Artonview 100

National Gallery of Australia

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CRESSIDA CAMPBELL EUCALYPT FOREST, 2000 (detail) watercolour on incised woodblock EST: $75,000 – 95,000 SOLD for $231,800 (inc. BP) Sydney, August 2019 © Cressida Campbell/Copyright Agency, 2019

ARTONVIEW SUMMER 2019 | 100 National Gallery of Australia

CONSIGNING NOW fOr 2020 auCtIONS important australian + international fine art

Summer 100 | 2019

ART’S GREATEST RIVALRY 2020 PREVIEW AUSTRALIAN ART HUGH RAMSAY XU ZHEN® PLUS THE LATEST NEWS, ACQUISITIONS AND MORE

National Gallery of Australia

13 December 2019– 13 April 2020

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Enjoy an effortless experience from check-in to touch-down, whether you’re taking a short flight or with us for the long haul. With our renowned service, complimentary refreshments, the latest in entertainment, and Wi-Fi on select domestic flights — it all comes together to make your journey with Qantas worth every moment.

qantas.com Pablo Picasso L’Arlésienne (Lee Miller) 1937, Private international collection © Succession Picasso / Copyright Agency 2019

*Wi-Fi on board available on selected Australian domestic flights. vary between flights and cabins.

Henri Matisse LeAmenities, torse de plâtre,food, bouquetbeverage de fleurs 1919, Purchased 1958, Museu deofferings Arte and entertainment de São Paulo Assis Chateaubriand © Succession H Matisse / Copyright Agency 2019

Henri Matisse Le torse de plâtre, bouquet de fleurs 1919, Purchased 1958, Museu de Arte de São Paulo Assis Chateaubriand © Succession H Matisse / Copyright Agency 2019

30 November 2019 – 29 March 2020 EXHIBITION PATRONS Colin Hindmarsh and Barbara Hindmarsh

LEGAL PARTNER

Miss Nellie Patterson 1903 (detail), oil on canvas. National Gallery of Australia, purchased 1966

ARTONVIEW 100 SUMMER 2019

CONTENTS

The National Gallery of Australia acknowledges the Ngunnawal and Ngambri peoples, the traditional custodians of the Canberra region, and recognises their continuous connection to culture, community and Country.

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WARNING: Artonview may contain names and images of deceased Aboriginal and Torres Strait Islander people.

Editor Eric Meredith Contributors Jaklyn Babington, Senior Curator, Contemporary Art Lucie Folan, Curator, Asian Art Deborah Hart, Head of Australian Art Peter Johnson, Curatorial and Program Coordinator Jane Kinsman, Head of International Art Kirsti Partridge, Governance and Reporting Manager Katie Russell, Head of Programs, Education, Research Library and Archives Advertising enquiries ArtonviewAdvertising@nga.gov.au Enquiries artonview.editor@nga.gov.au nga.gov.au/artonview © National Galley of Australia 2019 GPO Box 1150, Canberra ACT 2601, Australia +61 (0)2 6240 6411 | nga.gov.au

Published quarterly. Copyright of works of art is held by the artists or their estates. Every effort has been made to identify copyright holders but omissions may occur.

Views expressed by writers are not necessarily those of the National Gallery of Australia.

ISSN 1323-4552 ISSN 2208-6218 (Online)

DIRECTOR’S WORD Nick Mitzevich

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NEW BOOKS 2020 PROGRAM Discover what’s coming up at the National Gallery in Canberra and where our exhibitions will be travelling in 2020.

20 ENERGISING LEARNING AND ENGAGEMENT Katie Russell introduces a new world of programming and engagement at the Gallery.

24 MATISSE & PICASSO Jane Kinsman introduces the fruitful rivalry between two of the twentieth century’s great artists.

32 BELONGING: STORIES OF AUSTRALIAN ART Introducing the National Gallery’s new presentation of nineteenth-century Australian art.

40 HUGH RAMSAY Deborah Hart reveals a little of the story of Hugh Ramsay, whose work has had a profound impact on Australian artists for over a century.

46 XU ZHEN® Lucie Folan and Peter Johnson discuss the work of XU ZHEN®, which will be on display at the Gallery from March 2020.

50 THE INAUGURAL DISTINGUISHED ADJUNCT CURATOR Jaklyn Babington speaks to the Gallery’s retiring Head of International Art Jane Kinsman.

Designed by Eric Meredith Printed by Adams Print, on FSC certified paper using vegetable-based inks, FSC-C110099

52 NATIONAL GALLERY COUNCIL Kirsti Partridge takes a look at the National Gallery’s governing body.

56 NEW ACQUISITIONS Anne Ferran, Brook Andrew, Janina Green, Mazie Karen Turner, Frank Hinder

60 FOUNDATION AND PARTNERSHIPS

Cover: Henri Matisse Jazz. Icarus 1947 (detail), pochoir and lithograph. National Gallery of Australia, Canberra, purchased 1980. © Succession H Matisse/Copyright Agency

ARTONVIEW 100 SUMMER 2019

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National Gallery of Australia

100th issue 25 years

DIRECTOR’S WORD

Twenty-five years ago, the National Gallery published its very first issue

Matisse’s oil painting The abduction of Europa 1929 and his

of Artonview. In it, then director Betty Churcher AO highlighted the

‘Oceania’ pair of 1946 will also be on display. Oceania, the sky and

Gallery’s aim ‘to make the National Collection accessible to the widest

Oceania, the sea both came into the collection through the generosity

possible audience’ and its role as ‘a valuable extension to the benefits of

of donors, the latter thanks to Tim Fairfax AC, who has recently given so

Membership’. Artonview is now celebrating its one hundredth issue and

generously to our learning programs (see pages 20–3) and has become a

has a readership of forty thousand people. It has evolved over time but,

member of our Foundation after retiring from our Council earlier in the

at its core, has remained true to these founding sentiments.

year. The exhibition also includes some of the Gallery’s world-renowned

Opposite and on the inside back and back cover you can reflect on the journey we have taken together through Artonview over the past two

Ballets Russes costumes designed by both artists.

Following its Canberra summer season, the National Gallery has

and half decades (some of you from the very beginning). As we celebrate

partnered with National Gallery Singapore to present Matisse & Picasso

the hundredth issue, I would like to acknowledge the many people who

to their audiences. It promises to be a significant cultural event not only

have worked on the magazine since it began, bringing you quarterly

for Australia but also across the Asia–Pacific region.

updates on the Gallery’s activities and sharing the knowledge and

The Gallery is grateful for the support we have received for this

research of not only our expert staff but also national and international

exhibition from our government, corporate, media and private partners.

specialists in the arts and other closely related fields.

I also acknowledge the curator of the exhibition, Dr Jane Kinsman, for

In this issue, we highlight our major exhibitions over summer and

her significant efforts in producing this exhibition, along with staff across

give you a sneak peek at what is to come in 2020 (see pages 8–19) as

the institution who contributed their expertise to bringing the project

well as share with you some of the stories from the Gallery. For instance,

to fruition. Jane will be retiring as our Head of International Art at the

we have recently celebrated ten-year partnerships with Molonglo and

end of year and taking up a new position as our inaugural Distinguished

Wesfarmers Arts (see pages 62–3). Our partnership with Wesfarmers Arts,

Adjunct Curator (see pages 50–1).

in particular, has been instrumental in the success of our Indigenous

Jane’s list of achievements over her past thirty-six years with

Art Leadership and Fellowship programs and in bringing you highly

the Gallery is long. She has been a consistent contributor to the

celebrated exhibitions of Aboriginal and Torres Strait Islander art.

artistic program—this year alone, working on three exhibitions, each

As our Indigenous Art Partner, Wesfarmers Arts supports

accompanied by a richly illustrated book. She has also built up the

our exhibitions such as Defying Empire: 3rd National Indigenous

collection of prints, drawings and illustrated books, acquiring many

Art Triennial, which continues its national tour until October next

works of great importance to tell the story of printmaking.

year. They are also supporting a new commission by the Tjanpi Desert

She was a driving force behind the acquisition of Paul Cézanne’s

Weavers, which will be revealed at the Gallery in May, and First Peoples’

The orchard c 1895, purchased last year with the assistance of the

Art of Australia: From the Wesfarmers Collection and the National

Margaret Olley Art Trust, the Gallery’s Foundation and donors to our

Gallery of Australia, a survey of the work of Indigenous Australian artists

Cézanne Watercolour and Drawing Fund. This work has already caught

from the late 1800s to today opening at National Gallery Singapore in

international attention and will be included in a major exhibition of

August 2020. First Peoples’ Art of Australia is drawn from the extensive

Cézanne’s watercolours at a New York gallery in 2021.

collections of the National Gallery of Australia and Wesfarmers.

Opening on 13 December, is Matisse & Picasso, the story of the

This summer, we are also delighted to showcase the work of Hugh Ramsay, an Australian artist who deserves to be much better known.

lifelong exchange between Henri Matisse and Pablo Picasso, two of

His artistic output is somewhat known in art circles, particularly in

Europe’s greatest twentieth-century artists. They met in 1906 and

Victoria, but he is by no means a household name. The last retrospective

followed each other’s artistic achievements for more than fifty years.

of his art occurred more than a quarter of a century ago, and we are

Featuring paintings and sculptures, as well as drawings, prints, illustrated

delighted to be sharing the spectrum of his work with new audiences,

books and costumes, this exhibition reveals how and why these friends

including younger generations.

and rivals mined each other’s work to enhance their own.

Matisse & Picasso is made possible by the generosity of many

Dr Deborah Hart, Head of Australian Art and curator of this retrospective, has worked with dedication to bring together a

Australian and international institutions, who have lent some of

remarkable exhibition and publication, both of which showcase not

their most precious works, and several significant loans from private

only Ramsay’s remarkable work but also the Gallery’s Ramsay Family

collections in Australia and abroad, including Kerry Stokes and Christine

Archive, comprising letters, sketchbooks and working materials from

Simpson Stokes in Perth, have made the exhibition complete. It also

the studio. The archive was made possible through the generosity of

features works from the National Gallery’s own collection, including

John and Janet Wicking and Patricia Fullerton.

many works on paper by both artists from our significant collection of prints, drawings and illustrated books.

We would like to particularly thank Patricia, the artist’s great niece and biographer, for her warm support of this project and ongoing

ARTONVIEW 100 SUMMER 2019

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generosity to the Gallery. Our thanks also go to all members of the

for the National Gallery and one that we hope will encourage a new

Ramsay family, who have kindly agreed to loan works of art and

understanding and respect for Australia’s First Peoples.

archival material.

Ramsay succumbed to tuberculosis in 1906, when he was only

Finally, I would like to acknowledge the appointment of Stephen Brady AO, CVO, as Chair of our Foundation Board and Philip Bacon

twenty-eight years old, although he left behind a remarkable body of

AM as its Deputy Chair. Both will contribute greatly to the Foundation,

work that belies his young age. Given his great achievements, as well

which exists to encourage philanthropy in the community, raise funds

as his great courage, humour and tenacity in the face of adversity, he

to support our vision and secure donations and gifts of works of art

reminds us all to make the most of life and to share in the breadth and

to develop the national art collection. They will be extending the

depth of the creative spirit.

extraordinary work of John Hindmarsh AM, who, after ten successful

Also in this issue, we highlight Belonging: Stories of Australian

years as Chair, will continue to support the Foundation as a director of

Art, a new display of Australian art before 1900, which draws on the

the board (see page 61).

