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Art Gallery of New South Wales Art Gallery Road the Domain Sydney 2000

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Public art gallery in Sydney, Australia

Art Gallery of New South Wales
Art Gallery of New South Wales, Sydnay, 2021, 12.jpg

Facade of the Vernon building and its principal entrance

Art Gallery of New South Wales is located in Sydney

Art Gallery of New South Wales

Location within Sydney
Established 1874; 148 years agone  (1874)
Location The Domain, Sydney, New S Wales, Australia
Coordinates 33°52′07″Due south 151°13′02″E  /  33.868686°Southward 151.217144°E  / -33.868686; 151.217144 Coordinates: 33°52′07″S 151°thirteen′02″East  /  33.868686°South 151.217144°E  / -33.868686; 151.217144
Type Fine arts, visual arts, Asian arts
Visitors 1,349,000 (2016)[1]
Managing director Dr Michael Brand
Public transit access
  • St James runway (xv-minute walk)
  • Martin Place rail (20-minute walk)
  • Big Bus Sydney
  • Sydney buses
Website artgallery.nsw.gov.au

The Art Gallery of New South Wales (AGNSW), founded every bit the New Due south Wales University of Fine art in 1872 and known as the National Fine art Gallery of New Southward Wales between 1883 and 1958, is located in The Domain, Sydney, Commonwealth of australia. It is the most important public gallery in Sydney and one of the largest in Australia.

The gallery'south outset public exhibition opened in 1874. Access is free to the general exhibition space, which displays Australian art (including Indigenous Australian art), European and Asian art. A dedicated Asian Gallery was opened in 2003.

History [edit]

19th century [edit]

The Art Gallery of New Southward Wales (c.  1900)

On 24 April 1871, a public meeting was convened in Sydney to institute an Academy of Art "for the purpose of promoting the fine arts through lectures, art classes and regular exhibitions." Eliezer Levi Montefiore (brother of Jacob Levi Montefiore and nephew of Jacob and Joseph Barrow Montefiore) co-founded the New South Wales University of Fine art (also referred to as just the University of Art)[2] [3] [4] in 1872. From 1872 until 1879 the university'southward main activity was the organisation of annual art exhibitions. The starting time exhibition of colonial art, under the auspices of the academy, was held at the Chamber of Commerce, Sydney Exchange in 1874. In 1875 Apsley Falls by Conrad Martens, commissioned by the trustees and purchased for £50 out of the first government grant of £500, became the first piece of work on paper by an Australian artist to be acquired by the gallery.[v]

In 1874 the New South Wales Parliament voted funds towards a new Art Gallery of New South Wales, with a board of trustees to administrate the funds, one of whom was Montefiore.[6]

The gallery's collection was first housed at Clark'southward Assembly Hall in Elizabeth Street where it was open to the public on Friday and Saturday afternoons. The collection was relocated in 1879 to a wooden annexe to the Garden Palace built for the Sydney International Exhibition in the Domain and was officially opened as the "Art Gallery of New Due south Wales"[7] on 22 September 1880.[6] In 1882 Montefiore and his fellow trustees opened the art gallery on Sunday afternoons from 2 pm to 5 pm. believed:[vii]

the public should be afforded every facility to avail themselves of the educational and civilising influence engendered by an exhibition of works of fine art, bought, moreover, at the public expense.

Montefiore was president of the board of trustees from 1889 to 1891, and became the manager of the gallery in 1892, a position he retained until his death in 1894.[6]

The destruction of the Garden Palace by fire in 1882 placed pressure on the government to provide a permanent habitation for the national collection.[5] In 1883 private architect John Horbury Chase was engaged by the trustees to submit designs.[8] The same yr at that place was a change of proper noun to the "National Art Gallery of New Southward Wales".[4] The gallery was incorporated by The Library and Fine art Gallery Human action 1899.[8] [9]

In 1895, the newly appointed government architect, Walter Freedom Vernon,[10] was given the consignment to design the new permanent gallery and 2 moving picture galleries were opened in 1897 and a farther two in 1899. A watercolour gallery was added in 1901 and in 1902 the Grand Oval Lobby was completed.[ix] The 32 names beneath the entablature were chosen past the gallery'southward board of trustees president, Frederick Eccleston Du Faur. The names were of were painters, sculptors, and architects with no connection to any works in the gallery at the time. Several calls to supervene upon these names with notable Australian artists failed because the trustees could non decide on alternatives.[xi]

