QUEENSLAND ART GALLERY · • The Australian Centre of Asia Pacific Art (ACAPA), the Gallery’s...

QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2019–20

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ACKNOWLEDGMENT OF COUNTRY

The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the traditional custodians of the land upon which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander Elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution Indigenous people make to the art and culture of this country.

The Honourable Leeanne Enoch MPMinister for Environment and the Great Barrier Reef, Minister for Science and Minister for the ArtsGPO BOX 5078BRISBANE QLD 4001

Dear MinisterI am pleased to submit for presentation to the Parliament the Annual Report 2019–20 and financial statements for the Queensland Art Gallery Board of Trustees.

I certify that this annual report complies with:

• the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2019 and

• the detailed requirements set out in the Annual report requirements for Queensland Government agencies.

A checklist outlining the annual reporting requirements can be found on page 70 of this annual report.

Yours sincerely

Professor Emeritus Ian O’Connor AC ChairQueensland Art Gallery Board of Trustees

REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES

21 August 2020

PART A

4 INTRODUCTION4 Vision4 Purpose4 Principles4 Queensland Art Gallery | Gallery of Modern Art5 Queensland Art Gallery Board of Trustees

6 CHAIR'S FOREWORD

8 DIRECTOR'S OVERVIEW

10 BACKGROUND10 Government objectives for the community10 Strategic Plan 2019–2311 Operational Plan 2019–2011 Operating environment

12 OUTCOMES12 Performance measures13 Statistics14 Strategic objectives22 Acquisitions48 Exhibitions and programs

57 GOVERNANCE58 Management and structure63 Risk management and accountability65 Human resources

67 GLOSSARY

68 SUMMARY OF FINANCIAL PERFORMANCE

70 COMPLIANCE CHECKLIST

PART B

71 FINANCIAL STATEMENTS

CONTENTS

04 Queensland Art Gallery Board of Trustees Annual Report 2019–20 INTRODUCTION

INTRODUCTION

Vision

To be the leading institution for the contemporary art of Australia, Asia and the Pacific.

PurposeTo engage people with art and artists through memorable and transformative experiences.

Principles• Access for all

• Recognition of Aboriginal and Torres Strait Islander peoples

• Leadership through research, learning and innovation

• Commitment to a sustainable, collaborative and inclusive culture.

Queensland Art Gallery | Gallery of Modern ArtQueensland’s premier visual arts institution, the Queensland Art Gallery | Gallery of Modern Art (QAGOMA, or the Gallery) connects people through exhibitions and programs that showcase diverse historical and contemporary art by Australian and international artists.

Two vibrant and accessible buildings in the Queensland Cultural Centre at South Bank, the Queensland Art Gallery (QAG) and the Gallery of Modern Art (GOMA) offer complementary experiences that enrich the state’s cultural life.

Established in 1895 as the Queensland National Art Gallery, the institution was housed in temporary premises until the opening of the QAG building at South Bank in 1982. GOMA opened in December 2006.

The Gallery’s Collection (the Collection) comprises more than 19 000 historical and contemporary Australian, Indigenous Australian, Asian, Pacific and international works of art.

Since 1993, the Gallery has presented its flagship project, the Asia Pacific Triennial of Contemporary Art (APT) — the only major recurring international exhibition series to focus exclusively on the contemporary art of Asia, the Pacific and Australia. Through the APT series, the Gallery has cultivated an internationally significant collection of art from the region.

QAGOMA curates regional touring exhibitions and programs, giving people across the state access to the Collection.

The Gallery is committed to profiling Queensland artists and strengthening relationships with Aboriginal and Torres Strait Islander communities through a dedicated acquisition focus, exhibition program and public engagement activities.

QAGOMA is the only art museum in Australia with purpose-built facilities dedicated to film and the moving image. The Gallery’s Australian Cinémathèque presents retrospective and thematic film programs and exhibitions to showcase the work of influential filmmakers and artists.

The Gallery’s Children’s Art Centre offers interactive art projects for children and families, and has published books for children in collaboration with leading Australian and international artists.

QAGOMA also publishes research and scholarship on the Collection, exhibitions and artists in exhibition catalogues, monographs, books, brochures and online.