Indigenous concept of the Everywhen. This display brings together

Nick Mitzevich

historical works with contemporary art that recasts the traditional colonial narrative. This is a new approach to displaying Australia art

NEW BOOKS

Matisse & Picasso 196 pages, softcover The extraordinary relationship between Henri Matisse and Pablo Picasso is one of the most important and eventful narratives in modern art. Between them, they set the course of western art history in the first half of the twentieth century, where Renaissance one-point perspective and realism were abandoned for radical ideas about depicting the third dimension. Their artistic rivalry and collaboration began the new story of modernism. This publication examines the paths of these two artists over the years and the way they each responded to the other’s work.

Hugh Ramsay 240 pages, hardcover Hugh Ramsay is an artist who deserves to be better known nationally and internationally. This beautifully illustrated catalogue is the first publication on Ramsay in more than twenty-five years and sheds light on the remarkable body of work he created in his tragically short life. Featuring new research, Ramsay’s insights as a portraitist are revealed through his paintings, works on paper and sketchbooks, while personal letters highlight his close bonds with family and friends as well as his charisma and humour. Though Ramsay’s brilliant career was cut short at twenty-eight years of age, his story is one of great courage, tenacity and artistic achievement.

Lichtenstein to Warhol: The Kenneth Tyler Collection 166 pages, hardcover By offering an almost limitless range of techniques in print workshops that celebrated collaboration, creativity and experimentation, master printer and publisher Kenneth Tyler attracted some of the most talented artists in America—Anni Albers, Josef Albers, Helen Frankenthaler, Nancy Graves, David Hockney, Jasper Johns, Roy Lichtenstein, Joan Mitchell, Robert Motherwell, Claes Oldenburg, Robert Rauschenberg, Frank Stella, Donald Sultan and Andy Warhol. Many of the artists were breathtaking in their innovation and technical virtuosity in a revitalised era of printmaking in the latter half of the twentieth century, which has been labelled a ‘print renaissance’. Lichtenstein to Warhol: The Kenneth Tyler Collection features works by these major artists, together with dynamic candid photography that helps to explain the printmaking process.

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LOOKING AHEAD

2020 Program Discover what’s coming up at the National Gallery in Canberra and where our exhibitions will be travelling in 2020.

The National Gallery of Australia’s 2020 exhibitions span more than 450 years of art—from paintings by Botticelli and Van Gogh to Angelica Mesiti’s video installation ASSEMBLY, created for this year’s Venice Biennale. There will be a wide range of contemporary solo exhibitions and commissions, including by Club Ate, Patricia Piccinini, XU ZHEN® and the Tjanpi Desert Weavers.

At the centre of this year’s program is the Know My Name project.

It is a defining moment in the Gallery’s history. We recognise that only a quarter of the works in our Australian art collection are by artists who identify as women. We are committed to ongoing gender equity by increasing the representation of women across our artistic programs and in our collection development.

The project includes exhibitions such as Know My Name: Australian Women Artists 1900 to Now, The Body Electric and a new outdoor sculpture by Patricia Piccinini in the form of a hot-air balloon.

After its premiere in Canberra, the sculpture will take flight for a twoyear tour of Australia.

Full program information is available online at nga.gov.au

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2020 PROGRAM

EXHIBITIONS AT THE NATIONAL GALLERY

Club Ate: In Muva We Trust

Angelica Mesiti: ASSEMBLY

28 February to 9 March 2020

29 February to 13 September 2020

Over eleven nights, water and bodies will flow across the Gallery’s

Angelica Mesiti’s videos are portraits that consider how communities

facade in a monumental video projection by Club Ate. For the

are formed through shared movement and communication. The artist

2020 iteration of the Gallery’s annual Enlighten Illuminations

recently represented Australia at the 58th Venice Biennale with the

commission, Club Ate have created a video projection that tells

three‑channel video installation ASSEMBLY 2019. Acquired for the

stories of resistance, transformation and queer futures.

national collection, ASSEMBLY will be presented at the Gallery in

Club Ate is a collective led by Sydney-based interdisciplinary artists Bhenji Ra and Justin Shoulder. Drawing on their shared

Canberra before touring Australia.

For the work, Mesiti used a stenographic machine to transpose

Filipino-Australian heritage, Ra and Shoulder use performance,

into shorthand Australian writer David Malouf’s 1976 poem ‘To be

costume and video to create work about personal myth and stories

written in another tongue’. These notes became the basis of a musical

of the queer Asia–Pacific diaspora.

score by Australian composer Max Lyandvert and a dance performance

In Muva We Trust animates mythic ancestral beings and

by the Indigenous choreographer Deborah Brown and Mesiti. They

landscapes to envision new forms of motherhood, community

are performed by musicians and dancers who represent the many

and ecology. The projection will be accompanied by Club Muva,

ancestries that make up contemporary Australia. 

a performance event on the evening of Saturday 7 March 2020. ⊳

ASSEMBLY is a Know My Name project

Club Ate: In Muva We Trust is a Know My Name project

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Skywhales: Every heart sings The Balnaves Contemporary Series 7 March to 6 June 2020 Commissioned as part of The Balnaves Contemporary Series, the Gallery presents Patricia Piccinini’s Skywhalepapa 2020, a monumental sculpture in the form of a hot-air balloon.

Skywhalepapa is the new companion piece to the acclaimed Skywhale 2013, which returns to Canberra after six years touring Australia and the world. Together they form a skywhale family that will be launched near the Gallery and take flight over Canberra every second weekend during the exhibition period. The sculptures will then float across the skies of Australia as a National Gallery travelling exhibition.

Skywhalepapa is the third instalment of The Balnaves Contemporary Series. Leading contemporary artist Michael Zavros has been commissioned to develop a new site-specific work for the fourth instalment, with details to be announced in late 2020. 

Skywhales: Every heart sings is a Know My Name project 10

2020 PROGRAM

Page 8: Club Ate Ex Nilalang (Balud) 2015 (detail of production still), single-channel HD digital video.

National Gallery of Australia, Canberra, purchased 2017.

Commissioned by Queensland Art Gallery | Gallery of Modern Art for the Asia Pacific Triennial of Contemporary Art and co-funded by NAVA’s NSW Artist Grant 2015.

Image courtesy the artists. Photo: Gregory Lorenzutti Page 9: Angelica Mesiti ASSEMBLY 2019 (production still), three-channel HD video installation, sound.

National Gallery of Australia, Canberra, purchased 2019.

Commissioned by the Australia Council for the Arts on the occasion of the 58th Venice Biennale. Photo: Bonnie Elliott. Courtesy of the artist and Anna Schwartz Gallery, Australia, and Galerie Allen, Paris Above: Patricia Piccinini Skywhale 2013, mixed media.

National Gallery of Australia, Canberra, gift of anonymous donor 2019. Australian Government’s Cultural Gifts Program. © Patricia Piccinini Opposite: Petrina Hicks Venus 2013–19, backlit transparent film (lightbox)

XU ZHEN®

The Body Electric

14 March to 13 September 2020

28 March to 20 September 2020

XU ZHEN® is one of China’s most significant artists and activists. In 2009,

The Body Electric presents the work of women-identifying artists on the

he founded MadeIn Company, and later established himself as the brand

subjects of sex, pleasure and desire. The exhibition includes key works

XU ZHEN . His recent practice centres on sculptural installations, video

by pioneers of photography and video, including Polly Borland’s bodies

and performance works that challenge cultural assumptions, question

wrapped in stockings, Nan Goldin’s personal and candid images of

social taboos and comment on the idea of art as a commodity.

friends and the video of Cheryl Donegan examining clichés of women’s

®

This is the artist’s first solo exhibition in Australia. It is presented with the support of Judith Neilson AM and draws works from her White Rabbit Collection. The show includes the performance work In Just a

sexuality. The images in this exhibition show how sex, love and loss are an animating part of the human experience.

The Body Electric includes works by Claire Lamb, Francesca

Blink of an Eye 2005 as well as European Thousand-Armed Classical

Woodman, Christine Godden, Carolee Schneemann, Cheryl Donegan,

Sculpture 2014 and other monumental sculptures.

Collier Schorr, Jo Ann Callis, Petrina Hicks, Annette Messager and

See pages 46–9 for more on XU ZHEN®

Lyndal Walker. 

The Body Electric is a Know My Name project and is supported by the Medich Foundation

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Know My Name: Australian Women Artists 1900 to Now 30 May to 13 September 2020 Know My Name: Australian Women Artists 1900 to Now showcases art made by women. It is part of a series of ongoing initiatives by the National Gallery to increase the representation of artists who identify as women in its artistic program.

Know My Name brings together more than 150 works from the Gallery’s collection and other collections from across Australia.

Featuring lesser known and leading artists such as Margaret Preston, Emily Kame Kngwarreye, Destiny Deacon and Julie Rrap, this exhibition tells a new story of Australian art. 

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2020 PROGRAM

Below: Anna Wallace She is 2001, oil on canvas. National Gallery of Australia, Canberra, purchased 2002. © Anne Wallace Opposite, from top: Roma Butler and Yangi Yangi Fox, from Irrunytju in Western Australia, with their sculptures, 2017.

Photo: Rhett Hammerton; Yinka Shonibare MBE Refugee astronaut 2015, mixed media. National Gallery of Australia, Canberra, purchased 2015. Image courtesy of the artist, James Cohan Gallery, New York, Shanghai

Tjanpi Desert Weavers 2 May to 4 October 2020 A new commission by the Tjanpi Desert Weavers. This large-scale installation tells the ancestral story of the Seven Sisters Dreaming using contemporary sculptural forms woven from materials such as tjanpi (the Pitjantjatjara word for grass) and raffia.

The artists represent twenty-six remote communities located on NPY lands in the Northern Territory, Western Australia and South Australia. A social enterprise of the NPY Women’s Council, the Tjanpi Desert Weavers travel vast distances to weave together, and their work is underpinned by a strong connection to Country, culture and community. 

The Tjanpi Desert Weavers commission is a Know My Name project and is supported Wesfarmers Arts

Shock of the New Opens 25 July 2020 The influential 1980s television series Shock of the new, by Australianborn critic Robert Hughes, presented new forms of art to a broad public.

Hughes described the development of modern art in the twentieth century, but his emphasis on European and Anglo-American art traditions omitted the work of many women and artists from other parts of the world.

In the four decades since the series was first broadcast, the story of modern art has become more complicated and inclusive. Bringing historical and modern works into conversation with contemporary art, this new display considers Hughes’s ideas and presents alternative narratives. 

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EXHIBITIONS CONTINUING IN 2020

Joan Mitchell: Worlds of Colour 17 October 2020 to April 2021 This exhibition presents works on paper produced by the American

MATISSE & PICASSO Exploring the rivalry between Henri Matisse and

painter and printmaker Joan Mitchell during the final stage of her career.

Born in Chicago, Mitchell emerged in the early 1950s as a

Pablo Picasso, one of the most important stories of

leading figure in the New York School of Abstract Expressionism.

modern art.

Drawn from the Kenneth Tyler Collection, the prints on display

13 December 2019 to 13 April 2020

highlight Mitchell’s exploration of colour, shape and space and consider how these elements contributed to her art.

BODIES OF ART: HUMAN FORM FROM THE NATIONAL COLLECTION Investigations of the human form throughout time.

Until 27 January

BODY LANGUAGE Indigenous Australian cultural identity and language expressed through art.

