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The New Administrator for the Art Museum Was Concerned That the Museumã¢ââ¢s Collection of Rare 17th

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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 main entrance

Art Gallery of New South Wales is located in Sydney

Art Gallery of New South Wales

Location within Sydney
Established 1874; 148 years ago  (1874)
Location The Domain, Sydney, New Due south Wales, Commonwealth of australia
Coordinates 33°52′07″S 151°13′02″Due east  /  33.868686°S 151.217144°E  / -33.868686; 151.217144 Coordinates: 33°52′07″S 151°thirteen′02″East  /  33.868686°S 151.217144°East  / -33.868686; 151.217144
Blazon Fine arts, visual arts, Asian arts
Visitors ane,349,000 (2016)[one]
Manager Dr Michael Brand
Public transit admission
  • St James rail (15-minute walk)
  • Martin Place track (twenty-minute walk)
  • Big Jitney Sydney
  • Sydney buses
Website artgallery.nsw.gov.au

The Fine art Gallery of New S Wales (AGNSW), founded every bit the New S Wales University of Art in 1872 and known every bit the National Fine art Gallery of New Southward Wales between 1883 and 1958, is located in The Domain, Sydney, Australia. Information technology is the most of import public gallery in Sydney and 1 of the largest in Australia.

The gallery's beginning 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 Due south Wales (c.  1900)

On 24 April 1871, a public meeting was convened in Sydney to plant an Academy of Art "for the purpose of promoting the fine arts through lectures, fine 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 (besides referred to equally simply the Academy of Fine art)[2] [3] [4] in 1872. From 1872 until 1879 the university'south master activity was the organisation of annual fine art exhibitions. The showtime 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 work on paper by an Australian artist to be acquired by the gallery.[5]

In 1874 the New South Wales Parliament voted funds towards a new Fine art Gallery of New South Wales, with a lath of trustees to administer the funds, i of whom was Montefiore.[vi]

The gallery'south collection was first housed at Clark's Assembly Hall in Elizabeth Street where information technology was open to the public on Friday and Saturday afternoons. The collection was relocated in 1879 to a wooden annexe to the Garden Palace congenital for the Sydney International Exhibition in the Domain and was officially opened every bit the "Fine art Gallery of New South Wales"[7] on 22 September 1880.[6] In 1882 Montefiore and his swain trustees opened the fine art gallery on Sunday afternoons from ii pm to 5 pm. believed:[7]

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

Montefiore was president of the lath of trustees from 1889 to 1891, and became the director of the gallery in 1892, a position he retained until his expiry in 1894.[half dozen]

The destruction of the Garden Palace by fire in 1882 placed pressure on the regime to provide a permanent home for the national drove.[v] In 1883 private architect John Horbury Hunt was engaged by the trustees to submit designs.[8] The same twelvemonth at that place was a alter of name to the "National Art Gallery of New South Wales".[4] The gallery was incorporated by The Library and Art Gallery Act 1899.[eight] [9]

In 1895, the newly appointed government architect, Walter Freedom Vernon,[ten] was given the assignment to design the new permanent gallery and two pic galleries were opened in 1897 and a further 2 in 1899. A watercolour gallery was added in 1901 and in 1902 the Thou Oval Lobby was completed.[nine] The 32 names beneath the entablature were called by the gallery's board of trustees president, Frederick Eccleston Du Faur. The names were of were painters, sculptors, and architects with no connexion to any works in the gallery at the time. Several calls to supercede these names with notable Australian artists failed because the trustees could not determine on alternatives.[11]

20th century [edit]

Offerings of Peace
(left side of facade)
Inscription: The Real and Lasting Victories Are those of Peace and Not of War.[12]

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

Over 300,000 people came to the gallery during March and April 1906 to see Holman Hunt's painting The Light of the World. In 1921, the inaugural Archibald Prize was awarded to W.B. McInnes for his portrait of builder Desbrowe Annear. The equestrian statues The Offerings of Peace and The Offerings of State of war by Gilbert Bayes were installed in forepart of the principal facade in 1926.[13] James Stuart MacDonald was appointed director and secretary in 1929. In 1936 the inaugural Sulman Prize was awarded to Henry Hanke for La Gitana. John William Ashton was appointed director 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 the Netherlands. The same year electric light was temporarily installed at the gallery to remain open at night for the start time. In 1943 William Dobell won the Archibald Prize for Joshua Smith, causing considerable controversy. Hal Missingham was appointed managing director and secretary in 1945.

