitzevich United Kingdom, France and Italy

Visit the Australia exhibition at the Royal Academy; meet with staff at Les Arts Décoratifs, Paris; lead Australia Council Venice Biennale 2013 Champions Program

$10 465

Nick Mitzevich Singapore Judge the inaugural Prudential Eye Awards as a guest of Parallel Contemporary Art

All expenses covered by Parallel Contemporary

Art

Nick Mitzevich Hong Kong Attend the opening and vernissage of the Hong Kong/Basel Art Fair, meet with dealers and artists, provide a private tour, view works for potential acquisition

$3 640

Mark Horton London Courier trip returning works to the Gallery from the Australia exhibition. Met with TATE Britain managers

Paid by Royal Academy ($ 1500 funded by AGSA to

cover meetings)

James Bennett England, France, India, Portugal, Netherlands and Turkey

Gordon Darling Travel Grant for Treasure ships: Art in the age of spices

$2 970

Russell Kelty Japan

Exhibition development trip $1 544

Nici Cumpston Kluge-Ruhe Aboriginal Art Museum, University of Virginia, USA

Guest lecture on My Curatorial Practice at AGSA

No cost to the Gallery

Nici Cumpston Embassy of Australia, Washington DC

Discussed the 2015 Festival of Contemporary Aboriginal and Torres Strait Islander art

No cost to the Gallery

Nici Cumpston Harvey Art Projects, Idaho, USA

Discussed the 2015 Festival of Contemporary Aboriginal and Torres Strait Islander art

No cost to the Gallery

Julie Robinson London Courier for paintings to the Royal Academy and exhibition research and Mortimer Menpes research

$3 454

Jane Messenger New York Pick up Camille Pissarro, Práirie a Èragny

$7 700 (AGSA Foundation)

Tracey Lock-Weir London Courier for paintings from Royal Academy and exhibition research and Dorrit Black Research

$921

Robert Reason Paris and London Paris – assist with Fashion Icons: Masterpieces from the collection of of the Musée Des Arts décoratifs. London – visit curators, art museums and gallerists.

$13 146

SPONSORSHIP, GRANTS, DONATIONS, ETC.

DEVELOPMENT: Sponsors, Partners and Grants The Art Gallery continued to actively pursue new partnership opportunities and retain existing sponsors throughout the year generating over $1.9m in cash and contra support. In addition, the Art Gallery received a strong level of support from government and grant funding bodies, including support for major exhibitions and flagship family programs.

Corporate Sponsorship The Gallery acknowledges the continued support of Santos as Principal Partner of the Gallery and the Aboriginal and Torres Strait Islander Collection. Santos’s significant support has enabled the Gallery to develop the Aboriginal and Torres Strait Islander online collection with over 1 000 works now available to view online and to stage a number of ambitious exhibitions and produce several high quality publications including two in this period Realms of Wonder: Jain, Hindu and Islamic Art of India and Highlights: Aboriginal and Torres Strait islander Collection, Art Gallery of South Australia. Media and tourism partnerships have strengthened during the year and it is with great appreciation that we acknowledge the contribution of regular media partners: 891 ABC Adelaide, Channel 7, The Advertiser, Rip it Up Publishing, Avant Card, Adshel and InDaily; and tourism partners the South Australian Tourism Commission, Virgin Australia Holidays and InterContinental Adelaide. EY continued its support of Art Gallery exhibitions aligning its 2013–14 sponsorship with the 2014 Adelaide Biennial of Australian Art: DARK HEART, with its support directed to the realisation of Ian Strange’s installation on North Terrace. BankSA continued its long standing support of the popular after-dark program at the Gallery, DEPARTURE which successfully reached out to the Gallery’s younger demographic of people in their 20s and 30s. Program sponsors of Contemporary Collectors, Macquarie and UBS, supported the Gallery to acquire contemporary works of art for the collection. For the second consecutive year the South Australia Tourism Commission has supported the Gallery to market and promote its major exhibitions to interstate audiences, extending the Gallery’s marketing reach and positively impacting on audience growth. The Gallery is delighted to have entered into a new three year partnership with Adelaide Airport which commenced with its sponsorship of the 2014 Adelaide Biennial of Australian Art: DARK HEART. With excellent in-terminal marketing opportunities and community engagement initiatives this partnership has assisted the Gallery in reaching new audiences, as well as attracting local, intrastate, interstate and international visitors. Other new sponsorships secured during the year included a partnership with international design firm Hassell for The World of Mortimer Menpes, Painter, Etcher, Raconteur and Dorrit Black: unseen forces exhibitions and leading creative agency Clemenger BBDO for the 2014 Adelaide Biennial of Australian Art.

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ART GALLERY PARTNERS PRINCIPAL PARTNER Santos MAJOR PARTNERS The Balnaves Foundation James and Diana Ramsay Foundation GOVERNMENT PARTNERS Arts SA South Australian Tourism Commission PARTNERS 891 ABC Adelaide Adelaide Airport BankSA Channel 7 EY Macquarie The Advertiser UBS

SUPPORTERS Adshel Aesop Avant Card Bang & Olufsen Carlton & United Breweries Clemenger BBDO Adelaide Enhance Travel Heggies Vineyard InDaily InterContinental Adelaide Jansz Tasmania Katnook Estate Kwik Kopy Norwood Penny’s Hill Wines Premier Art Supplies Rip it Up Publishing Singapore Airlines Splitrock & Tiro TAV Productions Typespace Visualcom

The Art Gallery also wishes to acknowledge the Exhibition Partners who supported specific exhibitions during the period. Government and Philanthropic Grants The Art Gallery wishes to acknowledge the ongoing support of the Australia Council for the Arts for the Adelaide Biennial; The Balnaves Foundation for its support of START at the Gallery, the James and Diana Ramsay Foundation for its support of The Studio and the Gordon Darling Foundation for supporting the development of the 2015 exhibition Treasure Ships: Art in the Age of Spices. New grants secured during the period included a Major Project Grant from Arts SA for the exhibition HEARTLAND: Contemporary Art from South Australia and a Public Art Grant from Adelaide City Council for the 2014 Adelaide Biennial of Australian Art. Total grants received during the period: $529 280.

FOUNDATION

There was a total of $3.2 million cash donated to the Foundation.

CONTEMPORARY COLLECTORS

There was a total of $480 229 cash donated to Contemporary Collectors.

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VOLUNTEERS

The Art Gallery values the contribution of its many volunteers who provide a variety of services to visitors and staff in the areas of guiding, education, public programs including children and families, Front of House visitor services, curatorial research, library services, registration and administration. To ensure a quality experience to visitors to the STUDIO, a new group of volunteers were recruited to work on weekends in the Gallery’s STUDIO Activity space. For the year ending 2013–2014, the Art Gallery was supported by 275 registered volunteers. On Tuesday 26 November 2013, in recognition of the valuable contribution made throughout the year by all volunteers, the Gallery hosted the annual end of year celebration. This year the Volunteer of the Year Award was presented to Gallery Guide Supporting Schools, Brian Knott, for his exceptional commitment and service to student learning. Recipients of Volunteer Excellence certificates were Angela Dawes, Gai Dudley, Judith Lloyd, Craig Middleton and Lorraine Phillips. The Face of the Gallery award was presented to Front of House volunteer, Na Xu, known to Gallery colleagues as Xuna, for outstanding customer service. The sustained contribution of retiring volunteer, Mary Hogan OAM, was acknowledged with the presentation of the Achievement Award after 27 years of extraordinary volunteer service. In 2013 a revised Volunteer Policy was approved by the Gallery Board and distributed to all active volunteers. As part of the process of ensuring excellence in service amongst Gallery volunteers, all volunteers now sign a Volunteer Agreement and are required to provide the Gallery with a current National Police Certificate.

FRONT OF HOUSE Visitor services to the Art Gallery continued to be provided by Front of House volunteers. Managed by the, these volunteers staff the Visitor Desk at the main entrance in the Vestibule and the Information Desk in the Santos Atrium; welcoming visitors, receiving school groups and providing information to the general public 364 days of the year as well as a reception service for visitors and staff on weekdays. To ensure a high standard of service to visitors continues on weekends and public holidays, the Front of House & Volunteer Coordinator role is supported by weekend casual Front of House Officers. These officers support both Front of House and Studio volunteers, assist in the support and delivery of Gallery events and undertake a variety of duties as required. To ensure proper duty of care to the public and volunteers, all Front of House Officers now hold a recognised and current First Aid Certificate. In the year ending June 2014, Front of House volunteers assisted approximately 50 000 visitors at the Visitor Desk, handled over 23 000 enquiries from the Information Desk. On average Front of House volunteers contribute 3 hours of service each week, amounting to approximately 11 500 hours in assistance to the Gallery over the past 12 months.

ART GALLERY OF SOUTH AUSTRALIA FOUNDATION

At the Annual General Meeting on 14 November 2013 Andrew Gwinnett was re-elected to continue his Chairmanship of the Art Gallery of South Australia Foundation. Max Carter AO was elected to continue serving as Deputy-Chairman. The Foundation continued to raise funds through encouraging financial donations, membership subscriptions, grants, bequests and generating income from fundraising events and investments. The Foundation raised $7.5 million in total for 2013–2014, which comprised works of art given valued over $4.3 million as well as income raised of $3.2 million

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The Foundation continued its approach of more targeted giving through conducting several appeals through the financial year. These include the Masterwork Appeal, Mortimer Menpes Appeal, Junko Mori Propagation Project: Windy Leave Appeal, Anna Platten Appeal, Annie Kidman in Memoriam Fund, South Australian Artists Fund, Gothic Revival Chair Appeal, Christine Bowman in Memoriam Fund, Netsuke Publication Appeal, Mandala of Amida Buddha Appeal, and Red Carapace Appeal. The Masterwork Appeal was launched at The Grand Tour Dinner on 11 May and continued throughout the reporting period. Camille Pissarro, France, 1830–1903, Prairie à Éragny, 1886, Éragny, France, oil on canvas was selected as the Masterwork in November 2013 and officially named as the Masterwork at the Foundation dinner on 12 April 2014. The Art Gallery Foundation’s ambition with the unprecedented fundraising campaign of the Masterwork Appeal was to secure a work of art that transforms the Gallery’s collection, which acts as a destination painting which will attract visitors to the Gallery and which also enables the Gallery’s patrons to understand art in a fuller, more comprehensive manner. It was always hoped that the selected painting would be a work of strong artistic merit, an excellent example of the artist’s work, and a work of unrivalled presence in the wider collections in Australia. Prairie à Éragny meets each of these goals. The acquisition of Prairie à Éragny will deliver benefit to both South Australians and the broader national audience and will elevate the country’s collection to an international level. Donors of $100 000 and above are acknowledged on its credit line in perpetuity. All donations will be recognised in Articulate and in the Foundation Annual Report. At 30 June 2014 $4 564 034 had been raised. The Foundation launched the South Australian Artists Fund on 11 July within HEARTLAND. This fund seeks to support South Australian artists through the acquisition of their works of art. Such acquisitions will enrich the Art Gallery’s collection and create a larger presence of South Australian art within the expansive Australian collection. The Art Gallery aims to increase the exposure of South Australian art to the public and generate greater interest and appreciation of the impressive works of art that are being produced by artists working in South Australia. At 30 June $16 410 had been raised. The display and publication Netsuke and other miniatures from the Art Gallery of South Australia were launched on 7 May 2014. This year marks the centenary of the establishment of the Art Gallery of South Australia’s collection of Japanese netsuke, inrō and other carvings. The curated display and publication by Jennifer Harris, PhD, celebrate the generosity of many donors to this important aspect of the Gallery’s collection of Asian art, including the first donors Mr and Mrs William Milne in 1914 and Sir Samuel Way in 1916. More recently, the MJM Carter AO Collection of 146 Japanese carvings was donated to the Art Gallery of South Australia and is the largest and most significant gift of netsuke and other miniatures made to the Gallery since it began collecting these genres one hundred years ago and forms the central focus of the display and publication. The publication was supported by Trevor and Ann Lands and Family. The Thomas Elder Circle was launched in the Elder Wing of Australian Art on 22 October 2013. The Circle was developed to recognise the invaluable impact bequests can have on the Art Gallery, and provides the opportunity to acknowledge and honour bequest donors during their lifetime. It also gives the Art Gallery a unique opportunity to develop a closer relationship with bequest donors. At the launch, Max Carter, AO, announced a major gift in honour of the occasion: John Glover’s Baptism on the Ouse River by Rev. Henry Dowling, 1838. Max, himself a bequest donor, made his generous gift to acknowledge the foresight of Sir Thomas Elder, the Gallery’s first bequest donor, and the prosperity that bequest produced. At 30 June 2014 there were 21 members of the Thomas Elder Circle. The Foundation hosted thirteen events throughout the year, giving members the opportunity to engage closer with the Art Gallery, while also raising essential funds for works of art. The Foundation continued to hold regular private viewings which highlighted recent gifts or acquisitions through the Foundation and also provided a forum to thank donors.

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The Foundation Collectors Club dinner, held on 1 November, was the major fundraising event for the Gallery this year, raising $400 000. The membership donation was increased from $5 000 to $6 000. In 2013, there were 52 members. The 2013 Foundation Christmas Party was held on 24 November at Yalumba, Australia’s oldest family-owned winery and sponsor of the Gallery. At the event guests experienced a tour of the Hill Smith family’s wine museum, fine food and exceptional wine. Coaches were arranged for the 40 guests to and from the Gallery. Foundation members attended the official opening of Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur on 12 June 2014 as their complimentary opening for the year. The Foundation Annual General Meeting was held on 14 November 2013 and was followed by a private viewing of The author’s presentation copy of the Mathnavi of Jalal al-Din Muhammad Rumi, India, Sharjahanabad (Delhi), Dated Thursday 2 Muharram al-Haram, a recent gift from Max Carter AO, presented by James Bennett in Realms of Wonder. A luncheon was held on 19 February 2014 to acknowledge and thank donors involved in Realms of Wonder: Jain, Hindu and Islamic Art of India. The Gallery is most fortunate to have such significant South Australian support of its collection of Asian art and the Foundation thought it important to acknowledge their great generosity to this area of the collection which was presented in this exhibition. The annual Foundation fundraising dinner was held on Saturday 12 April at the Gallery. Guests at the event enjoyed a tour of the 2014 Adelaide Biennial of Australia Art: DARK HEART, led by Director and Biennial curator Nick Mitzevich, before enjoying a sumptuous dinner. Proceeds from the event went towards the Masterwork Appeal. This event raised $200 000 ($50 000 from ticket sales, live and silent auction items, and a raffle; and $150 000 from donations pledged on the night). Wines were donated by Penny’s Hill, Jansz, and Heggies. The Foundation thanks dinner supporters, Enhance Travel, Tynte, Aesop, Bang and Olufsen, Pike, Tynte, Jansz, Heggies and Penny’s Hill. The Executive Officer and Foundation Council developed a Business Plan for the Foundation, introduced a semi-regular e-news to Foundation members, and introduced a new, streamlined design for Foundation communication including invitations and brochures. During the reporting period, twenty-one Foundation members pledged additional financial commitment to the Foundation and as a result were upgraded to higher levels of the Foundation. Eighteen members renewed their membership to the Foundation, and there were fifty-eight new members.

At 30 June 2014 active membership of the Foundation was as follows:

Active memberships

Patron (over $10M) 3

Founders (over $1M) 11

Governors (over $250 000) 24

Principals (over $100 000) 40

Guardians (over $50 000) 36

Benefactors (over $25 000) 50

Fellows (over $5000) 147

Members (over $1500) 173

TOTAL MEMBERSHIP 484

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CONTEMPORARY COLLECTORS Contemporary Collectors is a benefaction group at the Art Gallery of South Australia dedicated to advancing the Art Gallery’s permanent collection of contemporary art. Contemporary Collectors raises funds through membership fees, fundraising initiatives and appeals aimed at acquiring specific works of art. During the reporting period Contemporary Collectors continued to raise funds for the acquisition of contemporary art by expanding its membership base and introducing new fundraising projects. In this financial year, Contemporary Collectors raised $608 625 which comprised works of art given valued over $128 396 and income raised of $480 229 from Membership subscriptions, events, donations, and support from Contemporary Collectors Program Sponsor Macquarie Private Wealth. In addition, Contemporary Collectors sourced support from the following in-kind sponsors: Aesop ($2 588), Jansz ($2 664), Katnook Estate ($6 877), Kwik Kopy Norwood ($2 560), Splitrock & Tiro ($1 326) and TypeSpace Design ($26 250).

DIRECTOR’S PROJECT The Director’s Project was established in 2010 and is a Contemporary Collectors project aimed at acquiring three major works of contemporary art for the Gallery’s permanent collection. In the reporting period, the third and final acquisition for this project was announced. Alex Seton’s Someone died trying to have a life like mine, which was featured in the 2014 Adelaide Biennial of Australian Art: DARK HEART, was selected as the final acquisition of the Director’s Project and will be acquired for the Gallery’s permanent collection of art.

CONTEMPORARY COLLECTORS CORPORATE MEMBERSHIP In October 2013, Contemporary Collectors re-launched its Corporate Membership at an event at the Art Gallery of South Australia. A targeted list of local and Adelaide-based corporate contacts was invited to the launch. Funds raised through corporate membership are directed to supporting the acquisition of contemporary art for the Gallery’s permanent collection. Corporate Members receive many benefits that provide opportunities to host clients at events and the chance to network in unique and engaging environments. A Membership ‘pack’ was developed for Corporate Membership which provides details on what benefits Corporate Members receive. There are two levels of Corporate Membership, Silver and Gold, which differentiate between levels of giving. Corporate Memberships span two years and coincide with the financial year. Similar to Contemporary Collectors membership, pro rata rates are available for Corporate Memberships. At the end of the 2013–2014 financial year, Contemporary Collectors has two Gold Corporate Members and one Silver Corporate Member.

THE BIENNIAL AMBASSADORS PROGRAM In 2013, Art Gallery Director, Nick Mitzevich and Art Gallery Board Member, Tracey Whiting initiated a new benefaction campaign at the Art Gallery of South Australia titled the Biennial Ambassadors Program. This Program aimed to attract donations from interstate benefactors to support the 2014 Adelaide Biennial of Australian Art: DARK HEART. The Biennial Ambassadors Program raised $242 500, which included $100 000 donated by The Balnaves Foundation. Donations raised through the Ambassadors Program were directed towards funding artists, commissioning works of art and supporting public programs for schools and families for DARK HEART.

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Benefactors to the Biennial Ambassadors Program (Ambassadors) were offered a program of events over the opening weekend of DARK HEART, which provided unique opportunities to engage with the exhibition, the artists involved, and with Biennial Curator, Nick Mitzevich. The Program commenced on Thursday 27 February and ran until Sunday 2 March and included an Adelaide art tour, an Adelaide Festival event, artist talks at the Art Gallery of South Australia, social brunches and lunches, and the Biennial Ambassadors Dinner on Saturday 1 March. Art Gallery Chairman, Michael Abbott, AO QC, welcomed the Ambassadors into his home on Sunday 2 March as a gesture of appreciation for their support of the Art Gallery of South Australia. The Biennial Ambassadors Program will continue in the future as a fundraising project to support the Adelaide Biennial of Australian Art at the Art Gallery of South Australia.

CONTEMPORARY COLLECTORS PROGRAM In the reporting period, Contemporary Collectors were offered an events program that included social, educational and travel opportunities. The Contemporary Collectors Committee worked with the Art Gallery to deliver a broad range of events as part of the annual program, which allowed members of Contemporary Collectors to engage with contemporary art and artists in unique ways. There were 16 Contemporary Collectors events in the 2013–2014 financial year. Some of the highlights of the annual program included a trip to the inaugural Sydney Contemporary, the Eat Your Art Out event series held in the homes of private collectors, a preview of the Fleurieu Art Prize and the End of Year Party in November 2013.

SPONSORED EVENTS In 2014 Contemporary Collectors made a financial donation to support the exhibition 2014 Adelaide Biennial of Australian Art: DARK HEART.

At 30 June 2014 active membership of Contemporary Collectors was as follows:

Active memberships

Individual Memberships 36

Joint Memberships 77

Corporate Memberships 2

Circle – Individual 7

Circle – Joint 9

Circle – Corporate 2

Principal 6

Benefactor 17

Guardian 9

TOTAL MEMBERSHIPS 165* *251 individual Members

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CONTEMPORARY COLLECTORS COMMITTEE 2013–2014

Chairperson Thelma Taliangis

Deputy Chair Marc Allgrove

Members Margie Andrewartha Silvana Angelakis Mark Butcher Cherise Conrick Zoë Elvish Abbey Hall Vicki Niehus Mary Ann Santin Tom Twopeny Jane Yuile

Ex Officio Russell Kelty, Nick Mitzevich

Coordinator Cate Stanford

Principals Jane Michell and Sadie Michell, John Phillips and Abram Phillips, Ben Quilty, Mary Ann Santin, Tracey and Michael Whiting Guardians Kate Breakey, James Darling AM and Lesley Forwood, Paul Greenaway, OAM, Andrew and Hiroko Gwinnett, Dr Clinton Ng, William Nuttall and Annette Reeves. Benefactor John and Jane Ayers, Candy Bennett, Cherise Conrick, Richard and Jan Frolich, Julian and Stephanie Grose, Ian Little and Jane Yuile, John McBride AM, Dr Peter McEvoy, Mr Danie Mellor, Hugo and Brooke Michell, Jan Minchin, Dr Dick Quan and John McGrath, Paul and Thelma Taliangis, Tiffany Wood-Arndt, Macquarie. Circle Michael and Silvana Angelakis, Susan Armitage, Dr Mark and Jill Awerbuch, Jim and Helen Carreker, Brenda Croft, Scott and Zöe Elvish, Frances Gerard, Dr Michael and Janet Hayes, Ulrike Klein (Klein Family Foundation), Gosia Kudra Schild, Sam Leach, Edwina Lehmann, David and Pam McKee, Peter and Jane Newland, Roslyn and Tony Oxley, Peter Weeks and Lisa Herbst, GP Securities, Solstice Media. 2014 Director’s Project John and Jane Ayers, Candy Bennett, Jim and Helen Carreker, Chris and Elma Christopher, Cherise Conrick, James Darling AM and Lesley Forwood, Scott and Zoë Elvish, Richard and Jan Frolich, Andrew and Hiroko Gwinnett, Dr Michael Hayes and Janet Hayes, Klein Family Foundation, Ian Little and Jane Yuile, Dr Peter McEvoy, David and Pam McKee, Hugo and Brooke Michell, Jane Michell, Peter and Jane Newland, John Phillips, Dr Dick Quan, Paul and Thelma Taliangis, Sue Tweddell, Tracey and Michael Whiting, GP Securities, UBS and anonymous donors.

DEPARTURE DEPARTURE is an events program held at the Art Gallery of South Australia targeted at the 18-40 year old demographic. DEPARTURE aims to attract a younger audience to the Gallery by providing unique ways to experience Gallery exhibitions and engage with the Gallery, its collection and exhibitions. The events provide curator talks, activities in the Studio, entertainment, live music and some food and drinks for guests to enjoy.

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DEPARTURE Membership Since its inception in 2011, DEPARTURE membership has continued as an effective means of attracting a younger demographic to the Gallery’s membership program. DEPARTURE Members receive full Art Gallery membership, discounted tickets to DEPARTURE events (Members $45 / General admission $60) in addition to other standard membership benefits. As DEPARTURE is an events based program, DEPARTURE memberships fluctuate throughout the year with varying numbers of subscriptions for each DEPARTURE event (held four times a year).

At 30 June 2014 active membership of DEPARTURE was as follows:

Active Memberships

Individual memberships (only category) 103

In the reporting period, DEPARTURE raised $135 846 from Membership subscriptions, events, and sponsors, inclusive of generous support from Presenting Sponsor BankSA. In addition, DEPARTURE sourced in-kind support from the following sponsors: Penny’s Hill, Heggies, Jansz, Splitrock, TIRO, Carlton United Breweries, Rip It Up Publishing and Art Gallery Food + Wine.

DEPARTURE Committee (from December 2013)

Art Gallery Staff Members Department

Alice Clanachan Curatorial

Clare Gilham Public Programs

Marika Lucas Communications

Aimee Phillips Benefaction and Membership

Cate Stanford Benefaction and Membership

Lisa Wilson Development

DEPARTURE EVENTS DEPARTURE: Old Meets New Date: Friday 30 August 2013 Exhibition: Melrose Wing of European Art Speakers: Russell Kelty, James Lainas Attendance: 520 Sponsors: BankSA (major sponsor), Penny’s Hill, Heggies, Splitrock, TIRO, Carlton United Breweries, Aesop. DEPARTURE: Realms of Wonder Date: Friday 8 November 2013 Exhibition: Realms of Wonder: Jain, Hindu and Islamic Art of India Speakers: James Bennett, Russell Kelty Attendance: 533 Sponsors: BankSA (major sponsor), Rip It Up Publishing, Penny’s Hill, Heggies, Splitrock, TIRO, Carlton United Breweries, Aesop.

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DEPARTURE: DARK HEART Date: Friday 21 March 2014 Exhibition: 2014 Adelaide Biennial of Australian Art: DARK HEART Speakers: Nick Mitzevich, Trent Parke (DARK HEART Artist)

Attendance: 670 Sponsors: BankSA (major sponsor), Rip It Up Publishing, Penny’s Hill, Heggies, Splitrock, TIRO, Carlton United Breweries, Aesop. DEPARTURE: Roaring 20s Date: Friday 20 June 2014 Exhibition: Dorrit Black: unseen forces, The World of Mortimer Menpes: Painter, Etcher, Raconteur Speakers: Alice Clanachan, Elle Freak Attendance: 520 Sponsors: BankSA (major sponsor), Rip It Up Publishing, Penny’s Hill, Yalumba (Running with Bulls and

Jansz), Splitrock, TIRO, Carlton United Breweries, Aesop, Art Gallery Food + Wine.

MEMBERS OF THE ART GALLERY OF SOUTH AUSTRALIA

Membership of the Art Gallery has continued to grow this year due to attractive and relevant exhibitions as well as various promotions. Of those joining membership for the first time during the promotion of the Turner from the Tate: The Making of a Master exhibition during January to May 2013, 41% chose to renew after the initial twelve month membership had lapsed. New memberships of the Art Gallery remained constant in response to the promotion of ‘Join as a new Member and receive three months for free’ on a yearly subscription. This promotion began with the Realms of Wonder: Jain, Hindu and Islamic Art of India exhibition in October 2013. In the 2013–14 financial year Membership raised $177 638 income from membership subscriptions and events. Thirty Members’ events were presented throughout the reporting period including welcome orientation tours for new members. Exhibition previews were offered to Members of Realms of Wonder: Jain, Hindu and Islamic Art of India; 2014 Adelaide Biennial of Australian Art: DARK HEART; Dorrit Black: unseen forces; and The World of Mortimer Menpes: Painter, Etcher, Raconteur with highlights tours led respectively by James Bennett, curator of the exhibition and Curator of Asian Art; Nick Mitzevich, curator and Gallery Director together with Lisa Slade, Managing Curator; Tracey Lock-Weir, Curator Australian Paintings & Sculpture and Julie Robinson, Senior Curator Prints Drawings & Photographs together with Dr Rosemary Smith. The program also included an exclusive preview screening of Exhibition: Vermeer and Music at the Palace Nova Eastend cinema, which was attended by approximately 200 Members and their guests. Members were also invited to attend the South Australian launch of Australian Notebooks by Betty Churcher AO. The booked-out event was held in the Elder Wing and guests were given the opportunity to meet the author and purchase a signed edition of her book. The Members’ End of Year Party was well-attended and included an after-dark viewing of the exhibition Realms of Wonder led by the co-curator Russell Kelty, Assistant Curator, Asian Art. The party was preceded by a presentation by the Director about the 2014 exhibition program held in the Radford Auditorium. The Gallery Shop was open and offered double discount to Members on the night. The Members Book Club began in early 2014 and provides group discussions through which Members can extend their knowledge of the Gallery collection. There are five small groups which meet for an hour each month to discuss diverse novels, biographies and poetic narratives, led by Gallery Guides, who

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relate discussions to works of art in the collection. Book Club members receive double discount on all Book Club titles purchased at the Gallery Shop. On the first Wednesday of each month Gallery Guides presented a complimentary tour of the Gallery for Members on a variety of topics. These tours are extremely well subscribed, indicating the great affiliation Members have for the Gallery. New Members are regularly invited to join a complimentary relaxed morning tea and introductory tour of the Gallery and these sessions have also been well attended. Each of these tours begins in the Members Lounge, a space which Members continue to value and use at their leisure. Robyn Lademan continued in the role of Membership/Foundation Officer and Aimee Phillips held the role of Bookings and Database Officer. The attractively packaged Gift of Membership is available in the Gallery Shop or online from the Art Gallery website and remains popular for gift giving.

At 30 June 2014 active membership of Members was as follows:

Active memberships

Friends Life Benefactor 55

Member 915

Member Concession 460

Member Corporate 3

Member Family 0

Member Joint 551

Member Joint Concession 202

Member Honorary 71

TOTAL MEMBERSHIPS 2 257* *3010 individual Members

FESTIVAL OF CONTEMPORARY ABORIGINAL AND TORRES STRAIT ISLANDER ART 2015

In September 2013, the Government announced that BHP Billiton would provide $4m to the Art Gallery of South Australia to present a Festival of Contemporary Aboriginal and Torres Strait Islander Art 2015. Today Aboriginal art is heading in every direction. Diverse and responsive, no medium or material is off limits. This Festival will showcase the diversity of that work through art and artists including painting, photography, sculpture, installation, moving image and glass blowing; working with both urban and regional artists this will be an event like no other. The Festival will include an exhibition series, a major arts fair, a symposium series, a workshop series, an employment pathway program including traineeships and a commissioning program.