Until 9 February 2020

LICHTENSTEIN TO WARHOL: THE KENNETH TYLER COLLECTION Works from the Kenneth Tyler Collection by major

Botticelli to Van Gogh: Masterpieces from the National Gallery, London 13 November 2020 to 14 March 2021 Spanning 450 years, Botticelli to Van Gogh: Masterpieces from the National Gallery, London presents more than sixty paintings by some of Europe’s most revered artists, including Titian, Rembrandt, Vermeer, Velázquez, Goya, Turner, Renoir, Cézanne and Gauguin. Exclusive to Canberra, it comprises the largest group of works to travel outside of the United Kingdom in the history of the National Gallery, London.

The exhibition explores seven key periods in Western European

artists active in postwar America.

art history: the Italian Renaissance, Dutch painting of the Golden Age,

Until 9 March 2020

Van Dyck and British portraiture, the Grand Tour, Spanish art from the seventeenth century, landscape and the picturesque and the birth of

HUGH RAMSAY

modern art. Highlights include Rembrandt’s Self-portrait at the age

The paintings, portraits and sketchbooks of Australian

of 34 1640, Vermeer’s A young woman seated at a virginal c 1670 and

artist Hugh Ramsay.

Van Gogh’s Sunflowers 1888. ⊲

Until 29 March 2020

Presented in partnership with Art Exhibitions Australia and the

URS FISCHER: FRANCESCO

National Gallery, London

Swiss artist Urs Fischer’s four-metre-high wax candle sculpture returns.

December 2019 to 26 April 2020

BELONGING: STORIES OF AUSTRALIAN ART Changing the way we experience Australian art.

Ongoing

DEVOTION NATURE TIME PEOPLE: ASIAN ART Reimagining the Asian art collection.

Ongoing

YAYOI KUSAMA: INFINITY ROOM Cult contemporary artist Yayoi Kusama’s infinity room THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS 2017.

Ongoing

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2020 PROGRAM

Opposite: Vincent Van Gogh Sunflowers 1888, oil on canvas. National Gallery, London, Courtauld Fund, 1924. © National Gallery, London

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TOURING EXHIBITIONS: AUSTRALIA Defying Empire: 3rd National Indigenous Art Triennial

Art Deco from the National Collection: The World Turns Modern

Touring until October 2020

Touring until August 2020

First shown at the National Gallery in 2017, Defying Empire recognised

Art Deco emerged in the early decades of the twentieth century as

the fiftieth anniversary of the 1967 Referendum, with artists responding

a style in art, architecture and design. Drawn from the collection,

to the impact it had on Aboriginal and Torres Strait Islander people.

this travelling exhibition comprises work by Australian artists who

The exhibition celebrates the ongoing resilience of Australia’s Indigenous

embraced, adapted and advanced the Art Deco style, as well as select

people, engaging with issues such as identity, racism, displacement,

international examples. 

sovereignty and the Stolen Generations. 

Horsham Regional Art Gallery, Vic, until 2 February 2020

Defying Empire: 3rd National Indigenous Art Triennial is

Canberra Museum and Art Gallery, ACT, 9 May to 20 June 2020

supported by Wesfarmers Arts Australian National Maritime Museum, Sydney, 23 May to 18 October 2020

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2020 PROGRAM

Hazelhurst Arts Centre, Sydney, NSW, 26 June to 23 August 2020

Sidney Nolan: The Ned Kelly Series Touring until June 2020 This travelling exhibition showcases Australian artist Sidney Nolan’s series of twenty-six paintings, created in 1946–47, of the nineteenth century bushranger Ned Kelly. The outlaw’s story is distilled into a visual narrative in which landscape plays a key role. 

Museum and Art Gallery of the Northern Territory, Darwin, NT, until 23 February 2020 Cairns Art Gallery, Qld, 6 March to 14 June 2020

Opposite: Archie Moore (Kamilaroi people) Aboriginal Anarchy 2012. National Gallery of Australia, Canberra, purchased 2013 Above: Napier Waller Christian Waller with Baldur, Undine and Siren at Fairy Hills 1932, oil and tempera on canvas mounted on hardboard. National Gallery of Australia, Canberra, purchased 1984 Left: Sidney Nolan Ned Kelly 1946, from the Ned Kelly series 1946–47, enamel paint on composition board.

National Gallery of Australia, Canberra, gift of Sunday Reed 1977 Page 18, from top: Jess Johnson and Simon Ward Terminus 2017–18 (still), virtual-reality experience in five parts. National Gallery of Australia, Canberra, purchased 2018. Commissioned with the assistance of The Balnaves Foundation 2017; Jeremiah Bonson (Jinang and Marung peoples) Warrah Bun Bun 2010, synthetic polymer paint on wood. National Gallery of Australia, Canberra, purchased 2010 Page 19, from top: Pablo Picasso Reading 1932, oil on canvas, Musée Picasso, Paris. © Succession Picasso / Copyright Agency 2019; Robert Campbell Jr (Ngaku people) Abo history (facts) 1988, synthetic polymer paint on canvas. National Gallery of Australia, Canberra, purchased 1988

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Jess Johnson and Simon Ward: Terminus Touring until August 2021 Inspired by sci-fi, comics and fantasy movies, Terminus is a virtualreality installation that transports the viewer into an imaginary landscape of colour and pattern populated by human clones, moving walkways and gateways to new realms. 

Jess Johnson and Simon Ward: Terminus was commissioned with funds provided by The Balnaves Foundation, with funding support for touring from Visions of Australia.

Heide Museum of Art, Melbourne, Vic, until 1 March 2020 Plimsoll Gallery, Hobart, Tas, 13 March to 3 May 2020 Academy Gallery, Launceston, Tas, 15 May to 21 June 2020 Murray Bridge Regional Gallery, SA, 25 July to 20 September 2020 Anne and Gordon Samstag Museum of Art, Adelaide, SA, 2 October to 11 December 2020

Body Language Touring until July 2021 Body Language reveals the central role language plays in expressing cultural identity. Featuring work by almost thirty Aboriginal and Torres Strait Islander artists, this travelling exhibition shows how Indigenous art, including body art, can be interpreted as a visual language through its use of symbols. ⊲

Lake Macquarie City Art Gallery, NSW, 18 April to 14 June 2020 Lismore Regional Gallery, NSW, 29 August to 8 November 2020 18

2020 PROGRAM

TOURING EXHIBITIONS: INTERNATIONAL Matisse & Picasso National Gallery Singapore, 15 May to 16 August 2020 Following its season at the National Gallery of Australia, this exhibition will travel to National Gallery Singapore. It will be the first major presentation of the work of Henri Matisse and Pablo Picasso in Southeast Asia. ⊲

First Peoples’ Art of Australia: From the Wesfarmers Collection and the National Gallery of Australia National Gallery Singapore, 13 August 2020 to 3 January 2021 This exhibition surveys the work of Indigenous Australian artists from the late 1800s to today and includes key works by many of Australia’s greatest artists.

Works in the exhibition respond to experiences of invasion, colonialism, dispossession, survival, trade and exchange and globalisation. They show how Indigenous artists have maintained ancient traditions and developed new social and political identities while adapting to constant change. The exhibition will also draw out selected links with modern and contemporary Southeast Asian art, locating Indigenous Australian art within wider historical, cultural and conceptual flows. 

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NEW INITIATIVE

Energising learning engagement Katie Russell, Head of Programs, Education, Research Library and Archives, introduces a new world of programming and engagement at the Gallery.

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ENERGISING LEARNING AND ENGAGEMENT

Above: Opening day for the Tim Fairfax Learning Gallery and Studio at the National Gallery of Australia, Canberra, 12 October 2019.

Right: Early childhood groups participating in a learning program in October 2019.

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In recent issues of Artonview, readers will have sensed our growing

Programming formats for all ages and abilities have been consolidated

Now open, the Tim Fairfax Learning Studio has rapidly become a hive

to optimise the studio, collection displays and exhibitions. Our youngest

of activity. The creation of the studio, combined with the reimagining

visitors, and their carers, are invited to the studio to enjoy art-making

of our programs that has occurred over the past twelve months,

experiences on the second and fourth Friday morning of every month.

represents a new approach to the National Gallery’s learning and public program offerings.

Three principles have guided the renewal. The first is to have

From January 2020, the Gallery introduces Art Weekends, which will kick off early with Thursday art talks in the galleries. On Friday evening, people can join Night Shift, our regular late night program. On

Indigenous perspectives drive our programming, to respect the First

Art Weekend Sundays, we’ll open the doors early for people with sensory

Peoples of the Country on which the Gallery resides and the communities

differences to enjoy activities without the hustle and bustle, which will

wherever we operate on tour. Through co-creation of content and by

roll into programming for all ages and abilities from opening time, all

placing community consultation processes at the core of our work,

with the Tim Fairfax Learning Studio at the centre.

the voice, language and knowledge of Indigenous peoples guide our programming.

The second principle is to be inclusive. The Gallery’s access

Our new Mobile Studio will also be active every Sunday and throughout school holidays for up close art engagements in gallery spaces. Each Art Weekend will feature a guest Australian artist, who will

programs for people with specific needs have expanded and will be

share their vision and participate in the program in a variety of ways.

delivered in new formats. We have also broadened our scope to consider

Artist activations will be live streamed so that you can listen in from

groups previously under-served by our programs. The new initiative

wherever you are.

for teen audiences, Art IRL demonstrates the Gallery’s commitment to working with new audiences. The third principle is to actively involve artists in everything we do, as to learn through their eyes is to see new possibilities for connection and community.

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To facilitate this new approach, our regular programs have changed.

excitement as we got closer to launching our new learning spaces.

ENERGISING LEARNING AND ENGAGEMENT

Students and teachers have the opportunity to interact with artists and explore art and creativity through workshops and professional learning sessions. And keep an eye on our website and social media for short courses that bring the best minds and voices to you twice yearly.

At the launch of the studio in October, guest artist Vernon Ah Kee (Kuku Yalandji, Waanji, Yidinji and Gugu Yimithirr peoples) summed up our new programming philosophy when he said, ‘Spaces like this

Opposite: Opening day for the Tim Fairfax Learning Gallery and Studio at the National Gallery of Australia, Canberra, 12 October 2019.

Below: Teens grabbing a selfie in contemporary Japanese artist Yayoi Kusama’s infinity room THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS 2017, purchased in 2018 with the assistance of Andrew and Hiroko Gwinnett.

give us permission’. Permission to be messy. Permission to experiment.

Permission to create and learn and be enriched by the experience.

We look forward to having you join us on this journey.

Find out more at nga.gov.au/learning

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MATISSE & PICASSO

CURRENT MA JOR EXHIBITION

Matisse Picasso Jane Kinsman, Head of International Art, introduces the fruitful rivalry between two of the twentieth century’s great artists, Henri Matisse and Pablo Picasso, on show exclusively at the National Gallery this summer.

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‘

If only everything that Matisse and I did could be put side by side. Nobody ever looked at Matisse’s work as thoroughly as I did.

And he at mine.