On ane July 1958 the Art Gallery of New S Wales Human action was amended and the gallery's name reverted to the "Art Gallery of New South Wales".[fourteen] [4]

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

The first of the modern blockbusters to exist held at the gallery was Modernistic Masters: Monet to Matisse in 1975. Information technology attracted 180,000 people over 29 days. The 1976 the Biennale of Sydney was held at the gallery for the beginning time. The Sydney Opera Business firm 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 Red china."[15] [16] Edmund Capon was appointed director in 1978 and in 1980 The Art Gallery of New Southward Wales Act (1980) established the "Art Gallery of New South Wales Trust".[17] Information technology reduced the number of trustees to nine and stipulated that "at least two" members "shall be knowledgeable and experienced in the visual arts".[v]

With the support of so Premier Neville Wran a major extension of the gallery became a Bicennential project. Opened just in time in December 1988, the extensions doubled the floor space of the gallery. In 1993 Kevin Connor won the inaugural Dobell Prize for Drawing for Pyrmont and city. In 1994, the Yiribana Gallery, dedicated to Aboriginal and Torres Strait Islander art, was opened.[5]

21st century [edit]

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

2000–2009

In 2001, the New South Wales Art Gallery announced that nine of the gallery'due south 40,000 artworks could accept been among the many paintings stolen by the Nazis and that information technology was undertaking provenance research.[18] [19]

In 2003 an Art After Hours programme was initiated with the gallery opening hours extended every Wed. The inaugural Australian Photographic Portrait Prize was won by Greg Weight. The Art Gallery Society of New South Wales celebrated its 50th anniversary in the aforementioned year and the Rudy Komon Gallery exhibition space was opened, followed past the new Asian gallery.[5]

A 2004 exhibition of Man Ray's work set an attendance record for photography exhibitions, with over 52,000 visitors. The same year a legal challenge was mounted against the award of the Archibald Prize to Craig Cherry for his David Gulpilil, two worlds; and the Anne Landa Laurels was established, Australia'south beginning laurels for moving image and new media. The Nelson Meers Foundation Nolan Room was opened, also in 2004, with a display of 5 major Sidney Nolan paintings gifted to the gallery past the foundation over the by five years.[5]

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

In 2005 Justice Hamilton ruled in favour of the gallery over the disputed 2004 honour of the Archibald Prize to Craig Ruddy. The same year, James Gleeson and his partner Frank O'Keefe pledged A$16 million through the Gleeson O'Keefe Foundation to learn works for the gallery's collection.[5]

On 10 June 2007, a 17th-century work by Frans van Mieris, entitled A Cavalier (Self-Portrait), was stolen from the gallery.[twenty] [21] The painting had been donated by John Fairfax and was valued at over A$i million.[22] The theft raised questions about need for increased security at the gallery.[23] In the same year the Belgiorno-Nettis family donated A$iv million 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 meg – the highest amount paid by the gallery for a work of fine art. In the same year the NSW Government announced a grant of A$25.vii million to construct an offsite storage facility and a gift from the John Kaldor Family unit Drove to the gallery was appear. Valued at over A$35 1000000, it comprised some 260 works representing the history of international contemporary fine art.[v] The refurbishment of the 19th-century Grand Courts was historic in the gallery'south inaugural 'Open up Weekend' in 2009.[five]

John Kaldor Family contemporary gallery (2014)

2010–present

A new contemporary gallery was created in 2010 by removing storage racks from the lowest level of the Captain Cook fly, and artworks were relocated to an off site storage. The new purpose-built off-site collection storage facility began operations. The same twelvemonth, the award of the Wynne Prize to Sam Leach for Proposal for landscaped creation caused controversy due to the painting's resemblance to a 17th-century Dutch mural; and the gallery announced Mollie Gowing'due south bequest of 142 artworks plus A$5 million to establish two endowment funds for acquisitions: one for Ethnic art and a larger i for full general acquisitions.[5]

The 2011 exhibition The First Emperor: Cathay's Entombed Warriors attracted more than 305,000 people and in the aforementioned year new gimmicky galleries were opened, including the John Kaldor Family Gallery, plus a dedicated photography gallery and a refurbished works-on-paper study room.[5] In Baronial 2011 Edmund Capon announced his retirement after 33 years equally director.[24]