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COLLECTIONS

COLLECTIONS DEVELOPMENT

The Gallery acquired 241 works of which six were bequests, 142 were gifts and 93 were purchased. Of these 54 were European, Asian and Australian heritage works produced before 1960 and 187 were works produced after 1960. The total value of gifts and purchases this year was $11 105 543.

ACQUISITIONS OF AUSTRALIAN ART

Substantial gifts and strategic purchases significantly enhanced all areas of the Australian art collection. Important Australian colonial acquisitions included the donation of a major Tasmanian landscape by John Glover from Max Carter AO and a rare South Australian landscape by Eugene von Guérard which was purchased through the Elizabeth and Tom Hunter Fund. Early twentieth century acquisitions included two north African subjects by Hilda Rix Nicholas and a major cubist still life subject by Dorrit Black was acquired through the Gallery’s Collectors Club. Four later twentieth century paintings by Ruth Tuck, Mirka Mora and Dee Jones were received from the Clarrie Easther Estate. Three works were transferred to the Gallery from the Arts SA Collection including a major sculpture by Bronwyn Oliver. Seven Aboriginal objects were gifted by Sylvia Frances Cumming. Gifts from artists include a Peter Tyndall, Leonard Brown and three works by Danie Mellor. Numerous key donations to the Australian contemporary art collection were made including: the gift through the Contemporary Collector’s Director’s Project of a sculpture by Alex Seton; the Collectors Club donation of a George Tjungurrayi painting, Susan Armitage’s donation of a painting by Eubena Nampitjin and Joseph Catanzariti’s gift of a Louise Weaver sculpture. Four moving image works were also gifted. Purchases included the addition of a sculpture by Dani Marti through the Maude Vizard-Wholohan Art Purchase Award, one moving image work and the acquisition of a work on paper by Ian Friend. Significant additions to the South Australian contemporary art collection included a light box by Ariel Hassan, a sculpture by Julia Robinson and a painting by Wawiriya Burton. Contemporary decorative arts acquisitions were well-represented this year with major works of art including glass artist Matthew Curtis, Red carapace, 2008, gift of Colin E. Beer; Julia deVille, Victorian cat mummy, 2012, gift of the Contemporary Collectors; three Brendan Huntley ceramic heads, Untitled, 2013; and Robin Best, The Pepper pot – the legacy of Coenraad Temminck, 2013, acquired through the Foundation Collectors’ Club and the d'Auvergne Boxall Bequest Fund. The Rhianon Vernon-Roberts memorial collection of contemporary Australian jewellery continued to grow with the acquisition of Helen Aitken-Kuhnen, Beach brooch, 2013; Julie Blyfield, Fragment #12 brooch, 2013; a set of six Brooches, 2009–11, by Mark Vaarwerk; and two Neckpieces, 2012, by Sionemaletau Falemaka. Significant acquisitions of works on paper included a group of 12 photographs and one bound book by 1970s photographer Carol Jerrems, including her rare masterpiece Vale Street, 1975; and six collages from the mid 1970s by James Gleeson donated by Ray Wilson OAM; major additions of South Australian art included two works by Dorrit Black, a drawing Study of two figures, 1929, and linocut At the cafeteria, c1943. Nineteen works by printmaker Franz Kempf dating from 1957–2006 were also acquired. Contemporary South Australian photography collection was enhanced by the addition of five early career photographs by Mark Kimber from the 1980s and hand-coloured photographs by Kate Breakey.

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ACQUISITIONS OF INTERNATIONAL ART The European and North American Art collection was transformed with the acquisition of Camille Pissarro’s Prairie à Éragny 1886, concluding the Foundation’s Masterwork project and the search of an Impressionist painting. Painted at the height of the Impressionist movement and from Pissarro’s most significant body of landscape paintings, Prairie à Éragny, also introduces the style of Neo-Impressionism. The addition of Maurice Utrillo’s Menilmontant, acquired through the Collectors Club, also strengthens the Gallery’s holdings of Post-Impressionist works of art. A major contemporary work by the internationally acclaimed British artists Tim Noble and Sue Webster was also added to the collection. The Gamekeeper’s Gibbet, 2011, the most powerful expression of Noble and Webster’s practice in recent years, was donated by Tim Fairfax. A moving image work by the contemporary artist Ignas Krunglevicius was another important addition to the collection. Interrogation was donated by James Darling AM and Lesley Forwood. The European decorative arts collection benefited from the acquisition of two important objects: a William De Morgan The fishing lesson bowl, 1890, gifted by Christopher and Jenny Legoe through the Cultural Gifts Program; and a rare, early Josiah Spode, Covered scent vase, 1800–10, with funds raised in memory of the Hon Dr Kemeri Murray AO. The European print collection was enhanced by two significant acquisitions: Rembrandt’s Landscape with a cottage and haybarn, 1641, and the German Renaissance woodcut by Hans Baldung Grien Wild horses fighting, 1534.

ACQUISITIONS OF ASIAN ART

This year the South Asian collection grew significantly in diversity with two paintings, four drawings and two textiles. The most significant acquisitions were donated by Michael Abbott AO QC and included Ceremonial cloth and sacred heirloom depicting women battling a gajavyala monster an Indian-Indonesian trade textile, which depicts the exceptionally rare early motif of fighting women typical of early Gujarati figurative patterns. The Jain wall-hanging Map of the pilgrimage sites at Palitana, a spectacular example of the genre both in its dimensions and vivid details, documenting the sites and activities of pilgrims at the sacred Satrunjaya mountain temple complex. Michael Abbott AO QC also donated three drawings and diagrams created during the nineteenth century which illustrate pertinent Jain religious-philosophical concepts. Auspicious drawing with three faces, Auspicious drawing with Durga and Auspicious drawing of Ganesa are unique examples which invoke Hindu deities worshipped in a Jain spiritual context as protectors and mystical tantric ideas expressed through esoteric symbols and texts. In memory of Annie Kidman, Michael Abbott AO QC, Will and Sara Abel Smith, Susan Armitage, Rachel and Mark Grimshaw, Dr Peter McEvoy and Art Gallery Members donated Tent panel (qanat) a major work of printed Indian cotton. Howard and Charlotte Galloway donated Sri Nathji with two cow maids, which add yet another facet to the Art Gallery’s collection of Rajasthan temple paintings inspired by Lord Krishna. The Art Gallery continues to build its contemporary collection with Shambu Dayal Shyam, Nature's fury acquired with funds from the Asian Art Curators Acquisition Fund 2014 In the area of Southeast Asian art Michael Abbott QC AO donated four works of art including sculpture, ceramics and textiles from Bali and Sulawesi. Among the sculptures the most significant addition to the

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collection was the Ancestral portrait of a woman (tau-tau). This is the third such sculpture to enter the collection and is a superb example of a mortuary portrait created by the Sa'adan Toraja people. The sculpture arrived wrapped in Ceremonial banner (roto) from South Sulawesi declared by the original owners as inseparable, are both associated with the elaborate mortuary rituals practiced by the Toraja people of South Sulawesi. Michael Abbott QC AO also donated the dynamic Drum (kul-kul) with head of Rangda, which once was installed in a Balinese raised pavilion and used to announce special occasions. The drum is the first of its kind to enter the collection. Dish with raised foot Nyonya ware, is a good example of wares created in China especially for the expatriate communities of Southeast Asia, including Malaysia, Singapore and Indonesia. This ceramic found in Indonesia will complement the Gallery's expanding collection of trade ceramics many of which were gifts from Michael Abbott AO QC. The East Asia collection continued to grow with notable gifts of one painting, two ceramics and purchases of four prints and one embroidery. MJM Carter AO donated the most significant acquisition, a 17th–18thC Taima Mandala. The painting’s subject is regarded as the definitive icon of Japanese Pure Land Buddhism and is one of the most historically revered images in Japan. Taima Mandala is a spectacular rendition of the subject and forms a complimentary image to the Gallery’s previously acquired Descent of the Amida Trinity and the sculpture Amida Nyorai. The development of the Japanese collection is identified in the Gallery’s Ten-Year Acquisition Strategy. In the area of ceramics, artists Masamichi Yoshikawa gifted 35 Ban and Kumano Kuroemon gifted Sake cup (guinomi). Both works add to the gallery's growing collection of Contemporary Japanese ceramics. The Art Gallery also made significant acquisitions in the area of Japanese 19thC woodblock prints. The Gallery's collection was enhanced significantly with the purchase of four works, including two created by Kobayashi Kiyochika (1847–1915) including Taira no Tadamori (1096–1153) The journalist Fukuichi Gen'ichiro, the latter was exhibited in The Golden Journey (2009) and one by Toyoharu Kunichika (1835–1900), Shinohara Kunimoto. All of these works including Actor, with tattoo of Daruma were acquired through the d'Auvergne Boxall Bequest Fund 2013. Also the Gallery continued to acquire works which augment its Meiji era collection including, Peacocks in a forest, early 20thC purchased through the JC Earl Bequest Fund 2014.

WORKSHOP RE-FRAMING AND PEDESTALS PROGRAM

The Gallery continued an active program of reframing and pedestal/plinth fabrication throughout the year. This was reflected in the temporary exhibition program and collection exhibition changeovers. A total of 163 plinths, 289 picture frames, 22 stretcher frames for Artlab, 8 travel frames and 40 wall shelves with perspex covers were fabricated.

ACCESS TO COLLECTIONS & RESOURCES

The David Murray Print Viewing Room was visited by a total of 41 visitors, which included curators from Australian state galleries and overseas institutions (Yale Center for British Art), visiting academics, postgraduate students and artists. They were supervised by the Associate Curator of Prints, Drawings and Photographs and the Assistant Curator of Prints, Drawings and Photographs. In addition the Education Officer has facilitated access to the collection by school students.

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INSTALLATION AND OFFSITE STORE During the year the Gallery’s installation team was responsible for the movement of 14 568 works of art: these included permanent display, exhibition installation, curatorial research, conservation, reframing, outward loans, photography and public access. Of this total the Gallery’s offsite store team moved 2 872 works to and from the offsite store.

RESEARCH LIBRARY A stocktake of the library’s 41 000 books was conducted over several weeks, within the library and in curatorial offices. At the same time, the shelving order was checked. Overdue notices were sent to borrowers who were not curators. The vast majority of the collection was accounted for, and only a small number of titles which had been missing for two consecutive stocktakes were withdrawn. The growth of the book collection remains constant at around 1 100 volumes per year. Cataloguing has kept pace with acquisitions, so there is no backlog. However, the concentration of new titles in certain areas such as contemporary art has meant the shelves in those areas are now full. This has necessitated shuffling books around to make room. Continuous addition of Gallery records and archival material, sales catalogues, periodicals and art ephemera is putting considerable pressure on space. Usage of the library as measured by loans is steady, though interlibrary loan traffic was busier than previous years due to the demands of some in-house curated exhibitions which are intensively researched. Digital preservation continues to be prioritised as special long-term projects for volunteers, who are scanning board papers and archival correspondence.

GRADUATE STUDIES IN ART HISTORY The Art History program, jointly delivered by the University of Adelaide and the Gallery is now in its 13th year. The only program in Australia that presents an integrated Art Gallery and University approach at a postgraduate level leading to a Masters degree, all courses are taught around the collection. In 2013 and 2014 the recently re-hung Melrose Wing provided a laboratory for Curatorial and Museum studies students alike. Semester Two 2013 saw the return of the Indigenous Art Course as an on campus offering. The course drew from the Gallery’s renowned holdings that were initiated in 1939 with the first state gallery acquisition of work by Arrernte artist Albert Namatjira, and extended to include early works from Papunya and the Central West Desert, significant Arnhem Land barks, including those collected during the 1948 ASEAL expedition and works attesting to the more recent artistic developments in the APY lands. A professionally productive component of the Curatorial and Museum Studies course is a 20 day internship which is undertaken in semester two. A large number of graduates are now working across the country – at the National Gallery of Australia, The National Library of Australia, Samstag Museum, Country Arts SA, various artist run initiatives and auction houses and here at the Art Gallery of South Australia. The Art Gallery is continuing its role as a partner investigator in the large ARC project Linkage project: Australian Art Exhibitions 1968–2009: A Generation of Cultural Transformation. Funding is for 3 years. Art Gallery of New South Wales, National Gallery of Australia, National Gallery of Victoria and Museums Australia are other partner investigators in the project.

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ENROLMENTS

Semester 2 - 2013 Students Semester 1 - 2014 Students

Curatorial and Museum Studies B Indigenous Art Modern Australian Art European Art online Australian Art online Research Project in Art History

7 14 28 13 8 6

Curatorial and Museum Studies A Contemporary Art Interrogating Australian Colonial Art European Art online Japanese Art online Research Project in Art History

10 19 18 13 11 8

Total 76 Total 79

PUBLIC PROGRAMS Public Programs presented a wide array of activities and events to enhance visitor’s appreciation of fine art, to satisfy the aspirations of those who seek to learn more about art and to present the Gallery as an open, diverse and welcoming learning environment. Of necessity, our programs catered for a wide age range of interests, as we sought to ensure that a visit to the Gallery was always enjoyable and educational. The STUDIO completed its first 16 months of operation recording significant attendances from booked schools groups and the general public. The STUDIO welcomed patrons of all ages keen to engage in hands-on art activities inspired by the Gallery’s exhibition program, made available free thanks to the unwavering support and goodwill of the James and Diana Ramsay Foundation. The STUDIO offered a diverse range of activities, transforming 4 times over the course of the year, in response to our temporary exhibitions. The Heartland STUDIO, focussing on the work of Chris de Rosa and the Tjunpi Desert Weavers, explored the frottage technique to form the basis of various projects. The Realms of Wonder STUDIO invited visitors to sculpt their own Jain or Hindu idol in plasticine, inspired by those on display in the exhibition. In conjunction with the 2014 Adelaide Biennial of Art: DARK HEART, the STUDIO was transformed by artist Julia Robinson into a space imbued with the curiosities of superstition where visitors created their own lucky talisman sculptures using a variety of materials. The direct artist engagement represented by this venture marked a new direction for the STUDIO. Similarly, artist Brigid Noone was commissioned to present the STUDIO in response to the exhibitions Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur. For this iteration of the STUDIO, visitors were invited to engage with the varying possibilities of portraiture using drawing and collage. A total of 105 Schools visited the STUDIO. Single and repeat visits resulted in 295 booked class school groups utilising the supervised activities for a total of 8 369 students. Access by the general public (after 2pm daily and on weekends) recorded a total of 19 140 attendances. A total of 27 509 patrons visited the STUDIO to engage in an art making activity. During the year the Gallery START program for children recorded 6 498 attendances. The START Art Club recorded more than 1 885 members, with a notable quantum of repeat visitors throughout the year, indicating that the START days were highly anticipated and popular with children and families. The program presented a balanced focus of tours, art activities, live performance and music events. Utilising the services of highly qualified facilitators and guides, continued emphasis was placed on learning whilst also creating a fun environment for all the family. Approximately 3 781 participants attended the special Guided Tours presented by Art Gallery Guides, indicating a key value for the program in education about the visual arts. Electronic registrations proved popular with START Members and those wishing to join the START Art Club. The Balnaves Foundation continued its support of the START program, noting our success in developing and encouraging family visits to the Gallery.

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School holiday programs presenting art making activities attracted a total of 907 children. Pre-activity tours of the Gallery and exhibitions with Gallery Guides were attended by 1 102 children, parents, carers attending the school holiday programs. Public Programs supported temporary exhibitions with a varied and popular array of programs and events. In the period the major exhibitions included HEARTLAND: Contemporary art from South Australia, Realms of Wonder: Jain, Hindu and Islamic Art of India, 2014 Adelaide Biennial: DARK HEART, Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur. All exhibitions were supported by an array of public programs aimed at presenting key ideas and information about the art on display in an accessible manner and adding to the quality of the exhibition experience. HEARTLAND: Contemporary art from South Australia celebrated contemporary art by South Australian based artists. It was supported by an opening weekend event presenting talks by exhibiting artists, drawing workshops and short introductory Pitjantjatjara and Yankunytjatjara language sessions to assist a fuller appreciation of works on display. The HEARTLAND STUDIO presented a range of surface treatments for children to experiment with and the School Holidays program invited children to construct an ideal city, inspired by the work of artist, Annalise Rees. Realms of Wonder: Jain, Hindu and Islamic Art of India celebrated the Gallery’s extraordinary collection of Indian Art. The public program was developed in partnership with various individuals and groups representing the Indian community across Adelaide and resulted in a symposium, lectures and workshops on aspects of Indian art and philosophical thought, chantings, meditation and yoga classes. This resulted in high level participation in exhibition events, a significant number of visits by members of the Indian community and widespread goodwill and publicity within that community. The Realms of Wonder STUDIO invited patrons to make statues of Indian gods and was a colourful, enjoyable, welcoming and lively space. 2014 Adelaide Biennial of Australian Art: DARK HEART presented works of art by some of Australia’s most admired and respected contemporary artists, examining the complex myriad of personal, political and psychological ideas that shape and inform our daily lives. The opening weekend celebrations included a remarkable presentation by artist Patricia Piccinini (Skywhale) at the Adelaide Botanic gardens, numerous artist’s talks and conversations. Guided tours, animation and taxidermy workshops were also part of a very popular program developed to extend the ideas of the artists. The School holiday programs were presented in conjunction with DARK HEART, inviting children to create clay busts, inspired by the works of art by Brendan Huntley and Ah Xian. In the DARK HEART STUDIO, artist Julia Robinson presented an installation that explored superstitions and patrons were invited to make amulets and machines to ward off danger. Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur were both supported by symposium, printmaking workshops and guided tours. The scheduled Sketch Club activities invited patrons to undertake supervised drawing in the Gallery and proved very successful. Auditorium lectures provided visitors to both exhibitions with an opportunity to delve deeper into the lives of artists introducing new scholarship on Dorrit Black and Mortimer Menpes. An extensive program of weekend floor talks by Gallery curators and special guests enriched visits to the exhibition. In addition to the five temporary exhibitions, collections and special displays were also supported by lunch time talks. Ten talks featured Australian Art, six Asian and eight for European Art. The Gallery presented three highly successful Culture Days / Events – Indian Culture Day coinciding with the Diwali Festival of Lights, a celebration of Indian art, history and culture; Indian Culture Day: The Elephant and Monkey God explored the stories of these Indian Gods and Chinese New Year, with a special display of the animals in the Chinese zodiac was assisted by the Confucius Centre, University of Adelaide. All events were well attended. The very popular Spring Lecture program explored Asian art, both historical and contemporary as a dimension of the Gallery’s on-going commitment to acknowledge and promote the extraordinarily rich cultural, artistic and living history of Asia.

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Especially significant collection tours and performances were conducted during Easter and just prior to Christmas. Adelaide’s Corinthian Singers accompanied Bishop Ian George on Good Friday. The majority of our programs were presented free of charge to ensure easy participation by South Australians, interstate and overseas visitors from all walks of life, in the educational and cultural activities of the Art Gallery of South Australia. The Gallery established a good working partnership with Guildhouse to enable South Australian artists to produce and exhibition work at the Gallery in response to our collection. The first artist, Deidre But-Husaim, is due to present her work in July 2014. The Gallery presented an exhibition display of contemporary South Australian decorative arts in celebration and as part of a program to acknowledge the 40th anniversary of the JamFactory. The Gallery continued to have supportive working partnerships with the OzAsia Festival, South Australian Living Artists Festival, University of Adelaide, The Confucius Centre - University of Adelaide, The Contemporary Art Centre of South Australia, The Adelaide Botanic Gardens, SA History Festival, South Australian Museum, Guildhouse, JamFactory Contemporary Craft & Design, the Adelaide Film Festival, SAMSTAG Museum, The Adelaide Festival Corporation and the Adelaide Festival Centre in the support of artists and the visual arts in South Australia. The Gallery provided a variety of physical resources, at no cost, to visual art organisations in the presentation of mutually beneficial programs. During the year, Guided tours across all exhibition programs and events attracted 16 059 patrons. The number of patrons participating in public program events (excluding Guided tours & Departure) was 31 638. Access to the STUDIO by the general public (after 2pm daily and on weekends) recorded a total of 19 140 attendances. Access to the Studio by booked school groups totalled 8 369 students. All up 75 206 patrons participated in a public program at the Gallery during the year.

VOLUNTEER GALLERY GUIDE SERVICE Art Gallery Guides support for START Children’s program and School holiday programs Twenty-seven Gallery Guides were involved in presenting START and School Holiday Tour this year. The Art Gallery Guides provided 84 special guided tours across a range of topics on scheduled START days through the year. Approximately 3 781 children and adults attended the art tours, averaging 315 per event. During scheduled school holiday activities the Gallery Guides provided 54 introductory tours for 1 102 children, prior to their commencing an art activity. Art Gallery Guides conducted a total of 138 special tours for children across the year.

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THE GALLERY SHOP The 2013–14 financial year was slower than the previous year, but sales were quite healthy. Good sales were achieved with accompanying book and merchandise for the exhibition Realms of Wonder: Jain, Hindu and Islamic Art of India, which included the Christmas period.

INFORMATION TECHNOLOGY In the 2013–14 financial year our Desktop Replacement Program was restarted. Although for this period this only included a small number of replacement machines, this program will ultimately result in significantly less staff time waiting for computers and avoid problems of old and out-of-warranty machines needing sudden replacement. We also upgraded parts of our backend IT infrastructure in the 2013–14 financial year. These lay the technical foundation for many elements of our Digital Strategy, which will see online ticketing and sales, gallery WiFi, digitisation of our library resources, improvements to our online collection, and greater digital engagement.

ART GALLERY WEBSITE In the 2013–14 financial year, the Art Gallery website had 237 971 unique visits of which 59.7 % were new visitors, a significant number of these visits were from mobile devices. The website had 874 594 pages viewed, with an average of 3.68 pages viewed per visit; the average time a visitor was on the website was 2 minutes and 39 seconds. A dedicated microsite was also set up for the 2014 Adelaide Biennial of Australian Art: DARK HEART. This website had 26 048 unique visits and 108 487 pages viewed, with an average of 3.03 pages viewed per visit. The average time a visitor spent on this website was 2 minutes and 88 seconds.

PUBLICATIONS AND MERCHANDISE This year six substantial publications were produced. Realms of Wonder and Highlights: Aboriginal and Torres Strait Islander Collection completed our five-year sponsorship agreement with Santos Ltd. With Santos’s support the Gallery has been able to produce many fine books over the five year period. The catalogue for the 2014 Adelaide Biennial of Australian Art: DARK HEART was one of the most successful in the series and is now out of print. Trevor and Ann Lands and family provided the necessary funds required to publish the jewel-like book Netsuke and other miniatures. Principally focussing on Max Carter’s collection that he donated to the Gallery in 2004, the book also looks at other early gifts of Japanese art to the collection.

Two major monographs on two South Australian artists were also produced. Dorrit Black’s importance

to Australian art had not been revised for thirty-five years, and the book repositioned her as a figure of

great significance in the development of Australian modernism.

Adelaide-born Mortimer Menpes was an important Australian expatriate artist who worked in Britain.

The book was the first to consider Menpes’s whole oeuvre and presented new scholarship from leading

Menpes’s scholars from around the world. Both publications were supported by the Art Gallery

Foundation.

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The Gallery developed a range of merchandise reproducing works from the collection and to accompany exhibitions. The range continues to grow and many new products are already in development. It is envisaged that the Gallery’s exclusive range will provide a comprehensive source of gifts for our varied visitor needs. A complete list of books and merchandise produced can be found in Appendix L. Our publications and some products sell nationally (and in New Zealand) through Thames & Hudson and resulted in further profits for the Gallery. The Gallery’s magazine Articulate continues to be highly regarded both with our members and nationally with our peers. Image Sales continues to grow as the Gallery’s works of art are requested more often. Images were provided to national and international magazines for promotion of the Gallery. Many images were supplied free of charge for curatorial, educational and promotional purposes as a means of providing access to the Gallery’s collections. As a condition of reproduction many complimentary copies of books were added to the Gallery’s Library.

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APPENDIX A

CHARTER AND GOALS OF THE ART GALLERY OF SOUTH AUSTRALIA

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

GOALS

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

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

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

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

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

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

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

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

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

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APPENDIX B1

ART GALLERY BOARD There were six ordinary meetings of the Board during the year, attended as indicated.

Michael Abbott AO QC (Chairman) 6 Andrew Gwinnett (Deputy Chair) (until 7 February 2014) 4 Emeritus Professor Anne Edwards AO 2

Frances Gerard (until 18 July 2013) 0 Sandra Sdraulig AM 4

Sue Tweddell 5

Tracey Whiting (until 25 June 2014) 6 Robert Whitington QC 6 Neil Balnaves (from 15 August 2013) 1 John Phillips (from 8 February 2014) 2

APPENDIX B2

ART GALLERY OF SOUTH AUSTRALIA FOUNDATION COUNCIL 2013–2014

Chairman: Andrew Gwinnett

Deputy Chair: Max Carter AO

Members: Susan Armitage Shane Le Plastrier Pam McKee John Phillips (from 14 November 2013)

Ex Officio: Michael Abbott AO QC, Mary Abbott, Nick Mitzevich, Thelma Taliangis (from 14 November 2013)

Executive Officer: Charlotte Smith

CONTEMPORARY COLLECTORS COMMITTEE 2013–14

Chairperson Thelma Taliangis

Deputy Chair Marc Allgrove

Members Margie Andrewartha Silvana Angelakis Mark Butcher Cherise Conrick Zoë Elvish Abbey Hall Vicki Niehus Mary Ann Santin Tom Twopeny Jane Yuile

Ex Officio Russell Kelty Nick Mitzevich

Coordinator Cate Stanford

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DEPARTURE Committee (from December 2013)

Art Gallery staff member Department Alice Clanachan Curatorial

Clare Gilham Public Programs

Marika Lucas-Edwards Communications

Aimee Phillips Benefaction and Membership

Cate Stanford Benefaction and Membership

Lisa Wilson Development

DIRECTORIAL

Associate to the Director Lindsay Brookes

Director Nick Mitzevich

Foundation

Executive Officer, Benefaction & Membership Charlotte Smith

Bookings & Database Officer Aimee Phillips

Membership/Foundation Officer Robyn Lademan

Coordinator Contemporary Collectors & Departure Cate Stanford

Strategic Projects

Project Curator Lisa Slade

AR

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AL

LE

RY

OF

SO

UT

H A

US

TR

AL

IA

OR

GA

NIS

AT

ION

AL

CH

AR

T

AP

PE

ND

IX B

3

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CORPORATE SERVICES

Associate Director Mark Horton

Administrative Services Coordinator Margaret Bicknell

Registration Information Technology

Gallery Shop

Associate Registrar:

Collections Management Georgia Hale

Gallery Shop Manager

Letitia Ashworth

Gallery Shop Supervisor

Suzanne Clift

Gallery Shop Staff Anna Burdin

Chandan Bala Jain Lorinda Curnow

Alicia Kaye Elizabeth Pascale

Soraya Phillips Anika Williams

Manager, Information Technology

Lance Learhinan (until June 2014)

David Mikos (from June 2014)

IT Support John O’Rielley

Associate Registrar: Exhibitions & Loans

Vicki Petrusevics

Senior Registrtion Officer

Tim Tyler

Registration Officers Graham Christopher

Darren Hehir Richard King

Stephen Oates Daniel von Schutt

John Webster Noel White

Ken Orchard (casual)

Brad Harkin (casual)

Registrar Jan Robison

Security & Cleaning Services

Contractors

Registration Assistant

Anne Wright

Workshop Artisan/Carpenter

Nick Didenko (until 14 March 2014)

Darren Hehir (from 17 March 2014)

Artisan/Painter Franz Nieuwenhuizen Collection

Database Officer

Sue Smith

Information Manager Jin Whittington

Library Technician

Ju Phan

Library

Senior Project Officer, Finance & Capital Assets Kym Hulme

Management Accountant Athina Cakouros

(until September 2014)

Bill Stathoulis (from October 2014)

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CURATORIAL

SENIOR CURATOR & CURATOR OF PRINTS, DRAWINGS & PHOTOGRAPHS

Julie Robinson

Curatorial Administrative Assistant Heather Brooks (p/t)

Miranda Comyns (p/t)

Curator of Australian Art

Tracey Lock-Weir

Curator of Asian Art

James Bennett

Curator of European Art Jane Messenger

Associate Curator Australian Paintings,

Sculpture & Aboriginal & Torres Strait Islander Art

Elle Freak (from 14 April 2014)

Associate Curator of Australian Paintings &

Sculpture Nici Cumpston

Curator of European & Australian

Decorative Arts Robert Reason

Associate Curator of Prints, Drawings &

Photographs Maria Zagala

Acting Associate Curator of Prints,

Drawings & Photographs

Assistant Curator of Australian Paintings &

Sculpture

Acting Associate Curator of European Art

Rebecca Capes-Baldwin (Maternity Leave until February 2015)

Assistant Curator, Asian Art

Russell Kelty

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PUBLICATIONS

Deputy Director Mark Horton

Graphic Designer Tom Gordon

(until 7 March 2014)

Publications Officer: Image Sales & Rights

Tracey Dall (until 30 April 2014)

Publications Officer: Logistics & Digital Imaging Stewart Adams

Publications Officer: Digital Imaging

Saul Steed

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EXHIBITIONS & PUBLIC PROGRAMS

Exhibitions & Public Programs Manager David O’Connor

Exhibitions & Public Programs Coordinator

Luke Thurgate (until January 2014)

Acting Exhibitions & Public Programs Coordinator

Megan McEvoy (from February 2014)

Exhibitions & Public Programs Officer Megan McEvoy (p/t) (until February 2014)

Aimee Phillips (p/t) (from February 2014)

Education

Education Officer Mark Fischer

Education Support Officer Karina Morgan (p/t)

(Maternity Leave until February 2015) Ryan Sims

Public Programs Officer – Children’s Activities

Clare Gilham (p/t)

Front of House Coordinator

Cate Parkinson

Front of House Support Staff Lorinda Curnow (casual)

Alex Reinhold (casual)

Kelly Day (casual)

Sarah Gibson-Walker (casual)