20th century [edit]

Offerings of Peace
(left side of facade)
Inscription: The Real and Lasting Victories Are those of Peace and Non of State of war.[12]

Offerings of War
(correct side of facade)
Inscription: That our House may stand forever and that Justice and Mercy abound.[12]

Over 300,000 people came to the gallery during March and April 1906 to run into Holman Hunt'due south painting The Calorie-free of the Globe. In 1921, the inaugural Archibald Prize was awarded to W.B. McInnes for his portrait of architect Desbrowe Annear. The equestrian statues The Offerings of Peace and The Offerings of War by Gilbert Bayes were installed in front of the principal facade in 1926.[13] James Stuart MacDonald was appointed managing director and secretary in 1929. In 1936 the inaugural Sulman Prize was awarded to Henry Hanke for La Gitana. John William Ashton was appointed manager and secretary in 1937.[5]

The first woman to win the Archibald Prize was Nora Heysen in 1938 with her portrait Mme Elink Schuurman, the wife of the Consul General for holland. The same year electric light was temporarily installed at the gallery to remain open at night for the first time. In 1943 William Dobell won the Archibald Prize for Joshua Smith, causing considerable controversy. Hal Missingham was appointed director and secretary in 1945.

On 1 July 1958 the Art Gallery of New Due south Wales Human activity was amended and the gallery's name reverted to the "Art Gallery of New Due south Wales".[fourteen] [4]

In 1969 construction began on the Captain Cook wing to celebrate the bicentenary of Cook's landing in Phytology Bay. The new wing opened in May 1972, post-obit the retirement of Missingham and the appointment of Peter Phillip Laverty equally director in 1971.[five]

The get-go of the mod blockbusters to be held at the gallery was Modern Masters: Monet to Matisse in 1975. It attracted 180,000 people over 29 days. The 1976 the Biennale of Sydney was held at the gallery for the first time. The Sydney Opera House had been the location for the inaugural Biennale in 1973. 1977 saw an exhibition "A selection of contempo archaeological finds of the People's republic of china."[15] [16] Edmund Capon was appointed managing director in 1978 and in 1980 The Fine art Gallery of New Due south Wales Deed (1980) established the "Fine art Gallery of New South Wales Trust".[17] It reduced the number of trustees to nine and stipulated that "at least two" members "shall be knowledgeable and experienced in the visual arts".[five]

With the back up of then Premier Neville Wran a major extension of the gallery became a Bicennential project. Opened but in time in Dec 1988, the extensions doubled the floor space of the gallery. In 1993 Kevin Connor won the countdown Dobell Prize for Drawing for Pyrmont and city. In 1994, the Yiribana Gallery, dedicated to Ancient and Torres Strait Islander art, was opened.[5]

21st century [edit]

Art Gallery of New Due south Wales Sydney with Hermitage Exhibition banners, November 2018.

2000–2009

In 2001, the New Southward Wales Fine art Gallery announced that 9 of the gallery's twoscore,000 artworks could have been amongst the many paintings stolen by the Nazis and that information technology was undertaking provenance inquiry.[18] [19]

In 2003 an Fine art Later Hours plan was initiated with the gallery opening hours extended every Wednesday. The inaugural Australian Photographic Portrait Prize was won past Greg Weight. The Art Gallery Lodge of New South Wales celebrated its 50th anniversary in the same year and the Rudy Komon Gallery exhibition space was opened, followed past the new Asian gallery.[v]

A 2004 exhibition of Man Ray's work ready an omnipresence record for photography exhibitions, with over 52,000 visitors. The aforementioned twelvemonth a legal claiming was mounted against the honor of the Archibald Prize to Craig Ruddy for his David Gulpilil, two worlds; and the Anne Landa Laurels was established, Australia's first honor for moving epitome and new media. The Nelson Meers Foundation Nolan Room was opened, besides in 2004, with a display of 5 major Sidney Nolan paintings gifted to the gallery by the foundation over the past five years.[5]

myVirtualGallery was launched on the gallery'southward website in 2005 and the onetime boardroom was reopened for display of paintings, sculptures and works on paper by Australian artists.[5]