Pablo Picasso

’

The extraordinary relationship between Henri Matisse and Pablo Picasso

Cézanne’s true heir apparent? Picasso admired the deformations and

is one of the most important and eventful narratives in modern art.

voluminous space of Cézanne’s art, while Matisse celebrated Cézanne’s

Between them, they set the course of western art history in the first

constructions of colour and the merging of motif and background.

half of the twentieth century, where Renaissance one-point perspective

Over half a century, Matisse and Picasso engaged in an artistic and

and realism were abandoned for radical ideas about depicting the third

symbiotic relationship that continued until Matisse’s death in 1954, when

dimension. Their artistic rivalry and collaboration began the new story

Picasso’s memory of Matisse lingered on. From their early awareness

of modernism.

of each other and their first meeting in 1906, their relationship was

A young precocious artist from provincial Spain, Picasso was

characterised by competitiveness that sometimes turned to hostility.

nurtured and supported by his artistic family. Moving to Paris in

It was a relationship that Jack Flam, in his 2003 book Matisse and

1903, he became a colossus of the art world and many of the younger

Picasso: the story of their rivalry and friendship, likened to a ‘boxing

generation, who had initially been inspired by Matisse and Fauvism,

match—but one in which each combatant wanted to give the impression

turned to Picasso for inspiration as he set out on his creative and

that he wasn’t really engaged in a fight’. Their lengthy association was

ambitious pathway. Over the years, Picasso explored the seemingly

one of mutual awareness, recognition and artistic companionship. Both

endless possibilities for an art of the modern era—untameable and

envisaged a new future for art—just in different ways.

unstoppable, he could only be revered and emulated. For much of his

This exhibition examines the paths of these two artists over the

career, Picasso appeared like an immovable object that blocked every

years and the way they each responded to the other’s work. No one was

artistic move forward. Others could only follow suit.

more attentive and aware of Matisse’s art than Picasso and vice versa.

The exception was Matisse. Twelve years older, he had experienced

Sometimes they reacted to each other almost immediately, sometimes

a rigidly utilitarian upbringing in northern France. Discovering a passion

artistic themes were like seeds planted years ago which later burst forth

and a talent for art at the age of 20, Matisse pursued a career as an artist

in a flurry of artistic activity. Both explored issues of space, movement,

that combined both painful struggle and fulfilment. Renowned as the

form, colour and figurative and abstract art in different ways, and then

leader of the Fauves, Matisse’s creativity tempted and ruffled Picasso,

borrowed from each other to improve their own art practice. Above all,

despite his competitive bravado and resistance. Enticing and seductive

Matisse and Picasso felt the absolute necessity to take notice and absorb

in their brilliant palette, Matisse’s works with their beauty of line and

the conceptions and skill of the other.

decorative qualities, as well as his blending of forms and their surrounds, showed Picasso a way out of the self-imposed confines of Cubism.

Common to both Matisse and Picasso was their admiration for Paul Cézanne. Often credited as being the father of modernism, Cézanne was a profound influence on their own individual artistic growth and radical innovation, and both shared the need to confront his challenging art. It also caused the greatest conflict between them—who would be

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MATISSE & PICASSO

This article is an edited extract from the National Gallery’s book Matisse & Picasso, available at the Gallery Shop Matisse & Picasso 13 December 2019 to 13 April 2020 Ticketed

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Page 24, from left: Andre Ostier Henri Matisse 1941 (detail), gelatin silver photograph. National Gallery of Australia, Canberra, purchased 1984; Brassaï Picasso in his studio, rue des Grands-Augustins 1939 (detail), gelatin silver photograph. National Gallery of Australia, Canberra, purchased 1980 Page 27: Henri Matisse Plaster figure, bouquet of flowers 1919, oil on canvas. Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, purchased 1958. © Succession H Matisse / Copyright Agency

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MATISSE & PICASSO

Above, clockwise from top left: Henri Matisse Icarus, Forms, The swimmer in the aquarium, The lagoon, The sword-swallower, The Codomas 1947, pochoir.

National Gallery of Australia, Canberra, purchased 1980. © Succession H Matisse / Copyright Agency Opposite: Pablo Picasso Woman from Arles (Lee Miller) 1937, oil on canvas. Private international collection. © Succession Picasso / Copyright Agency 2019

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MATISSE & PICASSO

Opposite: Henri Matisse Still life with oranges 1912, oil on canvas. Musée Picasso, Paris. © Succession H Matisse / Copyright Agency Above, from left: Henri Matisse Seated odalisque 1926, oil on canvas. The Metropolitan Museum of Art, New York, gift of Adele R Levy Fund Inc 1962. © Succession H Matisse / Copyright Agency; Pablo Picasso Portrait of a woman (Dora Maar) 1941, oil on canvas. Private international collection. © Succession Picasso / Copyright Agency 2019

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CURRENT DISPLAY

Belonging: Stories of Australian Art Introducing the National Gallery’s new presentation of nineteenthcentury Australian art.

Belonging: Stories of Australian Art is a collection presentation that

an active relationship with the natural and ancestral worlds where

recasts the story of Australian art. Informed by the many voices of

present and future events and experiences are shared with the past.

Indigenous and settler cultures and communities, the display reconsiders

The exhibition is also framed around concepts that are in some ways

Australia’s history of colonisation and the various ways it has been

common to the experience of Indigenous and non-Indigenous people:

represented through the work of artists. Drawing together contemporary

notions of Country and place, the concept of songlines and territorial

and historical work created by Indigenous and non-Indigenous artists

movement and the experience of mourning and remembering.

from across Australia, it presents a critical account of life and visual culture in Australia before 1900.

The display’s structure is underpinned by the powerful Indigenous

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By presenting historical art in new and unexpected contexts and by drawing on Indigenous and non-Indigenous perspectives, Belonging proposes a new way of looking at Australian art and

notion of the Everywhen (although the term was coined by twentieth-

histories. In preparation for this major presentation of the Gallery’s

century Australian anthropologist WEH Stanner), where past, present

nineteenth-century Australian art collection, curators involved in the

and future exist as one. In Indigenous cultures, time is not chronological,

project participated in decolonising and racial literacy workshops with

passing from moment to moment. Instead, the Everywhen exists in

Genevieve Grieves.

BELONGING: STORIES OF AUSTRALIAN ART

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BELONGING: STORIES OF AUSTRALIAN ART

Page 33: Mervyn Bishop (Murri people) Prime Minister Gough Whitlam pours soil into hand of traditional landowner Vincent Lingiari, Northern Territory 1975, printed 1994 (detail), dye destruction photograph.

Purchased 1994. © Mervyn Bishop / Courtesy Josef Lebovic Gallery, Sydney Opposite: Julie Dowling (Badimaya, Yamatji and Widi peoples) The Nurse Maid (Biddy) 2005, synthetic polymer paint, plastic, gold leaf on canvas. Purchased 2006. © Julie Dowling / Copyright Agency 2019 Right: Douglas Kilburn South-east Australian Aboriginal man and two younger companions 1847, daguerreotype. Purchased 2007 Below: Eugene von Guérard North-east view from the northern top of Mount Kosciusko 1863, oil on canvas.

Purchased 1973 All works in this feature are from the National Gallery of Australia, Canberra

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BELONGING: STORIES OF AUSTRALIAN ART

Opposite, from top: Charles Conder Bronte Beach 1888, oil on paper on cardboard. Purchased from Gallery admission charges 1982; Conrad Martens Campbell’s Wharf 1857, watercolour. Members Acquisition Fund 2009 Above: Vernon Ah Kee (Kuku Yalanji, Yidinji, Waanyi, Gugu Yimithirr and Koko Berrin peoples) cantchant 2009, synthetic polymer paint on canvas. Purchased 2009. © Vernon Ah Kee

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Above: Arthur Streeton Golden summer, Eaglemont 1889, oil on canvas. Purchased 1995 Opposite: Wandjuk Marika (Rirratjingu people) The birth of the Djang’kawu children at Yalangbara 1982, natural earth pigments and binder on eucalyptus bark. Purchased 1983. © the estate of the artist, represented by Aboriginal Artists Agency

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BELONGING: STORIES OF AUSTRALIAN ART

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CURRENT EXHIBITION

Hugh Ramsay Deborah Hart reveals a little of the story of Hugh Ramsay, whose work, which has had a profound impact on Australian artists for over a century, is on show in the first major retrospective on the artist in more than twenty-five years.

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HUGH RAMSAY

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Page 40–1: Hugh Ramsay Two girls in white (also known as The sisters) 1904 (detail), oil on canvas on hardboard. Art Gallery of New South Wales, Sydney, purchased 1921 Opposite: Hugh Ramsay Portrait of the artist standing before easel 1901–02, oil on canvas. National Gallery of Victoria, Melbourne, bequest of the executors on behalf of Miss ED Ramsay 1943

Hugh Ramsay, who can be considered as the John Keats of Australian

place for many artists from around the world, including Australians

art, wrote in a letter in 1898 to one of his brothers: ‘Jack, have you read

such as MacDonald, Ambrose Patterson as well as George and Amy

any of Keats, if not, don’t waste another minute, he’s glorious. He should

Lambert, who developed a close friendship with Ramsay.

have been a painter.’ Keats, one of the finest lyric poets in the English

among other things, for his emphasis on the processes of making

he had learned into the present and reinvent the possibilities of creative

art. As contemporary artist Patrick Pound has written: ‘One of the

endeavour.

attractions to Ramsay’s work for me is his direct referencing of the act

When he wrote in admiration of Keats, Ramsay would not have known the uncanny parallels between them that would ensue. For, like

of painting—the studio ritual if you will—and the material qualities of the stuff of paint … he lets the paint speak for itself and at the same

Keats, who died from tuberculosis at the age of twenty-five, Ramsay

time for the thing it models. What is, up close, revealed to be a juicy

would succumb to the same illness and have his life taken from him

gesture complete with proudly exposed brush marks becomes an

when he was only twenty-eight. Both the poet and artist have left

exquisite and convincing fold of canvas caught in a splash of light as

remarkable legacies that belie their short lives.

you retreat to look at the picture’.

To borrow from the title of Keats’s poem and of Jane Campion’s

Ramsay’s remarkable self-portraits also express the shifting

ravishing film celebrating the poet, Ramsay was a ‘bright star’ whose light

nuances of self-imaging and identity as he posed in front of the mirror

needs to be kept shining into the present. While it is tempting to ask what

as an artist at work with his shirt-sleeves rolled up, late at night in his

Ramsay might have achieved had he lived longer, the same is seldom

dressing gown or in a crisp white jacket after the manner of John Singer

asked of Keats. The aim, then, of this retrospective is to provide the rare

Sargent. His second year in Paris brought phenomenal success when

opportunity to contemplate and engage in the richness of his oeuvre and

four of his paintings were included in the New Salon. This was an

what he did achieve.

unprecedented honour for an Australian artist. As he wrote to his father

From early in his artistic career, Ramsay’s development was on

on 28 March 1902: ‘I’ve had 4 pictures accepted by the Salon. Just fancy

the fast track. Passionate about becoming an artist, he entered the

4 when one would have made me feel lucky & quite content … It’s a rather

National Gallery School in Melbourne at the tender age of sixteen. His

extraordinary thing, so I’m told, as they seldom accept more than 2 even

youth earned him the name ‘Young Hughie’, the age disparity becoming

from experienced and recognised men, let alone a young fellow like

especially marked when he advanced more quickly than most. Between

myself, practically exhibiting for the first time …’

1895 and 1899, he won numerous prizes and quickly earned the respect of his teachers and peers. The painting classes he undertook with Bernard

Three of the four paintings shown in the New Salon are included in the current retrospective: Jeanne, painted in 1901, and Still life—books,

Hall from 1895 emphasised the importance of tone, with a strong focus

mask and lamp and A lady of Cleveland, undertaken the following

on the example of Diego Velázquez.

year. Jeanne is a poignant portrait of his concierge’s daughter. To hold

Ramsay sought to capture the subtleties of tonal painting with an emphasis on the interplay of light and shadow. In his standout early work Seated nude c 1897, the model’s hair is parted and drawn to the

her attention Ramsay promised her stamps from Australia, as stamp collecting was something of a craze in Paris at the time.