Serena Wong (casual)

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MARKETING & DEVELOPMENT

Communications Manager Marika Lucas-Edwards

Head, Marketing & Development Susie Barr

Manager Development Emma Fey (until January 2014)

Marketing Officer Heidi Chamberlain

Development Officer Lisa Wilson

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FESTIVAL OF CONTEMPORARY ABORIGINAL AND TORRES STRAIT ISLANDER ART 2015

Public Programs Manager

Vacant

Festival Coordinator Tracey Dall (from 1 May 2014)

Artistic Director Nici Cumpston (from 30 September 2013)

Festival Curator Edwina Circuitt (from 23 June 2014)

Executive Producer Mimi Crowe (from 8 October 2013)

Marketing & Communications Manager

Vacant

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ART GALLERY OF SOUTH AUSTRALIA MANAGEMENT STRUCTURE

Director Foundation

Associate to the Director

Corporate Services

Administration

Operations

Information Technology

Gallery Shop

Development, Marketing Curatorial Exhibitions & Public Programs

Registration

Sponsorship

Marketing & Communications

Curators

Exhibitions

Public Programs

Education

Finance

Strategic Projects

Membership & Benefaction

Contemporary

Collectors

Library

Publications

Festival

APPENDIX B4 ART GALLERY STAFF

SENIOR MANAGEMENT Nick Mitzevich, BA (Fine Arts), Grad.Dip.FA (Hons), GradDipED Mark Horton, DIPBus, MPA (ongoing), Deputy Director

CURATORIAL Julie Robinson, BA, MAprelim, GradDipMus Stud., Senior Curator, Prints, Drawings & Photographs James Bennett, DipArtEd, Curator of Asian Art Tracey Lock-Weir, BA (VisArt), GradDipEd, Curator of Australian Art Jane Messenger, BA (Hons), MA (ArtCurStud), Curator of European Art Robert Reason, BA, PostgradDipArtCurStud, MA, Curator of European & Australian Decorative Arts Rebecca Capes-Baldwin BA (Hons), Acting Associate Curator of European Art (Maternity

Leave until February 2015)

Nici Cumpston, BA (Visual Arts) (Hons), Associate Curator of Australian Paintings, Sculpture & Indigenous Art (until 29 September 2013)

Maria Zagala, BA (Hons), MA (ArtHistRes), Associate Curator, Prints Drawings & Photographs Lisa Slade, BA, DipEd (Visual Arts & English), PhD (continuing), Project Curator Elle Freak, BA (Visual arts), GradDip (ArtHist), MA (Cur&MusSt), Assistant Curator, Australian Paintings & Sculpture Russell Kelty, BA (Art History), MA (ArtHist), Assistant Curator, Asian Art Alice Clanachan, BA (Hons), MA (CultHerMus Stud), Assistant Curator of Prints, Drawings & Photographs (commenced 30 September 2013)

PUBLIC PROGRAMS/FRONT OF HOUSE/EDUCATION David O’Connor, DipT (FineArts); Bed (Fine Arts);

GradDipArtsAdmin, Manager, Exhibitions, Public Program & Front of House Megan McEvoy, Cert2 Arts Administration, Grad Dip Arts & Cultural Management, Exhibitions & Public Programs Officer (p/t) Acting Exhibitions & Public Program Coordinator (p/t) (from January

2014)

Luke Thurgate, Cert4, Training and Assessment; BA (Fine Art); Exhibitions & Public Program Coordinator (resigned February 2014)

Cate Parkinson, DipBus, DipArts, Front of House & Volunteer Coordinator Anika Williams, Exhibitions & Public Programs Officer (p/t) Clare Gilham, MA (Mus&CurSt); Bachelor of Fine Arts, Public Programs - Children’s activities (p/t)

Ryan Sims, Education Support Officer Mark Fischer, DipEd (Fine Art), BA, Education Officer (seconded) Lorinda Curnow, BA (DrStud), GradDipEd (secondary), GradDip (Cultural Community

Development: Community Arts Based Practice, Front of House Officer) (casual)

Kelly Day, LLM, LLB, BEc, CertInt, Des&Dec, Front of House Officer (casual) Sarah Gibson-Walker, BBus (Mark), MA (ArtHist), MA (Cur&MusStud), Front of House Officer (casual)

Serena Wong, BA (Creative Industries), MA (Cur&MusStud), MA (ArtHist), Front of House Officer (casual)

Alex Reinhold, BIntlSt-BA, GradDipEd, Front of House Officer (casual)

PUBLICATIONS Antonietta Itropico, BA, Manager, Publications & Sales Tracey Dall, Publications Officer – Image Sales & Rights (until 13 June 2014)

Stewart Adams, Publications Officer – Logistics & Digital Imaging Saul Steed, Publications Officer – Digital Imaging Tom Gordon, Graduate Officer: Graphic Design (until March 2014)

MARKETING & DEVELOPMENT Susie Barr, BCreatArts, ProfDipMark, Head, Marketing & Development Emma Fey, BMan (Mark), Manager Development (until January 2014) Marika Lucas-Edwards, GradDipComm (PubRel), BA, Communications Manager Lisa Wilson, Development Officer Heidi Chamberlain, BA, GradCert (ArtHist), Marketing Officer

BENEFACTION & MEMBERSHIP Charlotte Smith, MA (Mus&CurSt), BA, DipLang, Executive Officer, Benefaction and Membership Robyn Lademan, Membership/Foundation Officer

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Aimee Phillips, MSW (ongoing), BA, Bookings and Database Officer Cate Stanford, MGPP (ongoing), BA (ArtHist),

Coordinator Contemporary Collectors and Departure, BA (ArtHist)

REGISTRATION AND ART SERVICES Jan Robison, BA (Hons), GradDipEd, MSc, Registrar

Vicki Petrusevics, BA (VisArts), Grad Dip ManagArt, Associate Registrar Exhibitions & Loans

Georgia Hale, BA (DesCer), AssDipGraphDes, Associate Registrar Collection Management Anne Wright, Registration Assistant Sue Smith, Collection Database Officer Tim Tyler, Senior Registration Officer Stephen Oates, Registration Officer John Webster, Registration Officer Noel White, Registration Officer Graham Christopher, Registration Officer Richard King, Registration Officer Darren Hehir, Registration Officer Daniel Schutt, Registration Officer Ken Orchard, Registration Officer (casual)

Brad Harkin, Registration Officer (casual)

WORKSHOP Franz Nieuwenhuizen, Artisan/Painter Nick Didenko, Artisan/Carpenter (until March 2014)

Darren Hehir, Artisan/Carpenter (from March 2014)

LIBRARY Jin Whittington, BMus (Hons), GradDipLibStud, Information Manager Ju Phan, AssocDipLibTech, Library Technician (p/t)

ADMINISTRATIVE AND IT SERVICES Lance Learhinan, AssocDipElecEng, Manager, Information Technology (until June 2014)

David Mikos, BSc (Hons), IT Manager (from June 2014)

John O’Rielley, IT Support Officer Bill Stathoulis, MAcc, BachBIF, Management Accountant (from October 2013)

Athina Cakouros, CPA, BComm, Management Accountant (until September 2013)

Lindsay Brookes, Associate to the Director Margaret Bicknell, Cert4, BusAdmin, Administrative Services Coordinator Heather Brooks, Curatorial Administrative Assistant (p/t)

Miranda Comyns, Curatorial Administrative Assistant (p/t)

GALLERY SHOP Letitia Ashworth, Gallery Shop Manager Suzanne Clift, Gallery Shop Supervisor Anika Williams, BVA (Hons), Gallery Shop Assistant (p/t)

Anna Burdin, Gallery Shop Assistant (casual)

Chandan Bala Jain, Gallery Shop Assistant (casual)

Lorinda Curnow, Gallery Shop Assistant (casual)

Alicia Kaye, Gallery Shop Assistant (casual)

Elizabeth Pascale, Gallery Shop Assistant (casual)

Soyara Phillips, Gallery Shop Assistant (casual)

Lauren Simeoni, Gallery Shop Assistant (casual)

OPERATIONS Kym Hulme, Senior Project Officer, Finance & Capital Assets

FESTIVAL Mimi Crowe, BA (Theatre), GradDipArtsAdmin, MBA, Executive Producer Nici Cumpston, BA (Visual Arts) (Hons), Artistic Director

Tracey Dall, Festival Coordinator (from 1 May 2014)

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VOLUNTEERS

GALLERY GUIDES – Executive Committee Sandra Winder – Co-ordinator Jill Swann – Co-ordinator Elect Karen Hammond – Secretary / Treasurer Nic Carstensen – Roster Manager David Roach – Continuing Education Manager Mary Rivett – Special Projects / Bookclub / Outreach Manager Trish Finnimore – Children’s Tours Manager Mark Fischer / (Ryan Sims) – Learning@Gallery Manager

FRONT OF HOUSE INFORMATION DESK AND VESTUBULE DESK Karen Adams, Mary Angove, Margaret Archer, Sophie Armstrong, Dianne Atwa, Ling Bai, Ganesh Balakrishnan, Anne Ballard, Kate Barrett, Anne Berry, Cheryl Bowen, Patsy Brebner, Isabelle Bryce, Gini Bungey, Barry Carter, Patricia Church, Kristin Clark, Judy Clarke, Carina Correas, Kathy Crockett, Frances Cumming, Doreen Dare, Penny Davis, Bob Davis, Barbara Day, Kelly Day, Rod de'Hoedt, Bice Della Putta, Tina Dolgopol, Kate Driscoll, Gai Dudley, Faye Duncan, Lorna Elcombe, Cynthia Elford, Jenny Esots, Lesley Ewens, Conxita Ferrer, Elle Field, Genevieve Forster, Mary Gaillard, Kay Gill, Bev Golding, Karen Hammond, Debra Hassen, Maureen Heaver, Olga Hoepner, Mary Hogan OAM, Hannah Hutchison, Emmily Hyland, Geraldine Jennings, Dee Jones, Jacqui Jones, Mai-Lin Kan, Ishira Kanathigoda, Casey Kendrick, Suzy Kidd, Katarina Klaric, Jenifer Klenner, Renate Leak, Julia Lesniewski, Wendy McCormick, Patricia McGaffin, Jane McGregor, Georgia Minucci, Violetta Mount, Margaret Neagle, Pamela Norman, Andrea Num Glover, Christine O’Connor, Margo O’Donnell, Rita Pemberton, Rhonda Perriam, Barbara Phillips, Lorraine Phillips, Priscilla Pincus, Steven Pinhorn, Ann Podzuweit, Jacqueline Polasec, Liz Pritchard, Bert Prowse, Twisha Pujara, Marion Queale, Ruth Retallack, Caroline Ricci, Sandra Richardson, Sue Rieger, Diana Roberts, Josie Robertson, Anne Rodrigues, Eric Rossi, Jan Rowell, Kyoko Schultz, Dhanushka Senavirathne, Alison Shaw, Ken Shimmin, Julie Smith, Margaret Stevens, Daisy Sugars, Glennis Syddell, Julie Tammo, Deanna Temme, Barry Trowse, Rebecca Tuck, John Tuit, Sally Twisk, Ted Van Dijk, Christine Venning, Paul Verbeeck, Maxie Walker, Yvonne Waller, Lorraine White, Margaret White, Naomi Williams, Liz Wilson, Pauline Wood, Na Xu (Xuna)

PUBLIC PROGRAMS – START & STUDIO Dianne Atwa, Judi Christofis, Gilbert Dashorst, Lucy Eckermann, Wendy Fairclough, Ingrid Goetz, Kari-lee Harris, Madeleine Kiley, Georgia Minucci, Nelum Perera, Amy Pfitzner, Emily Taliangis, Julia Townsend

GALLERY GUIDES Bente Andermahr, Catherine Bagot, Hasmik Balayance, Jill Becker, Josephine Ben-Tovim, Ann Blandford, Christine Briggs, John Brooking, Helen Bulis, Nic Carstensen, Annette Chalmers, Rosemary Collins, Paul Corcoran, Robyn Cowan, Kathy Crockett, Jenny Cunningham, Alma Daehn, Janet Darling, Gillian Davis, Michelle Davis-Wanzek, Gai Dudley, Estelle Farwell, Patricia Finnimore, Lorraine Franzin, Gordon Goulding, Christine Guille, Julian Hafner, Karen Hammond, Pamela Harding, Jennifer Harris, John Hayes, John Hown, Barbara Humphries, Jenny Jarvis, Julienne Keane, Sue Kent, Jenifer Klenner, Jessica Knight, Brian Knott, Kirsty Kurlinkus, Philip LaForgia, James Lainas, Laurel Laurence, Helga Linnert, Judy Lloyd, Virginia Lynch, Jan McKinlay Moss, Gillian Morris, Robyn Mullins, Christopher Nance, Maureen Nimon, Ann Noble, Pamela , Norman, Rosemary Nursey-Bray, Jennifer Palmer, Wendy Parsons, Margaret Payne, Heather Pearce, Veronika Petroff, Marion Queale, Julie Redman, Mary Rivett, David Roach, Christabel Saddler, Mary Schinella, Jenni Scrymgour (deceased), Michael Shepherd, Perla Soberon-Brittle, Nell Steele, David Stokes, Jill Swann, Janet Taylor, Eileen Taylor, Pamela Terry, Jo Thyer, Ruth Walter, Carol Watson, Sandra Winder, John Woodrow

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ADMINISTRATION Bernadette Klavins, Susan Lloyd, Eddie Major, Laura Masters, Ellie Newbery, Harriet Flavel, Cathy Grigonis (deceased), Lorraine Phillips

SPECIAL PROJECTS Deidre But-Husaim

REGISTRATION Conxita Ferrer, David Gill, Peter Lane

CURATORIAL Meg Apsey, Ann Axelby, Alex Burchmore, Annette Chalmers, Angela Dawes, Coby Edgar, Stephanie Fabian, Barbara Fargher, Katarina Klaric, Craig Middleton, Gary Morgan, Heather Pearce, Julia Psorakis, Madeline Reece, Terry Teusner, Caroline Tudor Owen, Susan Woodburn

INTERNS Joanna Kitto, Anneliese Milk, Lauren Mustillo

LIBRARY Jenny Aland, Kathy Boyes, Clare Eacott, Sharon Frost, Judy Gall, Victoria Gilham, Judith Herd, Hugo Latorre, Megan Lewis, Sarah Linke, Annette Masters, Finula McCrossan, Sharon Mosler, Janet Neilson, Joan Newman, Patricia Paddick, Jacqueline Polasec, Lois Taverner, Edward Tomczyk, Caroline Tudor, Owen, Jose White, Susan Woodburn

LEARNING AT THE GALLERY - GALLERY GUIDE SUPPORT Bente Andermahr, Jill Becker, Christine Briggs, Helen Bulis, Nic Carstensen, Rosemary Collins, Paul Corcoran, Jenny Cunningham, Alma Daehn, Jan Darling, Gillian Davis, Gai Dudley, Lorraine Franzin, Karen Hammond, Jennifer Harris, Barbara Humphries, Jenny Jarvis, Julienne Keane, Sue Kent, Brian Knott, Kirsty Kurlinkus, Philip LaForgia, James Lainas, Helga Linnert, Judy Lloyd, Virginia Lynch, Gillian Morris, Maureen Nimon, Ann Noble, Pam Norman, Rosey Nursey-Bray, Jenny Palmer, Wendy Parsons, Heather Pearce, Marion Queale, David Roach, Christabel Saddler, Mary Schinella, Nel Steele, David Stokes, Jill Swann, Janet Taylor, Pamela Terry, Ruth Walter, Carol Watson, Sandra Winder

LEARNING AT THE GALLERY - VOLUNTEER SUPPORT Tony Antenucci, Skye Bennett, Ella James, Ann Keast, Margaret Lloyd, Lucy Macdonald, Maureen Prichard, Trish Roche, Barbara Tanner, Nancy Van Kirk

LEARNING AT THE GALLERY – GALLERY STAFF SUPPORT

James Bennett, Nici Cumpston, Elle Freak, Claire Gilham, Russell Kelty, Tracey Lock-Weir, Megan McEvoy, Jane Messenger, Nick Mitzevich, Cate Parkinson, Robert Reason, Alexandra Reinhold, Julie Robinson, Lisa Slade, Luke Thurgate and Serena Wong

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APPENDIX C

STAFF PUBLIC COMMITMENTS

NICK MITZEVICH Five talks to Gallery Guides Five talks on the collection Thirty-two talks and tours on the 2014 Adelaide Biennial of Australian Art: DARK HEART Seven lectures for Graduate Studies in Art History 15 radio interviews 20 newspaper and magazine interviews Four photo-shoots for magazines Three television interviews Three talks to special interest groups in Adelaide Opened four exhibitions Judged two Art Prizes Tour of the 2013 Venice Biennale 2013 for the Australia Council Champions Program COMMITTEES: Council of Australian Art Museum Directors; Australia Council Visions Australia Peer Panel; Helpmann Academy Board of Governors; Arts SA Senior Management Group; Graduate Studies in Art History Joint Committee; University of Adelaide Professional Advisory Board PUBLICATIONS: 2014 Adelaide Biennial of Australian Art: DARK HEART (AGSA, 2014); Forewords for Realms of Wonder: Jain, Hindu and Islamic Art of India (AGSA, 2013); Netsuke and Other Miniatures; Highlights: Aboriginal and Torres Strait Islander Collection, Art Gallery of South Australia; Dorrit Black: unseen forces; and The World of Mortimer Menpes: Painter, Etcher, Raconteur (AGSA, 2014)

Four Director’s Messages for the Articulate magazine. OVERSEAS TRAVEL: London, United Kingdom, Paris, France, and Venice, Italy, 1–15 October 2013; Singapore, 16–20 January 2014; Hong Kong, 13–17 May 2014

MARK HORTON One talk to Gallery Guides OVERSEAS TRAVEL: Courier trip to London and meetings with TATE Britain

LISA SLADE 15 lectures in Graduate Studies in Art History and Curatorial and Museum Studies, University of Adelaide

Ten external opening addresses and presentations (including exhibition openings and

key note addresses)

Numerous floor talks and guided tours for booked groups (exhibitions including 2014 Adelaide Biennial of Australian Art: DARK HEART, Paper, ink and ochre, HEARTLAND, (Melrose and Elder Wings)

Numerous floor talks for secondary and tertiary groups, including Teachers’ Previews and Curatorial Masterclasses Five lunchtime talks Regular presentations to Gallery Guides and Special Interest Groups PUBLICATIONS: Slade, Lisa et al 2014 Adelaide Biennial of Australian Art: DARK HEART, Art Gallery of South Australia 2014; Curating the Curative Das Superpaper Issue 30, 2014 Urpflanze, street plants, Caroline Rothwell Santos Museum of Economic Botany 2014 Danie Mellor and the Picasso Principle in Danie Mellor: Exotic Lies Sacred Ties University of Queensland Art Museum 2014 COMMITTEES: School of Art, Architecture and Design Advisory Group, University of South Australia; Artlink Board; Public Art Round Table, Adelaide City Council OTHER PROFESSIONAL: Paper co-presented with Associate Professor Catherine Speck at the 2013 AAANZ conference, Melbourne, Victoria. Judging, Helpmann Academy Graduate Exhibition Judging Royal Adelaide Show, September 2013 Judging Togart Award, Darwin, September 2013 Judging, Prisoners Art Prize, Flinders University, March 2014 Judging Watershed Art Prize, Salisbury Council, March 2014 Judging Kangaroo Island Art Prize, April 2014

JULIE ROBINSON Two lectures for Graduate Studies in Art History One lunchtime talk Two talks to the Gallery Guides and Education Guides Three exhibition talks to Gallery volunteers and to members One teachers’ briefing One talk for SA Regional Gallery Directors

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One newspaper interview One TV interview COMMITTEES: Graduate Studies in Art History Joint Committee; Committee Member Museums Australia Art, Craft and Design Special Interest Group PUBLICATIONS: ‘Delicate drypoint lines’ in Brian Allison and Jennifer Hill (eds) Hoardings: exceptional, exotic and common place, University of Melbourne, Melbourne, 2013, pp. 70-71 The World of Mortimer Menpes: Painter, Etcher, Raconteur (AGSA, 2014) OVERSEAS TRAVEL: London: courier for paintings to the Royal Academy and exhibition research, 4–22 September

TRACEY LOCK-WEIR Seven Newspaper/ journal interviews Five Art History lectures Two Television interviews Six Specialist floor talks Two Community group talks Four Radio interviews Four Gallery Guides and Front of House volunteers talk One Symposium Lecture One Exhibition opening speech OVERSEAS TRAVEL: London 30 August–12 September 2013 PUBLICATIONS: Dorrit Black: unseen forces (AGSA 2014) COMMITTEES: Nora Heysen Foundation

ROBERT REASON Three lectures for Graduate Studies in Art History Five lunchtime talks One talk to the Gallery / Education Guides Seven specialist floor talks to Foundation; higher education; external groups One television interview PROFESSIONAL: Presented ‘Inspired Design’ to The Johnston Collection, Melbourne, 12 September 2013. Attended Mid-Century Modern: Australian Furniture Design lecture series, National Gallery of Victoria, Melbourne, 31 May 2014. OVERSEAS TRAVEL: Paris, France, 10–24 January 2014, to assist with Fashion Icons: Masterpieces from the collection of the Musée Des Arts décoratifs. London, Britain 25–31 January 2014 visit curators, art museums, gallerists.

PUBLICATIONS: Reason, R., Lace: The Art of Adornment, ICON Magazine, Issue 4, May–June 2014, pp92–5. Reason R, Julia deVille in Mitzevich N, 2014 Adelaide Biennial of Australian Art: DARK HEART, AGSA, Adelaide, pp86.

JAMES BENNETT Three lectures for Graduate Studies in Art History Six lunchtime talks Two talks to the Gallery Guides One specialist floor talk Five public lectures Twelve exhibition tours One Foundation event PROFESSIONAL: Thesis supervision: 1 MA Art history candidate PUBLICATIONS: Realms of Wonder: Jain, Hindu and Islamic Art of India in Orientations: The magazine of collectors and connoisseurs of Asian Art, Vol 44, No 7, October 2013, pp1–8; 'India, Burma and Cashmere exhibition, 1891', The World of Mortimer Menpes: Painter, Etcher, Raconteur, 2014, pp76–81; The mystery of the oshi-e screen, c1896, The World of Mortimer Menpes: Painter, Etcher, Raconteur, 2014, pp164–5.

OVERSEAS TRAVEL: Gordon Darling Travel Grant for Treasure ships: Art in the age of spices, England, France, India, Portugal, Netherlands, Turkey, May 2014.

RUSSELL KELTY Four lectures for Graduate Studies in Art History Six lunchtime talks Four talks to the Gallery Guides Six exhibition tours Two public lectures One Foundation event PROFESSIONAL: Thesis grading: 1 MA Art history candidate PUBLICATIONS: ‘Stairway to heaven’, TAASA Review, Vol. 22, No 4, December 2013, pp24–25; 'Elements in harmony: Contemporary Japanese ceramics’, TAASA Review, Vol 23, No.2, June 2014, p22–24; 'Japanese Ceramics, 1896', The World of Mortimer Menpes: Painter, Etcher, Raconteur, 2014, pp 94–95; 'Etchings of China, 1890s', The World of Mortimer Menpes: Painter, Etcher, Raconteur, 2014, pp140–141.

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JANE MESSENGER Two lectures for Graduate Studies in Art History Five lunchtime talks Three talks to Gallery Guides One newspaper interview One Contemporary Collectors talk PUBLICATIONS: The World of Mortimer Menpes: Painter, Etcher, Raconteur, contributing author OVERSEAS TRAVEL: New York, 29 May–6 June 2014

ALICE CLANACHAN Two lunchtime talks One Departure talk One specialist floor talk One lecture for Masters in Curatorial and Museum Studies One talk to the Gallery Guides COMMITTEE: Departure PUBLICATIONS: contributing author in The World of Mortimer Menpes: Painter, Etcher, Raconteur, Julie Robinson, AGSA, Adelaide, 2014

NICI CUMPSTON Eight lunchtime talks Eight talks to Gallery Guides Five lectures for Graduate studies in Art History Eight specialist floor talks Three floor talks for secondary and tertiary groups, including Teachers’ Previews Four external guest lectures Opened four exhibitions Six radio interviews Keynote presentation at the National Museums Australia conference, Launceston – May 2014 JUDGING APPOINTMENTS: Pre-selection panel with Kelly Gellatly and Therese Ritchie for The Alice Prize, April 2014 PUBLICATIONS: Highlights from the AGSA Aboriginal and Torres Strait Islander Collection with Lisa Slade CURATED EXHIBITIONS AND DISPLAYS: HEARTLAND: Contemporary Art from South Australia June–September 2013, co-curated with Lisa Slade COMMITTEES: Selection panel for Our Mob – annual exhibition at Artspace, Adelaide Festival Centre INTERSTATE/INTERNATIONAL VISITS: Kluge-Ruhe Aboriginal Art Museum, University of Virginia, Charlottesville USA, guest lecture on my curatorial practise at AGSA

Embassy of Australia, Washington DC discussed the 2015 Festival of Contemporary Aboriginal and Torres Strait Islander art Harvey Art Projects, Idaho USA discussed the 2015 Festival of Contemporary Aboriginal and Torres Strait Islander art; National Museums Australia conference held in Launceston - May 2014 INTERNS AND STUDENT SUPERVISION: Coby Edgar - Mentor role - SA School of Art, University of South Australia Aboriginal and Torres Strait Islander Art – Conservation was managed by Australian Art as I was working on the 2015 Festival of Contemporary Aboriginal and Torres Strait Islander art

MARIA ZAGALA Five lectures in Graduate Studies in Art History, University of Adelaide Three lunchtime talks One lecture to Gallery and Education Guides PUBLICATIONS: Contributing author The World of Mortimer Menpes: Painter, Etcher, Raconteur (AGSA, 2014); “Richard Lewer – Worse luck I’m still here”, 2014 Adelaide Biennial of Australian Art, DARK HEART, Time to time: the films of Bill Morrison, (AGSA, 2013) PROFESSIONAL: Co-judge Judge Freemantle Print Award 2013; Co-judge Hutchins Prize, Hobart, 2013. Participated in invited curatorial workshop with Jens Hoffmann, Artspace, Sydney 5 August 2013

ELLE FREAK Four lunchtime talks One talk to DepARTure Three specialist floor talks Two talks to Gallery Guides One lecture for Masters in Curatorial and Museum Studies One lecture for Gallery Education Forum One lecture at the University of South Australia for Visual Art Professional Practice students Judge of the 2014 Glenside Lion Arts Show Prize Speaker at the Dorrit Black Symposium 2014

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DAVID O’CONNOR One talk for Curatorial and Museum Studies One radio interview with Radio Adelaide Official opener of the 2013 Kapunda Rotary Art Prize Boards Member Art for Public Places Committee, Arts SA Representative of Regional Galleries Association of South Australia

CATE PARKINSON Three presentations Four information sessions Four training sessions

MEGAN McEVOY 2014 Youthscape Art Prize Member of Regional Galleries Association South Australia

CLARE GILHAM Judge for the 2014 Penola Coonawarra Arts Festival John Shaw Neilson Acquisitive Art Prize, Design Prize and Youth Art Prize.

MARK FISCHER Presentation Carclew Team Building Day Department for Education and Child Development (DECD) connectED Expo DECD Every Chance for Every Child, Image of the child – research project Presentation Council of Education Associations of South Australia (CEASA) Conference Presentation Visual Art Educators of South Australia (VAESA) Winter Conference Presentation to Curatorial and Museum Studies B, Art History students Two presentations to the Gallery Guides History Teachers’ Association of South Australia (HTASA) State Conference Officially Opened Trinity College Student SALA exhibition SALA Festival, ‘Secondary Drawing Exhibition’ Opening, Radford Auditorium, Art Gallery DECD Outreach Education (OE) Forum Group teacher presentation Presentation Hospital Education Services teachers Presentation Concordia College Collaboration South Australian Museum Children’s Voice Research 2014

Presentation Adelaide Decorative Fine Arts Society (ADFAS)

Talk to the Association of Independent Schools of South Australia (AISSA)

Centre of Excellence and Innovation in Early Childhood Development – expert panel Two presentations to Flinders University Visual Arts students Theories of friendship – exhibition opening – St Peters Girls ELC Presentation to TafeSA, Gilles Plains students COMMITTEES: Gallery Guides Executive Committee, AGSA Visual Arts Educators of South Australia (VAESA) Friends of SASA Board (FSASA)

Adelaide Central School of Art (ACSA) Schools Program Advisory Committee Artists in Schools Advisory Panel, Carclew Youth Arts DECD Outreach Education (OE) Website Steering Committee

RYAN SIMS Two presentations to St Josephs School, Payneham One presentation to Teachers group from Indonesia One presentation – Careers Development to Victor Harbor High School One Studio workshop presentation to Errington Special Education Centre Studio workshop presentation to Gallery Guides Studio workshop presentation to Hospital Education Services students Studio workshop presentation to Linden Park Primary School Studio workshop presentation to North Haven School Two Studio workshop presentations to University Senior College Six Studio workshop presentations to University of South Australia Visual Communications COMMITTEE: Gallery Guides Executive Committee, AGSA

JAN ROBISON Two lectures for Graduate Studies in Art History COMMITTEE: Member, Australian Registrars Committee; Team Leader, Disaster Plan Team; Member, WH&S Committee

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VICKI PETRUSEVICS COMMITTEE: Member, Australian Registrars Committee; Member, WH&S ArtSA Coordinating Committee

GEORGIA HALE One lecture for Graduate Studies in Art History COMMITTEES: Member, Australian Registrars Committee; Member, Disaster Plan Team

SUE SMITH One lecture for Graduate Studies in Art History COMMITTEE: Member, Disaster Plan, AGSA

ANNE WRIGHT COMMITTEE: Member, Disaster Plan, AGSA

JIN WHITTINGTON COMMITTEE: Secretary/Treasurer, ARLIS/ANZ SA Chapter

CHARLOTTE SMITH COMMITTEES: AGSA Foundation; DEPARTURE

CATE STANFORD COMMITTEES: AGSA Contemporary Collectors; DEPARTURE

AIMEE PHILLIPS COMMITTEE: DEPARTURE

KYM HULME COMMITTEE: WHS, AGSA; Restaurant, AGSA; Disaster Recovery Group; ACCC, Precinct Risk Management; Arts SA Facilities Management (FM) Forum

MARGARET BICKNELL COMMITTEE: Member, Disaster Plan, AGSA

MIMI CROWE COMMITTEES: ex officio, Cultural Advisory Council INTERSTATE VISITS: Corroboree Festival, Sydney

TRACEY DALL One talk to Graduate Studies in Art History One talk to Adelaide Central School of Art students COMMITTEES: ex officio Cultural Advisory Council INTERSTATE VISITS: Corroboree Festival, Sydney

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APPENDIX D CONSERVATION

AUSTRALIAN PAINTINGS & SCULPTURES A total of 42 paintings, 13 sculptures, two works on paper and two textiles from the Australian art collection received treatment from Artlab Australia. Listed below are the works of art in the Australian art collection considered to have received the most extensive conservation and care this year. Tom Roberts, A Break Away!: loan preparation and treatment LB Ben Quilty, Evening Shadows, Rorschach after Johnson: loan preparation and collections care ET Saul Solomon, Portrait of John Howard Clark: treatment CP

John Dowie, Boy Fountain: treatment IM,AMB

Clifford Last, Standing Figures: collections care IM,AMB Special exhibitions: Considerable exhibition preparation was required for Dorrit Black: unseen forces. A total of 30 works of art from the Gallery’s collection received treatment and new frames, including many of the artist’s linocut prints. 84 loan works were prepared for display and underwent rematting and framing.