In 2005 Justice Justice John Hamilton of the Supreme Court of New South Wales ruled in favour of the gallery over the disputed 2004 award of the Archibald Prize to Craig Cerise.[20] The same yr, James Gleeson and his partner Frank O'Keefe pledged A$sixteen meg through the Gleeson O'Keefe Foundation to acquire works for the gallery's collection.[5]

On 10 June 2007, a 17th-century work by Frans van Mieris, entitled A Cavalier (Cocky-Portrait), was stolen from the gallery.[21] [22] The painting had been donated by John Fairfax and was valued at over A$ane meg.[23] The theft raised questions well-nigh need for increased security at the gallery.[24] In the aforementioned year the Belgiorno-Nettis family unit donated A$iv one thousand thousand over four years to the gallery to support contemporary art.[5]

In 2008 the gallery purchased Paul Cézanne's painting Bords de la Marne c. 1888 for A$16.ii 1000000 – the highest amount paid past the gallery for a work of art. In the same yr the NSW Government announced a grant of A$25.7 meg to construct an offsite storage facility and a gift from the John Kaldor Family Collection to the gallery was announced. Valued at over A$35 million, it comprised some 260 works representing the history of international contemporary art.[5] The refurbishment of the 19th-century Grand Courts was historic in the gallery's countdown 'Open Weekend' in 2009.[v]

John Kaldor Family contemporary gallery (2014)

2010–nowadays

A new gimmicky gallery was created in 2010 by removing storage racks from the lowest level of the Captain Cook wing, and artworks were relocated to an off site storage. The new purpose-built off-site drove storage facility began operations. The same year, the honor of the Wynne Prize to Sam Leach for Proposal for landscaped cosmos caused controversy due to the painting's resemblance to a 17th-century Dutch landscape; and the gallery announced Mollie Gowing'southward bequest of 142 artworks plus A$5 million to establish ii endowment funds for acquisitions: one for Indigenous fine art and a larger one for full general acquisitions.[5]

Also in 2010 the Balnaves Foundation Australian Sculpture Annal was established, funded by the Balnaves Foundation, "to acquire the archives of major Australian sculptors and to extend enquiry in three-dimensional do".[25]

The 2011 exhibition The Commencement Emperor: China'southward Entombed Warriors attracted more than than 305,000 people and in the same year new contemporary galleries were opened, including the John Kaldor Family Gallery, plus a dedicated photography gallery and a refurbished works-on-paper report room.[5] In August 2011 Edmund Capon announced his retirement later on 33 years as manager.[26]

Michael Make assumed the role of director in mid-2012. Picasso: Masterpieces from the Musée National Picasso, Paris attracted almost 365,000 visitors – the largest number e'er to an exhibition at the gallery, also in 2012 and Michael Zavros won the inaugural Bulgari Art Accolade with The New Round Room. In the same year Kenneth Reed announced his intention to bequeath his entire private drove of 200 pieces of rare and valuable 18th-century European porcelain valued at A$5.4 meg.[5]

In 2013 the gallery unveiled a strategic vision and masterplan, under the working title Sydney Modern: a proposal for major expansion and renewed focus on serving a global audience. The stated aim was to complete the project by 2021, the 150th ceremony of the gallery'southward founding in 1871.[5] In the same year, the gallery received A$10.eight meg from the NSW Authorities to finance the planning stages of Sydney Modern, which would see the construction of a new building and double the size of the establishment. The coin was used over the adjacent two years for feasibility and engineering studies related to the utilise of land adjacent to the gallery's existing 19th-century home, and to launch an international architectural contest.[27]

The International design contest for the Sydney Modern Project resulted in five architectural firms being invited from an original list of twelve to submit their final concept designs in April 2015.[28] A mix of private and NSW Government funds will pay for the A$450 meg project,[29] [30] The business firm of McGregor Coxall was called to redesign the gardens.[31] The project has attracted controversy for its expense and encroachment into the public land of the Domain and the Royal Botanic Garden and its dependence on "much greater commercialisation".[32] [33]

Buildings [edit]

The Vernon building [edit]