Dr 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 ever to an exhibition at the gallery, too in 2012 and Michael Zavros won the inaugural Bulgari Art Award 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$five.4 1000000.[five]

In 2013 the gallery unveiled a strategic vision and masterplan, nether the working title Sydney Modern: a proposal for major expansion and renewed focus on serving a global audience. The stated aim was to consummate the project by 2021, the 150th anniversary of the gallery's founding in 1871.[5] In the same twelvemonth, the gallery received A$x.8 million from the NSW Regime to finance the planning stages of Sydney Mod, which would see the construction of a new building and double the size of the institution. The money was used over the next 2 years for feasibility and engineering studies related to the employ of state next to the gallery'due south existing 19th-century domicile, and to launch an international architectural competition.[25]

The International pattern competition for the Sydney Modern Project resulted in 5 architectural firms beingness invited from an original listing of twelve to submit their last concept designs in April 2015.[26] A mix of individual and NSW Regime funds volition pay for the A$450 million projection,[27] [28] The firm of McGregor Coxall was called to redesign the gardens.[29] The project has attracted controversy for its expense and encroachment into the public state of the Domain and the Imperial Botanic Garden and its dependence on "much greater commercialisation".[30] [31]

Buildings [edit]

The Vernon edifice [edit]

The gallery and surrounds, 2019

In 1883 John Horbury Hunt, an architect in private practice, was engaged by the gallery's trustees to design a permanent gallery. Though Hunt submitted four detailed designs in various styles betwixt 1884 and 1895, his work came to nothing apart from a temporary building in the Domain. With raw brick walls and a saw-molar roof, it was denounced in the press as the "Fine art Befouled".[32]

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

Newly appointed government architect, Walter Liberty Vernon, secured the prestigious commission over John Horbury Hunt in 1895. Vernon believed that the Gothic fashion 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 art, non unlike William Henry Playfair'south Scottish National Gallery, Edinburgh, opened in 1859.[32]

Vernon's building, housing viii daylight lit courts, was built in four stages. The first phase was commenced in 1896 and opened in May 1897. By 1901 the entire southern one-half of the building was finished. A newspaper article at the time noted:

Just 1 fly of the building, most one fourth of the whole structure, is at present completed, and gives rich promise of future dazzler. The style is early Greek. The façade is built of thracyte and freestone. The interior is divided into four halls, each 100 feet by 30 anxiety, communicating with each other by pillared archways. The lighting is almost perfect, designs for the roof having been furnished past London correspondents after careful study of all the latest improvements in European galleries. The walls are coloured a arctic neutral dark-green shade, which makes an excellent background.[32]

Chief court with a ceiling hung work titled Rally 2014 past Nike Savvas (2014)

Vernon proposed that his oval anteroom lead into an equally imposing Key Court. His plans were not accepted. Until 1969 his entrance hall led, by a short descent from the entrance level, to the three 'temporary' northern galleries designed by Chase.[32]

In 1909 the front of the gallery was finished and afterward this date nothing more than was congenital of Vernon's designs. In the 1930s plans were suggested for the completion of this part of the gallery but the Great Depression and other fiscal constraints lead to their abandonment.[32]

Captain Cook wing [edit]

In 1968 the New South Wales Government decided the completion of the gallery would be a major part 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 South Wales Authorities Builder, with Andrew Andersons the project architect.[32]

The architecture of the Helm Melt fly did not effort to clone the classical style of Vernon's blueprint. Andersons' design philosophy was akin to that consort past Robert Venturi in his book Complication and Contradiction in Architecture, as Andersons explains:

He [Venturi] argued the case for richer and more complex forms of architectural expression – for 'the juxtaposition of one-time and new' for dramatic visual impact, rather than striving for unity and consistency in architecture that conventional precepts and then dictated.[33]

In the Captain Melt wing Andersons divided new from old with a wide strip of skylights in the main entry courtroom. While in the former courts there was parquetry flooring, travertine flooring was employed in the new galleries for both permanent and temporary exhibitions. The mod need for flexibility in display layout was answered past the use of rail lighting and precast ceiling panels designed to support a organization of demountable walls. While the new galleries were painted off white, senior curator, Daniel Thomas, advocated a rich Victorian colour scheme to display the gallery'southward 19th-century paintings in Vernon'due south grand courts.[33]

Bicentennial extension [edit]