ABORIGINAL AND TORRES STRAIT ISLANDER ART This year a total of 28 Aboriginal and Torres Strait Islander objects were treated by Artlab Australia. Preventative care for works of art of a fragile nature remains an ongoing priority. There were 15 boxes made for the storage of sculptures by the Tjunpi Desert Weavers and boxes were also made for the storage of 224 glass blown sculptures which form the sculpture Burial Ground by Yhonnie Scarce. In total seven paintings and 21 sculptures received collection care or were prepared for loan. The works of art

considered to have major treatment this year are listed in more detail below. Queenie McKenzie, Texas Downs: paint consolidation, MP,ET Uta Uta Tjangala, Old Man's Dreaming: international loan preparation, MP,ET

EUROPEAN PAINTINGS, SCULPTURE & WATERCOLOURS A total of nine paintings and four sculptures from European art received conservation treatment. More major treatments were conducted on the following works: Herbert Schalz, Zenobia’s last look on Palmyra Giovanni Segantini Spinning O Andreoni Queen Esther John Hoyland 8.7.67

DECORATIVE ARTS 121 decorative arts items required general exhibition preparation Six decorative arts items required general storage preparation Items conserved: Nine items of historical lace treated KP,MG

Morris & Co., Design for the tapestry flora, c1896 JS,AE,LB

WORKS ON PAPER Mount cutting and framing works on paper in preparation for exhibitions, collection displays and new acquisitions has continued to be an ongoing process. This year 250 prints, drawings and photographs underwent exhibition preparation or conservation. Major work included: matting, book stand-making and framing of over 150 works by Mortimer Menpes for exhibition The World of Mortimer Menpes: Painter, Etcher, Raconteur, exhibition preparation for five Victor Pasmore prints, matting of 13 Carol Jerrems photographs, and matting of prints by GB Piranesi for display AA,EM,AC,JS

ASIAN ART This year 87 Asian art items were treated by Artlab Australia. Asian art prepared for display and storage included 26 textiles, 13 works on paper, two paintings, three ceramics and six metalware. Seven Indian metal works were prepared for display RR,JG

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Five Indian works on paper were prepared for display and storage AA,AE

Four Indian shrine hangings were prepared for display and storage KP,MG

Four Chinese and Japanese ceramics were prepared for display and storage RR,JG

One Indian painting was prepared for display ET,MP

One Thai painting was prepared for display ET,MP One pair of Japanese screens were prepared for interstate exhibition HH

One pair of Japanese screens were prepared for display and storage HH

Key to Conservators:

AA AE HH

AMB MP ET KP JG

MG LB RR IM EM AC JS

Anna Austin Aquila Evill Helen Halley Abbie Maxwell-Brown Marek Pacyna Eugene Taddeo Kristin Phillips Justin Gare Mary-Anne Gooden Lisette Burgess Renita Ryan Ian Miles Elizabeth Mayfield Andrew Cuch Jodie Scott

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APPENDIX E

DONORS

DONORS Michael Abbott AO QC Sara Abel Smith Will Abel Smith JD Abrahams Carol Adams Adelaide Women's Liberation Archive The Aldridge Family Endowment Anonymous donors Susan Armitage The family of Gwendoline Arnold Art Gallery of South Australia Contemporary Collectors Jane Ayers John Ayers Neil Balnaves AO Peggy Barker Colin E. Beer Joan Beer Candy Bennett Margaret Bennett, Vivienne Bolaffi Marina Bollen Helen Bowden Kate Breakey Leonard Brown Julie Brownell James Cacas Marina Cacas Helen Carreker Jim Carreker MJM Carter AO Joseph Catanzariti Ian Chesterman Frank Choate Mary Choate Chris Christopher Elma Christopher Margot Colson Cherise Conrick Carolyn Corkindale Jill Cottrell Colin Cowan Robyn Cowan Shirley Crinion Sylvia Frances Cumming Daniel Mudie Cunningham James Darling AM Eric Denker

Dr Peter Dobson Lady Downer Dr Michael Drew Estate of the Hon Don Dunstan Helen Eager Estate of Clarrie Easther Emeritus Professor Anne Edwards AO Scott Elvish Zoë Elvish Ernabella Arts Inc Diana M Evans Tim Fairfax Elizabeth H Finnegan OAM Lesley Forwood Jan Frolich Richard Frolich Kathryn Fuller Peter Fuller GP Securities Charlotte Galloway Howard Galloway Tadeusz Groblicki Mark Grimshaw Rachel Grimshaw Naomi Guerin Andrew Gwinnett Hiroko Gwinnett Jennifer Hallett Jonathan Hardy Matthew Hardy Nicholas Hardy Janet Hayes Dr Michael Hayes R Hecker The descendants of Mary Ann Hillier Christopher Hodges JamFactory Design + Craftsmanship Estate of Lance Jerrems Dee Jones Eugenia Jonson John Jonson Lipman Karas Andrea Katsaros Bronwyn Kemp Franz Kempf Bill Keneley Klein Family Foundation Kumano Kuroemon Alan Landis Antiques

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Shane Le Plastrier Christopher Legoe Jenny Legoe Edwina Lehmann Ian Little Mark Livesey QC Joan Lyons Dr Peter McEvoy Skye McGregor David McKee Pam McKee Pamela McKee Peter McKee Diana McLaurin Theo S Maras AM OLJ Carl Marks Edwina Marks Yoshikawa Masamichi Mr and Mrs J Matysek Danie Mellor Brooke Michell Hugo Michell Jane Michell Brian Mitton Elizabeth Mitton Belinda Morgan Diane Myers Jane Newland Peter Newland Alexander Ng Margaret Olley Art Trust Order of St Lazarus of Jerusalem Gerald Paech Tom Pearce Richard Pash John Phillips Lady Porter The Hon Graham Prior QC Dr Dick Quan James and Diana Ramsay Foundation Judith Rischbieth Dr Judith Roberts AO Jill Russell Patricia Ryan Annabel Sampson Dr Pamela Schulz Roy Schulz Sheahan Lock Partners Heather Stewart S Strickland Paul Taliangis Thelma Taliangis Richard Tipping

Sue Tweddell Peter Tyndall UBS Peter Ujlaki Marion Wells Michael Whiting Tracey Whiting Dick Whitington QC Dr Orietta Wicks Mary Wilson Ray Wilson OAM Zena Winser Dr Diana Young Jane Yuile Irena Zhang

DONORS OF PURCHASE FUNDS Art Gallery of South Australia Foundation's South Australian Artists Fund Asian Art Curators Acquisition Fund Nici Cumpston Fund Elizabeth and Tom Hunter Fund Public Donations Fund Robert Reason Fund Lisa Slade Fund Rhianon Vernon-Roberts Memorial Collection Maude Vizard-Wholohan Purchase Award

BEQUEST FUNDS d'Auvergne Boxall Bequest Fund Shirley Cameron Wilson Bequest Fund Maurice A. Clarke Bequest Fund JC Earl Bequest Fund Marjory Edwards Bequest Fund VBF Young Bequest Fund

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APPENDIX F ACQUISITIONS

AUSTRALIAN PAINTINGS Dorrit Black, Australia, 1891–1951, Still life with jug and ladle, c1935, Adelaide, oil on canvas on composition board Gift of Joan Beer, Frank Choate, Elizabeth H Finnegan OAM, Theo S Maras AM OLJ, David McKee, Pam McKee, Diana McLaurin, Tom Pearce and John Phillips through the Art Gallery of South Australia Foundation Collectors Club 2013 Leonard Brown, Australia, b1949, Experience untaught me the world, 2009, Brisbane, oil on linen; Gift of Leonard Brown through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Wawiriya Burton, Australia, b1928, Ngayuku ngura - My country, 2012, Amata, South Australia, synthetic polymer paint on linen Lisa Slade Fund and Nici Cumpston Fund 2013 Ian Friend, England/Australia, b1951, Une violente aventure sentimentale (A tempestuous love affair), 1993–94, Launceston, Tasmania, gouache, crayon on 1884 Whatman paper VBF Young Bequest Fund 2014 John Glover, Britain/Australia, 1767–1849, Baptism on the Ouse River by Rev Henry Dowling, 1838, Deddington, Tasmania, oil on canvas MJM Carter AO Collection through the Art Gallery of South Australia Foundation 2013, to honour Sir Thomas Elder GCMG (1818–1897) for his influential generosity in the development of the Art Gallery of South Australia. His far-sighted vision inspired the growth and excellence of this Collection during the following century, and continues today Dee Jones, 1933, Aldinga Plains Farm, 1979–80, Adelaide, oil on cotton duck; Estate of Clarrie Easther 2014 Mirka Mora, Australia, b1928, (Female figure and standing dog), 1980, Melbourne, watercolour, pen and ink on paper; Estate of Clarrie Easther 2014

Mirka Mora, Australia, b1928, (The red tree of life by two black and white rats), 1982, Melbourne, watercolour, pen and ink on paper; Estate of Clarrie Easther 2014 Eubena Nampitjin, Australia, c1921–2013, Untitled, 2007, Kinyu, Western Australia, synthetic polymer paint on linen; Gift of Susan Armitage through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Hilda Rix Nicholas, Australia, 1884–1961, Grande Marché, Tangier, 1912, Tangier, Morocco, oil on canvas on board JC Earl Bequest Fund 2014 Hilda Rix Nicholas, Australia, 1884–1961, Through the arch to the sea, 1914, Tangier, Morocco, oil on canvas on board JC Earl Bequest Fund 2014 George Tjungurrayi, Australia, c1943, Untitled, 2010, Kintore, Northern Territory, synthetic polymer paint on linen Gift of Michael Abbott AO QC, Margaret Bennett, Mary Choate, Shirley Crinion, Helen Eager, Diana M Evans, Elizabeth H Finnegan OAM, Jennifer Hallett, Dr Michael Hayes, Christopher Hodges, Lipman Karas, Andrea Katsaros, Klein Family Foundation, Mark Livesey QC, Skye McGregor, Judith Rischbieth, Patricia Ryan, Jill Russell, Annabel Sampson, Sheahan Lock Partners, Sue Tweddell and Dick Whitington QC through the Art Gallery of South Australia Foundation Collectors Club 2013 Ruth Tuck, Australia, 1914–2008, Cyclamen, 1982, Adelaide, watercolour on paper; Estate of Clarrie Easther 2014 Peter Tyndall, Australia, b1951, A person looks at a work of art/someone looks at something...imagine that all the elements are suddenly collapsed, 1975, Melbourne, oil on canvas; Gift of the artist in memory of John Barbour through the Art Gallery of South Australia Foundation 2013

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Eugene von Guérard, Australia, 1811–1901, Tanunda Creek, South Australia, c1855, Melbourne, oil on canvas board Elizabeth and Tom Hunter Fund 2013

AUSTRALIAN SCULPTURES Ariel Hassan, Australia, b1977, We were faster than life - Oh how we laughed - This was all the life on Earth #4, 2011–12, Adelaide, nickel- plated steel, duratran, glass mirror, LED circuit Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Dani Marti, Australia, ARMOUR, Folly of Fear, 2012–13, Adelaide, rope, rubber and leather Maude Vizard-Wholohan Art Purchase Award 2014 Danie Mellor, Australia, b1971, Smoothing the pillow, 2008, Canberra, reclaimed steel; Gift of Danie Mellor through the Art Gallery of South Australia Contemporary Collectors 2014. Donated through the Australian Government's Cultural Gifts Progam Danie Mellor, Australia, b1971, The storyplace, 2008, Canberra, reclaimed steel; Gift of Danie Mellor through the Art Gallery of South Australia Contemporary Collectors 2014. Donated through the Australian Government's Cultural Gifts Progam Danie Mellor, Australia, b1971, Advance Australia Fair, 2009–13, Canberra 2009; Bowral 2013 (reworked slightly), taxidermy, mosaic china, painted timber, artifical rock, gold leaf, neon and found objects; Gift of Danie Mellor through the Art Gallery of South Australia Contemporary Collectors 2014. Donated through the Australian Government's Cultural Gifts Progam Bronwyn Oliver, Australia, 1959–2006, Maquette for 'Eyrie', c1992, Adelaide, copper Transferred from Arts SA Collection 2014 Julia Robinson, Australia, b1981, Thief, 2012, Adelaide, boiled wool, blanket, fabric, thread, bucket, enamel, foam, wire Art Gallery of South Australia Foundation's South Australian Artists Fund 2013

Alex Seton, Australia, b1977, Someone died trying to have a life like mine, 2013, Sydney, Wombeyan marble, nylon webbing; Gift of John and Jane Ayers, Candy Bennett, Jim and Helen Carreker, Chris and Elma Christopher, Cherise Conrick, James Darling AM and Lesley Forwood, Scott and Zoë Elvish, Richard and Jan Frolich, Andrew and Hiroko Gwinnett, Dr Michael Hayes and Janet Hayes, Klein Family Foundation, Ian Little and Jane Yuile, Dr Peter McEvoy, David and Pam McKee, Hugo and Brooke Michell, Jane Michell, Peter and Jane Newland, John Phillips, Dr Dick Quan, Paul and Thelma Taliangis, Sue Tweddell, Tracey and Michael Whiting, GP Securities, UBS and anonymous donors through the Art Gallery of South Australia Contemporary Collectors Director's Project 2014 Unknown, Australia, Boomerang, c1973, Willowra Station, Northern Territory, carved hard wood, ochre; Gift of Sylvia Frances Cumming through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Unknown, Australia, Boomerang, c1973, Willowra Station, Northern Territory, carved hard wood; Gift of Sylvia Frances Cumming through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Unknown, Australia, Boomerang, c1973, Willowra Station, Northern Territory, carved hardwood, ochre; Gift of Sylvia Frances Cumming through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Unknown, Australia, Clap sticks, c1973, South Australia, carved mulga wood; Gift of Sylvia Frances Cumming through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program

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Unknown, Australia, Digging stick, c1973, Willowra Station, Northern Territory, carved hard wood; Gift of Sylvia Frances Cumming through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Unknown, Australia, Shield, c1973, Willowra Station, Northern Territory, carved bean tree wood, ochre; Gift of Sylvia Frances Cumming through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Unknown, Australia, Shield, c1973, South Australia, carved mulga wood; Gift of Sylvia Frances Cumming through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Louise Weaver, Australia, b1966, Marten, 2004, Melbourne, hand crocheted lambs wood and cotton thread over high density foam, artificial fur fabric, tinsel, plastic, synthetic polymer paint; Gift of Joseph Catanzariti through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program AUSTRALIAN DRAWINGS Tony Bishop, Australia, b1940, Mallee, 2005, Adelaide, pencil on paper; Transferred from the Arts SA Collection 2014 Dorrit Black, Australia, 1891–1951, Study for two figures, 1929, Paris, pencil on wove paper; d'Auvergne Boxall Bequest Fund 2014 Peter Booth, Australian, b1940, Untitled (half man - half beast in landscape), mid 1980s, Melbourne, charcoal, coloured chalks on paper; Gift of Dee Jones through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Franz Kempf, Australia, b1926, The outrageous, 2006, Adelaide, charcoal on grey paper; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014

James Gleeson, Australia, 1915–2008, Invisible cities and memory 3, 1976, Sydney, airbrush, brush & ink, collage of cut printed illustrations, leaves, relief printing on cut printed illustrations, cut frottaged paper, brown fibre-tipped pen on paper; Gift of Ray Wilson OAM through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program James Gleeson, Australia, 1915–2008, Invisible cities and memory 5, 1976, Sydney, collage of book and magazine illustrations (some overprinted with linocut), airbrush & ink, stamp & ink, fibre-tipped pen on paper; Gift of Ray Wilson OAM through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program James Gleeson, Australia, 1915–2008, Invisible cities and the dead 3, 1976, Sydney, collage of magazine illustrations (some overprinted with linocut), airbrush & ink, fibre-tipped pen on paper; Gift of Ray Wilson OAM through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program James Gleeson, Australia, 1915–2008, Invisible cities and the dead 4, 1976, Sydney, collage of magazine illustrations (some overprinted with linocut), airbrush & ink, fibre-tipped pen on paper; Gift of Ray Wilson OAM through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program James Gleeson, Australia, 1915–2008, Reality as an interpretation of shadows, 1976, Sydney, airbrush, brush & black and brown inks, fibre-tipped pen, relief printing, collage of cut printed illustrations on paper; Gift of Ray Wilson OAM through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program

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James Gleeson, Australia, 1915–2008, Aim, 1978, Sydney, airbrush & brown and black inks, relief printing, collage of printed illustrations on paper; Gift of Ray Wilson OAM through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Mortimer Menpes, Britain/Australia, 1855–1938, Adelaide pocket book, c1872-73, Adelaide, sketchbook: pencil on paper, leather-covered cardboard cover with gilt brass trim; Gift of the descendants of Mary Ann Hillier, the artist's sister, 2014

AUSTRALIAN PRINTS Kim Barter, Australia, b1960, Many Journeys, 2013, Australia, etching, carborundum on paper; Print Council of Australia Member Print 2014 Dorrit Black, Australia, 1891–1951, At the cafeteria, c1943, Magill, linocut on paper; d'Auvergne Boxall Bequest Fund 2014 Franz Kempf, Australia, b1926, Winter solstice, 1957, Adelaide, etching, aquatint on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, The night is still, 1959, Adelaide, drypoint, aquatint, roulette on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, Memorial I, 1979, printed at Druckma Press, Melbourne, colour lithograph on paper; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Franz Kempf, Australia, b1926, Memorial III (state i/v), 1979, printed at Druckma Press, Melbourne, lithograph on paper; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program

Franz Kempf, Australia, b1926, Memorial III (state ii/v), 1979, printed at Druckma Press, Melbourne, colour lithograph on paper; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Franz Kempf, Australia, b1926, Memorial III (state iii/v), 1979, printed at Druckma Press, Melbourne, colour lithograph on paper; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Franz Kempf, Australia, b1926, Memorial III (state iv/v), 1979, printed at Druckma Press, Melbourne, colour lithograph on cardboard; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Franz Kempf, Australia, b1926, Memorial III (state v/v), 1979, printed at Druckma Press, Melbourne, lithograph on paper; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Franz Kempf, Australia, b1926, Memorial II, 1981, printed at Druckma Press, Melbourne, colour lithograph on paper; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Franz Kempf, Australia, b1926, Coorong passage, 1984, Adelaide, drypoint, roulette on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, Tikvatenu, 1988, Adelaide, colour lithograph on paper; Gift of Franz Kempf through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program

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Franz Kempf, Australia, b1926, Days of masks and riddles, 2001, Adelaide, lithograph on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, Colateral damage, 2006, Adelaide, linocut, pen & ink, wash on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, Fear, 2006, Adelaide, woodcut on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, Flight, 2006, Adelaide, linocut on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, I bring you a new order, 2006, Adelaide, woodcut on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, It may not end justly, 2006, Adelaide, woodcut printed in black and grey inks on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Franz Kempf, Australia, b1926, War is no longer declared...., 2006, Adelaide, woodcut on paper; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Shaun Gladwell, Australia, b1972, MADDESTMAXIMVS/HAUNTED/REPOSE, 2009, Melbourne, etching, plate tone on paper; Transferred from the Arts SA Collection 2014 Lidia Groblicka, Australia, 1933–2012, Scaffolding, 1956, Kraków, Poland, woodcut on paper; Shirley Cameron Wilson Bequest Fund 2014 Barbara Hanrahan, Australia, 1939–1991, Three Graces, 1977, Adelaide, colour screenprint on paper; Estate of Clarrie Easther 2014 Barbara Hanrahan, Australia, 1939–1991, Acrobat, 1983, Adelaide, colour screenprint on paper; Estate of Clarrie Easther 2014

John Olsen, Australia, b1928, Birds and frog at Lake Eyre, 1975, printed by Crossley Print Workshop, Melbourne, lithograph printed in brown and purple inks on paper; Gift of Richard Pash through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Richard Kelly Tipping, Australia, b1949, Meat mart, from the portfolio The Sydney Morning vol III, 1980, printed 1992 at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Australian Made, from the portfolio The Sydney Morning vol III, 1981, printed 1992 at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Start Freeway, Melbourne, from the portfolio The Sydney Morning vol III, 1981, printed 1992 at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Crossing the Hump (Evening), from the portfolio The Sydney Morning vol III, 1982, printed 1992 at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Ned Nolan Kelly, from the portfolio The Sydney Morning vol III, 1983, printed 1992 at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Danger, 1992, from the portfolio The Sydney Morning vol III, printed at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013

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Richard Kelly Tipping, Australia, b1949, The Blood of the Poet, from the portfolio The Sydney Morning vol III, 1992, printed at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Untitled (Form 1 Planet), from the portfolio The Sydney Morning vol III, 1992, printed at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Untitled (Holy shit), from the portfolio The Sydney Morning vol III, 1992, printed at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Untitled (No more Cunding Futs), from the portfolio The Sydney Morning vol III, 1992, printed at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Untitled (she swore o like an Angel), from the portfolio The Sydney Morning vol III, 1992, printed at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Untitled (Sunlight), from the portfolio The Sydney Morning vol III, 1992, printed at Thorny Devil Press, Lake Macquarie, New South Wales, colour screenprint on paper; Public Donations Fund 2013 Richard Kelly Tipping, Australia, b1949, Art Allergy, from the portfolio The Sydney Morning vol IV, 1994, Newcastle, New South Wales; printed by Thorny Press, Lake Macquarie, New South Wales, screenprint on paper; Gift of the artist 2013

Richard Kelly Tipping, Australia, b1949, Art Allergy, from the portfolio The Sydney Morning vol IV, 1994, printed by Thorny Press, Lake Macquarie, New South Wales, screenprint on cream paper; Public Donations Fund 2013

AUSTRALIAN PHOTOGRAPHS Del Kathryn Barton, Australia, b1972, Brendan Fletcher, Australia, 1973, The human dress with remy Hii (still), 2013–14, Sydney, giclée print on paper; Gift of the Art Gallery of South Australia Contemporary Collectors 2014 Del Kathryn Barton Australia, b1972, Brendan Fletcher, Australia, 1973, The human dress with remy Hii (still), 2013–14, Sydney, giclée print on paper; Gift of the Art Gallery of South Australia Contemporary Collectors 2014 Del Kathryn Barton, Australia, b1972, Brendan Fletcher, Australia, 1973, The human dress with remy Hii (still), 2013–14, Sydney, giclée print on paper; Gift of the Art Gallery of South Australia Contemporary Collectors 2014 Liam Benson, Australia, b1980, Bleeding glitter, 2005, Sydney, inkjet print on paper; Gift of Daniel Mudie Cunningham through the Art Gallery of South Australia Contemporary Collectors 2014 Kate Breakey, Australia, b1957, Hole in The Sky, Meningie, South Australia, 1980, Meningie, South Australia; printed and hand-coloured 2013 Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Kate Breakey, Australia, b1957, Swirly cloud, Marne River, South Australia, 1987, Marne River, South Australia; printed and hand-coloured 2013 Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013

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Kate Breakey, Australia, b1957, Cape Cassini, Kangaroo Island, South Australia, 2000, Kangaroo Island, South Australia; printed and hand-coloured 2013, Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Kate Breakey, Australia, b1957, Burned Trees, Port Lincoln, South Australia, 2005, Port Lincoln, South Australia; printed and hand-coloured 2013 Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Marian Drew, Australia, b1960, Tasmanian swamp hen with candle, 2005–08, Brisbane, pigment inkjet print on paper; Gift of Rick and Jan Frolich through the Art Gallery of South Australia Contemporary Collectors 2014 Rennie Ellis Australia, 1940–2003, Portrait of Carol Jerrems, 1970, Melbourne, gelatin-silver photograph; Maurice A.Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, Ian Macrae at Mozart Street looking sensitive and low key wearing a Mizza t-shirt during 'Love is hate', 1973, Melbourne; printed by Roger Scott, Sydney, gelatin-silver photograph; Maurice A. Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, Corridor with window, from the series Macquarie University, 1975, Sydney, gelatin-silver photograph; Gift of the Estate of Lance Jerrems through the Art Gallery of South Australia Foundation 2013 Carol Jerrems, Australia, 1949–1980, Mark and Flappers, 1975, Melbourne, gelatin-silver photograph; Maurice A. Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, Mark Lean, 1975, Melbourne, gelatin-silver photograph; Gift of the Estate of Lance Jerrems through the Art Gallery of South Australia Foundation 2013

Carol Jerrems, Australia, 1949–1980, Vale Street, 1975, St Kilda, Victoria, gelatin-silver photograph; Maurice A Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, Waiting, 1975, Melbourne, gelatin-silver photograph; Maurice A Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, Esben and Dusan, Cronulla, 1977, Sydney, gelatin-silver photograph; Maurice A Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, Patch of light, from the series Macquarie University, 1977, Sydney, gelatin-silver photograph; Gift of the Estate of Lance Jerrems through the Art Gallery of South Australia Foundation 2013 Carol Jerrems, Australia, 1949–1980, Students, from the series Macquarie University, 1977, Sydney, gelatin-silver photograph; Gift of the Estate of Lance Jerrems through the Art Gallery of South Australia Foundation 2013 Carol Jerrems, Australia, 1949–1980, Carol's hospital room, from the series Hospital, 1979, Melbourne; printed by Roger Scott, Sydney, gelatin-silver photograph; Maurice A. Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, Self portrait, from the series Hospital, 1979, Melbourne; printed by Roger Scott, Sydney, gelatin-silver photograph; Maurice A. Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, ('Free' on table, with two women), 1970s, Melbourne; printed by Roger Scott, Sydney, gelatin-silver photograph; Maurice A. Clarke Bequest Fund 2013 Carol Jerrems, Australia, 1949–1980, A poem by Paul Cox, c1968, Melbourne, nine gelatin-silver photographs; bound in ringbinder; Maurice A Clarke Bequest Fund 2013 Mark Kimber, Australia, b1954, Mother in backyard, 1980, Adelaide, type C photograph; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014

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Mark Kimber, Australia, b1954, Port Adelaide, 1980, Adelaide, type C photograph; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Mark Kimber, Australia, b1954, Watertower, airport, 1980, Adelaide, type C photograph; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Mark Kimber, Australia, b1954, Aunty & daughter at Devil's Dyke, 1984, England, type C photograph; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Mark Kimber, Australia, b1954, Devil's Dyke, 1984, England, type C photograph; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Tracey Moffatt, Australia, b1960, Eubena Nampitjin is an Australian painter who lives in the desert, 2007, Australia, inkjet print on paper; Gift of Susan Armitage through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program

AUSTRALIAN DECORATIVE ARTS Adelaide Women's Liberation Archive, Adelaide, Australia, 1990–2011, No nuclear bombs [Pine gap protest banner], 1983, Leichhardt, New South Wales, cotton, nylon, fabric dye, synthetic polymer paint; Gift of the Adelaide Women's Liberation Archive 2013 Adelaide Women's Liberation Archive, Adelaide, Australia, 1990–2011, International Women's day 1991 [banner], 1991, Adelaide, canvas, synthetic polymer painted; Gift of the Adelaide Women's Liberation Archive 2013 Adelaide Women's Liberation Archive, Adelaide, Australia, 1990–2011, Reclaim the night, Adelaide 2007 [t-shirt], 2007, Adelaide, cotton; Gift of the Adelaide Women's Liberation Archive 2013 Adelaide Women's Liberation Archive, Adelaide, Australia, 1990–2011, I am a lesbian [Bonds t-shirt], 1990s, Adelaide, cotton, screen-printed fabric dye; Gift of the Adelaide Women's Liberation Archive 2013