The gallery and surrounds, 2019

In 1883 John Horbury Hunt, an architect in private practise, was engaged by the gallery's trustees to design a permanent gallery. Though Hunt submitted four detailed designs in various styles between 1884 and 1895, his work came to cypher apart from a temporary building in the Domain. With raw brick walls and a saw-tooth roof, information technology was denounced in the press as the "Art Befouled".[34]

Late 19th-century fine art in the John Schaeffer Gallery

Newly appointed government architect, Walter Liberty Vernon, secured the prestigious committee over John Horbury Chase in 1895. Vernon believed that the Gothic style admitted greater individuality and richness 'not obtainable in the colder and unbending lines of Pagan Classic.' The trustees were not convinced and demanded a classical temple to fine art, non unlike William Henry Playfair's Scottish National Gallery, Edinburgh, opened in 1859.[34]

Vernon'south building, housing eight daylight lit courts, was built in 4 stages. The kickoff stage was commenced in 1896 and opened in May 1897. By 1901 the entire southern half of the building was finished. A newspaper article at the time noted:

Merely one wing of the building, virtually one fourth of the whole construction, is at nowadays completed, and gives rich promise of future beauty. The fashion is early Greek. The façade is built of thracyte and freestone. The interior is divided into four halls, each 100 feet by xxx feet, communicating with each other past pillared archways. The lighting is most perfect, designs for the roof having been furnished by London correspondents after careful study of all the latest improvements in European galleries. The walls are coloured a chill neutral greenish shade, which makes an excellent groundwork.[34]

Main courtroom with a ceiling hung work titled Rally 2014 by Nike Savvas (2014)

Vernon proposed that his oval antechamber lead into an equally imposing Cardinal Courtroom. His plans were not accepted. Until 1969 his antechamber led, by a curt descent from the archway level, to the 3 'temporary' northern galleries designed past Hunt.[34]

In 1909 the front of the gallery was finished and after this appointment nothing more was built of Vernon's designs. In the 1930s plans were suggested for the completion of this part of the gallery just the Great Depression and other fiscal constraints lead to their abandonment.[34]

Captain Cook wing [edit]

In 1968 the New South Wales Government decided the completion of the gallery would exist a major function of the Captain Cook Bicentenary celebrations. This extension, which was opened to the public in November 1972, and the 1988 Bicentennial extensions, were both entrusted to the New Southward Wales Government Builder, with Andrew Andersons the project architect.[34]

The architecture of the Captain Cook wing did not attempt to clone the classical style of Vernon's design. Andersons' blueprint philosophy was alike to that espoused past Robert Venturi in his book Complication and Contradiction in Architecture, as Andersons explains:

He [Venturi] argued the case for richer and more than complex forms of architectural expression – for 'the juxtaposition of old and new' for dramatic visual touch on, rather than striving for unity and consistency in architecture that conventional precepts then dictated.[35]

In the Captain Melt fly Andersons divided new from old with a broad strip of skylights in the main entry courtroom. While in the old courts there was parquetry flooring, travertine flooring was employed in the new galleries for both permanent and temporary exhibitions. The modern need for flexibility in brandish layout was answered by the employ of track lighting and precast ceiling panels designed to support a system of demountable walls. While the new galleries were painted off white, senior curator, Daniel Thomas, advocated a rich Victorian color scheme to brandish the gallery'due south 19th-century paintings in Vernon's grand courts.[35]

Bicentennial extension [edit]

Sixteen years afterward the 1988 Bicentennial extension was congenital on the Domain parkland sloping steeply to the east. Inside the constraints of ii large Moreton Bay fig trees, and with a substantial part of the adaptation below ground level, the extension doubled the size of the gallery. Space for permanent collections and temporary exhibitions was expanded, a new Asian gallery, the Domain Theatre, a café overlooking Woolloomooloo Bay, and a rooftop sculpture garden were added. Escalators connected four exhibition levels with the entry/orientation space. Four contemporary art 'rooms' were acme lit by pyramid skylights.[34]

Asian Art Gallery expansion [edit]

A new space for Asian art was built to add to the existing Asian fine art gallery immediately below. Backlit translucent external cladding glows at nighttime and has been dubbed the "light box". This addition was coupled with other alterations: a new temporary exhibition space on the superlative level, new conservation studios, an outward expansion of the café overlooking Woolloomooloo Bay, a new eatery with dedicated role area, a theatrette and relocation of the gallery shop. The project was designed was by Sydney builder Richard Johnson and was opened on 25 October 2003.[36] The space involves fine art from all corners of Asia, including Buddhist and Hindu arts, Indian sculptures, Southern Asian textiles, Chinese ceramics and paintings, Japanese works and more.