Wearing a slate blue dress, Jeanne is perched to one side of a

front to reveal the apex of her neck. The subtle tension of revealing and

leather chair. Ramsay paid great attention to her attire—the lacy white

concealing renders the work poignantly sensual. The painting exudes

collar, black-and-white cuffs, long black socks slightly rolling down and

a compelling presence that continues to resonate into the twenty-first

neat black shoes. The surface is thinly painted in delicate veils of colour

century as a favourite of numerous artists and writers, including Pulitzer

recalling the work of James Abbott McNeill Whistler, which he greatly

Prize-winning author Sebastian Smee.

admired for its subtle delicacy of touch and tone.

In 1900, Ramsay fulfilled his dream of travelling to Paris, where

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Long considered an artist’s artist, Ramsay was admired,

language, fused an indebtedness to the past with a desire to bring what

Jeanne bears comparison with Miss Nellie Patterson 1903,

he lived and worked in a studio he shared with James MacDonald in

commissioned by the internationally celebrated opera singer Dame Nellie

Montparnasse, in the heart of the Latin Quarter. This area was a meeting

Melba. These two portraits and his earlier Jessie with doll 1897, are some

HUGH RAMSAY

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of the finest child portraits in the history of Australian art. In Miss Nellie

as attested to in his lively, informative letters held in the Ramsay Family

Patterson, the bravura brushwork pays homage to Sargent. After looking

Archive at the National Gallery. His closeness to his siblings is also

closely at Sargent’s works in London, Ramsay wrote to Norman Carter

apparent in some of his best portraits. Two girls in white (also known

on 11 June 1902: ‘Ignorant people say, “oh Sargent’s too clever”, but it

as The sisters) 1904 reveals how much he had learned while in Paris

isn’t cleverness, it’s absolute mastery. Seeing his canvases at the proper

and London, including from Sargent’s paintings. In this painting, he

distance, the truth in them is absolutely convincing’. Ramsay’s portrait

made these lessons his own. His sisters Madge and Nell are dressed in

is one of great conviction, with care given to Nellie’s facial features, her

their finery, as though they have returned from a ball. They are looking

hair tied at the side with a bow, and to the sheen and textures of her party

with concern at their critically ill brother who is defying doctor’s orders

dress, which was a present her aunt bought for her in Paris.

to rest.

Ramsay had met Nellie Melba in his Paris studio following his Salon success. It was a great honour and an overwhelming experience

sumptuous dresses, Ramsay brings his sisters close up into our field

for him to have the diva visit his humble studio in Montparnasse.

of vision. There is a compression of feeling between the artist and the

Melba, who supported a number of Australian artists, was particularly

sitters that invests these portraits with a distinctive, edgy and engaging

taken with Ramsay and commissioned him to paint her portrait back

presence. From the time it was first exhibited, Two girls in white

in London. Although a small painting and a study of Melba’s portrait

was admired by artists and rightly regarded as a triumph. It was the

were undertaken, the full-length portrait was never completed. It was

masterpiece of his career.

in London that Ramsay became seriously ill and was diagnosed with

Brisbane-based Robert Forster, musician and co-founder of the

tuberculosis. Just at the point that he was receiving great acclaim, he was

band The Go-Betweens, recalls the profound impression that Ramsay’s

told he needed to return to Australia. It was devastating news.

art made on him when he saw Two girls in white at the Art Gallery

During his time away, he had been communicating with his family,

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Beyond his evident mastery of technique in the flesh-tones and

HUGH RAMSAY

of New South Wales. He also remarked, ‘I love Keats and can see that

connection very strongly. Ramsay was very dynamic for his times.

His self-portraiture is very lively and compelling and at one with contemporary sensibilities’.

The last word goes to one of Ramsay’s early mentors, John Longstaff, who supported him throughout his life. Following Ramsay’s untimely death, Longstaff wrote to the artist’s brother John in 1906: ‘I was shocked to hear of Hughie’s death especially as I understood he was getting better rapidly, & then I had so looked forward to seeing him

Opposite, from left: Hugh Ramsay Jeanne 1901, oil on canvas. National Gallery of Victoria, Melbourne, presented through the NGV Foundation by John and Janet Wicking, Honorary Life Benefactor 2001; Hugh Ramsay Miss Nellie Patterson 1903, oil on canvas. National Gallery of Australia, Canberra, purchased 1966 Below: Hugh Ramsay with Consolation in his Melbourne studio, 1900. Private collection

again as I had real affection for him & a great admiration for his genius.

Australia I think does not yet realise what she has lost in him but she will in time & I & some others I know will do what we can to make his memory live’.

Hugh Ramsay tells the story of this remarkable talent, which shone ever so briefly but brightly. It brings together works from public and private collections around Australia as well as the artist’s engaging letters to family and friends and his sketchbooks held in the Gallery’s Ramsay Family Archive. The exhibition is proudly supported by Exhibition Patrons Colin Hindmarsh and Barbara Hindmarsh, Legal Partner Maddocks and Accommodation Partner Doma.

Hugh Ramsay Until 29 March 2020

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COMING EXHIBITION

XU ZHEN

®

Lucie Folan, Curator, Asian Art, and Peter Johnson, Curatorial and Program Coordinator, discuss the work of XU ZHEN® in his first solo exhibition in Australia, drawn from the White Rabbit Collection in Sydney and on display at the Gallery from 14 March 2020.

A prolific and eclectic artist, XU ZHEN® grapples with the ways in which

tradition of artist factories alongside Andy Warhol. When compared

culture reflects and enacts power on a global scale. His first major solo

to Warhol, Xu Zhen made the following distinction in the White Rabbit

exhibition in Australia will open at the National Gallery in March 2020

Gallery’s 2019 book Then. The First Ten Years of The White Rabbit:

and brings together works of art from his early videos to more recent

‘The difference is that Andy Warhol wanted to make art into commerce.

monumental sculptures. It has been developed in partnership with

We have already established the idea that art is commerce, what we

Judith Neilson AM and her White Rabbit Collection, Sydney.

are doing is making commerce into art’. In 2013, MadeIn Company

Born in 1977 and living and working in Shanghai, Xu Zhen is a leading figure among China’s younger generation of artists. Concerned less with the specificities of Chinese cultural identity than many of his

fabrication of a corporate entity.

An interest in the visibility of power and the ways in which

predecessors, he turns his capacious creativity to challenge social and

it manifests through bodies is evident in the monumental sculptures

cultural preconceptions on a global scale, traversing ideas about the

and performance works of XU ZHEN®. His work Eternity—Longxing

body, control, trade, the commodification of culture, alienation and the

Temple Buddha Statue Part Three, Tang Dynasty Buddha Statue,

immigrant experience.

Longxing Temple Buddha Statue Part Five, Northern Qi Amitabha

Xu Zhen first came to attention for his performative video art,

Statue, Vairochana, the Cosmic Buddha, Hebei Northern Qi

represented in this exhibition by two key works from 1998. Presented

Dynasty Standing Buddha Torso, Parthenon East Pediment 2013–14

in 2001 at the 49th Venice Biennale, Rainbow features an anonymous

features replicas of Classical Greek sculptures with their heads

human back which gradually reddens with clearly defined marks

removed and to which Classical Chinese sculptures have been

inflicted by the slap of a hand that is heard but not seen. In Shouting,

affixed upside down.

the artist films crowds as they move through busy public spaces. He then

European Thousand-Armed Classical Sculpture 2014 comprises

lets out an urgent scream, and laughs, gauging people’s reactions as they

a procession of Classical European sculptures which, when viewed

turn in surprise or continue on, indifferent to his provocation.

front on, create the illusion of a many-armed Buddhist image of the

In 2009, Xu Zhen established MadeIn Company, a factory-like

Thousand‑Armed Guanyin, the bodhisattva of compassion. XU ZHEN®

cultural production corporation, which riffs on the phrase ‘Made in

questions the ways in which cultural objects are used to justify or

China’. The corporation enabled Xu Zhen to gather a larger team,

perpetuate relations of power between nations and regions of the world.

increasing efficiency and allowing them to curate and organise various activities. Xu Zhen locates this mode of production firmly within a

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launched the brand XU ZHEN®, ironically locating the artist as a

XU ZHEN

At special times throughout the exhibition, Xu Zhen’s performance work In Just the Blink of an Eye 2005/2020 will be shown in the

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XU ZHEN

galleries. These living sculptures feature a performer held in a seemingly impossible state of falling, mere centimetres before they would crash to the ground. Responding to the virtuosic tradition of Classical European sculpture in which stone is carved to create the illusion of dynamic flesh and fabric, Xu Zhen’s performance instead articulates the precarity of bodies in the contemporary world. In particular, the artist is concerned with the liminality experienced by many immigrants, whose bodies are subjected to geopolitical forces beyond their control.

These themes are echoed in Calm 2009, a mass of rubble that appears to breathe on the gallery floor. These ruins allude to the destruction caused in many parts of the Middle East through domestic conflict and foreign interference. The subtle movement suggests the possibility of survivors underneath or, perhaps, that the debris itself is holding on to tenuous life, reminding us that the truth is not always what it seems.

Engaged intimately with the flows of financial and cultural capital around the world, the art of XU ZHEN® creates timely moments to reflect

Page 47: XU ZHEN® European Thousand-Armed Classical Sculpture 2014, glass-fibre-reinforced mineral and acrylic resin composite, marble grains, marble, stainless steel. White Rabbit Collection, Sydney All image in this feature are courtesy the artist and White Rabbit Collection, Sydney. © The artist Opposite, from top: Xu Zhen In Just the Blink of an Eye 2005/2020, performance; XU ZHEN® Calm 2009, waterbed, mechanical components, carpet, crushed concrete, rubble and bricks. White Rabbit Collection, Sydney Above: XU ZHEN® Eternity—Longxing Temple Buddha Statue Part Three, Tang Dynasty Buddha Statue, Longxing Temple Buddha Statue Part Five, Northern Qi Amitabha Statue, Vairochana, the Cosmic Buddha, Hebei Northern Qi Dynasty Standing Buddha Torso, Parthenon East Pediment 2013–14, glass-fibre-reinforced concrete, artificial stone, steel, mineral pigments. White Rabbit Collection, Sydney

on our own position and responsibility. Through humour, shock, irony and beauty, the artist reveals new truths about the interconnectedness of global power and the cultural products that sustain it.

XU ZHEN® 14 March to 13 September 2020

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BEHIND THE SCENES

The inaugural Distinguished Adjunct Curator Jaklyn Babington, Senior Curator, Contemporary Art, speaks to the Gallery’s retiring Head of International Art Jane Kinsman about her many decades with us and about becoming the Gallery’s first Distinguished Adjunct Curator.

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THE INAUGURAL DISTINGUISHED ADJUNCT CURATOR

Jaklyn Babington: Jane, you’re retiring after a wonderful thirty-six years.

That’s a long time.

And travelling to look at Degas, when preparing for exhibitions, was

Jane Kinsman: I haven’t counted but, yes, I started in July, 1983, just out of

Looking at the Matisse collection in Baltimore was also amazing.

exceptional, and I have viewed rich collections in Paris and New York.

university. I’d just got my masters in the art history of classic tradition.

Jaklyn: What were your first impressions of the Gallery, which had just opened its building, with director James Mollison at the helm?

Jaklyn: What about artists today? You’ve met so many fascinating artists.

Is there one, though, who struck you, in particular, as an inspiring intellect?