Adelaide Women's Liberation Archive, Adelaide, Australia, 1990–2011, Women work for life [banner], 1980s, Adelaide, cotton, velvet, hessian, wool, fabric dye, nylon rope; Gift of the Adelaide Women's Liberation Archive 2013 Helen Aitken-Kuhnen, Australia, b1952, Beach brooch, 2013, Manuka, ACT, enamel, silver; Rhianon Vernon-Roberts Memorial Collection 2014 Gwendoline Arnold, Australia, 1913–2007, Tapestry [Here is a kingdom of wonder and secretly into which we can step at will], 1934, South Australian School of Arts and Crafts, Adelaide, wool; Gift from the family of Gwendoline Arnold 2013 Nyukana (Daisy) Baker, Australia, b1943, Fly curtain, 2001, Ernabella, South Australia, gum fruits, bat-winged coral seeds; Gift of Dr Diana Young 2014. Donated through the Australian Government's Cultural Gifts Program Robin Best, Australia/China, b1953, The pepper pot – the legacy of Coenraad Temminck, 2013, Jingdezhen, China, porcelain, xincai painting; Gift of Diana McLaurin and Dick Whitington QC through the Art Gallery of South Australia Foundation Collectors Club and the d'Auvergne Boxall Bequest Fund 2013 Julie Blyfield, Australia, b1957, Fragment #12 brooch, 2013, Maylands, South Australia, oxidised silver, archival wax; Rhianon Vernon-Roberts Memorial Collection 2014 Stephen Bowers, Australia, b1952, Janice HISTON, Australia, Mug, 1983, JamFactory Workshops, St Peters, Adelaide, stoneware, cobalt decoration; Gift of Bronwyn Kemp 2014 Brian Chaseling, Australia, b1965, Vase, 1989, JamFactory Workshops, St Peters, Adelaide, glass; Gift of the JamFactory Design + Craftsmanship 2014 Matthew Curtis, Australia, 1964, Red carapace, 2008, Queanbeyan, New South Wales, blown and constructed tinted furnace glass on powder coated steel base; Gift of Colin E. Beer through the Art Gallery of South Australia Foundation 2013

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Anne Dangar, Australia/France, 1885–1951, Jug, c1934, Moly-Sabata, Sablons, earthenware; Gift of Joan Beer, Frank Choate, Elizabeth H Finnegan OAM, Theo S Maras AM OLJ, David McKee, Pam McKee, Diana McLaurin, Tom Pearce and John Phillips through the Art Gallery of South Australia Foundation Collectors Club 2013 Ernabella Arts Inc, Australia, est1948, Boomerang, c1968, Ernabella, South Australia, Mulga wood; Gift of Bill Keneley through the Art Gallery of South Australia Foundation 2014 Ernabella Arts Inc, Australia, est1948, Boomerang, c1968, Ernabella, South Australia, Mulga wood; Gift of Bill Keneley through the Art Gallery of South Australia Foundation 2014 Ernabella Arts Inc., Australia, est1948, Coolamon [incised decoration], c1968, Ernabella, South Australia, ochre, hardwood; Gift of Bill Keneley through the Art Gallery of South Australia Foundation 2014 Ernabella Arts Inc., Australia, est1948, Coolamon [incised decoration], c1968, Ernabella, South Australia, ochre, hardwood; Gift of Bill Keneley through the Art Gallery of South Australia Foundation 2014 Ernabella Arts Inc., Australia, est1948, Coolamon [incised decoration], c1968, Ernabella, South Australia, ochre, hardwood; Gift of Bill Keneley through the Art Gallery of South Australia Foundation 2014 Ernabella Arts Inc., Australia, est1948, Coolamon [incised decoration], c1968, Ernabella, South Australia, ochre, hardwood; Gift of Bill Keneley through the Art Gallery of South Australia Foundation 2014 Ernabella Arts Inc., Australia, est1948, Digging stick, c1968, Ernabella, South Australia, hardwood; Gift of Bill Keneley through the Art Gallery of South Australia Foundation 2014 Ernabella Arts Inc, Australia, est1948, Yuminiya, Australia, active 1960s, Wall hanging, c1968, Ernabella, South Australia, hessian, paint, wood, dye, string; Gift of Bill Keneley through the Art Gallery of South Australia Foundation 2014

Ernabella Arts Inc, Australia, est1948, Alison (Milyika) Carroll, Australia, 1958, Platter, 2001, JamFactory, Adelaide, earthenware, glaze material, clear overglaze; Gift of Ernabella Arts Inc. and the JamFactory Design + Craftsmanship 2014 Ernabella Arts Inc, Australia, est1948, Angkuna Kulyuru, Australia, 1943, Tablecloth, c1980, Ernabella, South Australia, cotton batik; In memory of Dr Robert Guerin through the Art Gallery of South Australia Foundation 2013 Ernabella Arts Inc, Australia, est1948, Kunmanara (Nyuwara) Tapaya, Australia, 1971–2004, Platter, 2001, JamFactory, Adelaide, earthenware, glaze material, clear overglaze; Gift of Ernabella Arts Inc. and the JamFactory Design + Craftsmanship 2014 Sionemaletau Falemaka, Australia, b1962, Neckpiece, 2012, Sydney, pearl disks, polymide buttons, silk yarn; Rhianon Vernon-Roberts Memorial Collection 2013 Sionemaletau Falemaka, Australia, b1962, Neckpiece, 2012, Sydney, glass beads, polymide disks; Rhianon Vernon-Roberts Memorial Collection 2013 India Flint, Australia, born 1958, Beyond repair, 2012, Mount Pleasant, South Australia, wool, silk, cotton, steel, eucalyptus dyes; Public Donations Fund 2014 Vagn Hemmingsen, Australia, 1922–2003, Neckpiece, c.1977, JamFactory Workshops, St Peters, Adelaide, silver, South Australian jade, leather; Gift of the JamFactory Design + Craftsmanship 2014 Sam Herman, Britain/Australia, b1936, Vessel, 1974, JamFactory Workshops, St Peters, Adelaide, recycled glass; Gift of the Estate of the Hon. Don Dunstan and the JamFactory Design + Craftsmanship 2014 Brendan Huntley, Australia, b1982, Untitled, from the series You're welcome, 2013, Melbourne, stoneware, slip, glaze material, wooden bat; Maude Vizard-Wholohan Purchase Award 2014

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Brendan Huntley, Australia, b1982, Untitled, from the series You're welcome, 2013, Melbourne, terracotta, stoneware, slip, glaze material, wooden bat; Maude Vizard-Wholohan Purchase Award 2014 Brendan Huntley, Australia, b1982, Untitled, from the series You're welcome, 2013, Melbourne, terracotta, stoneware, raku, porcelain, slip, glaze material, wooden bat; Maude Vizard-Wholohan Purchase Award 2014 Takeshi Iue, Australia, 1980, East chair, 2014, designed 2012, Melrose Park, South Australia, European oak; Art Gallery of South Australia Foundation's South Australian Artists Fund 2014 Bronwyn Kemp, Australia, b1953, Bowl, 1988, JamFactory Workshops, St Peters, Adelaide, porcelain, cobalt decoration; Gift of the JamFactory Design + Craftsmanship 2014 Bronwyn Kemp, Australia, b1953, Chocolate box, 1988, JamFactory Workshops, St Peters, Adelaide, porcelain, inlaid decoration, clear overglaze; Gift of the JamFactory Design + Craftsmanship 2014 Flora Landells, Australia, 1888–1981, Bowl [fish design], c1930s, Perth, earthenware, glazed; Robert Reason Fund 2013 Bruce Nuske, Australia, b1949, Vase, 1980, JamFactory Workshops, St Peters, Adelaide, stoneware, oxides, stain material; Gift of the JamFactory Design + Craftsmanship 2014 Bruce Nuske, Australia, b1949, Tea party, 1982, JamFactory Workshops, St Peters, Adelaide, slab built porcelain, glaze material; Gift of Bronwyn Kemp 2014 Gary Roberts, Vase form, b1984, JamFactory Workshops, St Peters, Adelaide, stoneware, inlaid decoration, slip stencilled decoration; Gift of Bronwyn Kemp 2014 S Schlank & Co, Adelaide, Australia, 1888–1971, Lobethal Kingship medal [won by CHG Paech], 1905, Adelaide, gold; Gift of Gerald Paech 2013. Donated through the Australian Government's Cultural Gifts Program

Jonaski Takuma, Australia, working 1893–1910, The lyre bird's retreat [Cameo carved emu egg], c1897, Sydney, emu egg; JC Earl Bequest Fund 2014 Tim Strachan, Australia, b1954, Blossom jar, 1981, JamFactory Workshops, St Peters, Adelaide, stoneware, sgraffito decoration, seaweed ash deposits; Gift of the JamFactory Design + Craftsmanship 2014 Mark Vaarwerk, Australia, b1973, Brooch [orange], 2009, Paddington, Queensland, polystyrene, silver, stainless steel, ABS vacuum cleaner casing, permanent marker ink; Rhianon Vernon-Roberts Memorial Collection 2013 Mark Vaarwerk, Australia, b1973, Brooch [green], 2010, Paddington, Queensland, polystyrene, silver, stainless steel, colouring pencil; Rhianon Vernon-Roberts Memorial Collection 2013 Mark Vaarwerk, Australia, b1973, Brooch [beige], 2011, Newtown, New South Wales, polystyrene, silver, stainless steel, cellulose acetate cigarette filters; Rhianon Vernon- Roberts Memorial Collection 2013 Mark Vaarwerk, Australia, b1973, Brooch [black], 2011, Newtown, New South Wales, polystyrene, silver, stainless steel, ABS computer keys, permanent marker ink; Rhianon Vernon-Roberts Memorial Collection 2013 Mark Vaarwerk, Australia, b1973, Brooch [blue], 2011, Newtown, New South Wales, polystyrene, silver, stainless steel, acrylic car head light covers; Rhianon Vernon-Roberts Memorial Collection 2013 Mark Vaarwerk Australia, b1973, Brooch [red], 2011, Newtown, New South Wales, polystyrene, silver, stainless steel, colouring pencil; Rhianon Vernon-Roberts Memorial Collection 2013 Julia de Ville, Australia, Victorian cat mummy, 2012, Collingwood, Melbourne, taxidermy cat, glass, linen, lace, silver,leather, wood; Gift of the Art Gallery of South Australia Contemporary Collectors 2014

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AUSTRALIAN MOVING IMAGES Del Kathryn Barton, Australia, b1972, Brendan Fletcher, Australia, 1973, The human dress, 2013, Sydney, two channel HD video with sound, duration: 9 mins; Gift of the Art Gallery of South Australia Contemporary Collectors 2014 Shoufay Derz, Australia, b1979, Depart without return, 2011, Sydney, HD video, looped silent; Gift of the Art Gallery of South Australia Contemporary Collectors 2014 Richard Lewer, Australia, b1970, Worse luck I am still here, 2013, Perth?, Perth, HD blue ray animation, 4.50 mins; Gift of Jane Ayers, Candy Bennett, Edwina Lehmann, and Thelma Taliangis through the Art Gallery of South Australia Contemporary Collectors 2014 Baden Pailthorpe, Australia, b1984, Cadence III, 2013, Sydney, HD digital video, colour, sound, 4 minutes d'Auvergne Boxall Bequest Fund 2013 David Rosetzky, Australia, b1970, Weekender, 2001, Melbourne, DVD + RW, colour, sound, 16 min, 18 sec; Gift of Carl and Edwina Marks through the Art Gallery of South Australia Contemporary Collectors 2013

INTERNATIONAL MOVING IMAGES Ignas Krunglevicius, Lithuania, b1969, Interrogation, 2009, Oslo, Norway, two-channel video installation, 13 mins, sound; Gift of James Darling AM and Lesley Forwood through the Art Gallery of South Australia Contemporary Collectors 2014

EUROPEAN PRINTS Hans Baldung, Germany, 1484/5–1545, Wild horses fighting, from the series Wild horses in a wood, 1534, Strasbourg, Germany, woodcut on paper; VBF Young Bequest Fund 2014 Albrecht Dürer, Germany, 1471–1528, Siege of a fortress, 1527, Nuremberg, Germany, woodcut on paper; Gift of Carolyn Corkindale through the Art Gallery of South Australia Foundation 2014

Mortimer Menpes, Britain/Australia, 1855–1938, Abbazia, 1909–11, London or Pangbourne, England, etching, drypoint on paper; Gift of Eric Denker in honour of Dr Meredith Jane Gill (Assistant Curator 1980–81) through the Art Gallery of South Australia Foundation 2014 Mortimer Menpes, Britain/Australia, 1855–1938, St Mark's Piazza, 1909–11, London or Pangbourne, England, etching, drypoint on paper; Gift of Eric Denker in honour of Peter and Margaret Gill through the Art Gallery of South Australia Foundation 2014 Victor Pasmore, Britain, 1908–1997, Points of contact no8, 1966, London; printed at Kelpra Studio, London, colour screenprint on paper; Gift of Richard Pash through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Victor Pasmore, Britain, 1908–1997, Points of contact no.11, 1967, London; printed at Kelpra Studio, London, colour screenprint on paper; Gift of Richard Pash through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Victor Pasmore, Britain, 1908–1997, Points of contact no13, 1969, London; printed at Kelpra Studio, London, colour screenprint on paper; Gift of Richard Pash through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Victor Pasmore, Britain, 1908–1997, Points of contact no14, 1969, London; printed at Kelpra Studio, London, screenprint printed in brown ink on paper; Gift of Richard Pash through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program

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Rembrandt, Harmensz. van Rijn, The Netherlands, 1606–1669, Landscape with a cottage and haybarn, 1641, Amsterdam, etching, drypoint on paper; Gift of Carol Adams, Peggy Barker, Frank Choate, Lady Downer, Dr Michael Drew, Shane Le Plastrier, Joan Lyons, Belinda Morgan, Tom Pearce, Marion Wells and Irena Zhang through the Art Gallery of South Australia Foundation Collectors Club 2013

EUROPEAN PAINTINGS Mortimer Menpes, Britain/Australia, 1855–1938, Japanese street scene, 1887-88, Japan or London, oil on panel MJM Carter AO Collection. Given to mark The World of Mortimer Menpes exhibition 2014 Camille Pissarro, France, 1830–1903, Prairie à Éragny, 1886, Éragny, France, oil on canvas; Gift of Helen Bowden, Frank and Mary Choate, Emeritus Professor Anne Edwards AO, Marjory Edwards Bequest Fund, Andrew and Hiroko Gwinnett, David and Pam McKee, Peter and Pamela McKee, Margaret Olley Art Trust, James and Diana Ramsay Foundation, and Members through the Art Gallery of South Australia Foundation Masterwork Appeal 2014 Maurice Utrillo, France, 1883–1955, Menilmontant, 1923, Paris, gouache on paper; Gift of the Aldridge Family Endowment, Neil Balnaves AO, Vivienne Bolaffi, Jill Cottrell, Colin Cowan, Dr Peter Dobson, Andrew Gwinnett, Pamela McKee, Peter McKee, John Phillips, Lady Porter, The Hon Graham Prior QC and Zena Winser through the Art Gallery of South Australia Foundation Collectors Club 2013

EUROPEAN SCULPTURES Tim Noble, Britain, b1966, Sue Webster, Britain, 1967, The Gamekeeper's Gibbet, 2011, London, solid sterling silver gilded in pure god, metal stand, light projector; Gift of Tim Fairfax through the Art Gallery of South Australia Foundation 2013

EUROPEAN DECORATIVE ARTS Burmantofts, Leeds, Britain, 1859–1904, Jardiniere [Poppy design], 1890s, Leeds, earthenware; Gift of Joan Beer 2013

Minton, Stoke-on-Trent, Staffordshire, Britain, est1793, AWN Pugin, Britain, 1812–1852, Dinner Service [Soup tureen and stand, vegetable tureen, sauce tureen and stand, compote, oval plate], c1855, Stoke-on-Trent, Staffordshire, earthenware, block-printed; Public Donations Fund 2014 William De Morgan & Co., London, Britain, 1872–1907, William de Motgan, Britain, 1839–1917, The fishing lesson bowl, c1890, London, earthenware; Gift of Christopher and Jenny Legoe through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Josiah Spode, Britain, c1796–1833, Covered scent vase, c1800–10, Stoke-on-Trent, Staffordshire, red earthenware, black basalt relief; Gift of JD Abrahams, Marina Bollen, Julie Brownell, James and Marina Cacas, Ian Chesterman, Margot Colson, Andrew Gwinnett, R Hecker, John and Eugenia Jonson, Mr and Mrs J Matysek, Brian and Elizabeth Mitton, Diane Myers, Alexander Ng, Order of St Lazarus of Jerusalem, Dr Judith Roberts AO, Roy Schulz and Dr Pamela Schulz, Heather Stewart, S Strickland, Dr Orietta Wicks, Mary Wilson, assisted by Alan Landis Antiques and anonymous donors in memory of The Hon Dr Kemeri Murray AO through the Art Gallery of South Australia Foundation 2013 John Vallance, Britain, active 1811–1851, Vase [stand and dome], 1840s, Matlock, Bath, Derbyshire, marble, glass, velvet, ebonised wood; Gift of Jonathan, Margaret, Nicholas and Matthew Hardy in memory of their mother, Anne Hardy 2013

ASIAN PAINTINGS India, Map of the pilgrimage sites of Palitana, 1945, Gujarat, pigment and gold leaf on cloth; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Japan, Taima Mandala, 17th–18thC, Nara, hanging scroll, ink, colour, gold on paper MJM Carter AO Collection through the Art Gallery of South Australia Foundation 2013

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ASIAN SCULPTURES Indonesia, Ancestral portrait of a woman (tau-tau), 1930–50, Tanah Toraja, South Sulawesi, wood with pigment; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program

ASIAN DRAWINGS India, Auspicious drawing of Durga, 19thC, Gujarat, pigments & ink on paper; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program India, Auspicious drawing of Ganesha, 19thC, Gujarat, pigments & ink on paper with cloth mount; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program India, Auspicious drawing with three faces, 19thC, Gujarat, pigments & ink on paper; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Shambu Dayal Shyam, Nature's fury, Bhopal Madhya Pradesh, India, ink and opaque watercolour on paper Asian Art Curators Acquisition Fund 2014

ASIAN PRINTS Japan, Actor, with tattoo of Daruma, mid to late 19thC, Tokyo, colour woodblock print (nishiki-e) on paper d'Auvergne Boxall Bequest Fund 2013 Kobayashi Kiyochika, Japan, 1847–1915, Taira no Tadamori (1096–1153), 1884 (Meiji 17), Tokyo, colour woodblock triptych print (nishiki-e) on paper d'Auvergne Boxall Bequest Fund 2013 Kobayashi Kiyochika, Japan, 1847–1915, The journalist Fukuichi Gen'ichiro, from the series Instructive models of lofty ambition (Kyodo

risshi ki) #45, 1885, Tokyo, colour woodblock print (nishiki-e) on paper d'Auvergne Boxall Bequest Fund 2013 Toyohara Kunichika, Japan, 1835–1900, Shinohara Kunimoto, from the series One hundred roles of Baiko (Baikohyakushu no uchi), 1893, Tokyo, colour woodblock print (nishiki-e) on paper d'Auvergne Boxall Bequest Fund 2013

ASIAN DECORATIVE ARTS China-Indonesia, Dish with raised foot, early-mid 19thC, China, found in Indonesia, rose famille porcelain Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program India, Hindoo Mythology of India: Gallery of the Gods, late 19thC, India, Kolkata, West Bengal, watercolour,metallic pigment and ink on paper; 63 folio bound volume; Gift of Alan Myren and Lee Grafton through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gift Program Myren-GraftonCollection India, Tent panel (qanat), late 18th–early 19thC, north India, block-printed and hand-painted mordant dyes on cotton; Gift of Michael Abbott AO QC, Will and Sara Abel Smith, Susan Armitage, Rachel and Mark Grimshaw, Dr Peter McEvoy and Art Gallery Members in memory of Annie Kidman through the Art Gallery of South Australia Foundation 2013 India, Sri Nath-ji with two cow maids, late 19th–early 20thC, Rajasthan, India, opaque pigments and gold on cloth; Gift of Howard and Charlotte Galloway through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program India - Indonesia, Ceremonial cloth and sacred heirloom depicting women battling a gajavyala monster, 14th–15thC, Gujarat, India; found in South Sulawesi, Indonesia, block-printed, batik and mordant dyes on cotton; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program

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Indonesia, Drum (kul-kul) with head of Rangda, early–mid 20th century, Bali, wood with traces of pigment and gold leaf; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Indonesia, Ceremonial banner (roto), mid 20thC, Tanah Toraja, South Sulawesi, tie-dye, cotton; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2014. Donated through the Australian Government's Cultural Gifts Program Japan, Peacocks in a forest, early 20thC, Japan, silk, natural dyes, embroidery JC Earl Bequest Fund 2014 Kumano Kuroemon, Japan, 1955, Sake cup (guinomi), with kuma-shino glaze, c2014, Fukui prefecture, Sabae city, stoneware, ash glaze; Gift of Peter Ujlaki and Kumano Kuroemon on the occasion of his visit to Adelaide in March 2014 Masamichi Yoshikawa, Japan, 1946, 35 Ban, 2012, Tokoname, porcelain, seihakuji overglaze; Gift of Yoshikawa Masamichi in recognition of his participation in the 2012 Australian Ceramic Triennial held in Adelaide

ARCHIVAL Lidia Groblicka, Australia, 1933–2012, Portrait of Lidia in a field, 2005, Poland?, type C photograph; Gift of Tadeusz Groblicki 2013 Lidia Groblicka, Australia, 1933–2012, Four photo-booth portraits of Lidia and her son, Roman, c1959, London, digital copy photograph; Gift of Tadeusz Groblicki 2013 Lidia Groblicka, Australia, 1933–2012, Photo-booth portrait of Lidia and her son, Roman, c1959, London, digital copy photograph; Gift of Tadeusz Groblicki 2013 Lidia Groblicka, Australia, 1933–2012, Lidia beside her work at an exhibition of the Royal South Australian Society of Arts, c.2006, Adelaide, type C photograph; Gift of Tadeusz Groblicki 2013

Lidia Groblicka, Australia, 1933–2012, Photo-booth portrait of Lidia Groblicka, c1970s, Adelaide, digital copy photograph; Gift of Tadeusz Groblicki 2013 Lidia Groblicka, Australia, 1933–2012, Portrait of Lidia surrounded by fir trees, c1980s, near Nowy Sacz, Poland?, digital copy photograph; Gift of Tadeusz Groblicki 2013 Richard Kelly Tipping, Australia, b1949, Stop go, 1998, Newcastle, New South Wales; printed 2008 by Electromark New York, embossed aluminium, screenprint; Gift of the artist 2013 Richard Kelly Tipping, Australia, b1949, Untitled (Prepare to shop), 2004, Newcastle, New South Wales; printed 2008 by Electromark New York, sticker printed in red ink; Gift of the artist 2013 Unknown Photographer, Poland, 20thC, Lidia Duda, ten years old, 1943, Zólkiew, digital copy photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, England, 20thC, Wedding group, Lidia and Tadek at centre left, 1958, London, digital copy photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, England, 20thC, Wedding portrait, Lidia and Tadek kneeling at altar, 1958, London, digital copy photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, England, 20thC, Lidia, Tadek and Roman feeding pigeons in Trafalgar Square, 1960, London, digital copy photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, England, 20thC, Lidia and Roman beside the Fairstar, prior to departure for Australia, 1965, Southampton, Britain?, digital copy photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Australia, 20thC, Fourteen photographs of Lidia in her studio, carving the block for Bugs' tree, 1988, Adelaide, gelatin-silver photographs; Gift of Tadeusz Groblicki 2013

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Unknown Photographer, Australia, 20thC, Two head portraits of Lidia Groblicka, 1988, Adelaide, gelatin-silver photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Australia, 20thC, Two photographs of Lidia Groblicka and Rachel Biven at an exhibition opening, Tynte Gallery, 1990, Adelaide, type C photographs; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Australia, 20thC, Photograph of five drawings by Lidia Groblicka, 1993, Adelaide, type C photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Australia, 20thC, Photograph of Lidia Groblicka, amongst trees, 2005, Australia?, type C photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Poland, 20thC, Photograph of Lidia Groblicka and dog, 2005, Poland?, type C photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Australia, 20thC, Head portrait of Lidia Groblicka, 2008-9?, Adelaide, type C photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, England, 20thC, No 1 Bravington Road, Queen's Park, London, c1950, London, digital copy photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Poland, 20thC, Studio portrait of Lidia Duda, c1952, Kraków, digital copy photograph Gift of Tadeusz Groblicki 2013 Unknown Photographer, England, 20th century, Lidia and Tadek picnicking, c1958, London, digital copy photograph Gift of Tadeusz Groblicki 2013 Unknown Photographer, England, 20thC, Studio portrait of Lidia, Tadek and Roman, c1958, London, digital copy photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Australia, 20thC, Lidia and Tadek in front of their Adelaide home, c1966, Adelaide, digital copy photograph; Gift of Tadeusz Groblicki 2013

Unknown Photographer, Australia, 20thC, Lidia in her home studio, c2009?, Adelaide, type C photograph Gift of Tadeusz Groblicki 2013 Unknown Photographer, Australia, 20thC, Four photographs of Lidia Groblicka pulling a print in her home studio, c1990s?, Adelaide, gelatin- silver photograph; Gift of Tadeusz Groblicki 2013 Unknown Photographer, Australia, 20thC, Five photographs of Lidia Groblicka conducting a printmaking demonstration at the Royal South Australian Society of Arts, Adelaide, type C photograph; Gift of Tadeusz Groblicki 2013

FURNISHING LOANS Kate Breakey, Australia, 1957, Little Eucalyptus Tree, Wanilla Forest, Eyre Peninsula, South Australia, 1980, Wanilla Forest, Eyre Peninsula, South Australia; printed and hand-coloured 2013, Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Kate Breakey, Australia, 1957, Looking towards Tent Hill, Near Whyalla, South Australia, 1980, near Whyalla, South Australia; printed and hand-coloured 2013, Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Kate Breakey, Australia, 1957, Trees, Pine Hut Road, South Australia, 1981, South Australia; printed and hand-coloured 2013, Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013

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Kate Breakey, Australia, 1957, Road North of Port Augusta, 1986, Port Augusta, South Australia; printed and hand-coloured 2013 Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Kate Breakey, Australia, 1957, Full Moon Rising, Mid-North, South Australia, 1987, Mid-North, South Australia;printed and hand-coloured 2013, Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Kate Breakey, Australia, 1957, Single wave, Coffin Bay, South Australia, 1998, Coffin Bay, South Australia; printed and hand-coloured 2013 Tucson, Arizona, United State of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Kate Breakey, Australia, 1957, Almonta Dunes, Coffin Bay National Park, 2004, Coffin Bay, South Australia; printed and hand-coloured 2013, Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013 Kate Breakey, Australia, 1957, Nest, Kellidie Bay Eyre Peninsula, South Australia, 2010, Kellidie Bay, Eyre Peninsula, South Australia; printed and hand-coloured 2013, Tucson, Arizona, United States of America, archival pigment inkjet print, hand-coloured with pencil and pastel; Gift of the artist through the Art Gallery of South Australia Contemporary Collectors 2013

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APPENDIX G INWARD LOANS

During the year 833 works were borrowed for 13 exhibitions and 23 for collection display.