The development of a public collection, exhibitions, publications and public and regional touring programs makes art more accessible to Queenslanders. Wideranging education and public programs highlight the visual arts as an interconnected part of broader culture, relevant to the lives of diverse audiences of all ages.

The Queensland Art Gallery is governed by the Queensland Art Gallery Board of Trustees (the Board).

PART A

INTRODUCTION Queensland Art Gallery Board of Trustees Annual Report 2019–20 05

Queensland Art Gallery Board of TrusteesThe Board is a statutory body. Its existence, functions and powers are set out in the Queensland Art Gallery Act 1987 (the Act).

Under the Act, the Board’s functions include:

(a) to control, manage and maintain the Queensland Art Gallery and each branch thereof and all property in the possession of the Board

(b) to develop the Queensland Art Gallery’s collection of works of art

(c) to minister to the needs of the community in any or all branches of the visual arts, including by displaying works of art; promoting artistic taste and achievement through the illustration of the history and development of the visual arts; promoting and providing lectures, films, broadcasts, telecasts, publications and other educational or cultural instruction or material; and promoting research

(d) to control and manage all land and premises vested in or placed under the control of the Board

(e) to restore and repair works of art in the possession of the Board

(f) to frame and package, and manufacture display materials for works of art in the possession of the Board

(g) to encourage artistic achievement by artists resident in Queensland.

For performing its functions, the Board has all the powers of an individual and may, for example: enter into arrangements, agreements, contracts and deeds; acquire, hold, deal with and dispose of property; engage consultants; appoint agents and attorneys; charge, and fix terms, for goods, services, facilities and information supplied by it; and do anything else necessary or desirable to be done in performing its functions.

06 Queensland Art Gallery Board of Trustees Annual Report 2019–20 CHAIR'S FOREWORD

CHAIR'S FOREWORD

With the devastating summer of bushfires across Australia, followed by the far-reaching effects of the global COVID-19 pandemic, 2019–20 has been an immensely challenging 12 months for many in the community. For the Queensland Art Gallery | Gallery of Modern Art (QAGOMA), COVID-19 necessitated the temporary closure of both buildings, in line with Queensland Government public health guidelines affecting art galleries, from midday on 23 March 2020.

Following Queensland Health approval of comprehensive COVID Safe Plans for both buildings, QAG reopened on 22 June 2020 and GOMA on 7 August 2020. This report details, where applicable, the significant impacts of COVID-19 restrictions on the Gallery’s strategic and operational outcomes this year. The Board remains confident, however, that the Gallery is well placed for an assured recovery over time, and that, through its profile and leadership, it can in turn assist others in the broader arts and culture sector.

I am extremely proud of the way the Gallery has continued to adapt and respond to the evolving impacts of this prolonged crisis; in the period leading up to its closure to the public, through the period of closure itself, and following its staged reopening. Together with major art museums across Australia and around the world, QAGOMA rapidly accelerated the production and release of new digital content and online events. This enabled the Gallery’s broad community of visitors and supporters — artists, art students, donors, sponsors, collaborating partners and others — to remain connected to the Collection, exhibitions and learning and public engagement programs. Despite its doors being temporarily closed, the Gallery continued, not least through its digital channels, to maintain and enlarge the fundamental role of the visual arts as a source of solace and inspiration for many people during this most challenging of times.

Prior to the pandemic, the Gallery continued to present world-class exhibitions. The Gallery’s major ticketed exhibition for the year, ‘Water’ highlighted the significant role of art and artists in both reflecting and shaping how society understands and grapples with some of the world’s most critical but intractable issues — in this case, global and local perspectives on the fundamental nature and sustainability of the earth’s precious water resources. This exhibition provided many must-see moments of the Gallery’s year: from Olafur Eliasson’s monumental and immersive Riverbed 2014, to the return of Cai Guo-Qiang’s immensely popular Heritage 2013.