The aesthetics of the extension were described as "cantilevered on superlative of the original Asian galleries, the pavilion glows softly like a paper lantern when lit at night" and as "a floating white glass and steel cube pivoted with modern stainless steel lotus flowers".[37] The extension added 720 foursquare metres (vii,800 sq ft) to the New South Wales Art Gallery, with the new space to house temporary and permanent exhibitions. In 2004 Johnson Pilton Walker won ii awards for their involvement in the creation of the Asian Galleries extension, including the RAIA National Citation, Sir Zelman Cowan Award for Public Buildings; and the RAIA NSW Chapter, Compages Honour for Public and Commercial Buildings.[38] [39] Over A$16 million was granted from the NSW Authorities for this major building project – inclusive also of the Rudy Komon Gallery, new conservation studios, café, restaurant and function expanse, and a refurbishment of the assistants expanse.[twoscore] Upon completion the extension was featured in the September–Oct 2003 edition of Compages Bulletin and described the new wing as

"Sydney Modern Project" [edit]

Plans to extend the gallery under the name the "Sydney Modernistic Project" resulted from a competition won in 2015 by Tokyo architects Kazuyo Sejima + Ryue Nishizawa of SANAA.[41] The chosen design, which proposes a massive extension to the north, have been criticised on architectural too as public interest grounds. Former architect Andersons described it equally intrusive, "colliding" with Vernon'south sandstone façade and relegating his portico to a ceremonial entrance.[42] Former Prime Minister Paul Keating criticised proposals to significantly develop the outdoor spaces near the gallery for utilize as individual venues as more than well-nigh money than art.[43] The foundation and friends of the neighbouring Royal Botanic Garden, objected to the loss of green space and parkland in the Domain associated with the project, requested a review and negotiated with the gallery about site lines, transport, logistics and alignment of building structures.[44] [45]

Collections [edit]

In 1871 the collection started with the acquisition by The Art Society of some large works from Europe such as Ford Madox Dark-brown'southward Chaucer at the Court of Edward III. Afterwards they bought work from Australian artists such as Streeton's 1891 Fire's On, Roberts' 1894 The Golden Fleece and McCubbin's 1896 On the Wallaby Rail.

In 2014 the collection is categorised into:

Aboriginal and Torres Strait Islander art

The collection represents Ethnic artists from communities beyond Australia. The primeval piece of work in the collection, past Tommy McRae, dates from the late 19th century. Included in the collection are desert paintings created by small-scale family groups living on remote Western Desert outstation, bawl paintings of the saltwater people of coastal communities and the new media expressions of "blak city culture" by contemporary artists.[five]

Asian fine art

The first works to enter the collection in 1879 were a large group of ceramics and bronzes – a gift from the Government of Nihon following the Sydney International Exhibition that year. The Asian collections after grown from that beginning to exist wide-ranging, embracing the countries and cultures of Southward, Southeast and East asia.[five]

Australian art

The collection dates from the early 1800s. 19th-century Australian artists represented include: John Glover, Arthur Streeton, Eugene von Guerard, John Russell, Tom Roberts, David Davies, Charles Conder, William Piguenit, E. Phillips Fox (including Nasturtiums), Frederick McCubbin, Sydney Long and George W. Lambert.[5]

20th-century Australian artists represented include: Arthur Boyd, Rupert Bunny, Grace Cossington Smith, H. H. Calvert, William Dobell, Russell Drysdale, James Gleeson, Sidney Nolan, John Olsen, Margaret Preston, Hugh Ramsay, Lloyd Rees, Imants Tillers, J. W. Tristram, Roland Wakelin, Brett Whiteley, Fred Williams and Blamire Young.[5]

Forty four works held at the gallery were included in the 1973 edition of 100 Masterpieces of Australian Painting.[46]

