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Significant progress towards the Queensland Gallery of
Modern Art’s opening exhibition, ‘APT 2006: Asia–Pacific
Triennial of Contemporary Art’, was made during 2004–05.
The opening of the new building, combined with the fifth
APT, will ensure an unprecedented national and international
spotlight on the Gallery in 2006. On 3 June 2005 the first 14
artists confirmed to participate in APT 2006 were
announced, following extensive curatorial research
undertaken earlier in the year. This process continues, with
up to 20 additional artists still to be announced. The
production and strategic distribution of an illustrated booklet
profiling the APT and the new Gallery ensured awareness of
these significant projects in national and international arts
communities.
As planning for the new Gallery and associated initiatives
continued, important projects were realised during the year.
The exhibition ‘The Nature Machine: Contemporary Art,
Nature and Technology’ built on the Gallery’s reputation for
programming innovative exhibitions for children and their
families. The survey exhibition ‘The Art of Fiona Hall’
revealed why Hall is one of Australia’s leading contemporary
artists. The Gallery’s annual Prime youth event continued to
evolve in 2005, this time taking the form of an exhibition of
work by eight young Queensland artists. A new travelling
exhibition, ‘Streeton: Works from the Queensland Art Gallery
Collection’ commenced its regional Queensland tour. This
exhibition includes some of the most admired paintings in
the Collection by Sir Arthur Streeton.
Indigenous art, and the strength of the Gallery’s
contemporary Indigenous collection, was showcased
through a number of exhibitions and Collection displays.
‘Blak Insights’ exhibited Collection works by senior and
emerging Indigenous artists from across Australia, and was
accompanied by a conference which brought together
artists, curators, historians, writers and activists to discuss
key issues in contemporary Indigenous art and culture. Solo
exhibitions of work by Indigenous artists Clifford Possum
Tjapaltjarri and David Malangi were also presented at the
Gallery, organised by the Art Gallery of South Australia and
the National Gallery of Australia respectively.
DIRECTOR’S OVERVIEW
9
The Gallery’s ‘managing change’ professional development
program continued as planning intensified for the move to a
two-site operation. Extended in 2004–05 to involve senior
staff as well as section heads and managers, the program
advances the strategic development required for the
Gallery’s imminent expansion.
The generosity of our supporters resulted in another
successful public appeal by the Queensland Art Gallery
Foundation during the year, this time to acquire Ian
Fairweather’s
Café tables
1957. In private hands since 1957,
the painting is classic Fairweather: a sophisticated, yet
playful, painting from this significant Australian modernist
artist. I extend my thanks to all those who responded to the
appeal, and whose contributions ensured the addition of this
important work to the Gallery’s existing Fairweather holdings.
Other acquisitions of note included Australian artist Susan
Norrie’s video installation
Enola
2004, which featured in ‘The
Nature Machine’, Ah Xian’s porcelain
China China – bust
no.63
2002, and
Carapace
1954, a significant postwar
painting by British artist Richard Hamilton. The Gallery also
received a generous gift from Mrs Arija Austin — in memory
of her husband and former Chair of the Board of Trustees,
Mr Richard Austin,
AO
,
OBE
— of a group of six porcelain and
stoneware vessels to enhance the historical Asian art
collection.
For their continued support of the Gallery during the year I
am grateful to many — the visitors who came through our
doors this year, and our corporate and media sponsors and
individual donors, who generously supported our exhibitions,
projects and acquisitions. I also acknowledge Wayne Goss,
Chair of the Board of Trustees, and Board members for their
continuing support and vision, and Gallery staff for their vital
contribution.
The next 18 months will be pivotal to the Gallery’s future,
holding equal promise of intensive work and exciting
opportunities for all at the Gallery. More importantly, I hope it
will be a time of continued engagement and great
anticipation for our audiences, as we move together towards
expansion to a two-site institution.
Doug Hall,
AM
Director
8
Ian Fairweather
Scotland/Australia 1891–1974
Café tables
1957
Gouache, watercolour and synthetic polymer
paint on cardboard adhered to composition board
53.2 x 37.8cm (irreg.)
Purchased 2004 with funds from The Queensland
Art Gallery Foundation Fairweather Art Appeal,
Jan and Spencer Grammer and the Queensland
Art Gallery Foundation Grant
© Ian Fairweather, 1957. Licensed by VISCOPY,
Sydney, 2005