INWARD LOANS TO THE COLLECTION Barrie & Judith Heaven, Adelaide, SA: India, Prayer mat; India, Tent panel with flowering plant; India, Panel with flowering plant; India, Pair of screens (Jali); India, Pendant (haldili); India, Pendant (haldili); China, Pair of pigs Peter Ranembe Morgan, Adelaide, SA: Morris & Company, London, Edward Burne-Jones, Flora (tapestry) Alan Myren & Lee Grafton, Adelaide, SA: China, The Seventh Dalia Lama, Kelsang Gyatso National Gallery of Australia, Canberra, ACT: Rupert Bunny, Pastoral; Sydney Long, The Spirit of the plains; Knut Bull, The wreck of 'George the Third' National Gallery of Australia, Canberra, ACT: Unknown Australian, Shell necklace; Unknown Australian, Sister basket; Unknown Australian, Jawun (rainforest) shield; Unknown Australian, Jawun (bicornual) basket; Unknown Australian, Basket; Unknown Australian, Jawun (bicornual) basket Daniel Nuske, Adelaide, SA: Albert Namatjira, Woomera Philip Speakman, Adelaide, SA: CEFirnhaber, Masonic presentation cup Wendy St Alban, Adelaide, SA: CE Firnhaber, Covered cup [for Thomas Graves]; Henry Steiner, Julius Schomburgk, Covered cup; attributed to CE Firnhaber, Emu-egg vase; INWARD LOANS TO EXHIBITIONS For: Realms of Wonder: Jain, Hindu and Islamic art of India, Art Gallery of South Australia, 5 July to 15 September 2013: Michael Abbott, Adelaide, SA: The Middle World known as Madhyaloka; Durga Mahisasuramardini; Tripuranataka; A meditating Digambara, Jina; Dancer and three musicians; Shrine stand; Map of the pilgrimage sites of Palitana; Visnu

Barrie & Judith Heaven, Adelaide, SA: Makara pedestal for the river goddes Ganga; Elephant caparison (nettipattam); Seated Jina probably Mahavira; Pair of lions (yali); Pair of screens (jali); Architectural panel with flowers; Vamana the dwarf avatar of Visnu; Ganesa with consort; Marriage of Siva and Parvati; Mahesvari the Great Mother, as Gajasuramurti; Five-faced Hanuman (Pancamukha Hanuman); Four-armed Krsna playing the flute; Brahma with Satarupa; Krsna and Radha; Kali-mata,Venkat Raman Singh Shyam; Lidded-box in the shape of a mango, containing self-born linga(svayambhu linga); Veena, musical instrument; Sitar, musical instrument; Bangle with foliate design; India, Panel with flowering plant Alan Myren & Lee Grafton, Flagstaff Hill, SA: Visnu; Ganesa riding the rat; Altarpiece with Rsabha and four attending Jinas (panca-tirthika); [Seated Tirtankara with parasol over the head and flanked by multiple seated and standing deities]; Narasimha the lion avatar of visnus; Ganesa; Krsna and Radha seated on a lotus throne; Visnu and Sarasvati; A ruler with his favourite; Ganesa with devotees; Ganesa riding the rat; Dancing Ganesa; Narasimha the lion avatar of Visu; Ganesa; Visnu; [Seated Tirthankara with green patination]; [Seated Tirtankara with parasol over the head and flanked by multiple seated and standing deities] For: Warka irititju munu kuwari kutu. Work from the past and present: Ernabella Arts the last thirty years, Art Gallery of South Australia, 13 July to 24 November 2013: Ernabella Arts Inc., Ernabella via Alice Spring, NT: Tjimpuna Williams, Putitja (Bush); Tjimpuna Williams, Piltati; Derek Jungarrayi Thompson, Jian Yang, Attila (Mount Conner); Derek Jungarrayi Thompson, Jain Yang, Attila (Mount Conner)

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For: SALA Festival 2013, Art Gallery of South Australia, 2 August to 25 August 2013: Nicholas Folland, Kilkenny, SA: Nicholas Folland, Dear For: Time to Time: Films of Bill Morrison, Art Gallery of South Australia, 5 October to 3 November 2013: Bill Morrison, Adelaide, SA: Bill Morrison (filmmaker), Michael Gordon (music), Light is calling; Bill Morrison (filmmaker), Todd Reynolds (music), Outerborough; Bill Morrison (filmmaker), Douglas, Dave (music), The Creature's Education; Bill Morrison (filmmaker), Vijay Iyer (music), Release; Bill Morrison (filmmaker), Michael Gordon (music), Decasia: The State of Decay; Bill Morrison (filmmaker), Bill Frisell (music), The Great Flood For: Metamorphoses, Art Gallery of South Australia, 13 November 2013 to 27 January 2014: David Roche Foundation, North Adelaide, SA: Nurture of Jupiter Clock South Australian Museum, Adelaide, SA: Shabati State Library of New South Wales, Sydney, NSW: Ovid, Metamorphoses For: Elements in harmony: Contemporary Japanese Ceramics, Art Gallery of South Australia, 20 December 2013 to 30 May 2015: Richard McMahon, Glenelg, SA: Harada Shuroku, Small sake flask (kabura tokkuri); Tanoue Shinya, Shell (kara); Kako Katsumi, Red ash bowl; Uetake Satoshi, Kasama vase; Yamade Kazu, Green oribe vase; Akiyama Yӧ, Object with rope base, Shigaraki ware; Fujioka Shuhei, Sculpted jar, Iga ware; Fujioka Shuhei, Water jar (mizushashi), Iga ware; Furutani Churoku IV, Vase, shigaraki ware; Furutani Michio, Mallet vase, Iga ware; Furutani Michio, vae, Iga ware; Hamada Tomoo, Shinogi vase; Hamamoto Hiroyoshii, Vase, Karatsu ware; Hasu Yoshitaka, Vase, wish ash iron glaze; Ichino Masahiko, Saideki vase, Tamba ware; Kako Katsumi, Square vase, with red ash glaze; Kako Katsumi, Vase, with dark glaze and etching; Kakurezahi Ryuichi, ‘Penguin’ vase, Bizen ware; Kakurezaki Ryuichi, Tsurukubi, vase,

Bizen ware; Kakurezaki Ryuichi, ‘Umbrella’ vase, Bizen ware; Kato Takahiko. Scared vase Shigaraki ware; Kato Takeshi, Hanging vase, with shino glaze, Shigaraki ware; Kato Shoji Yasukage XIV, Vase with shino glaze; Kawakami Tomoko, Flower vessel, with black glaze; Koie Ryoji, Jar, oribe ware; Kondo Yutaka, Black and white vase; Kouichi Hidetoshi, ‘Boat’ vase, oribe ware; Kouichi Hidetoshi, Bowl, shino glaze; Mihara Ken, Sekki vase; Misaki Mitsukuni, Blue glazed jar; Misaki Mitsukuni, Vessel, with slip glaze; Miyao Masahiro, Flower jar, bizen ware; Mori Seishi, Wave jar, bizen ware; Mori Tozan, Large jar, Bizen ware; Morino Hiroaki, Vas, unrai (1 of 2); Murata Gen, Umbrellla vase, Mashiko ware; Nigaki Tsumoto, Tsuboya ware; Nishioka Yoshihiro, Vase karatsu ware; Ohira Kazumasa, Wind vessel, Shigaraki ware; Ohira Kazumasa, Wind vessel (2) Shigaraki ware; Satake Yoshiyuki, Gourd vase, with ash glaze; Imai Masayuki, Saki flask (tokkuri); Tsujimura Kai, Stick vase; Takahashi Kozo (Rakusai V), Hanging vase, Shigaraki ware; Takauchi Shugo, Vase, with shino glaze; Terashima Yuji, Serving bowl; Tsujimura Kai, Hanging vase, Iga ware; Tsujimura Kai, Vase, Iga ware; Tsujimura Yui, Vase, with ash glaze; Uetake Satoshi, Kasama vase (2); Wakimoto Hiroyuki, Vase (1) bizen ware; Wakimoto Hiroyuki, Vase (2), bizen ware; Yasuhara Kimei, Vase, with incised marks; Yoshida Takashi, Camelia vase; Yoshimoto Shuho, Circle vase, sueki ware; Hatano Hideo, Sake flask, Hagi ware; Yoshikawa Masamichi, Flask; Tsujimura Yui, Sake flask (tokkuri) with ash glaze; Mihara Ken, Sake flask; Kato Takeshi, Sweet bowl, shino glaze For: 2014 Adelaide Biennial of Australian Art: DARK HEART, Art Gallery of South Australia, 1 March to 11 May 2014: Tony Albert, Sydney, NSW: Tony Albert, 108 Revolution Stolen; Tony Albert, 108 Revolution Intervention; Tony Albert, 108 Revolution Reconciliation; Tony Albert, 108 Revolution Dong Xi Land Rights; Tony Albert, 108 Revolution Assimilation; Tony Albert, 108 Revolution Protection; Tony Albert, 108 Revolution Self Determina; Tony Albert, 108 Revolution Advancement; Tony Albert, 108 Revolution Integration; Tony Albert, 108 Revolution For Their Own Good; Tony Albert,

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108 Revolution The Chief Prote; Tony Albert, 108 Beyond Belief I am A Great Believer; Tony Albert, 108 Beyond Belief Heaven is A Place On Earth; Tony Albert, 108 Beyond Belief Am I Are You Are We; Tony Albert, 108 Beyond Bellief Getting Away With It; Tony Albert, 108 Beyond Bellief Blak Target;Tony Albert, 108 Beyond Belief Red Cross; Tony Albert, 108 Beyond Bellief Where is The Love; Tony Albert, 108 Beyond Bellief Two Worlds; Tony Albert, 108 Beyond Bellief How Much Does He Want For It; Tony Albert, 108 Beyond Bellief Get Lost; Tony Albert, 108 Beyond Belief Riots The Language of the Unheard; Tony Albert, 108 Invisible My Favourite Mask Me; Tony Albert, 108 Invisible My Favourite The Moon The Earthand The Sun; Tony Albert, 108 Invisible My Favourite How Many Legs Does An Elephant Have: Tony Albert, 108 Invisible My Favourite Duck or Rabbit; Tony Albert, 108 Invisible My Favourite Impossible Shapes; Tony Albert, 108 Invisible My Favourite Super Heroes; Tony Albert, 108 Invisible My Favourite My Family; Tony Albert, 108 Invisible My Favourite Mirror Mirror; Tony Albert, 108 Invisible My Favourite Can You See What I See; Tony Albert, 108 Invisible My Favourite Supa Star; Tony Albert, 108 Invisible My Favourite Great Minds ThinkAlike; Tony Albert, 108 Outtaspace Outta Here; Tony Albert, 108 Outtaspace Warning Will Robinson; Tony Albert, 108 Outtaspace Invader; Tony Albert, 108 Outtaspace Lost In Space; Tony Albert, 108 Outtaspace Were Lost Lostin Space; Tony Albert, 108 Outtaspace Over There; Tony Albert, 108 Outtaspace I Wanted To Build A SpaceshipSo I Can Fly Away; Tony Albert, 108 Outtaspace Ground Control To Major Tom; Tony Albert, 108 Outtaspace Mission Control We Have A problem; Tony Albert, 108 Outtaspace Space Invaders; Tony Albert, 108 Outtaspace The Moon Is Not Yours To Take; Tony Albert, 108 I AM YOU ARE WE ARE Two Worlds Collide; Tony Albert, 108 I AM YOU ARE WE ARE Its All Your Fault; Tony Albert, 108 I AM YOU ARE WE ARE I Have Decided; Tony Albert, 108 I AM YOU ARE WE ARE Safety Matches; Tony Albert, 108 I AM YOU ARE WE ARE Average Contents; Tony Albert, 108 I AM YOU ARE WE ARE We Are; Tony Albert, 108 I AM YOU ARE WE ARE I am Your Are We Are; Tony Albert, 108 I AM YOU ARE WE ARE I Am; Tony Albert, 108 I AM YOU ARE WE ARE Blak Target; Tony Albert, 108 I AM YOU ARE WE ARE You Are; Tony Albert, 108 Mija The

Land Of; Tony Albert, 108 Mija Scorpio; Tony Albert, 108 Mija Yasi; Tony Albert, 108 Mija Jarwun; Tony Albert, 108 Mija The Art Of; Tony Albert, 108 Mija Shield; Tony Albert, 108 Mija Body; Tony Albert, 108 Mija Butterfly; Tony Albert, 108 Mija Home; Tony Albert, 108 Mija Theres No Place Like Home; Tony Albert, 108 Stick With Love A King is Born; Tony Albert, 108 Stick With Love Last Dance; Tony Albert, 108 Stick With Love Interracial Kiss; Tony Albert, 108 I Am Important Mickey Was A Marsupial Mouse; Tony Albert, 108 I Am Important Scratch The Surface; Tony Albert, 108 I Am Important Texttile Design; Tony Albert, 108 I Am Important Black White Red White Black; Tony Albert, 108 I Am Important But Now I Am Found; Tony Albert, 108 I Am Important The Original Australians; Tony Albert, 108 I Am Important I Know My Country; Tony Albert, 108 I Am Important Violent Crumble; Tony Albert, 108 I Am Important Superman Plants Aboriginal Flag; Tony Albert, 108 I Am Important Peggy; Tony Albert, 108 I Am Important Tour Guide; Tony Albert, 108 I Family Love Forever; Tony Albert, 108 I Family Kangaroo; Tony Albert, 108 I Family Every Boy Every Girl; Tony Albert, 108 I Family For Arthur; Tony Albert, 108 I Family Across The Cape; Tony Albert, 108 I Family Yayin; Tony Albert, 108 I Family Nguna; Tony Albert, 108 I Family Mugirray; Tony Albert, 108 I Family Father; Tony Albert, 108 I Family Little Sister; Tony Albert, 108 I Family Yabu; Tony Albert, 108 Stick With Love This Much Is True; Tony Albert, 108 Stick With Love For Me; Tony Albert, 108 Stick With Love Love Thy Neighbour Blak or White; Tony Albert, 108 Stick With Love Love Thy Neighbour; Tony Albert, 108 Stick With Love Is It A Bird; Tony Albert, 108 Stick With Love Is It A Plan; Tony Albert, 108 Stick With Love Hate is Too Great; Tony Albert, 108 Stick With Love Peace Love and Misunderstanding; Tony Albert, 108 I AM YOU ARE WE ARE Do You Speak My Language; Tony Albert, 108 Mija My Home Country People; Tony Albert, 108 – House of cards (1-9) Brook Andrew, Darlinghurst, NSW: Brook Andrew, AUSTRALIA 1; Brook Andrew, AUSTRALIA ll PEACE; Brook Andrew, AUSTRALIA VI; Brook Andrew, AUSTRALIA lll; Brook Andrew, AUSTRALIA lV; Brook Andrew, AUSTRALIA V Del Kathryn Barton, Paddington, NSW: Del Kathryn Barton, the heart land; Del Kathryn

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Barton, Brendan Fletcher, the human dress with remy Hii (still) Martin Bell, Melbourne, Vic: Martin Bell, Untitled; Martin Bell, Untitled (1-24) Shoufay Derz, Sydney, NSW: Shoufay Derz, Depart without return Fiona Hall, c/- Roslyn Oxley9 Gallery, Paddington, NSW: Fiona Hall, Out of my tree Brendan Huntley, North Melbourne, Vic: Brendan Huntley, You’re welcome (1–24) Dale Frank, c/- Roslyn Oxley9 Gallery, Paddington, NSW: Dale Frank, He best represented the methylated spirit of his times. View over Lake Glenbawn from his verandah after a midnight swim; Dale Frank, Emphysema feathered his appetites; Dale Frank, Peering over the Liverpool Plains from a Cessna Cherokee; Dale Frank, Self Portrait with amorous Tapeworms; Dale Frank, Non objective pessimism; Dale Frank, The pregnant doubt of intra Species Love Tony Garafalakis, Richmond, Vic: Tony Garifalakis, Mob Rule (1–85) Rosemary Laing, Melbourne, Vic: Rosemary Laing, a dozen useless actions for grieving blondes #1; Rosemary Laing, a dozen useless actions for grieving blondes #2; Rosemary Laing, a dozen useless actions for grieving blondes #5; Rosemary Laing, a dozen useless actions for grieving blondes #6; Rosemary Laing, a dozen useless actions for grieving blondes #7; Rosemary Laing, a dozen useless actions for grieving blondes #9; Rosemary Laing, a dozen useless actions for grieving blondes #10; Rosemary Laing, a dozen useless actions for grieving blondes #11; Rosemary Laing, one dozen considerations, Totem 1, Emu; Rosemary Laing, one dozen considerations, Totem 2, Emu; Richard Lewer, Sydney, NSW: Richard Lewer, Worse luck I am still here Fiona Lowry, North Bondi, NSW: Fiona Lowry, all truth waits in all things; Fiona Lowry, through me forbidden voices; Fiona Lowry, I do not press my fingers across my mouth; Fiona Lowry, I dream in my dream all the dreams of the other dreamers and I become the other dreamers; Fiona Lowry, standing with open eyes over the shut eyes of the sleepers Dani Marti, Aberdare, NSW: Dani Marti, Armour 'the Folly of Fear'; Dani Marti, Armour 'Out looking for teeth'; Dani Marti, ARMOUR 3: An Heroic Feat; Dani Marti, ARMOUR, A Bad Night

Martumili Artists, Newman, WA: Martumili Artists, Yarrkalpa (Hunting ground) eX de Medici, Watson, ACT: eX de Medici, THE LAW; eX de Medici, Spent; eX de Medici, The World Video Monash Gallery of Art, Wheelers Hill, Vic: Rosemary Laing, Swanfires, Chris's shed Trent Parke, Semaphore, SA: Trent Parke, Street Portrait Series Patricia Piccinnini, Fitzroy, Vic: Patricia Piccinnini, The Skywhale Ben Quilty, Robertson, NSW: Ben Quilty, The island Julia Robinson, Payneham South, SA: Julia Robinson, Installation for The STUDIO Caroline Rothwell, Chippendale, NSW: Caroline Rothwell, Climatic Alex Seton, Newton, NSW: Alex Seton, Someone died trying to have a life like mine (1–28) Sally Smart, North Melbourne, Vic: Sally Smart, The Choreography of Cutting Ian Strange, New York, USA: Ian Strange, Landed Warwick Thornton, Potts Point, NSW: Warwick Thornton, Rebirth Tjala Arts, Amata Community, APY Lands, via Alice Springs, NT: Kulata Tjuta Project, Kulata Tjuta (many spears) Julia de Ville, Collingwood, Vic: Julie de Ville, Phantasmagoria Lynette Wallworth, Sydney, NSW: Lynette Wallworth, Always Walking Country: Parrngurr Yarrkalp Ah Xian, China: Ah Xian, Evolutionaura1: Turquoise-1; Ah Xian, Evolutionaura2: Xuanyuan Stone-1; Ah Xian, Evolutionaura3: Lingbi Stone-1; Ah Xian, Evolutionaura4: Agate-1; Ah Xian, Evolutionaura5: Agate-2; Ah Xian, Evolutionaura7: Turquoise-3; Ah Xian, Evolutionaura8: Lingbi Stone-2; Ah Xian, Evolutionaura20: Tai-lake Stone-8 For: Netsuke and other Miniatures, 10 April to 31 August 2014: Silvio Apponyi, Balhannah, SA: Silvio Apponyi, Bilby; Silvio Apponyi, Cycle of Life; Susan Wraigth, Otter chasing a Fish; Silvio Apponyi, Ringtail Possum; Silvio Apponyi, Wombat Showing Off; Silvio Apponyi, Dugong and Calf; Silvio Apponyi, Hare

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David Button, Basket Range, SA: Unknown Japanese, Tiger and dragon Vaughan Cottle, Camden Park, SA: Vaughan Cottle, Wombats; Vaughan Cottle, Bat & Ojime (night sky) Naomi Guerin, North Adelaide, SA: Unknown Japanese, Kiseruzutsu – stag antler pipe holder, leather pouch, metal ojine Umehara Munetaka, St Georges, SA: Unknown Japanese, [Man’s obi] Catherine Truman, Thebarton, SA: Unknown Japanese, Fish with pebble Naomi & Peter Von Czarnecki, St Peter, SA: Unknown, Ivory Okimono,” two skeletons & monkey”; Unknown, Bronze statue of monkey Anzac Display, Art Gallery of South Australia, 24 April to 4 August 2014 Peter Lane, Toorak Gardens, SA: Rejected Volunteers' Associaetion (Victoria) Badge; Ordinary Seaman James Hedley Woolright RAN 1914–15 Star, British War Medal and Victory Medal; Egyptian Bazar Souvenirs For: Lace: The art of adornment, Art Gallery of South Australia, 10 May 2014 to 23 March 2015: Giles Bettison, Maylands, SA: Giles Bettison, Lace 08#9; Giles Bettison, Lace 08#6; Giles Bettison, Lace 08#4 Aldo Iacobelli, Trinity Gardens, SA: Aldo Iacobelli, El cine pierde a Stanley Kubrick (the movie world loses Stanley Kubrick); Aldo Iacobelli, A Ranieri le gusta el "Catenaccio" (Ranieri, he likes Catenaccio"); Aldo Iacobelli, Murdoch ofrece mas de 140,000 millones por el Manchester United (Murdoch offers over 140,000 millions for the Manchester United); Aldo Iacobelli, Garry Kasparov acusa al ordenador "Deep Blue" de hacer trampas (Garry Kasparov accuses the computer "Deep Blue" of cheating"; Aldo Iacobelli, Barrioneuvo y Vera entran en prision arropados por Felipe hasta el final (Barrionuevo and Vera enter prison protected to the end by Felipe); Aldo Iacobelli, El heredero de Murdoch se ha casado (The heir of Murdoch has married); Aldo Iacobelli, Sera' nuestra especie victima en el futuro de impacto de otro gran cuerpo extraterrestre, al igual que sucedio' a los dinosauros? (will our species, in the future be victim of an impact from another

large extra-terrestrial body, as it happened ot the dinosaurs)?; Aldo Iacobelli, Limpieza etnica en 'Yugoslavia (Ethnic cleansing in Yugoslavia); Aldo Iacobelli, Santander y BCH sellan la gran alianza (Santander and BCH seal the big alliance) Jaimie Sortino, Prospect, SA: Jaimie Sortino, [Dress] Paul Vasileff, Torrensville, SA: Paul Vastileff, Paolo Sebastian, [Lace dress] For: The World of Mortimer Menpes: Painter, Etcher, Raconteur, Art Gallery of South Australia, 14 June to 7 September 2014: Art Gallery of New South Wales, Sydney, NSW: Mortimer Menpes, Three fair ladies Edward Ash, Staffordshire, UK: Mortimer Menpes, Midday – Pueblo; Mortimer Menpes, Reading Ann Axelby, Adelaide, SA: Mortimer Menpes, Mrs Brown Potter seated wearing a feathered hat British Museum, London, UK: Mortimer Menpes, Cecil Rhodes, three studies Graham Buckett, Kew, Vic: Mortimer Menpes, Glenfinnan David Button, Basket Range, SA: Unknown Japanese, Japanese floral pattern fabric Mr James Fairfax AC, Bowral, NSW: Mortimer Menpes, One of our new allies, Japan Grainger Museum, University of Melbourne, Parkville, Vic: Ernest Walter Histed, Mr Mortimer Menpes; Unknown photographer, Group including Menpes and Whistler in garden of Menpes' home at Fulham; Unknown photographer, Unknown photographer, Menpes seated, white-clad on lawn; Webster Bros, Mortimer Menpes with sword; Ellott and Fry, London, Mortimer Menpes, left arm akimbo; Unknown photographer, Mortimer Menpes in army uniform; Mendelsohn, Hayman Seleg, Rosa Menpes; Biographic Notice, from “Who’s who” 1936; Letter from Mortimer Menpes to Percy Grainger, March 16 1924, sent from Iris Court, Pangbourne; Mortimer Menpes, Heavy laden; Mortimer Menpes, Portrait of Whistler Galerie Boisvert, Baton Rouge, Louisiana, USA: Mortimer Menpes, Blue was the sky above us, Benares Geoffrey & Alison Cole, Reading, UK: Mortimer Menpes, Mrs Annie Besant; Attributed to

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Mortimer Menpes & unknown Japanese artist, Teahouse garden Eric Denker, Washington, USA: Mortimer Menpes, Rio Vena in Chioggia; Mortimer Menpes, Abbazia; Mortimer Menpes, St Mark's Piazza George Gream, Gilberton, SA: Mortimer Menpes, Evil Arthur Greenhalgh, North Adelaide, SA: Mortimer Menpes, The captive Persian Jennifer Harris, St Peters, SA: Mortimer Menpes, Geisha girls: four musicians Dr Ian Hocking, St Peters, SA: Mortimer Menpes, Light and shade; Mortimer Menpes, Sir Henry Irving Dr Colin Holden, Armadale, NSW: Mortimer Menpes, Portrait of George Meredith The Hunterian, University of Glasgow, Glasgow, Scotland: Mortimer Menpes, Dolce far Niente; Mortimer Menpes, A little shop in Chelsea; Mortimer Menpes, Osaka [Japanese riverside village]; Mortimer Menpes, Whistler portrait no.7 (six faces of Whistler) Dr Barbara Inglis, Parkville, Vic: Mortimer Menpes, A famous palazzo Lyn Jaunay, Unley Park, SA: Mortimer Menpes, A quiet game of draughts Katie & David Julian, Hampton, Vic: Mortimer Menpes, Sweet-stuff shop Cecily Langdale & Roy Davis, New York, USA: Mortimer Menpes, The girl with the jars Anne Leech, Rostrevor, SA: Cassell & Company Limited, The Magazine Art John Lewis c/- Fine Art Society, London, UK: Mortimer Menpes, A little boy blue (Toby no. 1); Mortimer Menpes, His debut Lowell Libson, London, UK: Mortimer Menpes, A geisha carrying a parasol Dr Rebecca Linke, North Adelaide, SA: Mortimer Menpes, Mexican scene David McKee, Leabrook, SA: Mortimer Menpes, A Japanese procession Museum Sheffield, Sheffield, UK: Mortimer Menpes, All the day’s work (Lahore); Mortimer Menpes, Spinning (Ajmere); Mortimer Menpes, The lemon wall; Mortimer Menpes, A courtyard; Mortimer Menpes, Portrait of a woman National Gallery of Australia, Canberra, ACT: Mortimer Menpes, Blue blinds (A Cairo Bazaar); Mortimer Menpes, Head of a woman; Mortimer Menpes, Charlotte Corday (Mrs Brown Potter); Mortimer Menpes, The Duchess of Sutherland;

Mortimer Menpes, Early English (Mrs Brown Potter); Mortimer Menpes, Portrait of a woman National Library of Australia, Canberra, ACT: Mortimer Menpes, Portrait of a savant (after Rembrandt van Rijn); Mortimer Menpes, Portrait of the Doge Lorendano (after Giovanni Bellini); Mortimer Menpes, William ll, Prince of Orange (after Anthony van Dyck); Mortimer Menpes, La Gioconda (after Leonardo da Vinci); Mortimer Menpes, Flora with flower-trimmed crook (after Rembrandt van Rijn); Mortimer Menpes, Chapeau de paille (after Peter Paul Rubens); Mortimer Menpes, The laughing cavalier (after Frans Hals); Mortimer Menpes, Rembrandt leaning on a stone still (after Rembrandt van Rijn); Mortimer Menpes, Portrait of Mrs Siddons (after Thomas Gainsborough); Mortimer Menpes, Reconciliation between David and Absalom (after Rembrandt van Rijn); Justin McCarthy, Mrs Campbell Praed & Mortimer Menpes, The Grey River Philip Bacon Galleries, Sydney, NSW: Mortimer Menpes, Francesca John E Parkerson, Houston, Texas, USA: Mortimer Menpes, Waiting for the rickshaw Ng Lu Pat c/- Fine Art Society, London, UK: Mortimer Menpes, A Japanese Boy; Mortimer Menpes, A Japanese Boy Outside a Shop Powerhouse Museum, Sydney, NSW: Mortimer Menpes, Plate John Russell, College Park, SA: Mortimer Menpes, Labour hath no charms (Delhi); Mortimer Menpes, In front of a shop; Mortimer, Menpes, The golden temple (Amritsar); Mortimer Menpes, Decorating a pot, Japan; Mortimer Menpes, Peach-blossom; Mortimer Menpes, A Hawksman of Rajgarh; Mortimer Menpes, A retainer of the Maharajah of Cutch; Mortimer Menpes, The fish-hook makers; Mortimer Menpes, A midnight market, Puebla; Mortimer Menpes, Achilles; Mortimer Menpes, Dorothy, the youngest author in England in magazine; Mortimer Menpes, A potter; Mortimer Menpes, A Street scene, Kioto; Mortimer Menpes, Self portrait; Mortimer Menpes, [letter with Constance Collier image]; Mortimer Menpes, [The House Beautiful article]; Mortimer Menpes, Self portrait Rosemary Smith, Richmond VA, USA: Mortimer Menpes, (Girl with a fan); Mortimer Menpes, Dorothy Wedd; Mortimer Menpes, Smiling; Mortimer Menpes, The Quay, Boulogne;

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Mortimer Menpes, Plum blossom, Japan; Mortimer Menpes, Difficulties; Mortimer Menpes, (Nautsch girls dancing); Mortimer Menpes, (Village scene); Mortimer Menpes, (Two studies of children, Mexico); Mortimer Menpes, (A Japanese baby 2); Mortimer Menpes, Duchess of Sutherland; Mortimer Menpes, Duchess of Sutherland, left profile; Mortimer Menpes, Miss Barbara Johnson; Mortimer Menpes, Duchess of Sutherland's daughter (Maria); Mortimer Menpes, Sarah Bernhardt; Mortimer Menpes, The black hat (early version - this is the one without the chair); Mortimer Menpes, Four studies of Benoit Constant Coquelin; Mortimer Menpes, Whistler in white ducks; Mortimer Menpes, after FransHals, Banquest of the officers of the arches of St Adrian; Mortimer Menpes, La Salute – sunset; Mortimer Menpes, A Jap in orange; Mortimer Menpes, A Chinese tailor; Mortimer Menpes, (Chinese man with pipe); Mortimer Menpes, Evening; Mortimer Menpes, San Giorgio Maggiore; Mortimer Menpes, Groote Schuur, Cape Town; Mortimer Menpes, Iris Hoey painting; Mortimer Menpes, Iris Hoey; Mortimer Menpes, Woman with fan; Mortimer Menpes, Barbara Monkton Hoffe (light state); Mortimer Menpes, Barbara Monkton Hoffe (dark state); Mortimer Menpes, Postcard of Mrs Brown Potter; Mortimer Menpes, Child, three versions mounted together; Mortimer Menpes, A Deserted waterway, Cashmere (early version); Mortimer Menpes, War Impressions book with original drawing; Mortimer Menpes, Grey river, bound volume; Mortimer Menpes, Four portrait studies; Mortimer Menpes, (Two children); Mortimer Menpes, Mortimer Menpes and Mrs James Brown Porter; Mortimer Menpes, The Durbar book with original drawing; Mortimer Menpes, Lady's Realm for images of Cadogan; Dr Leslie Stephan, North Adelaide, SA: Mortimer Menpes, (Japanese archer on horseback); Mortimer Menpes, Two geisha girls Tate National, London, UK: Mortimer Menpes, Flower of the tea Trafalgar Galleries, London, UK: Mortimer Menpes, Cashmere; Mortimer Menpes, On the Ganges; Mortimer Menpes, On the marge of the sunset (Benares); Mortimer Menpes, A root seller; Mortimer Menpes, Playing the shamisen; Mortimer Menpes, Mother and baby;

Mortimer Menpes, Young boy, Japan; Mortimer Menpes, A stencil cutter; Mortimer Menpes, Framed letter from Mortimer Menpes to 'Dear Great one' sent from the Shirley Hotel, Waymouth Victoria & Albert Museum, London, UK: Mortimer Menpes, The Venice of Japan; Mortimer Menpes, A tranquil waterway; Mortimer Menpes, On the great canal, Osaka; Mortimer Menpes, Swinging along in the sunlight; Mortimer Menpes, Who’ll buy; Mortimer Menpes, Flying banners; Mortimer Menpes, After the festival; Mortimer Menpes, A little vulgar boy; Mortimer Menpes, Touching the chords; Mortimer Menpes, Lanterns; Mortimer Menpes, Playfellows; Mortimer Menpes, Baby and baby; Mortimer Menpes, A roaring business; Mortimer Menpes, Chums; Mortimer Menpes, Portrait drawing [Head of a girl wearing a hood]; Mortimer Menpes, Sarah Berhardt, three studies Peter Walker, Walkerville, SA: Mortimer Menpes, An old, old man Michael Whiteway, London, UK: Mortimer Menpes, Burmese Village; Mortimer Menpes, Japanese children; Mortimer Menpes, Two children on beach For: Dorrit Black: unseen forces, Art Gallery of South Australia, 14 June to 7 September 2014: Adelaide Festival Centre, Adelaide, SA: Dorrit Black, 'Iberia' costume for Les Ballets Contemporains Art Gallery of Ballarat, Ballarat, Vic: Dorrit Black, Still life with grapes Art Gallery of New South Wales, Sydney, NSW: Dorrit Black, Heat haze John Baily, Port Lincoln, SA: Dorrit Black, South coast landscape Dr Andrew B Black, Malvern, SA: Dorrit Black, Fishing barge, Hobart; Dorrit Black, Holiday cricket, Burnie Park; Dorrit Black, Portrait of Rawi Bhavilai; Dorrit Black, Country town, Nocturne; Dorrit Black, Portrait; Dorrit Black, Toucans; Dorrit Black, Orchestra pit, Theatre Royal; Dorrit Black, Argentina or The Spanish dancer; Dorrit Black, The wattle tree; Dorrit Black, Elizabeth Street, Sydney Mr James Black, Medindie, SA: Dorrit Black, Hillside House; Dorrit Black, (Gum bending over small creek)