Selected works

Contemporary art

The contemporary collection is international, encompassing Asian and Western equally well as Australian art in all media. With the gift of the John Kaldor Family Drove, the gallery now holds arguably Australia'south well-nigh comprehensive representation of contemporary art from the 1960s to the present day. Internationally, the focus is on the influence of conceptual fine art, nouveau realisme, minimalism and arte povera. The Australian gimmicky fine art collection focuses on abstract painting, expressionism, screen culture and pop art.[5]

Pacific art

The drove of art from the Pacific region began in 1962 at the instigation of our so deputy manager, Tony Tuckson. Between 1968 and 1977, the gallery caused over 500 works from the Moriarty Collection, one of the largest and about of import private collections of New Guinea Highlands fine art in the world.[5]

Photography

The photography collection has major holdings of a wide multifariousness of artists including Tracey Moffatt, Bill Henson, Fiona Hall, Micky Allan, Mark Johnson, Max Pam and Lewis Morley. As well as contemporary photography, Australian pictorialism, modernism and postwar photograph documentary is represented by The Sydney Camera Circle, Max Dupain and David Moore. The evolution of 19th-century Australian photography is represented with accent on the piece of work of Charles Bayliss and Kerry & Co. International photographs include English language pictorialism and the European avant garde (Bauhaus, constructivism and surrealism). Photo-documentary in 20th-century America is reflected through the piece of work of Lewis Hine and Dorothea Lange among others. Contemporary Asian practices are represented by artists such equally Yasumasa Morimura and Miwa Yanagi. Styles range from the formal aesthetics of early photography to the informal snapshots of Weegee to the high fashion of Helmut Newton and Bettina Rheims.[v]

Western art

The gallery has an extensive drove of British Victorian art, including major works by Lord Frederic Leighton and Sir Edward John Poynter. It has smaller holdings of European art of the 15th to 18th centuries, including works by Peter Paul Rubens, Canaletto, Bronzino, Domenico Beccafumi, Giovanni Battista Moroni and Niccolò dell'Abbate. These works hang in the 1000 Courts along with 19th-century works by Eugène Delacroix, John Constable, Ford Madox Brown, Vincent van Gogh, Auguste Rodin, Claude Monet, Paul Cézanne and Camille Pissarro.[5]

British art of the 20th century occupies a significant identify in the collection together with major European figures such as Pierre Bonnard, Georges Braque, Pablo Picasso, Auguste Rodin, Ernst Ludwig Kirchner, Alberto Giacometti and Giorgio Morandi.[5]

Selected works

  • Benjamin W, Joshua passing the River Jordan with the Ark of the Covenant, 1800

Temporary exhibitions [edit]

Around xl temporary exhibitions are held each twelvemonth; some with an entry charge. In add-on to one-off exhibitions, the gallery hosts the long running Archibald Prize, the nigh prominent Australian fine art prize, along with the Sulman, Wynne and the Dobell art prizes, among others. the gallery also exhibits ARTEXPRESS, a yearly showcase of College School Certificate Visual Arts Examination artworks from across New South Wales.[v]

The National [edit]

The National is a series of biennial survey exhibitions featuring contemporary artists, run as a partnership between AGNSW, Carriageworks and the Museum of Contemporary Art Australia (MCA) and held across the 3 galleries. The inaugural edition was held in 2017.[47] [48]

The National 2021: New Australian Art, the third in the series, was held between March and September 2021, featuring new and deputed projects by 39 artists, collectives and collaborative groups. Featured artists included Vernon Ah Kee with Dalisa Pigram, Betty Muffler, Sally Smart, Alick Tipoti, Judy Watson, Judith Wright,[47] and Tom Polo.[49]

Brett Whiteley Studio [edit]

The Brett Whiteley Studio at 2 Raper Street, Surry Hills was the workplace and abode of Australian artist Brett Whiteley (1939–1992). Since 1995 it has been managed as a museum past the Art Gallery of NSW.[5]

Programs [edit]

Educational activity

Gallery educators produce a diverse range of resources for the primary, secondary and tertiary education audiences linked to the collection and major exhibitions.[five]