Sixteen years later on the 1988 Bicentennial extension was built on the Domain parkland sloping steeply to the east. Within the constraints of two big Moreton Bay fig copse, and with a substantial role of the accommodation 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 4 exhibition levels with the entry/orientation space. Four contemporary fine art 'rooms' were top lit by pyramid skylights.[32]

Asian Art Gallery expansion [edit]

A new space for Asian art was congenital to add together to the existing Asian art gallery immediately below. Backlit translucent external cladding glows at night and has been dubbed the "low-cal box". This addition was coupled with other alterations: a new temporary exhibition space on the top level, new conservation studios, an outward expansion of the café overlooking Woolloomooloo Bay, a new restaurant with dedicated office area, a theatrette and relocation of the gallery shop. The project was designed was by Sydney architect Richard Johnson and was opened on 25 Oct 2003.[34] The infinite involves 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 top of the original Asian galleries, the pavilion glows softly similar a newspaper lantern when lit at night" and as "a floating white drinking glass and steel cube pivoted with modern stainless steel lotus flowers".[35] The extension added 720 square metres (7,800 sq ft) to the New South Wales Art Gallery, with the new infinite to house temporary and permanent exhibitions. In 2004 Johnson Pilton Walker won two awards for their involvement in the creation of the Asian Galleries extension, including the RAIA National Commendation, Sir Zelman Cowan Award for Public Buildings; and the RAIA NSW Chapter, Architecture Award for Public and Commercial Buildings.[36] [37] Over A$16 million was granted from the NSW Government for this major edifice project – inclusive also of the Rudy Komon Gallery, new conservation studios, café, eatery and role area, and a refurbishment of the administration area.[38] Upon completion the extension was featured in the September–Oct 2003 edition of Compages Bulletin and described the new wing equally

"Sydney Modernistic Project" [edit]

Plans to extend the gallery under the proper noun the "Sydney Modern Projection" resulted from a contest won in 2015 past Tokyo architects Kazuyo Sejima + Ryue Nishizawa of SANAA.[39] The chosen blueprint, which proposes a massive extension to the n, have been criticised on architectural as well equally public interest grounds. Former builder Andersons described it equally intrusive, "colliding" with Vernon's sandstone façade and relegating his portico to a ceremonial entrance.[40] Former Prime number Government minister Paul Keating criticised proposals to significantly develop the outdoor spaces near the gallery for use as private venues as more about money than art.[41] The foundation and friends of the neighbouring Royal Botanic Garden, objected to the loss of greenish 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.[42] [43]

Collections [edit]

In 1871 the collection started with the acquisition by The Fine art Order of some large works from Europe such equally Ford Madox Brown'due south Chaucer at the Court of Edward III. Later they bought work from Australian artists such every bit Streeton's 1891 Fire'southward On, Roberts' 1894 The Golden Fleece and McCubbin'due south 1896 On the Wallaby Track.

In 2014 the collection is categorised into:

Aboriginal and Torres Strait Islander art

The drove represents Ethnic artists from communities across Australia. The earliest piece of work in the collection, by Tommy McRae, dates from the belatedly 19th century. Included in the collection are desert paintings created by small family groups living on remote Western Desert outstation, bark paintings of the saltwater people of coastal communities and the new media expressions of "blak city culture" past contemporary artists.[5]

Asian fine art

The first works to enter the drove in 1879 were a large group of ceramics and bronzes – a souvenir from the Government of Japan following the Sydney International Exhibition that yr. The Asian collections after grown from that beginning to be wide-ranging, embracing the countries and cultures of South, Southeast and Eastern asia.[5]

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 Play a joke on (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. Due west. Tristram, Roland Wakelin, Brett Whiteley, Fred Williams and Blamire Young.[5]

Xl four works held at the gallery were included in the 1973 edition of 100 Masterpieces of Australian Painting.[44]

Selected works

Contemporary art

The contemporary collection is international, encompassing Asian and Western also as Australian art in all media. With the gift of the John Kaldor Family Collection, the gallery now holds arguably Australia'southward near comprehensive representation of contemporary fine art from the 1960s to the nowadays day. Internationally, the focus is on the influence of conceptual art, nouveau realisme, minimalism and arte povera. The Australian contemporary fine art drove focuses on abstruse painting, expressionism, screen culture and pop art.[5]