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Dr & Mrs Robert Black, Glen Osmond, SA: Dorrit Black, Mirmande; Dorrit Black, Wings; Dorrit Black, The footballers; Dorrit Black, Houses, Mirmande; Dorrit Black, Hills near Hobart, Tasmania; Dorrit Black, Cliffs at Second Valley; Dorrit Black, Rooftops and gardens; Richard Boland, North Adelaide, SA: Dorrit Black, Distillery, Penfolds Hab Bonython, South Yarra, Vic: Dorrit Black, The churchyard; Dorrit Black, The woolshed; Lois Caw, Wombarra, NSW: Dorrit Black, Paris Hat; Dorrit Black, Black boys Marjorie Caw, Parkerville, WA: Dorrit Black, St George's Church, Hobart; Dorrit Black, The string quartet; Dorrit Black, Still life with bread and fruit; Dorrit Black, The artist; Dorrit Black, West Bay, Dorset (English coast); Dorrit Black, Country Town Mr Conal Coad & Colin Beutel, Benowa, Qld: Dorrit Black, Still life with guitar; Dorrit Black, Still life with shell vase; Dorrit Black, La Grand Rue; Dorrit Black, Still life with red posy; Dorrit Black, Study for Still life with guitar Ross Goble, Magill, SA: Dorrit Black, Study (male portrait); Dorrit Black, Landslide at Port Germein Gorge; Dorrit Black, Rock face, Port Germein Gorge; Dorrit Black, Lake Louise, Banff; Dorrit Black, The artist’s mother Tracey Kneebone, Glenunga, SA: Dorrit Black, Factory at Port Lincoln Kym Harding / Irene Miller, Balmain, NSW: Dorrit Black, Nude with cigarettes; Dorrit Black, Interior (Roland Wakelin's sitting room) Mrs Hilary Kneupffer, Rostrevor, SA: Dorrit Black, Landscape with trees; Dorrit Black, Gemmell's Farm; Dorrit Black, Chinese umbrella; Dorrit Black, The fruit stall; Dorrit Black, Second valley; Dorrit Black, Side of creek, Mitcham; Dorrit Black, Trees and creek; Dorrit Black, Dutch houses; Dorrit Black, Wisteria, Wentworth House Lawrence Wilson Art Gallery, Nedlands, WA: Dorrit Black, Landscape, Noarlunga; Dorrit Black, Boats at Morgan; Dorrit Black, The building workers; Dorrit Black, study for linocut ’Naval funeral’ Mary Leask, Mount Claremont, WA: Dorrit Black, South coast; Dorrit Black, Portrait of Mildred (?); Dorrit Black, Cubist nude study;

Dorrit Black, Composition Study - Sailors and Girls; Dorrit Black, Dorset Cottages; Dorrit Black, American River, Kangaroo Island; Dorrit Black, Hillside, Bellevue Hill, Sydney Sally Lee, South Perth, WA: Dorrit Black, Grass trees Lyceum Club Adelaide, Adelaide, SA: Dorrit Black, Edge of the forest Dr Rob Lyons, Norwood, SA: Dorrit Black, Coconut Palms Ian Maidment, Westbourne Park, SA: Rocks and waves, Green Bay, Port Elliot Dr Oliver Mayo, Burnside, SA: Dorrit Black, Noarlunga landscape Chris Michelmore, Goodwood, SA: Dorrit Black, Boatsheds, Neutral Bay; Dorrit Black, Portrait study, (Man with pipe) Margaret Michelmore, Leabrook, SA: Dorrit Black, Chapman’s Pool; Dorrit Black, Albany coastline; Dorrit Black, Almond trees; Dorrit Black, The Aunts National Gallery of Australia, Canberra, ACT: Dorrit Black, The mountain lake; Dorrit Black, The horse collar makers; Dorrit Black, House-roofs and flowers Christine Newland-Smith, Sellicks Beach, SA: Dorrit Black, The cafeteria; Dorrit Black, Leather book cover; Dorrit Black, Portrait of a woman with purple blouse; Dorrit Black, Portrait (Grace Crowley); Dorrit Black, Colour-note (Nude); Dorrit Black, Interior with woman reading Sue Pass, Dalkeith, WA: Dorrit Black, (Negro funeral); Dorrit Black, Interior with dressing table; Dorrit Black, Portrait of Iberia performer; Dorrit Black, Tree in front of lake Helen Paton, St Kilda, Vic: Dorrit Black, Bookcast with jug Nancy Paton, Claremont, WA: Dorrit Black, St George's Church, Hobart; Dorrit Black, The string quartet; Dorrit Black, Still life with bread and fruit; Dorrit Black, The artist; Dorrit Black, West Bay, Dorset (English coast); Dorrit Black, Country Town Shane Le Plastrier, Adelaide, SA: Dorrit Black, Still life Deborah Pontifex, North Adelaide, SA: Dorrit Black, The boathouse, Sydney; Dorrit Black, Coastal trees; Dorrit Black, View up Lake Cons from Villa Verbellone Queensland Art Gallery, Brisbane, Qld: Dorrit Black, In the foothills

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Ghillian Sullivan, Newcastle, NSW: Dorrit Black, Female Nudet; Dorrit Black Portrait of Mildred (sister of the Artist); Dorrit Black, Head of girl (in green dress); Dorrit Black, Corner of the Studio; Dorrit Black, Farm Landscape; Dorrit Black, Female nude; Dorrit Black, Trees in the Park; Dorrit Black, Under the trees; Dorrit Black, Wings;Dorrit Black, The Toucans; Dorrit Black, Still Life with Persimmons; Dorrit Black, Portrait of Nurse in Blue; Dorrit Black, Portrait women in brown; Dorrit Black, Apres Gleizes; Dorrit Black, Gum trees; Dorrit Black, [Various postcards & miscellaneous material] University Art Gallery, University of Sydney, Sydney, NSW: Dorrit Black, The Castle, Taomina Justice Ann Vanstone, Adelaide, SA: Dorrit Black, The Parish Hall [Mount Gambier] For: Elegant Pursuit: Art of the East Asian Scholar, Art Gallery of South Australia, 14 July 2014 to17 July 2015: Jennifer Harris, St Peters, SA: Unknown Japanese, Pair of Japanese scrolls South Australian Museum, Adelaide, SA: China, ‘Iron-crutch Li’ (Li Tieguai), one of eight Daoist immortals Alan Myren & Lee Grafton, Flagstaff Hill, SA: Unknown Chinese, Scholars stone; Unknown Chinese, Pair of seals with lions (shi shi); Unknown Chinese, Seal with grasshopper; Unknown Chinese, Daoist immortal; Unknown Chinese, Snuff bottle; Unknown Chinese, Libation cup

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APPENDIX H

OUTWARD LOANS

LOANS FROM THE COLLECTION During the year 113 works were lent to 24 exhibitions, three of which were major national touring exhibitions and two of which were international touring exhibitions. Three works were lent to three departments under the furnishing loans programme.

LOANS TO EXHIBITIONS Adelaide, SA, South Australian Museum, Ngintaka exhibition, South Australian Museum, 29 March to 22 June 2014: Kunmanara Palpatja (Tiger), Ngintaka wati Tjukurpa – Perentie man of creation story Adelaide, SA, Carrick Hill, Art & Travel: Alexandre Iacovleff, La Croissiere Noire and Le Croissiere Jaune exhibition, Carrick Hill, 3 April to 29 June 2014 Aleksandr Yakovlev, Mohammed Rafi Aleksandr Yakovlev, A lama Ballarat, Vic, Art Gallery of Ballarat, For Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation, Art Gallery of Ballarat, 11 April to 27 July 2014: George Barnard after Thomas Livingston Mitchell, Tombs of a tribe Ludwig Becker, Melbourne from across the Yarra Martha Berkeley, Anne Eliza Duff with her daughter Jessie CHT Constantini, A Tasmanian Scotsman Townsend Duryea, John Hood, Sir Thomas Elder Thomas Livingstone Mitchell, Tombs of a tribe Margaret Preston, Portrait of Miss C.H. Spence James Shaw, The Admella wrecked, Cape Banks, 6th August, 1859

Bendigo, Vic, Bendigo Art Gallery. Genius and Ambition: The Royal Academy of Arts, London 1768-1918 exhibition, Bendigo Art Gallery, 2 March to 9 June 2014:

Will Ashton, The River Seine, Paris William Blamire, The Blood Pit George Coates, Motherhood Gladys Reynell, Old Irish couple Brisbase, Qld, University of Queensland Art Museum, Danie Mellor: a survey exhibition, The University of Queensland Art Museum, 18 January to 27 April 2014; TarraWarra Museum of Art, 10 May to 13 July 2014:

Danie Mellor, Postcards from the edge (in search of living curiosities) Bulleen, Vic, Heide Museum of Modern Art, Stephen Benwel: Beauty, Anarchy, Desire - Restrospective exhibition, Heide Museum of Modern Art, 8 August to 10 November 2013: Stephen Benwell, Large vase

Castlemaine, Vic, Castlemaine Art Gallery & Historical Museum, Dora Meeson and the Thames exhibition, Castlemaine Art Gallery & Historical Museum, 21 September to 10 November 2013:

Dora Meeson, Battersea Bridge in twilight Dora Meeson, London Bridge

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Canberra, ACT, Canberra Museum and Gallery, Elioth Gruner: the texture of light exhibition, Canberra Museum and Gallery, 7 March to 22 June 2014: Newcastle Art Gallery, 26 July to 26 October 2014: Elioth Gruner, Autumn Fog 1918 Elioth Gruner, Piccadilly Valley Elioth Gruner, St Tropez Hamilton, Vic, Hamilton Art Galleryk, Thomas Clark exhibition, Hamilton Art Gallery, 16 September to 17 November 2013:

Thomas Clark, The horse muster Thomas Clark, Waterfall Gully, South Australia Healesville, Vic, TarraWarra Museum of Art, Russell Drysdale: Defining the Modern Landscape exhibition, TarraWarra Museum of Art, 19 October 2013 to 9 February 2014:

Russell Drysdale, Mullaloonah Tank London, UK, Royal Academy of Arts, Australia exhibition, Royal Academy of Arts, 21 September to 8 December 2013:

George French Angas, Port Lincoln from Winter's Hill George French Angas, Scene showing emus in a plain (Coorong) Clarice Beckett, Morning shadows Clarice Beckett, Passing trams Dorrit Black, The Olive Plantation Brian Blanchflower, Nocturne 3 (Whale Rock) Charles Conder, A holiday at Mentone Charles Conder, How we lost poor Flossie David Davies, Moonrise EC Frome, First view of the salt desert - called Lake Torrens ST Gill, Looking SW from Table Land, August 22nd. ST Gill, North Terrace, Adelaide, looking south-east from Government House Guardhouse John Glover, A corroboree of natives in Mills Plains John Glover, A view of the artist's house and garden, in Mills Plains, Van Diemen's Land John Glover, View of Mills Plains, Van Diemen's Land Hans Heysen, Red Gold

Hans Heysen, The Land of the Oratunga HJ Johnstone, Evening shadows, backwater of the Murray, South Australia John William Lewin, Fish catch and Dawes Point, Sydney Harbour John William Lewin, View from Governor Bligh's farm, Hawkesbury, New South Wales Kenneth MacQueen, Birds and Sheep, Darling Downs Lofty bardayal Nadjamerrek AO, Dead man Margaret Preston, Aboriginal landscape John Skinner Prout, Maria Island from Little Swanport, Van Diemen's Land Tom Roberts, A break away! Jeffrey Smart, Holiday resort Howard Taylor, Sun figure Imants Tillers, Shadow of the hereafter Uta Uta Tjangala, Old Man's Dreaming Turkey Tolson Tjupurrula, Straightening spears at Ilyingaungau Jessie Traill, Building the Harbour Bridge IV; The ant's progress, November 1929 Horace Trenerry, The road to Maslins Eugene von Guerard, Stony Rises, Lake Corangamite after Thomas Watling, View of the town of Sydney in the colony of New South Wales Isaace Whitehead, In the Sassafras Valley, Victoria Fred Williams, Silver and grey London, UK, Saatchi Gallery, Ben Quilty exhibition, Saatchi Gallery, 4 July until 3 August 2014: Ben Quilty, Evening shadows,” Rorschach after Johnstone" Ben Quilty, Inhabit Melbourne, Vic, The Dax Centre, The University of Melbourne, Healing ways: Art with intent, The Dax Centre, 15 May until 31 October 2014: Yhonnie Scarce, Burial ground Melbourne, Vic, National Gallery of Victoria, Mid Century Modern: Australian Furniture Design, Ian Potter Centre, NGV, 30 May to 19 October 2014: Douglas B Snelling, Functional Products, St. Peters, Sydney, Rocking chair

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Melbourne, Vic, National Gallery of Victoria, Sue Ford exhibition, Ian Potter Centre, NGV, 17 April to 24 August 2014: Sue Ford, Riley Melbourne, Vic, National Gallery of Victoria, Bushido ‘Way of the Samurai’, National Gallery of Victoria, 4 July until 30 November 2014: Unknown Japanese, Battle scenes from the Tale of Heike (Heike Monogatari) Melbourne, Vic, Grainger Museum, The University of Melbourne, An artist’s utopia Mortimer Menpes in Japan, Grainger Museum, 22 July 2014 until 30 March 2015: Mortimer Menpes, A by-canal, Osaka Mortimer Menpes, A river scene, Japan Mortimer Menpes, Bronze workers in workshop Mortimer Menpes, By the light of the lantern Mortimer Menpes, Heavy laden Mortimer Menpes, On the great canal, Osaka Mortimer Menpes, Osaka Mortimer Menpes, The end of the festival, Japan Mortimer Menpes, Young bronze-workers, Japan Mornington, Vic, Mornington Peninsula Regional Gallery, Sea of Dreams exhibition, Mornington Peninsula Regional Gallery, 5 December 2013 to 2 March 2014:

Peter Purves Smith, Ricketts point Mosman, NSW, Mosman Art Gallery, UNE AUSTRALIENNE: Hilda Rix Nicholas in Paris, Tangier and Sydney exhibition, Mosman Art Gallery, 3 May to 29 June 2014 Hilda Rix Nicholas, Market Place, Tangier Hilda Rix Nicholas, Study for ... And those who gave ... I Hilda Rix Nicholas, The pink scarf Hilda Rix Nicholas, Through the arch to the sea Hilda Rix Nicholas, Two women in the market place

Murray Bridge, SA, Murray Bridge Regional Gallery, Salon, Murray Bridge Regional Gallery, 13 September to 20 October 2013: Nora Heysen, Spring Flowers Nora Heysen, Still life – cabbage Jacqueline Hick, Strangers Margaret Preston, Still life, Australian wildflowers with basket Margaret Preston, Still life, Australian wildflowers with Christmas Bells and Sturt Peas Margaret Preston, Still life, Australian wildflowers with gum blossoms Margaret Preston, Still life, Australian wildflowers with waratahs Margaret Preston, Still life, Australian wildflowers with Mottlecah and banksia blossom Perth, WA, Art Gallery of Western Australia, Western Australian Indigenous Art Awards, Art Gallery of Western Australia, 23 August 2013 to 27 January 2014: Yhonnie Scarce, Burial ground

St Lucia, Qld, University of Queensland Art Museum, Danie Mellor: A survey exhibition, University of Queensland Art Museum, 18 January to 27 April 2014; TarraWarra Museum of Art, 10 May to 13 July 2014; Museum and Art Gallery of Northern Territory, 29 August to 16 November 2014: Danie Mellor, Advance Australia Fair Danie Mellor, Smoothing the pillow

Sydney, NSW, Art Gallery of New South Wales, Sydney Moderns: art for a new world exhibition, Art Gallery of New South Wales, 6 July to 7 October 2013: Dorrit Black, Air travel – mud flats and islands Dorrit Black, Air travel – over the mountains Dorrit Black, Mirmande Dorrit Black, Still life Dorrit Black, The Bridge Dorrit Black, Two figures Dorrit Black, The Incinerator, Sydney, N.S.W. Dorrit Black, The wool quilt makers Harold Cazneaux, The ermine coat Grace Crowley, Mirmande Grace Crowley, Miss Gwen Ridley

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Anne Dangar, Aladin Ivor Francis, Speed! Frank Hinder, Subway escalator Gerald Lewers, The plough Roy de Maistre, Berry's Bay, Sydney Harbour Margaret Preston, Aboriginal flowers Grace Cossington Smith, Poinsettias Roland Wakelin, Beach and houses Unley, SA, Walford Anglican School for Girls Inc., Mary Hamilton McFarlane Display, Walford Anglican School for Girls Inc., 14 October to 25 October 2013:

Unknown, Court presentation gown & fan

FURNISHING LOANS Ayers House, National Trust of South Australia, Adelaide, SA: attr. to Mrs Parsons, Portrait of Mrs Caroline Clarke Department of the Premier and Cabinet, Adelaide, SA: Violet Petyarre, Ankerre (emu) Dreaming Government House, Adelaide, SA Horace Trenerry, The road to Maslins

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APPENDIX I

EXHIBITIONS AND PUBLIC PROGRAMS This year the Art Gallery presented a program of five major exhibitions attracting a total of 192 216 visitors. Additionally the Gallery presented 22 major collection displays and a significant off-sight sculptural installation. The Gallery also presented the official launch of the 2013 SALA Festival.

MAJOR EXHIBITIONS HEARTLAND: Contemporary art from South Australia 1 July 2013–8 September 2013 Admission: Free School Groups: Free Guided Tours: Daily, 11am & 2pm Opening speaker: Hon. Chloë Fox, MP Minister Assisting the Minister for the Arts Curators: Lisa Slade, Project Curator; Nici Cumpston, Artistic Director, Aboriginal & Torres Strait Islander Arts Festival Presenting Partner: Government of South Australia, Arts SA. Partners: Contemporary Collectors, SALA Festival, James & Diana Ramsay Foundation, Avant Card. Media Partners: The Advertiser, 891 ABC Adelaide. Total Attendance: 32 818 Realms of Wonder: Jain, Hindu and Islamic Art of India 19 October 2013–27 January 2014 Admission: Free School Groups: Free Guided Tours: Daily, 11am & 2pm Opening speaker: Hon Chloë Fox. MP Minister Assisting the Minister for the Arts Curators: James Bennett, Curator of Asian Art; Russell Kelty, Assistant Curator, Asian Art Presenting Partners: Government of South Australia, Arts SA. Family Program Partners: James & Diana Ramsay Foundation, The Balnaves Foundation Media Partners: The Advertiser, 891 ABC Adelaide Event Partners: Carlton & United Breweries, Heggies Wine, Jansz Tasmania, Penny’s Hill Wine Publication Sponsor: Santos Total Attendance: 33 352 2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014 Admission: Free School Groups: Free Guided Tours: Daily, 11am & 2pm Opening speaker: David Sefton, Director of the Adelaide Festival Curator: Nick Mitzevich, Director of The Art Gallery of South Australia Project Manager: Lisa Slade, Project Curator Art Gallery of South Australia Presented by: Australian Government Visual Arts and Craft Strategy South Australia, Australia Council, Australian, Government of South Australia, Arts SA Principal Donor: The Balnaves Foundation Exhibition Partners: Adelaide Airport, Intercontinental Adelaide Creative Partner: Clemenger Project Partner: EY Building a better working world Media Partners: The Advertiser, 891 ABC Adelaide, Avant Card Family Program Partners: James & Diana Ramsay Foundation

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In Association with: Adelaide Festival 2014 Total Attendance: 111 000 Dorrit Black: unseen forces 14 June–30 June 2014 Admission: Free School Groups: Free Guided Tours: Daily, 11am & 2pm Opening speaker: Leesa Vlahos MP and Parliamentary Secretary to the Premier Curator: Tracey Lock-Weir, Curator Australian Paintings & Sculpture; assisted by Elle Freak, Associate Curator of Australian Paintings, Sculpture and Indigenous Art Presented by: Government of South Australia, Arts SA Exhibition Partner: Hassell Government Partners: Government of South Australia, Arts SA Media Partners: The Advertiser, 891 ABC Adelaide Family Program Partners: The Balnaves Foundation, James & Diana Ramsay Foundation Total Attendance: 14 Jun–30 June: 7 523 The World of Mortimer Menpes: Painter, Etcher, Raconteur 14 June–30 June 2014 Admission: Free School Groups: Free Guided Tours: Daily, 11am & 2pm Opening speaker: Leesa Vlahos MP and Parliamentary Secretary to the Premier Curator: Julie Robinson, Senior Curator Prints Drawings & Photographs; assisted by Maria Zagala, Associate Curator of Prints, Drawings & Photographs and Alice Clanachan, Assistant Curator of Prints, Drawings & Photographs Presented by: Government of South Australia, Arts SA Exhibition Partner: Hassell Media Partners: The Advertiser, 891 ABC Adelaide Family Program Partners: The Balnaves Foundation, James & Diana Ramsay Foundation Total Attendance: 14 Jun–30 June: 7 523

COLLECTION DISPLAY EXHIBITIONS Gallery 6 The Minds Eye, until 27 October 2013, curated by Elle Freak, Associate Curator Australian Paintings, Sculpture & Indigenous Art. 2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick Mitzevich, Director of The Art Gallery of South Australia. Gallery 7 & Santos Atrium Keeping Places, until the 25 August 2013, curated by Nici Cumpston, Lisa Slade, Project Curator. Big Country, 31 August 2013–February 2014, curated by, Nici Cumpston. 2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick Mitzevich, Director of The Art Gallery of South Australia.

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Gallery 8 Bill Viola the return, until the 15 September 2013, curated by Jane Messenger, Curator of European and North American Art. Correspondences, 21 September 2013–30 March 2014, curated by Maria Zagala, Associate Curator of Prints, Drawings & Photographs 2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick Mitzevich, Director of The Art Gallery of South Australia. Galleries 9 & 10 Unsettled: recent acquisitions of Australian art, until 29 September 2014, curated by Maria Zagala, Associate Curator Prints, Drawings & Photographs and Elle Freak, Associate Curator of Australian, Paintings, Sculpture & Indigenous Art. Time to Time: The Films of Bill Morrison, 5 October–3 November 2013, curated by Maria Zagala, Associate Curator of Prints, Drawings & Photographs. Metamorphoses, 14 November 2013–27 January 2014, curated by Jane Messenger, Curator of European & North American Art. 2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick Mitzevich, Director of The Art Gallery of South Australia. Gallery 10 & 11 Warka iritja munu kuwari kutu = Work from the past and present: Ernabella Arts the last thirty years, 13 July–27 October 2013, curated by Robert Reason, Curator European & Australian Decorative Arts. 2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick Mitzevich, Director of The Art Gallery of South Australia. Gallery 11 Ian Burns Clouds, 5 December 2013–30 June 2014, installation. 2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick Mitzevich, Director of The Art Gallery of South Australia. Gallery 17 Hard Edge Abstraction, until February 2014. 2014 Adelaide Biennial of Australian Art: DARK HEART, 1 March–11 May 2014, curated by Nick Mitzevich, Director of The Art Gallery of South Australia. The Gamekeeper’s Gibbet Noble & Webster, 22 May–30 June 2014, curated by Jane Messenger, Curator of European & North American Art. Gallery 18 Decent/Descent, until 14 May 2014, guest curated by Anneliese Milk, intern, University of Melbourne. Max Klinger’s Intermezzi, until 15 November 2013, Maria Zagala, Associate Curator Prints, Drawings & Photographs.

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Gallery 19A A Civilised Thing to do: Jam Factory 40 Years, until the 27 October 2013, curated by Robert Reason, Curator European & Australian Decorative Arts. The Hugo Van Dam Bequest: an Oriental Fantasy, 2 November 2013–4 May 2014, curated by Robert Reason, Curator European & Australian Decorative Arts. Lace: the Art of Adornment, 10 May–30 June 2014, curated by Robert Reason, Curator European & Australian Decorative Arts. Gallery 19B Paradise on earth: Flowers in the Arts of Islam, until 30 June 2014, curated by James Bennett, Curator of Asian Art. Gallery 20 Stairway to heaven: Art from the Himalayas, until 10 November 2014, curated by Russell Kelty, Assistant Curator, Asian Art. Elements in Harmony: Contemporary Japanese Ceramics, 15 November 2013–22 June 2014, curated by Russell Kelty, Assistant Curator, Asian Art. Gallery 21 Noble Shadows – Ancestral art of Indonesia and Australia, until 4 April, curated by James Bennett, Curator of Asian Art. Netsuke and other Miniatures, 11 April–30 June 2014, guest curated by Jennifer Harris.

OFF SITE EXHIBITIONS

Urpflanze street plants, Caroline Rothwell, at the Santos Museum of Economic Botany, 11 April–October 2014, curated by Lisa Slade, Project Curator, in conjunction with 2014 Adelaide Biennial of Australian Art: DARK HEART

PUBLIC PROGRAM EVENTS

COLLECTION FLOOR TALKS A total of 72 regular Tuesday floor talks were presented by Gallery curators, Gallery Guides, artists and guest speakers, either about displays of the Art Gallery’s collection or temporary exhibitions. Attendance: 1 696

EXHIBITION FLOOR TALKS HEARTLAND: CONTEMPORARY ART FROM SOUTH AUSTRALIA: eight talks, 375 patrons Realms of Wonder: Jain, Hindu and Islamic Art of India: six talks, 364 patrons 2014 Adelaide Biennial of Australian Art: DARK HEART: 15 talks, 2 726 patrons Total attendance: 3 465

AUSLAN AUSLAN tours were presented free of charge for Deaf and hearing impaired patrons. One tour for HEARTLAND: CONTEMPORARY ART FROM SOUTH AUSTRALIA, two tours for Realms of Wonder: Jain, Hindu and Islamic Art of India, one tour for Dorrit Black: unseen forces & The World of Mortimer Menpes: Painter, Etcher, Raconteur Attendance: 127

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SPECIAL TOURS Garden tours, presented in conjunction with HEARTLAND by Guides at the Adelaide Botanic Gardens 2,9,16 & 23 July Attendance: 387

SPRING LECTURE PROGRAM The Art of Asia 5 October, Return to Edo – Trends in Contemporary Japanese Painting Speaker: Khan Trinh, Curator of Japanese Art, Art Gallery of New South Wales Attendance: 92 12 October, The Art of Karma Phuntsok Speaker: Karma Phuntsok Attendance: 65 13 October, Tibetan Painting Workshop Presented by Karma Phuntsok, internationally acclaimed master painter Attendance: 25 19 October, Viewing Indonesian Art from Bali Speaker: Adrian Vickers, Professor, Southeast Asian Studies at the University of Sydney Attendance: 83

INTERNATIONAL LECTURE Tate expert in tete a tete 6 August Speaker: Dr Joyce Townsend, TATE Britain, Senior Conservation Scientist, presented in association with ArtLab Australia Attendance: 142

LECTURES Lectures presented free in conjunction with exhibitions The Jina’s Realm: Continuities and discontinuities between the Jain, Buddhist and Hindu Traditions 20 October Speaker: Dr Royce Wiles, Visiting Fellow, School of Culture, History and Language, ANU College of Asia and the Pacific Attendance: 87 ‘Although the Sun of Allah’s Merciful Compassion…’ 26 October Speaker: James Bennett, Curator of Asian Art Attendance: 98 The Liquid Frontiers’ of Islamic Art: Interaction and Exchange in the Medieval Period 2 November Speaker: Dr Stefano Carboni Attendance: 72 Realms of Wonder Indian Trade Textiles through the ages 16 November

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Speaker: Michael Abbott AO QC Attendance: 74 Forms of the Formless in Indian Art 23 November Speaker: Lee Grafton, Arts of Asia Lecturer and Consultant Attendance: 59 More than Cricket or Bollywood 25 January Speaker: James Bennett, Curator of Asian Art Attendance: 160

OCCASIONAL LECTURES AND SERIES Occasional lectures and series exploring art and ideas in depth What we believe? 2 November, Islam Attendance: 87 17 November, Jain Attendance: 92

30 November, Hinduism Attendance: 130 7 December, Krishna Consciousness Attendance: 45

SYMPOSIUMS 14 June Dorrit Black: unseen forces Attendance: 136

14 June The World of Mortimer Menpes: Painter, Etcher, Raconteur Attendance: 126

START at the Gallery

START at the Gallery, monthly children’s program of activities, supported by The Balnaves Foundation 7 July, Keeping Places, Aboriginal Art 850 4 August, SALA Festival 700 1 September, Heartland 550 6 October, About Face 570 3 November, Indian Culture Day 630 1 December, End of Year Party & Celebration 340 5 January, The Elephant and Monkey God 368 2 February, Year of the Horse, Chinese New Year 440 2 March, Strange Streetscapes 650 6 April, Get Smart 450 4 May, House of Cards 450 1 June, Lace it Up 500 Total Attendance: 6 498

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SCHOOL HOLIDAY ART & CRAFT PROGRAM

Art & Craft activities themed to exhibition / collection content were held during each school holiday period. 15–19 July, Constructed City 284 participants 30 September–4 October, Big Backyard 232 participants 13–17 January, Little India 225 participants 22–24 April, Bust Up 166 participants Total Attendance: 907

PERFORMANCES

Live musical performances – Soundscapes – held on the first Sunday of the month at 2pm, in conjunction with the START at the Gallery program 7 July, 4 August, 1 September, 6 October, 3 November, 1 December, 5 January, 2 February, 2 March, 6 April, 4 May, 1 June Total Attendance: 6 498 Performances presented in conjunction with Realms of Wonder 9 November, Music of India, 92 patrons 24 November, Hare Krishna Chanting, 45 patrons 24 November, Kalalaya Dance, 116 patrons 25 January, Bansuri – Sounds of the Flute, 160 patrons Total Attendance: 413

CHRISTMAS AT THE GALLERY 8 December Christmas Tour of the Gallery with Bishop Ian George Attendance: 70

EASTER AT THE GALLERY 18 April Easter Tours of the Gallery with Bishop Ian George Attendance: 300 19 April Easter Tour of the Gallery with Reverend Father Anthony Kain Attendance: 100 Easter Children’s Activity Trail 18 April –21 April, All day Attendance: 265

SA HISTORY FESTIVAL Daily tours highlighting architecture and early beginnings of the Gallery Attendance: 156

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CULTURE DAYS Three cultural events were presented at the Art Gallery, which were held in conjunction with the START at the Gallery program Indian Culture Day 3 November Coinciding with the Diwali Festival of Lights, a celebration of Indian art, history and culture Attendance: 630 Indian Culture Day: The Elephant and Monkey God 5 January Explored the stories of these Indian Gods Attendance: 368 Chinese New Year 2 February Celebrating Chinese New Year with a special display of the animals in the Chinese zodiac. Assisted by the Confucius Centre, University of Adelaide Attendance: 440

FILM PROGRAM

Film trilogy on Indian life screened in association with Realms of Wonder: Jain, Hindu and Islamic Art of India Fire 27 October Attendance: 16 Earth 30 November Attendance: 21

Water 26 January Attendance: 30

PRACTICAL WORKSHOPS Speaking in Pitjantjatjara Yunkunytjatjara 8 July & 10 July Facilitators: Karina Lester Attendance: 50 Drawing Tour 24 & 25 August and 7 September Facilitator: Paul Sloan Attendance: 45 Art and Writing Master class 31 August Facilitators: John Kean and Una Rey Attendance: 27

Tabla Workshop 10 November Facilitator: Jay Dagbar Attendance: 14 Sari Wrapping 7 December Facilitator: ISKCON Attendance: 14 Meditation 9, 16, 23 November Facilitator: Sipra Lloyd, Sri Chinmoy Meditation Centre Attendance: 43

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Yoga Classes 9, 16, 17, 23, 24 & 30 November Facilitator: Kelly Day Attendance: 183 Henna Workshop 11 & 12 January Facilitator: Linda Bell Attendance: 41 Indian Miniatures 18 & 19 January Facilitator: Madhu Saraf Attendance: 16 House of Cards 2 March Facilitator: Tony Albert Attendance: 64

DARK HEART Animation Workshop 23 March Facilitator: Luke Thurgate Attendance: 20 Sketch Club 21 June – sketch musicians in the Gallery Attendance: 36 Sketch Club 28 June – explore still life Attendance: 25 Just like Dorrit – linocut print workshop 21, 22, 28, 29 June Attendance: 12

SPECIAL PROGRAM – OPENING & CLOSING WEEKENDS

2013 South Australian Living Artists Festival launch at the Gallery Attendance: 650 Opening night of the Realms of Wonder: Jain, Hindu and Islamic Art of India Attendance: 667 Opening weekend of 2014 Adelaide Biennial of Australian Art: DARK HEART with artist talks, Skywhale sketching and launch in Adelaide Botanic Gardens, (including opening event, Skywhale and Artist talks) Attendance: 2 835

ARTIST IN THE GALLERY Artist in the exhibition 30 November & 1 December Artist: Pramod Kumar, demonstrating the art of Indian miniature painting Attendance: 265 Taxidermy 9 March Presenter: Jo Bains, demonstrating taxidermy Attendance: 110

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

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The Gallery based DECD Education Manager, Mark Fischer, planned and delivered a range of learning programs in the period under review supported by AGSA Education Support Officer Ryan Sims.