Jane: It was pretty exciting. We were breaking new ground on many

Jane: David Hockney, when we met, was very articulate and very

fronts. I was a baby curator. What James did, which I thought was quite

knowledgeable, and he has the ability to look so carefully, and he is

innovative, was to start what was called the ‘Junior Curator’s Fund’. So,

interested in the way we look at things. I just think, wow, I wish I thought

you would go and present to him and another curator an idea about

that. The late RB Kitaj is another. For my first major book, which I did

buying works for the collection. And I bought some French caricatures by

on his prints, I travelled to meet him in London. I was at Marlborough

Honoré Daumier and Paul Gavarni that way, my first acquisitions, which

gallery when he called and said, ‘Do you mind if I don’t come in?’

then contributed to my first small exhibition.

Having just travelled thousands of kilometres, of course, I said, ‘That’s all right, but can I write to you?’

Jaklyn: And at the time you were the assistant curator of international prints and illustrated books. Is that correct?

in my publication. He wanted to me to focus on his more recent work,

Jane: Yes, Pat Gilmour was senior curator, and, when she left, I became

and I wanted to focus on his early work during the Pop era. So, he said,

the senior curator and took on the care for the drawing collection, too.

‘Well you can publish that as long as I can write about these works and

And so, I became responsible for international prints, drawings and

say why I don’t like them’. And so, in the book, he says, ‘This is a hack

illustrated books portion of the national collection, which was built on

print. What could I have been thinking ... ?’ and things like that, which

two acquisitions. One was the Felix Mann Collection and the other was

was quite interesting.

And so, we had a very extensive correspondence, which ended up

the Ken Tyler Collection. The Tyler collection, of course, continues to thrive with Ken and Marabeth Tyler’s ongoing support.

Jaklyn: We should talk about your new appointment as the Gallery’s very first Distinguished Adjunct Curator. Can you tell us about that?

Jaklyn: And that history is well documented in the many books the Gallery has published over the years and through the dedicated Tyler website.

Jane: This year, I’ve been madly busy with three publications and worked

Jane: Yes, absolutely. Our principal collecting areas were European and

more attention to a few important projects.

American art, because they are geographic areas where printmaking flourished in the nineteenth and twentieth centuries. But there were

on three exhibitions. I need a more measured pace. So, I’m hoping that, with this new role, which I start in 2020, I will have more time to pay

times where there was a flowering of work from other regions. We have

Jaklyn: And if you could spend the rest of your life researching, writing and talking about one artist, who would it be?

also, for example, a rare collection of prints from South Africa during the

Jane: Oh, heavens. I’m just now finishing up with Matisse & Picasso,

apartheid years.

which will open on 13 December. I am more intrigued about Matisse, and there is a lot more information to find out on that subject. But there are

Jaklyn: You have worked with six different directors since you began, and I know you have worked extremely hard to advocate for the Gallery’s continued focus on international prints and drawings during your time …

so many artists …

Jane: The area I have worked on—developed, collected, got funding for—

Jane: Have a good idea of what’s important, be patient but be persistent

has never been a really sexy area like painting or sculpture. It’s a deeply

... It’s like James Joyce talking about what Ulysses was about—a huge and

rich subject though, and we have a wonderful collection. I suppose there

complicated topic. He said with great brevity, ‘It’s about a man who goes

is a point about educating people about the importance of the collection.

home to his wife’. For a simple summary for curatorial work over the

Prints and drawings aren’t often the main game for a new director, or for

years, you need passion, persistence and patience.

Jaklyn: Finally, Jane, do you have any advice for curators that are starting out in their careers?

people in general, but everyone really has warmed to our collection as they’ve discovered its richness. Private financial support from generous benefactors like Ken Tyler and Dr Orde Poynton have also helped us continue in strength.

Jaklyn: I remember you saying to me once, ‘Oh, the French! I love the French material, the nineteenth-century French material’.

Jane: Of course, that was where prints, posters and the illustrated book evolved, and so to be able to build on that has been wonderful. I’ve bought a few important works for the national collection over the years.

Opposite: Jane Kinsman in front of Jasper Johns’s Color numeral series 1969 in Lichtenstein to Warhol: The Kenneth Tyler Collection, National Gallery of Australia, Canberra, October 2010.

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52

NATIONAL GALLERY COUNCIL

BEHIND THE SCENES

National Gallery Council Kirsti Partridge, Governance and Reporting Manager, takes a look at the National Gallery’s governing body and the changes it has undergone since the appointment of Nick Mitzevich as Director and Ryan Stokes as Chair in July 2018.

Behind the face of the National Gallery is a Council of eleven members

The appointment of a new Director and new Council Chair in

who bring a diverse set of skills, background and experience in

July last year, within a week of each other, marked a significant change

business, media, philanthropy and the visual arts to the Gallery’s

for the Gallery. Nick Mitzevich replaced Gerard Vaughan AM as Director

decision-making. Like any governing body, Council makes policy

and Ryan Stokes replaced Allan Myers AC, QC, as Chair. The timing of

decisions and provides oversight of the Gallery’s operations to ensure

these appointments provided the opportunity to develop new priorities

we fulfil our mandate to the Australian public.

and aspirations.

The Council provides an open and effective governance

In his first year as Director, Nick has worked with his colleagues on

environment with oversight of the Gallery’s strategic direction, risk

Council to review the Gallery’s direction and ambition. Our new vision is

and financial sustainability. It operates three Committees. The Audit

‘to inspire creativity, inclusivity, engagement and learning through artists

and Risk Committee is responsible for reviewing the Gallery’s

and art’, with a mission ‘to lead a progressive national cultural agenda by

financial and performance reporting, systems of risk and management

championing art and its value in our lives’. This renewed direction puts

and internal controls. The Collections Committee ensures that

art and artists at the centre of everything we do and clearly articulates

collection procedures, policies and activities remain compliant with

our role as Australia’s national gallery.

the National Gallery of Australia Act 1975. And the Governance

To support the vision and mission, the Director developed a new

Committee oversees a program to assess Council and committee

Vision for the national collection. ‘Bold and brave collecting defined

effectiveness and adherence to the Council charter.

the Gallery’s beginnings and is essential to its future direction,’ he says,

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‘The national collection must enshrine excellence and the exemplary,

authority on Indigenous cultural and intellectual property and advocate

enlivening the creative pulse of the nation and having a lasting and

for Indigenous rights.

meaningful impact on Australian culture’.

With new leadership, both in management and on Council, it is

Indigenous Engagement in Museums and Galleries’, in collaboration with

important that our new vision and strategic direction is reflected in the

Museums and Galleries Australia. With the National Gallery’s ongoing

diversity and skills of our governing body. Five Council members have

commitment to this area, which was strengthened with our partnership

been appointed over the past eighteen months, and three have retired.

with Wesfarmers Arts ten years ago, we are fortunate to have Terri’s

The appointments have already made a difference in the way we approach

engagement to Council.

and present our artistic program and manage our national collection, so we thought it timely to share a little about who they are.

Formerly chair of the National Library of Australia Council, Ryan

Michael Gannon is a Chartered Accountant and the Executive Chair of Melbourne’s Cremorne Group, a private family company that includes a property investment and construction business and retail and

Stokes is highly experienced in the media, finance and management. The

agricultural interests. His knowledge of finance, retail and construction

National Library experienced significant growth and development during

are a welcome addition to the Council.

his six-year term, particularly in digital innovation, and the Gallery has

The Hon Richard Alston AO was a barrister before entering politics

already benefitted from his leadership skills and his extensive business

and serving in the Australian Senate from 1986 to 2004. The Arts was

and governance expertise.

part of his portfolio from 1996 to 2003, after which he became Australian

Appointed in August, Sally Smart brings to the Council decades of

High Commissioner to the United Kingdom. He was appointed to the

knowledge and experience as a highly respected Australian artist. As an

Gallery’s Council in April and applies his diverse set of skills as a member

artist and a keen cultural observer, her insights will prove to be invaluable

the Audit and Risk Committee.

to the Gallery as we continue to seek new and interesting ways to reshape the visitor experience and the Gallery’s collection.

Terri Janke, a Wuthathi and Meriam woman from Cairns, is the first

54

She is also the author of ‘First Peoples: A Roadmap for Enhancing

Stephen Brady AO, CVO, joined us last December. He has held ambassadorial positions in Sweden, the Netherlands and France, and his diplomatic skills, extensive network of connections and ethical

person of Aboriginal and Torres Strait Islander descent to be appointed

strengths are highly valued. Stephen has also been appointed as Chair of

to Council since Bronwyn Bancroft twenty years ago. She is the owner

the Gallery’s Foundation, taking over from John Hindmarsh AM. Both

and Solicitor Director of Terri Janke and Company, an international

Richard and Stephen contribute a wealth of experience in diplomacy

NATIONAL GALLERY COUNCIL

and international and government relations, and both have assisted the Gallery in securing major exhibitions in the past.

The Council is rounded out by the earlier appointments of Alison Kubler, Helen Cook, Rhonda White AO and Ezekiel Solomon AM. Alison is experienced in museum and gallery practice and was recently appointed Chair of the Collections Committee. Helen brings many years of corporate and commercial experience to her role as Chair of the Audit and Risk Committee. And our two longest serving members, Rhonda and Zeke, are uniquely qualified in commercial enterprise.

Our heartfelt thanks go to those who have recently retired from Council, Tim Fairfax AC, John Hindmarsh and Jane Hylton, who have shown their dedication over many years. They will continue to be part of the life of the Gallery. Tim has become our Education Patron,

Page 52: National Gallery Director Nick Mitzevich and Council Chair Ryan Stokes in the Indigenous galleries, showing Danie Mellor’s Landstory 2018 and Craig Koomeeta’s Freshwater crocodile 2002, National Gallery of Australia, Canberra, June 2019.

Opposite, from left: Council members Helen Cook and Alison Kubler at the opening of Monet: Impression Sunrise, National Gallery of Australia, Canberra, June 2019; Council member Sally Smart at the Foundation Gala Dinner, March 2019.

Below: Council member Michael Gannon in Bodies of Art: Human Form from the National Collection, showing an Indonesian anthropomorphic monument from the nineteenth century or earlier and Robert Klippel’s No 24 Harry Boyd 1946, National Gallery of Australia, Canberra, March 2019.

contributing generously to our learning programs (see pages 20–3), and was recently appointed a director of the Foundation. John, who was the chair of the Foundation until July 2019, will also continue on as a director of the Foundation (see page 61).

Council plays a critical role in steering the Gallery in the right direction on behalf of all Australians. They will continue to support the Gallery and the Director’s bold vision for the future as we expand our reach and leadership in the cultural landscape of this country. This is an exciting and dynamic time for the National Gallery.

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NEW ACQUISITIONS Anne Ferran Anne Ferran’s series Scenes on the death of nature established her as a

These tropes, while particularly evident in Victorian aesthetics,

leading member of a group of Sydney-based artists whose work signalled

remain just as powerful today, suggests Ferran, although they are

a shift away from documentary photography toward a regional response

hidden and, therefore, uninterrogated. The girls are languid, passive

to post-modernism. The series includes the hero image of this movement

and caught in some collective dream state. The ‘death of nature’ in

in Australia.

the series title alludes to the impossibility of photography giving a

Throughout her career, Ferran has chosen her words and her methods with great care and thought, often seeking to bring to light

straightforward account of the world.

The Gallery was an early supporter of Ferran’s work. The first

that which is hidden. When asked to talk about the images at the time,

two parts of the five-part series were acquired in 1987, and the

she made clear that her concerns were not private ones but rather

Gallery was recently able to acquire the other three parts, becoming

broader cultural ones, saying, ‘It could be said of these photographs

the only institution to own the entire series. Anne O’Hehir, Curator,

that the language they “speak” is so much a part of our culture that

Photography

the audience already knows how to interpret them, even if it doesn’t “know” that it knows’.