‘I, Object’, which presented both historical cultural objects and contemporary Indigenous Australian artworks, attracted considerable praise from esteemed members of the International Committee for Museums and Collections of Modern Art, who visited Brisbane in November. In The Art Newspaper’s annual survey of art gallery attendance worldwide in 2019, the Gallery’s non-ticketed exhibitions ‘Quilty’ and ‘Margaret Olley: A Generous Life’ were the highest ranked Australian exhibitions — at 115th and 123rd, respectively, of the 750 exhibitions listed — in itself, a remarkable achievement.

On behalf of the Board and Director, I extend warm thanks to The Honourable Annastacia Palaszczuk MP, Premier of Queensland, and The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts, for their continued support of this institution. The guidance and support the Gallery continues to receive from the Queensland Government in response to the pandemic is invaluable; in particular, I acknowledge Minister Enoch; Jamie Merrick, Director-General, Department of Environment and Science; Kirsten Herring PSM, Deputy Director-General, Arts Queensland; Scott Martin, Acting Deputy Director-General (January to May), Arts Queensland; and the team at Queensland Health. I also acknowledge the chairs and chief executive officers of the Queensland Museum, State Library of Queensland and Queensland Performing Arts Centre for their spirit of cross-institution collaboration during the year.

This year we farewelled Trustees Rick Wilkinson and The Honourable John Mickel; I thank them both for their dedicated service and, further, acknowledge Rick’s contribution through his key roles as Deputy Chair of the Board and Chair of the Audit and Risk Management Committee. We welcomed new Trustees The Honourable Justice Martin Daubney AM and Catherine Sinclair. I also acknowledge my continuing colleagues on the Board: Dr Bianca Beetson, Gina Fairfax, Liz Pidgeon (Deputy Chair from April) and Paul Taylor.

I also wish to acknowledge the work of the Board’s sub-committees: the Audit and Risk Management Committee, chaired by Rick Wilkinson (to March) and Catherine Sinclair (from April); and the QAGOMA Foundation Committee, led by President Tim Fairfax AC, and comprising my fellow members Philip Bacon AM, The Honourable Justice Thomas Bradley (to August), Anna Cottell, Kathy Hirschfeld AM, Mary-Jeanne Hutchinson, John Lobban (to August), Judy Mather (from October), Joseph O’Brien, Liz Pidgeon, Dr Sally Sojan (from October), Paul Spiro (to August) and Paul Taylor.

CHAIR'S FOREWORD Queensland Art Gallery Board of Trustees Annual Report 2019–20 07

The Gallery’s Indigenous Advisory Panel provided QAGOMA’s Executive Management Team with invaluable guidance, particularly in the development of the Gallery’s first Reconciliation Action Plan. I acknowledge Chair Avril Quaill and members Michael Aird, Nancy Bamaga, Dr Bianca Beetson, Helena Gulash, Louisa Warren and David Williams.

On behalf of the Board, I congratulate Director Chris Saines CNZM, his executive team and staff for their achievements this year, their fortitude during the Gallery’s temporary closure, and their commitment to welcoming back our visitors.

Professor Emeritus Ian O’Connor AC Chair, Queensland Art Gallery Board of Trustees

08 Queensland Art Gallery Board of Trustees Annual Report 2018–19 DIRECTOR'S OVERVIEW

DIRECTOR'S OVERVIEW

At the outset of the 2019–20 year, the combination of the recently-opened survey exhibitions of Margaret Olley and Ben Quilty resonated deeply with audiences and drove especially strong attendance through the first quarter. A suite of Gallery-curated exhibitions followed, all either focused on or featuring Queensland artists. ‘I, Object’ addressed the truth of cultural loss and trauma for Indigenous communities when cultural material is removed to be housed in museum collections, and the important role played by contemporary Indigenous artists in reclaiming their voices and their stories. The survey exhibition of Brisbane-based expressionist painter Jon Molvig (1923–70), ‘Maverick’ presented more than 100 of the artist’s paintings and works on paper, which at the time challenged the conservative art scene of the city in the 1950s and 1960s. The Gallery was then honoured to work with Indjalandji/Alyawarr woman Shirley Macnamara to present an exhibition spanning some 20 years of her unique sculptural practice, undertaken from her property in north-west Queensland. The opening of the first major survey of the work of Aurukun artist Mavis Ngallametta was bittersweet, however, as it followed her passing in January 2019. As exhibition co-curator Bruce Johnson McLean noted: ‘Each painting is about her home, and in her painting, she found a new home — somewhere she could go to remember, relive and record places, memories and loved ones’.