The volunteer Gallery Guides were supported and coordinated to make links to the Australian Curriculum and the South Australian Certificate of Education (SACE) by the DECD Education Manager, and the AGSA Education Support Officer to maximise face to face learning opportunities for children and students visiting the Art Gallery. The Australian Curriculum (AC) from Foundation (F – the year of schooling prior to Year 1) to Year 10 has impacted the design and delivery of learning area programs developed to suit the needs of schools and early childhood services. Learning areas supported by Learning at the Gallery included Visual Arts, Design, History, Society and Environment, Science, English and Languages.

TEACHING & LEARNING Learning at the Gallery programs were based on the DECD priorities and included: facilitation of face-to-face interpretation of works of art for permanent and temporary exhibitions; creation of exhibition and display learning materials; coordination of The STUDIO making activities to support AC: Arts (Visual Arts); artist led studio workshops to support students and teacher professional learning; interactive primary performances; partner OE programs in collaboration with SA Museum; individual support for self-guided group visits, as well as individual student and teacher requests. 2 989 early years, primary and senior secondary students participated in Learning at the Gallery programs with practicing South Australian visual or performance artists. 6 954 early years, primary and secondary students participated in facilitated workshops in The STUDIO. Learning at the Gallery offered a range of specialised teaching and learning programs for teachers, children and students:

Facilitated and coordinated children and student activities in The STUDIO, F–12

Me, Myself, I self-portraiture program, Early Years

Art Alive interactive performances, Years 3–7

Aboriginal Guided Sessions and connected practical workshops, Years 4–7

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

Art Careers Forum, Years 10–12, teachers and parents

Year 12 Visual Arts Forums, Years 10–12, teachers and parents

Art Language Program for Secondary students studying German, French, Spanish, Italian or Indonesian, Years 9–12

SALA Festival, Secondary Drawing Exhibition, Radford Auditorium, Years 10–12, and schools communities

Collaboration in South Australian Museum Childrens’ Voice Research 2014, Foundation students, teachers and parents

TEACHER PROFESSIONAL LEARNING Learning at the Gallery actively promotes teaching and learning programs to DECD, Catholic and Independent teachers via the Gallery Learning homepage totalling 28 248 unique page views, and distributed a regular Learning enews to over 1 600 subscribers. 1 085 teachers participated in professional learning sessions e.g. exhibition & collection based teacher briefings, workshops & seminars.

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Introductory and specialised training for teachers F–12, provided information about current programs and supported development of skills in accessing and utilising the Gallery’s resources, exhibitions and displays. 745 teachers participated in the professional learning program. A key outcome of this program was that teachers enhanced their knowledge and capabilities to support student cultural and visual arts education learning across a wide range of learning areas. Three Teacher Briefings were coordinated by Learning at the Gallery with support of the Director and Curators for the following exhibitions and displays: Realms of Wonder: Jain, Hindu and Islamic Art of India 19 October 2013–27 January 2014 2014 Adelaide Biennial of Australian Art: DARK HEART 1 March 2014–11 May 2014 Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur 14 June–30 June 2014 A total of 340 teachers participated in these briefings. The teacher professional learning program included a series of artist led Studio Workshops for 37 educators linked to the Gallery collection and temporary exhibitions including: Still-life Oil Painting Studio Workshop facilitated by Deidre But-Husaim, and DARK HEART Workshop facilitated by Lauren Simeoni.

Changing Worlds: A South Australian story, a web-based resource aligned with Years 4, 5 and 9 Australian Curriculum (AC): History and Arts, was designed by the Art Gallery and the South Australian Museum OE Managers with DECD personnel using selected artefacts, images and works of art from the two organisations to support teachers' discussions with students about the colonisation of South Australia http://www.changingworlds.sa.edu.au/ 11.3% of total school bookings were related to this teaching and learning program.

13.6% of total school bookings were related to the F-10 Curriculum / Cross-curriculum priorities / study of Aboriginal and Torres Strait Islander histories and cultures.

Twenty eight four-year-old children from Early Years Learning Centres visited the South Australian Museum and the Art Gallery taking part in a Reggio Emilia inspired Children’s Voice Research Project. The children were invited to the Museum and Art Gallery on multiple occasions to engage with two galleries - the Pacific Cultures Gallery and the Elder Wing, for observation and recording as to how the children used and constructed meaning from these spaces, and to work with the children to co-construct learning opportunities. An outcome will be the proposed Children's Voice Exhibition at the Museum where the children’s voice is to be made visible.

LEARNING AT THE GALLERY RESOURCES Coordinated three Learning at the Gallery education resources for:

Realms of Wonder: Jain, Hindu and Islamic Art of India 19 October 2013–27 January 2014

2014 Adelaide Biennial of Australian Art: DARK HEART 1 March 2014–11 May 2014

Dorrit Black: unseen forces 14 June–30 June 2014, and The World of Mortimer Menpes Painter, Etcher, Raconteur 14 June–30 June 2014

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APPENDIX J

LEARNING AT THE GALLERY SUPPORT SERVICES 2013/2014

LEARNING AT THE GALLERY VISITATION

GROUP VISITS / INQUIRIES Student Gallery visitation 24 240 Support staff for Gallery visitation 3 659 Student workshops, forums and performances 2 989 Support staff for Student workshops, forums and performances 704 Individual student research inquiries 21 Sub-total (all students/support staff) 31 613

TEACHER PROFESSIONAL LEARNING Teacher Briefings (exhibitions / displays) 340 Individual teacher assistance 31 Teacher professional learning programs 745 Graduate teachers / Childcare workers / Other 83 Sub-total (all teachers) 1 199

TOTAL SCHOOL VISITATION 32 812

ANNUAL ATTENDANCES 2007–2014 Schools

2013–2014 2012–2013 2011–2012 2010–2011 2009–2010 2008–2009

32 812 32 593 26 050 36 394 23 552 22 142

Client Use – Percentage Analysis Government (DECD) Catholic (CEO) Independent (ISB) 2013–2014 2012–2013 2011–2012 2010–2011 2009–2010

57% 56% 41% 55% 50%

21% 27% 25% 20% 24%

22% 17% 34% 25% 26%

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APPENDIX K

GALLERY GUIDE TOUR SERVICES

Tour type Overseas Interstate Local Total No. of Tours

Articulate, 11am and 2pm Daily 1 243 1 145 1 051 3 439 674

Collection in Focus, 12.30 Daily (excluding Tuesday Curators Talks)

209 209 410 828 233

Exhibitions:

Heartland 21 June–8 September 2013

79 87 972 1 138 143

Realms of Wonder 19 October–27 January 2014

125 343 1 201 1 669 140

2014 Biennial of Australian Art: DARK HEART 1 March–11 May

134 305 1 448 1 887 170

DARK HEART START Total for March/April/May Numbers include parents/carers

844 844 21

START Total Including DARK HEART Numbers include parents/carers

3 480 3 480 83

The World of Mortimer Menpes: Painter, Etcher, Raconteur Dorrit Black: unseen forces 14 June–7 September

16 50 331 397 36

Total unbooked 1 794 2 136 7 906 12 136 1 351

Booked Collection 3 0 793 796 124

Booked Exhibitions:

Heartland 4 0 275 279 17

Realms of Wonder 8 0 296 304 30

2014 Biennial of Australian Art: DARK HEART 0 3 352 355 27

Mortimer Menpes/Dorrit Black 0 0 25 25 2

Total booked groups 15 3 2 803 2 821 310

Other School Holidays 1 102 54

Total 3 923 3 415

Total Booked/Unbooked START/School Holidays

1 809 2 139 10 709 14 957 3 415

Total number of tours taken by Guides 16 059 3 415

IN SUMMARY:

GALLERY GUIDES TOUR SERVICES

Seventy three Guides contributed to the AGSA Gallery Guide Service for 2013-2014. Guides provided 3 415 tours for 16 059 people over the course of the year providing approximately 155 tours per month.

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Guides offered daily tours of the Art Gallery collection at 11am and 2pm as well as a Collection in Focus tour each day at 12.30pm except on Tuesdays when the Curators gave their weekly Lunchtime Talks. Tours were also provided for special exhibitions. The special exhibitions were: Heartland: Contemporary Art from South Australia Realms of Wonder: Jain, Hindu and Islamic Art from India 2014 Adelaide Biennial of Australian Art: DARK HEART The World of Mortimer Menpes: Painter, Etcher, Raconteur Dorrit Black: unseen forces In addition the Guides toured Special Interest Groups (previously known as “Booked Groups”. See under “Special Projects below) through a variety of “Boutique displays” and special focus tours such as: Big Country Paradise on Earth: Flowers in the the Arts of Islam Stairway to Heaven: Art from the Himalayas The JamFactory: A Civilised Thing to do Metamorphoses Correspondences – Ian Friend The Mind’s Eye Ernabella Arts Noble Shadows The Hugo Van Dam Bequest: An Oriental Fantasy Elements in Harmony: Contemporary Japanese Ceramics Lace: The Art of Adornment Netsuke and Other Miniatures Small treasures Stitches and Styles Special Projects Special Projects activities branched into a major new initiative with the Members’ Art Gallery Book Club. As a result of this the previous “Booked Groups” became known as “Special Interest Groups” to distinguish groups which visit the Gallery 3 -10 times per year for major exhibitions and time limited displays of the Gallery collection. The Outreach Program begun in late 2012 to promote the Turner from the Tate exhibition continued into 2013-14 albeit in a modified form. AGSA Members Book Club Planning for a Book Club began in response to an unexpected demand by Members for a launch of Katrina Strickland’s Affairs of the Art. A research paper into art book clubs provided the basis for a club to be facilitated by Gallery Guides for Members, conducted in the Gallery space best suited to the book title under discussion. The very positive response from Members resulted in five groups beginning in February and meeting each month. Venues for club meeting groups range from the Gallery space to the Function Room or the Donor’s lounge, depending on availability. Members and facilitators are enthusiastically committed to the club with only a few places available in the Saturday groups Nine Guides so far have attended art book club meetings either as joint facilitators or as support guides. Facilitators bring supplementary library materials to most meetings and conduct a brief tour of the relevant section of the Gallery. Books are chosen for their relevance to the Gallery’s collection, variety of topic, author and genre. They can be purchased at the Gallery Shop at a 20% discount for one copy of

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each set book club text for club members. Each club operates differently with some members taking on a leadership role for their group. In July 2014 a questionnaire will be completed by each club. The responses will provide feedback which will assist planning for 2015. Special Interest Groups Twenty groups attend monthly or bi-monthly from February to November. A well attended 30–50 Gallery Members group is among them. SIG’s attend all major exhibitions and short term displays of the gallery collection such as Netsuke and other Miniatures. In 2014 5 extra topics were devised by groups of self-nominated guides to provide tours to supplement the Gallery exhibition program. Topics such as Bling through the ages and Stitches and Style proved popular with the groups. Carrick Hill guides formed a Periodic Special Interest Group to tour selected exhibitions. They attend the Gallery for an exhibition tour four times per year. Campbelltown U3A group is another Periodic Special Interest Group coordinated by a Gallery Volunteer who requests a booking for a series of five tours of exhibitions selected by them. Outreach Program Illustrated Outreach talks have been provided on request from organisations such as Friends of Goolwa Library in October, 2013. The GetsmART at Burnside Library series from April to July 2014 was presented at the request of the Burnside Library. All the presenters from the 2013 GetsmART lecture series gave their time to deliver their lecture either on Thursday evening or Saturday morning. The library also requested a talk about Frieda Kahlo as part of their recognition of the 60th anniversary of her death. There is a difference between providing Outreach talks free of charge for “blockbuster” promotion purposes such as the Turner Outreach program in 2012–13 and fee paying Outreach talks for community art appreciation. Topics for the latter include the GetsmART lecture series from early 2013 on the “Big Ideas” in the Melrose Wing. Proposal for other forms of Outreach are currently under consideration. START Children’s Program and School Holiday Program The START Children’s Program is sponsored by the Balnaves Foundation. It is held on the first Sunday of each month and is free. Since its introduction attendances have continued to grow steadily. It is a family day on which attend enthusiasm, curiosity, delight and eagerness to participate are shown by the children and the parents alike. The day consists of Guided Tours, Workshops and various activities held in the STUDIO and the Auditorium, as well as a range of entertainment in keeping with the theme of the day. Works for the tours are selected within this framework by the Guides rostered for that particular month. From July to December we worked well with Luke Thurgate who resigned at the end of 2013. This year, Megan McEvoy, Exhibition and Public Programs Officer, has taken on this role as the Coordinator between the Guides and the Gallery. She communicates regularly with the Children’s Tours Manager, Trish Finnimore, and other guides, advising of plans and ideas for coming months. Megan and Lisa Slade attend meetings with the Guides on a regular basis and plans and ideas are discussed. In the past year these meetings are held at three monthly intervals where planning is made for that period of time. Included in these meetings is the planning for the School Holiday Program which consist of three daily tours being offered for one week of each of the four school holiday periods for the year, again worked around the theme and activities planned by the Gallery. Twenty seven of our Guides have been involved in presenting START and School Holiday Tour this year. Total numbers for the START Sunday program this year are 3 781 children and parents / carers attending, and total numbers for the School Holiday Tours are 1 102.

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This makes an overall number of 4 883 attending over the past twelve month. Numbers of Tours given are 84 for the START Sunday and 54 for the School Holiday program, making a total of 138 Tours. Below is a schedule of statistics of attendance and tours presented for the past year. There is a great vibrancy in the Gallery on Sunday START days and many members of the public comment on the joy the presence of the children bring. The START membership club is very popular– the children proudly show off their ID cards. It is also heartening to see the diversity of the ethnic family groups who have embraced these children’s programs. Guides Roster 2013-2014 65 volunteer guides provided visitors to the Art Gallery of South Australia with tours on every day of the year except Christmas Day. During this year 3 415 tours were provided to 16 059 visitors. Articulate tours of the General Collection were provided twice a day at 11am and 2pm with a shorter Collection in Focus tour at 12:30pm except Tuesdays. Specialised tours were provided monthly to 23 Special Interest Groups. Booked Group tours were organised through the Gallery’s Public Programs. In addition School Holiday programs were provided as well as the START program with Children’s tours on the first Sunday of the Month. Booked Groups were also be arranged through Art Gallery Food and Wine. Volunteer Guides who take scheduled public and booked tours also volunteered to take school groups, in addition to their other Gallery commitments. ‘Education Guides’ who, until October 2013, worked exclusively with school groups were invited to join the Volunteer Guides general meetings on Tuesdays as the first move to better integrate the work of Guides generally. Education Guides, now known as ‘Guides supporting Children’, work only with school students. There are currently 10 of these guides. International Museum Day on Sunday 18th May was celebrated with tours at 11am, 1, 2 & 3pm as part of the SA History Trust About Time: South Australia’s History Festival. Guides conducted tours for the disabled and tours to support language providers of AUSLAN. Tours were also provided for students of English as a Second Language. Articulate tours at 11am and 2pm were conducted in support of major exhibitions including Heartland, Realms of Wonder, the 2014 Adelaide Biennial of Australian Art: DARK HEART and the Dorrit Black: unseen forces and The World of Mortimer Menpes: Painter, Etcher, Raconteur exhibitions. Heartland an exhibition of contemporary SA Art was followed by Realms of Wonder the Gallery’s first major exhibition of Indian art. This presented Guides with the challenge of becoming familiar with the works on show and understanding the cultural and religious beliefs inherent in the works. 2014 Adelaide Biennial of Australian Art: DARK HEART was a feature of the Adelaide Festival of Arts and the number of visitors began strongly with numbers remaining steady as the season progressed. Agreement with the Intercontinental Hotel to provide complimentary admission to the Turner Exhibition in 2013 was continued for DARK HEART. A separate 3pm tour was offered for the month of March 2014.

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However, due to a lack of patronage guides were not rostered for this timeslot for the rest of the season. Off site tours were also provided at the Museum of Economic Botany. The concurrent exhibitions of Dorrit Black and Mortimer Menpes presented a challenge in securing an adequate pool of guides to meet the needs of single and combined tours of these exhibitions. Special Interest groups were all scheduled to tour these exhibitions; some as single exhibition tours with others as a combined Black / Menpes tours. With short lead time to assess the scope of these tours Guides also found it necessary to quickly familiarise themselves with the works on show. Guide Rosters continue to be composed using ‘Smart Roster’ software and there is a need for more guides to be trained in the rostering procedure to ensure continuity in the future. Amalgamation with Volunteer Education Guides Supporting Schools Commencing in October 2013 the Guides formally welcomed the Education Guides to all the Guides Association Meetings, along with the Learning in the Gallery researchers who write the Education Resource material with DECD Education Officer, Mark Fischer. It had been recognised for some time that the Volunteer Education Guides included over 25 Gallery Guides and it was seen as a logical development for the Education Guides to join the weekly meetings of the Guides Association in order to enable them to fully participate in the activities of the Guides Association, including presentations and Floor Talks by Curators, Guides and visiting speakers. Increasing numbers of Gallery Guides attended and contributed to the fortnightly “Learning in the Gallery” meetings of Education Guides run by the Education Manager, Mark Fischer and the Education Support Officer, Ryan Sims. At these meetings Gallery Guides and Education Guides volunteer to take specific tours which schools have requested to enable the completion of the School Booking Schedule. From October 2013 Mark Fischer, Education Manager and Ryan Sims, Education Support Officer, joined the Gallery Guides Executive. Gallery Guides Training Program 2014-2015 (Selection of trainees 2014) The Training Program for the new cohort of Gallery Guides will be implemented on Tuesdays from 22 July 2014 to 30 June 2015. After a rigorous recruitment process, 18 trainees with rich and diverse backgrounds were selected for the program, which will be co-ordinated by Jill Swann and Rosemary Collins in collaboration with Lisa Slade and Mark Fischer. On graduating, the group will be available to take up all guiding opportunities, working with Articulate and Special Interest tour groups, Learning@Gallery school tours, START family tours and School Holiday Programs. CONTINUING EDUCATION PROGRAM The Guides Continuing Education Program was presented each Tuesday with talks, lectures and presentations by Gallery staff, Gallery Guides and invited guests from SA and interstate. The Director, Nick Mitzevich, attended Tuesday meetings on average twice a term providing invaluable updates about the Gallery and forthcoming exhibitions and events. Lisa Slade, Project Curator provided ongoing support for the management and representation of Gallery Guides. Lisa continued in her role as Gallery management representative on the Gallery Guides Executive. In February 2014 we lost one of our Gallery Guides, Jenni Scrymgour. Jenni had been a Gallery Guides Coordinator and an AAGGO representative. A moving and beautiful work of art has been purchased by

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the Gallery in memory of Jenni, thanks to the support of the Gallery Guides and in consultation with Robert Reason, Curator of European and Australian Decorative Arts. The work is Water Bowl by the South Australian glass artist Deb Jones.

Tour type Overseas Interstate Local Total No. of Tours

Articulate, 11am and 2pm Daily 1 243 1 145 1 051 3 439 674

Collection in Focus, 12.30 Daily (excluding Tuesday Curators Talks)

209 209 410 828 233

Exhibitions:

Heartland, 21 June- 8 September, 2013

79 87 972 1 138 143

Realms of Wonder, 19 October – 27 January, 2014

125 343 1 201 1 669 140

2014 Biennial of Australian Art: DARK HEART 1 March – 11 May

134 305 1448 1 887 170

DARK HEART START Total for March/April/May Numbers include parents/carers

844 844 21

START Total Including DARK HEART Numbers include parents/carers

3 480 3 480 83

The World of Mortimer Menpes, Painter, Etcher, Raconteur Dorrit Black: unseen forces 14 June – 7 September

16 50 331 397 36

Total unbooked 1 794 2 136 7 906 12 136 1 351

Booked Collection 3 0 793 796 124

Booked Exhibitions:

Heartland 4 0 275 279 17

Realms of Wonder 8 0 296 304 30

2014 Adelaide Biennial of Australian Art: DARK HEART

0 3 352 355 27

The World of Mortimer Menpes, Painter, Etcher, Raconteur / Dorrit Black: unseen forces

0 0 25 25 2

Total booked groups 15 3 2 803 2 821 310

Other School Holidays

1 102 54

Total 3 923 3415

Total Booked/Unbooked START/School Holidays

1 809 2139 10 709 14 957 3 415

Total number of tours taken by Guides 16 059 3 415

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IN SUMMARY: GALLERY GUIDES TOUR SERVICES Total number of tours conducted over this financial year including regular tours, regular booked groups, children’s tours (START), School groups and corporate function tours: 3 415 Total persons toured this financial year (excluding school students): 16 059 Total number of tours conducted in previous financial year: 2 948 Total persons toured in previous financial year (including Turner blockbuster): 44 267

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APPENDIX L

GALLERY PUBLICATIONS AND MERCHANDISE

Books Realms of Wonder: Jain, Hindu and Islamic Art of India Author: James Bennett 216 pp, 152 colour illustrations ISBN 978 1 921668 16 6 case bound Designer: Antonietta Itropico 2014 Adelaide Biennial of Australian Art: DARK HEART Authors: Nick Mitzevich plus various 224 pages, 225 colour illustrations ISBN 978 1 921668 17 3 case bound Designer: Antonietta Itropico Netsuke and other miniatures Author: Dr Jennifer Harris 180 pages, 330 colour illustrations ISBN 978 1 921668 20 3 case bound Designer: Antonietta Itropico Fully funded by Trevor and Ann Lands and family Highlights: Aboriginal and Torres Strait Islander Collection Author: Nici Cumpston 80 pp, 102 colour illustrations ISBN 978 1 921668 21 0 case bound Designer: Antonietta Itropico Dorrit Black: unseen forces Author: Tracey Lock-Weir 224 pp, 294 colour illustrations ISBN 978 1 921668 18 0 case bound Designer: Antonietta Itropico The World of Mortimer Menpes: Painter, Etcher, Raconteur Author: Julie Robinson 248 pp, 438 colour illustrations ISBN 978 1 921668 19 7 case bound Designer: Antonietta Itropico

Annual Report of the Art Gallery of South Australia 2012–13

Authors: Chairman, Director and staff Co-ordinator: Margaret Bicknell ISSN 0728–7925 ARTICULATE Winter 2013 Spring 2013 Summer 2013–14 Autumn 2014

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ISSN 1838 627X 64 pages, full-colour throughout, paperback Editor: Lena Fiorentini Designer: Antonietta Itropico Merchandise • Realms of Wonder merchandise

Children’s ruler 7 mini prints Wallpaper

• 2014 Adelaide Biennial of Australian Art merchandise

– Fiona Hall t-shirt Ringbark – Fiona Hall t-shirt Out of my tree – Tony Albert t-shirt 108 – Blank journals – Del Kathryn Barton, Tony Albert, Fiona Hall, Tony Garifalakis – Large postcards – 14 kinds – Postcard booklet

• Dorrit Black & Mortimer Menpes merchandise

– Tote Bags Dorrit Black, Music – Greeting cards – 8 Dorrit Black, 4 Mortimer Menpes – Gift tags – 4 Dorrit Black, 2 Mortimer Menpes – Glass coasters – pack of four illustrated with four works of Mortimer Menpes

• Tea towel range – Dorrit Black, Curtain

– Dorrit Black, Harbour, Veere – Groblicka, Plantation in Spring (reprinted twice)

• Ceramic mugs with silicon top

– Groblicka, Plantation in Spring – Morris & Co. Brer rabbit – Matisse, The nightmare of the white elephant – Turkey, Isnik tiles

• Jigsaw puzzles – Morris & Co., Adoration of the Magi • 100% handmade silk ties packaged in padded box

– 3x Morris, 1x Groblicka

• Pencils – Swarovski crystals (10 kinds) • Lens cloths – Del Kathryn Barton, for the feeling

– Morris & Co. Bird – Tom Roberts A breakaway! – Iznik tile

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APPENDIX M

ANNUAL ATTENDANCES

2009/10 2010/11 2011/12 2012/13 2013/14

Gallery day attendance

436 365 507 737 571 192 606 431 615 028

After hours attendance / special events

20 446 24 027 18 296 26 589 26 533

Gallery School attendance

23 552 36 394 26 050 32 593 32 812

Total

480 363 531 564 615 538 665 613 674 393

Additional Visitors to AGSA off-site and travelling exhibitions

Visitors to AGSA off-site and travelling exhibitions

88 494

181 430

63 070

46 216 16 244

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APPENDIX N

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

STRUCTURE AND FUNCTIONS OF THE ART GALLERY OF SOUTH AUSTRALIA Information relating to the organisational structure of the Art Gallery, its objectives and functions, legislation and resource levels is contained elsewhere in the Annual Report and is deemed to be consistent with the requirements of the Freedom of Information Act 1991. The Contact Officer is accredited and responsible for any Freedom of Information requests made to the Art Gallery of South Australia. There were no applications received in the 2013–14 financial year. The Gallery aims to contribute to the economic, cultural and environmental development of the state in a socially inclusive manner, consistent with South Australia’s Strategic Plan.

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

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

the display of temporary and major touring exhibitions

an ongoing program of research and publications

conducting public awareness and education programs. Details of the activities undertaken by the Art Gallery during 2013–14 are included elsewhere in the Annual Report.

ARRANGEMENTS FOR PUBLIC PARTICIPATION IN POLICY FORMULATION The public has the opportunity to participate in the department’s policy development in a number of ways, including community consultation forums, panels, surveys, membership and committees. The Gallery Board has community representation and these views are taken into consideration.

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

ACCESS ARRANGEMENTS, PROCEDURES AND POINTS OF CONTACT – SECTION 9(2)(E)(F) To access Board documents, it is necessary to apply in writing under the Freedom of Information Act to:

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

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WHISTLEBLOWERS PROTECTION ACT 1993 The Art Gallery of South Australia has appointed a responsible offer for the purposes of the Whistleblowers Protection Act 1993 pursuant to Section 7 of the Public Sector Act 2009. There have been no instances of disclosure of public interest information to a responsible officer of the Art Gallery of South Australia under the Whistleblowers Protection Act 1993.

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