In other words, she was keen to unravel the hidden visual language that we have been brought up to accept without realising it—specifically around questions of gender and the representation of women. This language, Ferran suggests, can be traced back to classical times. The monumental tableau-like frieze that floats through the five parts of Scenes on the death of nature shows the artist’s daughter Clare and her teenage friends, dressed in generic classical attire and acting out familiar tropes of the feminine.

56

NEW ACQUISITIONS

Below: Anne Ferran Scenes on the death of nature V, from the series Scenes on the death of nature 1986, gelatin silver photograph. Purchased 2019 Opposite: Brook Andrew (Wiradjuri people) The Island V, from the series The Island 2008, synthetic polymer paint and screenprint on metallic foil on canvas. Gift of Jan Murphy 2019. Donated through the Australian Government’s Cultural Gifts Program

Brook Andrew Wiradjuri artist Brook Andrew seeks to challenge cultural and historical

On returning to Germany in 1859, Blandowski had the graphic

assumptions, perceptions and misperceptions, doing this through

artist Gustav Mützel make engravings from a series of drawings his

powerful works that employ appropriated imagery (often scavenged)

colleague Gerard Krefft had made during the expedition. These were then

and the use of text. He challenges thinking on issues related to race,

reproduced as small ‘photographs’ and tipped into the book, giving them

argues for recognising the ongoing impact of colonialism and takes on

the photographic aura of ‘fact’—although, the engravings are loaded with

big questions concerning who tells what stories in history and how we

Romantic associations, and many are composites drawing together

remember the past.

widely disparate narrative fragments.

The large paintings that make up Andrew’s series The Island

The Island V, recently donated to the Gallery by Jan Murphy, shows

2008 draw on images from German explorer and naturalist Wilhelm

a hunting scene bursting with drama, as dogs attack a kangaroo, with

Blandowski’s album Australien in 142 Photographischen Abbildungen

an Aboriginal man in the background wielding a club. The image has

(Australia in 142 photographic illustrations) of 1862. The publication,

been screenprinted into a red-foiled ground, returning it to its fantastical

which is now extremely rare (only two extant copies are known), played

origins, it is no longer ‘fact’. As Andrew says, it instead ‘reverberates

a prominent role in colonial efforts to document Australia’s Indigenous

with the bright magical and utopian feelings of social reform, religion,

people. Blandowski led a scientific expedition to the Murray River in

and discovery’ that accompanied the colonial project. The Island V is on

Victoria in 1852 and spent eight months with the Nyeri Nyeri people

display on level 1. Kelli Cole, Curator, Special Projects, Aboriginal and

near what is now Merbein.

Torres Strait Islander Art, and Anne O’Hehir, Curator, Photography

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Janina Green Self-taught as a photographer, Janina Green has worked in the medium from the mid 1980s, informed by the theory that came out of postmodern feminism, especially its concerns with originality, authorship and female spectatorship. Developed over a critically successful career, her work has always interrogated the photographic image’s role in society and particularly how photography has been utilised to manufacture stereotypes.

She commonly appropriates images from high art and popular culture. Her first series, Anxiety 1986 (five images from which are in the national collection) features head shots of women rephotographed from drawings by German artist Käthe Kollwitz. A work from her following series, Reproduction 1986, has recently been acquired by the Gallery.

The series comprises rephotographed and blown up fragments of images of women appropriated from popular culture, from roughly printed women’s magazines.

In the magazines, these women are ubiquitous, disposable, lowgrade and voiceless. By reproducing the images using the Ektachrome process, which produces a highly metallic, richly saturated effect with an almost glass-like surface, Green transforms them into shimmering, unique artefacts. By doing so, she draws attention to the way that ideas of femininity were produced and reproduced through the mass media as identities to be consumed. Anne O’Hehir, Curator, Photography

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NEW ACQUISITIONS

Mazie Karen Turner After moving from Adelaide to Sydney in 1979, Mazie Karen Turner used the stuff of motherhood and domestic life to make unique and striking cyanotypes that she colloquially referred to as ‘blueprints’. In his unpublished 2014 essay ‘Mazie Karen Turner’, friend and photographer Robert McFarlane recalled, ‘no other contemporary photographer or artist has worked with cyanotype in anything like this dramatic scale, originality and emotional resonance’. Two examples of these early blueprints were recently acquired for the national collection.

Everyday life in the modern world, falling into TV c 1982 is a large work that captures the sometimes overwhelming scatter that was introduced into Turner’s space by the arrival of a child. Working on the rooftop of the Bondi flat that she shared with her partner Richard Tipping, she would arrange herself, her newborn son, toys and domestic paraphernalia on lengths of photosensitised cotton to create patterns in vivid blue. The second example, Political ties c 1982 is smaller in scale but incisive in commentary, with the repeated form of a man’s necktie metamorphosing into a sequence of missiles and bombs.

Turner sadly died in 2014, and the Newcastle Art Gallery staged a major retrospective of her work in 2017. This acquisition of work by Turner is part of the National Gallery’s sustained program to strengthen its collection of twentieth-century art by Australian women. Elspeth Pitt, Curator, Australian Painting and Sculpture (20, 21C)

Frank Hinder Frank Hinder was one of a small group of artists who championed abstraction in Sydney from the 1930s onwards. The Gallery recently acquired an example of his abstract painting of the 1950s, a decade in which he achieved greater recognition for his rhythmically composed and lyrically coloured work. The painting, Wet night traffic 1953, was a gift from Canberra benefactor Philip Constable.

During his long career, Hinder sought ways by which to represent the unique visual reality of the twentieth century. While studying art in the United States between 1927 and 1934, he contemplated and found inspiration in diverse subjects such as X-rays, infrared, photography, the fourth dimension and space-time and in the work of the Bauhaus, Kazimir Malevich, Antoine Pevsner and Naum Gabo. He referred to his resulting paintings as ‘intuitive geometric’. He returned to Sydney in 1934 with his wife the American sculptor Margel Hinder, where they joined Ralph Balson, Grace Crowley and Rah Fizelle as leaders of the Sydney modern art movement.

Wet night traffic is a highly finished watercolour painting comprising geometric planes and fragments that alternately sharpen and fade. Radiating upwards, outwards and diagonally across the picture plane, Hinder’s design produces a harmonious composition underscored by strong dynamics. The yellow headlights of cars, envisaged as refracting and fading passages of yellow, transform and disappear into deep greens and blues and, in doing so, suggest the disorienting experience of driving on a wet night. Elspeth Pitt, Curator, Australian Painting and Sculpture (20, 21C)

Opposite, from top: Janina Green Untitled, from the series Reproduction 1986, silver dye bleach print, embossing.

Purchased 2019; Frank Hinder Wet night traffic 1953, watercolour. Gift of Philip Constable 2019. Donated through the Australian Government’s Cultural Gifts Program Above: Mazie Karen Turner Everyday life in the modern world, falling into TV c 1982, cyanotype. Purchased 2019

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Foundation Partnerships 60

FOUNDATION AND PARTNERSHIPS

Opposite: Arthur Streeton The Point Wharf, Mosman Bay 1893 (detail), oil on canvas. National Gallery of Australia, Canberra, purchased 2017 with the assistance of Allan and Maria Myers, John and Rosanna Hindmarsh and Maurice Cashmere and Claire Parkhurst in memory of Sarah Cashmere Right: John Hindmarsh AM at this year’s Foundation Gala Dinner, National Gallery of Australia, Canberra, 16 March 2019.

John Hindmarsh In July 2019, after ten hugely successful years, John Hindmarsh AM

to the National Gallery of Australia Council Exhibitions Fund, which

stepped down as chair of the National Gallery of Australia Foundation.

supported the presentation of key exhibitions.

We thank John for his tireless commitment to the Gallery through his

John also established the Foundation Board Publishing Fund,

stewardship of the Foundation, his generous and ongoing philanthropy

which supports major publishing initiatives and is a champion of the

and his advocacy as a member of the National Gallery Council.

National Gallery’s Bequest Circle. He has been a loyal advocate for the

John joined the Foundation Board in 2004, commencing his

American Friends of the National Gallery of Australia, a New York-based

term as chair in 2010. His accomplishments during this time have

organisation that has given over $35 million in cash and gifts of works of

been enormous. In the last ten years, the Foundation has raised over

art since the early 1980s.

$44 million to support acquisitions, exhibitions and public programs.

Further to his contributions to the Gallery, John has provided

In addition, the Foundation has received gifts of works of art valued at

ongoing sponsorship and support to a range of different causes, such

over $52 million, for a total of $96 million in gifts passing through the

as the Canberra Glassworks, the Canberra Theatre, Canberra Museum

Foundation during his tenure.

and Gallery and the Bell Shakespeare Company. He was formerly chair

John and his wife Rosanna have both been longstanding supporters

of the Cultural Facilities Corporation, overseeing Canberra’s cultural

of the Gallery and the greater arts community across Australia. Their

centres, including the Canberra Museum and Gallery and the Canberra

relationship with the Gallery spans thirty-five years, since Rosanna

Theatre Centre.

commenced as one of the Gallery’s first voluntary guides in 1984.

His commendable tenure leaves a powerful legacy for his time as

Rosanna is still a committed voluntary guide, regularly giving tours of

chair of the Foundation. We are indebted to his and Rosanna’s ongoing

the national collection, sharing her knowledge of and love for art and

commitment and service to this organisation. John has decided to

the Gallery.

continue with the Foundation Board as a director, and we look forward to

John and Rosanna have led by example, supporting and

working with both him and Rosanna toward many more future successes

championing many of the Gallery’s acquisition campaigns and other

at the National Gallery. Maryanne Voyazis, Head of Development and

important causes. They were Patrons of the National Gallery’s ambitious

Executive Director, National Gallery Foundation

exhibition Australia at the Royal Academy of the Arts in 2013, contributed to the 100 Works for 100 Years fundraising campaign and gave annually

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Molonglo development company based in Canberra. The company is deeply

What motivates you and Molonglo to support contemporary art projects at the National Gallery?

passionate about the cultural enrichment of Canberra and its

Works of art are essentially different perspectives and critiques of the

architectural and urban landscape. For example, Molonglo designed

world. They allow us to see through another’s eyes for a while. This is

the NewActon precinct to foster a dynamic sense of community, where

what motivates us to support the National Gallery. We believe that having

residents and visitors connect through art and cultural experiences,

access to these different lenses is important for society. They help us to be

design, sustainable living and the best that city life has to offer.

more empathetic, they foster plurality, and they provide alternative stories

Molonglo, the Gallery’s Cultural Partner, is a leading property

Since 2009, Molonglo has supported a range of exciting National

to, and challenge, the dominant narratives that we are told.

Gallery of Australia exhibitions, starting with Soft Sculpture in 2009, Space Invaders in 2010–11, Roy Lichtenstein: A Pop Remix in 2012–13, James Turrell: A Retrospective in 2014–15 and, most recently, Contemporary Worlds: Indonesia in 2019.

The Gallery is celebrating ten years of successful association with Molonglo as our Cultural Partner. Samantha Jones, our Head of Partnerships, took a moment to speak to Molonglo directors Tim Efkarpidis, Johnathan Efkarpidis, Nectar Efkarpidis and Nikos Kalogeropoulos.

In the past ten years, you have supported a range of contemporary projects and exhibitions at the National Gallery. Is there one in particular that remains a favourite, and why?

In a statement that Molonglo has published, you believed that ‘to foster healthy, cohesive and tolerant societies, we need to accept messy arrangements—whether they be political, social or aesthetic’. Tell us how you see the role of artists in those societies?