Pacific art

The collection of art from the Pacific region began in 1962 at the instigation of our then deputy director, Tony Tuckson. Between 1968 and 1977, the gallery acquired over 500 works from the Moriarty Drove, one of the largest and most important private collections of New Republic of guinea Highlands fine art in the world.[5]

Photography

The photography drove has major holdings of a wide variety of artists including Tracey Moffatt, Bill Henson, Fiona Hall, Micky Allan, Mark Johnson, Max Pam and Lewis Morley. Equally well equally contemporary photography, Australian pictorialism, modernism and postwar photo 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 work of Charles Bayliss and Kerry & Co. International photographs include English pictorialism and the European avant garde (Bauhaus, constructivism and surrealism). Photo-documentary in 20th-century America is reflected through the 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 way of Helmut Newton and Bettina Rheims.[5]

Western fine art

The gallery has an extensive collection of British Victorian art, including major works by Lord Frederic Leighton and Sir Edward John Poynter. It has smaller holdings of European fine 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 Grand Courts along with 19th-century works by Eugène Delacroix, John Lawman, Ford Madox Brown, Vincent van Gogh, Auguste Rodin, Claude Monet, Paul Cézanne and Camille Pissarro.[five]

British art of the 20th century occupies a significant place 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 West, Joshua passing the River Jordan with the Ark of the Covenant, 1800

Temporary exhibitions [edit]

Around xl temporary exhibitions are held each year; some with an entry charge. In addition to one-off exhibitions, the gallery hosts the long running Archibald Prize, the most 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 beyond New S Wales.[5]

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 iii galleries. The inaugural edition was held in 2017.[45] [46]

The National 2021: New Australian Art, the tertiary in the series, was held between March and September 2021, featuring new and commissioned projects past 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,[45] and Tom Polo.[47]

Brett Whiteley Studio [edit]

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

Programs [edit]

Education

Gallery educators produce a diverse range of resource for the primary, secondary and tertiary education audiences linked to the collection and major exhibitions.[5]

Volunteer guides

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

Conservation

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

Public programs

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

Facilities [edit]

Bicentennial Wing – contemporary art spaces at the escalators (2014)

  • Café
  • Restaurant
  • Library and archive
  • Study room
  • Gallery Shop
  • Centenary Auditorium – 90 seats
  • Domain Theatre – 339 seats

Governance [edit]

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

The board of trustees has nine members plus a president and vice president. An executive is composed of the gallery director, deputy directory, and iii senior staff members. The Art Gallery of NSW Foundation is the gallery'south major acquisition fund and the umbrella organisation for all the gallery benefactor groups and funds. It raises money from donations and bequests, invests this uppercase and and then uses the income to purchase works of art for the drove. The Art Gallery of New S Wales has also developed 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 Group Limited and UBS.[48]

VisAsia, the Australian Institute of Asian Civilisation and Visual Arts, was established to promote Asian arts and culture. It includes both the VisAsia Quango and individual membership. The Brett Whiteley Foundation, promotes and encourages knowledge and appreciation of the work of the belatedly Brett Whiteley. The Fine art Gallery Society of NSW is the gallery'southward membership system. Its objectives are to heighten members' enjoyment of art, and to raise funds for the gallery'south collection. The Society is a separate legal entity, controlled and operated by the Society Council and members.[5]

Directors [edit]

Order Officeholder Position championship Get-go date End engagement Term in office Ref
1 Eliezer Levi Montefiore Director one September 1892 22 October 1894 two years, 51 days [49] [50] [51]
two George Edward Layton Secretary and Superintendent 1 January 1895 26 May 1905 x years, 145 days [52] [53] [54]
three Gother Isle of man CBE i July 1905 7 May 1913 23 years, 185 days [55] [56] [57]
Manager and Secretarial assistant vii May 1913 ii January 1929
4 James MacDonald two Jan 1929 13 November 1936 7 years, 316 days [58] [59] [60] [61] [62]
– William Herbert Ifould (interim) 13 November 1936 fifteen February 1937 94 days [63]
5 Sir John William "Will" Ashton OBE 15 February 1937 28 April 1944 vii years, 73 days [64] [65] [66] [67] [68]
– Hector Pope Melville (acting) 28 April 1944 11 July 1945 ane year, 74 days [68] [69]
vi Hal Missingham AO eleven July 1945 3 September 1971 26 years, 54 days [70] [71] [72]
7 Peter Laverty Manager 3 September 1971 xxx December 1977 half dozen years, 118 days [73] [74]
– Gil Docking (acting) 30 December 1977 17 Baronial 1978 230 days [75] [76]
viii Edmund Capon AM, OBE 17 Baronial 1978 23 December 2011 33 years, 128 days [77] [24] [78] [79] [80]
– Anne Flanagan (acting) 23 Dec 2011 4 June 2012 164 days [81]
ix Michael Brand iv June 2012 present 9 years, 322 days [82] [83]