The ‘face’ of the Gallery over the summer was Peter Fischli and David Weiss’s Snowman 1987/2017–19. An incomparable acquisition for the Gallery’s international collection, purchased with the generous support of Tim Fairfax AC, Snowman was unveiled for the first time in the Gallery-curated summer exhibition ‘Water’. Safely protected from Queensland’s melting temperatures in his industrial freezer, Snowman enchanted visitors with his enigmatic smile and compelled us to think about the exhibition’s broader theme of sustainability, and primarily that of climate change. ’Water’ drew more than 121 000 visitors and prompted an extraordinarily positive response from artists, the media and the public. The Gallery was also thrilled to welcome Danish–Icelandic artist and United Nations Goodwill Ambassador Olafur Eliasson to present a keynote address at GOMA — Eliasson’s monumental Riverbed 2014 installation was one of the signature works of ‘Water’.

In March, the Gallery’s best-laid plans were confronted by the unprecedented challenges of COVID-19, requiring the ‘Water’ season to come to a sudden close and the institution to adapt to entirely new ways of working in the face of a global pandemic. The Gallery’s implementation of its emergency response and business continuity plans is detailed in this report, and I wish to acknowledge the Arts Minister

and Arts Queensland, the Department of Environment and Science, Queensland Health and other bodies for their support, specialist advice and assistance. The Gallery’s Crisis Management Team was critical in ensuring the safety of staff and visitors during this time, and I am indebted to the Gallery’s Executive Management Team and the staff who serve on this team for their resolute commitment to a highly complex task.

It is always valuable to identify positive outcomes arising from difficult circumstances, and it was a great comfort to know that our audiences were actively engaged during the Gallery’s closure, with content delivered under the hashtag #homewithQAGOMA via our digital and social channels. New ‘Learn at Home’ online modules for school students went live in April, and a more dynamic and content-rich Collection Online resource was published as part of a testing phase, while hundreds of people joined a live webinar each week in June to participate in artist-led drawing workshops, setting a new online event attendance record in the process. The Gallery’s food and beverage team responded to the closure with ingenuity, moving quickly to offer a 'Pop-up Providore' service at the GOMA Bistro, while the retail team delivered a popular online design market involving local makers in May. Gallery staff adapted quickly to new ways of working that kept us all connected and productive, albeit largely from home.

I am grateful for the strong community of supporters who are integral to the Gallery’s continued success. Of new acquisitions this year, 94 per cent were acquired through philanthropic support. A new QAGOMA Foundation category, ‘Visionary’ was created to recognise the transformative influence of donors whose support for the Gallery has exceeded $5 million, and I sincerely thank and acknowledge our Visionary donors Henry and Amanda Bartlett Trust, Tim Fairfax AC, Win Schubert AO, and Paul, Sue and Kate Taylor. At the Foundation’s 40th Anniversary Annual Dinner, artist and benefactor Ah Xian received the 2019 QAGOMA Medal for his outstanding contribution to the Gallery’s Collection.

I thank the Queensland Government and Australia Council for the Arts as long-term foundational supporters of the Gallery’s flagship Asia Pacific Triennial of Contemporary Art, and welcome the Australia Council’s confirmed renewal of its commitment to this project through its Visual Arts and Craft Strategy. I thank Tourism and Events Queensland for their continued support of our blockbuster exhibitions, including ‘Water’. I acknowledge the generous support of the Commonwealth Government’s National Cultural Heritage Account, which assisted the Gallery to acquire a group of important Papunya board paintings. I welcome the new

DIRECTOR'S OVERVIEW Queensland Art Gallery Board of Trustees Annual Report 2018–19 09

corporate partners who came on board during the year, HSBC Bank Australia and Urban Utilities, and thank them for their support and commitment to our exhibitions and programs.