Artists are often mediators, interpreters and visionaries. They can help broader society to understand its problems and its beauties. They are storytellers, which is an important role in all cultures. Art is at once an internationalisation of the way that the world is and a projection of how we might make things better, or what we might aspire to collectively.

It is important that artists of all walks and background be given as many opportunities as possible to tell these stories.

They have all been favourites for different reasons. It’s hard to choose, but we can whittle it down to two. Space Invaders is one, because we had some close friends who exhibited in that show and it was good to see these contemporary works, and the ‘street’ scene in Australia, acknowledged in that way. And the other is the incredible James Turrell retrospective. His works speak to us, as people interested in architecture and space and its capacity to be immersive and communicate about humanity.

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FOUNDATION AND PARTNERSHIPS

Above, from left: James Turrell: A Retrospective after party held at HotelHotel, Canberra, December 2014; Nishi, the Nishi Gallery and ‘Saltimbanque’ by Tim Kyle at NewActon

Wesfarmers Arts Celebrating its tenth year, the Gallery’s partnership with Wesfarmers

diverse and special our culture is. It can be challenging working in

Arts has gone from strength to strength. As our Indigenous Art Partner,

mainstream environments, and I have found it is important to keep

Wesfarmers Arts has supported fellowships, scholarships and leadership

yourself grounded and remember who you are.

programs at the Gallery as well as acquisitions for the national collection and exhibitions such as the National Indigenous Art Triennial, which

What kinds of skills are the most critical to your work?

have toured nationally and internationally.

The skills I see as most critical to my role as curator are listening, sharing

The partnership has not only enabled the Gallery to better promote Indigenous Australian art and culture in Australia and around the world but also made an impact on Indigenous representation in the arts sector by providing leadership opportunities and support to Indigenous arts workers as well as an important network of alumni to share their experiences. Many of the alumni have forged their way into exciting careers. Kelli Cole, Curator, Special Projects, Aboriginal and Torres Strait Islander, recently spoke to Hannah Presley, who is now Curator of Indigenous Art at the National Gallery of Victoria in Melbourne, about her experience with the program.

What are some of the key things you took from your time with us in 2009 into your professional career?

and overall advocacy for the artists I work with. It also helps to be organised and have good communication skills.

What advice would you give people who are considering the Arts Leadership program?

I would encourage anyone in the arts to apply. The program opens up opportunities and connections that remind you that you are not working in the sector alone. It is a unique experience that provides behind-thescenes access to the National Gallery and introductions to staff and curators who will continue to support you into the future.

Find out more at nga.gov.au/indigenousleaders

Being a part of the Wesfarmers Leadership Program was an important moment for me. The program offered me support and guidance and showed me where I could go with my curatorial work. It is inspiring to be an alumni of the program to see so many talented Aboriginal people in our sector who have benefited from this important program.

What do you love about the work you do and what are some of the challenging aspects?

I am lucky to work with some of the country’s most exciting and inspiring artists and, because of this, I am always learning about how

Above: Newly appointed Assistant Director (Indigenous Engagement) Bruce McLean with Brenda L. Croft, Associate Professor, Indigenous Art History and Curatorship, Australian National University, and Helen Carroll, Manager of Wesfarmers Arts and Curator of the Wesfarmers Collection, at the Indigenous Arts Leadership Program Symposium Dinner, 1 November 2019.

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Private donors The Gallery acknowledges the support of its many private donors and recognises here all donations made between 23 March and 4 October 2018.

You have our thanks.

Art Education Fund Jan Whyte and Gary Whyte

Australian Artists Film Fund

The Hon Ashley Dawson-Damer AM

Know My Name Fund

Wayne Kratzmann

Philip Bacon AM

Exhibition Patrons: Love and Desire: PreRaphaelite Masterpieces from the Tate Kay Bryan Lady Potter AC John Schaeffer AO and Bettina Dalton

Sue Cato

Foundation Board Publishing Fund

Prof Andrew Clouston

Terry Campbell AO

Jason Karas and Anna Karas

John Hindmarsh AM

Samantha Meers AO Jan Minchin

Foundation Gala Dinner Fund 2019

Jan Murphy and Sydney Willams QC

John Schaeffer AO and Bettina Dalton

The Nelson Meers Foundation Damian Roche and Justine Roche Ezekiel Solomon AM

Tony Ameneiro

Australian Ceramics Fund

Arne Brauer

The Sid and Fiona Myer Family Foundation

Andrew Browne

Balnaves Contemporary Fund

Candice Bruce in memory of James Agapitos OAM and Michael Whitworth

The Balnaves Foundation

Dr Dax Calder

Bequest funds The late Henry Dalrymple The late Barbara Jean Humphreys

Cézanne Watercolour and Drawing Fund Ian Campbell and Pamela Lesmond

Andrew Baker

Warrington Cameron Philip Constable and Mary Constable Penelope Davis and Martin Davis Sally Delafield Cook Ruth Faerber Belinda Fox

Damian Clothier QC and Sarah Greer Judy Gray and Rod Pilbeam Wayne Kratzmann Josh Milani and Danielle Milani Jan Murphy and Sydney Williams QC Gary Sands Dr Sally Sojan John Story AO and Georgina Story

Masterpieces for the Nation 2018 Irene Delofski and Ted Delofski Ross Gough

Members Acquisition Fund 2018–19 Lenore Adamson Dr Colin Adrian Peter Alabaster Robert Albert AO, RFD, RD, and Libby Albert Gillian Alderson Allen Family Foundation Deborah Allen John Anderson Margaret Anderson Judith Andrews Susan Armitage Jeanne Arthur Margaret Ashford-MacDougall

Alan Rose AO and Helen Rose

Marla Guppy

Donations

Sara Kelly

American Friends of the National Gallery of Australia

Sue Kesteven

Dr Marion Amies

Donald Love from the estate of John Sherman

Chris Beale and Francesca Macartney Beale

Pamela McMahon

Dr Dax Calder

Dr Michael Martin and Elizabeth Popovski

Helen Cook

Simon Mordant AM and Catriona Mordant AM

De Lambert Largesse Foundation

Jan Murphy

Andrew Freeman

Stanislava Pinchuk

Barbara Jean Humphreys

Dr Ron Radford AM

W Nevin Hurst

Jude Rae

Integralift Consulting Engineers

Ranamok Glass Prize

Susan Maple-Brown AM

George Schwarz and Charis Schwarz

Ralph Melano

Helen Smith

Oscar Pampín Cabanas

Shaike Snir and family

Judith Rogers and Andrew Rogers

The Stannage family

Liezel Strauss

Juliana Swatko

Berg Family Foundation

James Fairfax Theatre Fund

David Biddles and Suzanne Biddles

Bridgestar

Lynne Booth and Max Booth

Felicity Tepper

Education Patron Tim Fairfax AC

Exhibition Patrons: Matisse and Picasso Rhonda White AO Tony Berg AM

Exhibition Patrons: Monet: Impression Sunrise

Dale Jones-Evans

John T Reid Outreach Programs John T Reid Charitable Trusts

Principal Patron: Know My Name Tim Fairfax AC

Kay Bryan

Exhibition Patron: Know My Name The Body Electric

Krystyna Campbell-Pretty AM

Anthony Medich

Philip Bacon AM

64

Gifts of works of art

Kay Bryan

FOUNDATION AND PARTNERSHIPS

Debra Askew and Michael Askew Simonetta Astolfi Maria Athanassenas Hannah Atwell Judith Avery Annie Bain Suzanne J Baker-Dekker Lyma Balderama Sheryl Ballesty Janet Bamford Patrick Barrett and Margaret Barrett Lynette Bateman Ken Baxter and Annabel Baxter Helan Beard and Tony Beard Jenny Benjamin Max Benyon OAM Gwendoline Bernoth

Dr Mary Boyd Turner Iain Bramley Sarah Brasch Assoc Prof Phillip Braslins and Monique Machatt Mary E Brennan Toni Brewster Jan Brown John Bruce and Barbara Bruce Joan ten Brummelaar

Ruth Burgess

Robert Foster

Malcolm Lamb AM

Rosanna Burston and John Burston

Louise Francis

Robyn Lance

Robert Cadona

Walter Frank Lewincamp

Naomi Landau

Berenice-Eve Calf

David Franks

Elizabeth Laverty

Rear Admiral David Campbell AM

Margaret Frisch

Corrie Leffers and Thomas Leffers

Dr Christine Cargill

Karin Fyfe

Lady Jodie Leonard

Michael Carr

Anne Galbraith

Dr Frederick Lilley and Penelope Lilley

Dr Diana Carroll

Peter Gardner

Stuart Lindenmayer

Belinda Casey

Susan Glenn-Hume and David Glenn-Hume

Paul Lindwall and Dr Joanne Frederiksen

Melissa Cashman

Dr Jill Golden

Jean Linnett and Ian Linnett

Jillian Christie

Sally Goodspeed

Elizabeth Loftus

Dr Patricia Clarke OAM

Lyn Gorrie and Geoff Gorrie

Harlinah Longcroft

Margaret Cockburn

Ross Gough

Stephen Loosley

Angela Compton and John Compton

Jeremy Grainger

Dr Ian McCay

Dr Ray Cook and Diane Cook

Dr Elizabeth Grant AM

Christine McCormack and Jacqueline McCormack

Graham Cooke and Cassandra Hampton

Nicholas Grant and Lea Grant

Patricia McCullough

Paul Cooney

Barbara Green

Judy McGowan

Christine Cooper

John Greenwell

Robyn McKay

Ann Cork and Steven Cork

Karen Groeneveld and Peter Groeneveld

Audrey McKibbin

Anne Coutts

Peter Grove

Karen McVicker

Elizabeth Cowan

Elena Guest and Hannah O’Connell

Jennifer Manton

Neil Cox and Kay Cox

Dr Dinah Hales

Graeme Marshall and Dr Walter Ong

Janet Crane

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Yvonne Paull and Alwyn Paull

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Suzannah Plowman

Andrew Watkins

Dr Michael J Priest

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Adrienne Westman

Malcolm Pritchard

Murrelia Wheatley

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Anne White

The Rt Hon Margaret Reid AO

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Jeanette Richmond

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Dr Wayne Williams

Lynlea Rodger and Clive Rodger

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Peter Roeper and Khurshid Jahan

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Susan Rogers

Sue Wood

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Jennifer Rowland

Bronwyn Wright

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Julia Rymer Peter Sabatino Eileen Sadler

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Mark Sampson and Ruth Sampson

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Weapons for the soldier

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Weap is a pro ons for the soldie ject b r Collec tive an y the APY Art d Haze Centre This ex lhurst hibitio Arts Ce n tour by the ntre ha Austra lian Go s been assis . of Aus ted vernm tralia p e soldie n ro t' s g V ram.W r has eapon isions Govern been suppo s fo r the rted by m th Culture ent’s Anzac Centen e Australian Fun ary Art Arts SA d, Australia C s and , Create ou NSW, S ncil for the A Counc rts, uth il, and the Go erland Shire rdon D Found a rl in g ation.

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Tsukioka Yoshitoshi Picture of the earth spider monster mentally tormenting Sakata Kintoki and others during the night guard in the chambers of Minamoto no Yorimitsu in the fall of 976 1886 (detail).

Minneapolis Institute of Art. The Mary Griggs Burke Endowment Fund established by the Mary Livingston Griggs and Mary Griggs Burke Foundation, gifts of various donors, by exchange, and gift of Edmond Freis in memory of his parents, Rose and Leon Freis Photo: Minneapolis Institute of Art

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