Volunteer guides

Gallery guides provide tours of the collection and exhibitions to visitors, including school groups, gallery members, corporate clients and VIPs.[5]

Conservation

Gallery conservators undertake projects to safeguard artworks past preventing, slowing down, remedying or reversing decay and damage while ensuring artworks are safely displayed, stored or transported.[5]

Public programs

The gallery has a program of talks, films, performances, courses and workshops besides as programs designed to increment access for people with special needs.[5]

Facilities [edit]

Bicentennial Fly – gimmicky art spaces at the escalators (2014)

  • Café
  • Restaurant
  • Library and archive
  • Study room
  • Gallery Shop
  • Centenary Auditorium – xc seats
  • Domain Theatre – 339 seats

Governance [edit]

The Art Gallery of NSW is a statutory body established under the Fine art Gallery of New S Wales Human action (1980) and is a body aligned with NSW Trade & Investment. Led by a board of trustees, the gallery also provides administrative support for several other entities, each with its own legal structure: the Art Gallery of NSW Foundation, VisAsia, Brett Whiteley Foundation and Art Gallery Society of NSW.[five]

The board of trustees has nine members plus a president and vice president. An executive is composed of the gallery manager, deputy directory, and three senior staff members. The Art Gallery of NSW Foundation is the gallery's major acquisition fund and the umbrella organization for all the gallery benefactor groups and funds. It raises money from donations and bequests, invests this majuscule and and so uses the income to purchase works of art for the drove. The Art Gallery of New South Wales has likewise adult a sound foundation of corporate support. It presenting partners and sponsors include Aqualand Projects Pty Ltd, EY, Herbert Smith Freehills LLP, J.P.Morgan, Macquarie Grouping Limited and UBS.[50]

VisAsia, the Australian Institute of Asian Culture and Visual Arts, was established to promote Asian arts and civilization. Information technology includes both the VisAsia Council and individual membership. The Brett Whiteley Foundation, promotes and encourages knowledge and appreciation of the work of the belatedly Brett Whiteley. The Art Gallery Society of NSW is the gallery's membership organisation. Its objectives are to enhance members' enjoyment of art, and to heighten funds for the gallery's collection. The Society is a separate legal entity, controlled and operated by the Order Council and members.[five]

Directors [edit]

Club Officeholder Position title Kickoff date End date Term in function Ref
1 Eliezer Levi Montefiore Managing director 1 September 1892 22 October 1894 ii years, 51 days [51] [52] [53]
ii George Edward Layton Secretary and Superintendent 1 January 1895 26 May 1905 x years, 145 days [54] [55] [56]
three Gother Mann CBE 1 July 1905 7 May 1913 23 years, 185 days [57] [58] [59]
Director and Secretary seven May 1913 two Jan 1929
4 James MacDonald 2 January 1929 xiii November 1936 vii years, 316 days [sixty] [61] [62] [63] [64]
– William Herbert Ifould (acting) xiii November 1936 15 February 1937 94 days [65]
5 Sir John William "Will" Ashton OBE fifteen February 1937 28 Apr 1944 vii years, 73 days [66] [67] [68] [69] [70]
– Hector Pope Melville (acting) 28 April 1944 eleven July 1945 1 year, 74 days [seventy] [71]
6 Hal Missingham AO xi July 1945 3 September 1971 26 years, 54 days [72] [73] [74]
seven Peter Laverty Managing director 3 September 1971 30 December 1977 6 years, 118 days [75] [76]
– Gil Docking (acting) 30 December 1977 17 August 1978 230 days [77] [78]
8 Edmund Capon AM, OBE 17 Baronial 1978 23 December 2011 33 years, 128 days [79] [26] [lxxx] [81] [82]
– Anne Flanagan (acting) 23 December 2011 4 June 2012 164 days [83]
9 Michael Make 4 June 2012 present nine years, 334 days [84] [85]

Board of trustees [edit]

The board of trustees consists of ten members, including the president and vice-president, two of which must have knowledge of, and exist experienced in, the arts. The current members of the board are:[86]