Board of trustees [edit]

The board of trustees consists of ten members, including the president and vice-president, 2 of which must have noesis of, and exist experienced in, the arts. The current members of the board are:[84]

President Term begins Term ends
David Gonski Air conditioning i January 2016 31 December 2021
Vice-president Term begins Term ends
Gretel Packer AM 5 February 2014 31 Dec 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 ane January 2020 31 December 2022
Ashley Dawson-Damer AM 26 Feb 2014 31 December 2022
S. Bruce Dowton one Jan 2015 31 December 2023
Lachlan Edwards 1 January 2022 31 December 2024
Sally Herman one January 2019 31 December 2021
Paris Neilson 1 January 2022 31 December 2024
Caroline Rothwell 1 January 2022 31 December 2024

Presidents of the lath [edit]

# President Term Time in part Notes
1 Sir Alfred Stephen GCMG, CB 11 June 1874 – xxx Jan 1889 14 years, 233 days [85] [86] [87]
2 Eliezer Levi Montefiore 20 March 1889 – 6 September 1892 3 years, 170 days [86]
3 Frederick Eccleston Du Faur half-dozen September 1892 – 24 April 1915 22 years, 230 days [88] [89] [xc] [91]
4 Sir James Reading Fairfax 28 May 1915 – 28 March 1919 3 years, 304 days [92] [93] [94]
5 Sir John Sulman 11 April 1919 – 18 August 1934 15 years, 129 days [95] [96] [97] [98]
6 Sir Philip Whistler Street KCMG 20 Baronial 1934 – 11 September 1938 four years, 22 days [99] [100]
7 John Lane Mullins 23 September 1938 – 24 February 1939 154 days [101] [102]
8 Bertrand James Waterhouse OBE 10 March 1939 – 23 July 1958 19 years, 135 days [103] [104]
9 William Herbert Ifould OBE 23 July 1958 – 1 July 1960 1 year, 344 days [86] [105] [106]
10 Eben Gowrie Waterhouse OBE, CMG 1 July 1960 – 28 Dec 1962 ii years, 180 days [107] [108] [109]
11 Sir Erik Langker OBE 28 Dec 1962 – 7 June 1974 11 years, 161 days [110] [111]
12 Walter Bunning seven June 1974 – sixteen September 1977 3 years, 101 days [112] [113]
13 John Nagle QC 16 September 1977 – 11 July 1980 2 years, 299 days [114]
14 Charles Benyon Lloyd Jones CMG 11 July 1980 – 11 July 1983 3 years, 0 days [115] [116]
xv Michael Gleeson-White AO 11 July 1983 – ten July 1988 4 years, 365 days [115] [117]
xvi Frank Lowy AO x July 1988 – 31 December 1996 eight years, 174 days [118] [119] [120]
17 David Gonski Air-conditioning 1 Jan 1997 – 31 December 2006 nine years, 364 days [121]
18 Steven Lowy AM one Jan 2007 – 31 December 2013 6 years, 364 days [122] [123]
19 Guido Belgiorno-Nettis AM 1 January 2014 – 31 Dec 2015 1 year, 364 days [123]
– David Gonski Air conditioning ane Jan 2016 – 31 Dec 2021 six years, 111 days [124]

Popular culture [edit]

At the beginning of the pic Sirens, Hugh Grant walks by paintings in the Art Gallery of NSW, including Spring Frost past Elioth Gruner, The Golden Fleece (1894) by Tom Roberts, Withal Glides the Stream and Shall Forever Glide (1890) by 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]

  • Beak Boustead, senior conservator 1954–1977

References [edit]

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Further reading [edit]

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

External links [edit]

  • Official website
  • "Art Gallery of New Southward Wales". History and Archives: Historic Buildings. City of Sydney. 2004. Retrieved 28 March 2010.
  • Art Gallery of New Due south Wales Artabase folio
  • Virtual Tour of Fine 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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