President Term begins Term ends
David Gonski AC 1 January 2016 31 December 2024
Vice-president Term begins Term ends
Gretel Packer AM 5 February 2014 31 December 2022
Trustee Term begins Term ends
Tony Albert 1 January 2020 31 December 2022
Anita Belgiorno-Nettis AM 1 January 2020 31 December 2022
Andrew Cameron AM 1 January 2020 31 December 2022
Ashley Dawson-Damer AM 26 Feb 2014 31 December 2022
Due south. Bruce Dowton 1 January 2015 31 December 2023
Lachlan Edwards 1 January 2022 31 December 2024
Sally Herman 1 January 2019 31 Dec 2024
Paris Neilson i January 2022 31 December 2024
Caroline Rothwell one Jan 2022 31 December 2024

Presidents of the lath [edit]

# President Term Time in office Notes
1 Sir Alfred Stephen GCMG, CB 11 June 1874 – thirty January 1889 14 years, 233 days [87] [88] [89]
2 Eliezer Levi Montefiore 20 March 1889 – 6 September 1892 3 years, 170 days [88]
3 Frederick Eccleston Du Faur 6 September 1892 – 24 April 1915 22 years, 230 days [90] [91] [92] [93]
4 Sir James Reading Fairfax 28 May 1915 – 28 March 1919 iii years, 304 days [94] [95] [96]
5 Sir John Sulman 11 Apr 1919 – 18 August 1934 15 years, 129 days [97] [98] [99] [100]
six Sir Philip Whistler Street KCMG 20 August 1934 – eleven September 1938 4 years, 22 days [101] [102]
seven John Lane Mullins 23 September 1938 – 24 February 1939 154 days [103] [104]
8 Bertrand James Waterhouse OBE 10 March 1939 – 23 July 1958 19 years, 135 days [105] [106]
9 William Herbert Ifould OBE 23 July 1958 – 1 July 1960 i twelvemonth, 344 days [88] [107] [108]
10 Eben Gowrie Waterhouse OBE, CMG 1 July 1960 – 28 December 1962 2 years, 180 days [109] [110] [111]
11 Sir Erik Langker OBE 28 December 1962 – 7 June 1974 11 years, 161 days [112] [113]
12 Walter Bunning vii June 1974 – sixteen September 1977 3 years, 101 days [114] [115]
thirteen John Nagle QC xvi September 1977 – eleven July 1980 2 years, 299 days [116]
fourteen Charles Benyon Lloyd Jones CMG xi July 1980 – eleven July 1983 3 years, 0 days [117] [118]
fifteen Michael Gleeson-White AO 11 July 1983 – 10 July 1988 iv years, 365 days [117] [119]
16 Frank Lowy AO 10 July 1988 – 31 December 1996 8 years, 174 days [120] [121] [122]
17 David Gonski Ac ane January 1997 – 31 December 2006 ix years, 364 days [123]
18 Steven Lowy AM 1 January 2007 – 31 December 2013 vi years, 364 days [124] [125]
19 Guido Belgiorno-Nettis AM 1 January 2014 – 31 December 2015 ane year, 364 days [125]
– David Gonski Ac i January 2016 – 31 December 2021 6 years, 123 days [126]

Pop civilization [edit]

At the outset of the film Sirens, Hugh Grant walks past paintings in the Art Gallery of NSW, including Spring Frost by Elioth Gruner, The Golden Fleece (1894) by Tom Roberts, Nevertheless Glides the Stream and Shall Forever Glide (1890) past Arthur Streeton, Bailed Up (1895) by Tom Roberts, and Chaucer at the Court of Edward III (1847–51) by Ford Madox Brown.

See likewise [edit]

  • Bill Boustead, senior conservator 1954–1977

References [edit]

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Further reading [edit]

  • Thomas, Daniel (2011). "Art museums in Australia: a personal business relationship". Understanding Museums. Includes link to PDF of the commodity "Fine art museums in Commonwealth of australia: a personal retrospect" (originally published in Periodical of Art Historiography, no. 4, June 2011).

External links [edit]

  • Official website
  • "Art Gallery of New South Wales". History and Archives: Celebrated Buildings. City of Sydney. 2004. Retrieved 28 March 2010.
  • Fine art Gallery of New South Wales Artabase page
  • Virtual Tour of Art Gallery of New South Wales

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Source: https://en.wikipedia.org/wiki/Art_Gallery_of_New_South_Wales

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