At the time of writing, it is with great satisfaction that the Gallery is once again welcoming visitors through its doors. I thank Queensland Art Gallery Board Chair, Professor Emeritus Ian O’Connor AC and his fellow Trustees for their astute and steady leadership during this extremely challenging year. I am truly excited by our forward major exhibitions program — from ‘The Motorcycle: Design, Art, Desire', in November 2020, to ‘European Masterpieces from The Metropolitan Museum of Art, New York', in June 2021 — and I continue to believe that the COVID era, however long it remains with us, will ultimately strengthen, not weaken, the meaningful connections we make daily between art, artists and audiences. Despite the exigencies of the current crisis, QAGOMA is more resolutely committed than ever to serving its community to the highest possible standard.

Chris Saines CNZM Director

10 Queensland Art Gallery Board of Trustees Annual Report 2019–20 BACKGROUND

BACKGROUND

Government objectives for the community The Queensland Art Gallery Board of Trustees contributes to the achievement of the Queensland Government’s Our Future State: Advancing Queensland’s Priorities:

• As a cultural tourism destination, the Gallery contributes to Create jobs in a strong economy by drawing local, interstate and international visitors to Queensland. QAGOMA works to strengthen the state’s visual arts sector by collecting and presenting the work of Queensland artists.

• QAGOMA supports Give all our children a great start by working with artists to create programs, books and activities for children, and providing teaching and learning resources to help children and young people connect with the enduring power of art and ideas.

• The Gallery helps to build and Keep communities safe by welcoming all visitors; facilitating participation by children and families, visitors with disability, young people and students, seniors, and people in remote, regional, and outer metropolitan areas of the state; and by featuring art and artists from diverse cultures to increase social cohesion through understanding and tolerance of difference.

Object and guiding principlesIn performing its functions, the Board must have regard to the object of, and guiding principles for, the Queensland Art Gallery Act 1987 (the Act). The object of the Act is to contribute to the cultural, social and intellectual development of all Queenslanders. The guiding principles for achieving this object are that:

(a) leadership and excellence should be provided in the visual arts

(b) there should be responsiveness to the needs of communities in regional and outer metropolitan areas

(c) respect for Aboriginal and Torres Strait Islander cultures should be affirmed

(d) children and young people should be supported in their appreciation of, and involvement in, the visual arts

(e) diverse audiences should be developed

(f) capabilities for lifelong learning about the visual arts should be developed

(g) opportunities should be developed for international collaboration and for cultural exports, especially to the Asia Pacific region

(h) content relevant to Queensland should be promoted and presented.

Strategic Plan 2019–23The Queensland Art Gallery Board of Trustees’ Strategic Plan 2019–23 sets out three strategic objectives:

Collection and exhibitions1 Build Queensland’s globally significant Collection

and deliver compelling exhibitions.

Strategies:

1.1 Develop and exhibit the Collection with a focus on contemporary art from Australia, Asia and the Pacific and a commitment to Queensland art and artists.

1.2 Develop and deliver blockbuster and major exhibitions that hold wide audience appeal.

1.3 Develop the Asia Pacific Triennial of Contemporary Art, Australia’s leading exhibition series on the region’s contemporary art.

1.4 Take a leading role in research and debate in the arts and share knowledge broadly.

Audiences and engagement2 Connect people with the enduring power of art and ideas.

Strategies:

2.1 Offer exceptional experiences onsite and online that target attendance and enhance visitor satisfaction.

2.2 Encourage lifelong learning for people of all ages through QAGOMA Learning and the Children’s Art Centre.

2.3 Provide exhibitions and programs to Queenslanders in regional, remote and outer metropolitan communities.

2.4 Engage with and provide access for diverse audiences and communities.

Partnerships and practices3 Build our community of partners and organisational capability.

Strategies:

3.1 Collaborate to extend the Gallery’s capacity and influence through partnerships and networks.

3.2 Attract philanthropic support for our inspiring and ambitious program through the QAGOMA Foundation.

3.3 Develop non-government revenue through sponsorships, grants and profitable commercial services.

3.4 Sustain an innovative and inclusive workplace that empowers people to perform at their best.

3.5 Improve the functionality of the Gallery’s physical spaces to enhance visitor experience.

BACKGROUND Queensland Art Gallery Board of Trustees Annual Report 2019–20 11

Operating environmentThe COVID-19 pandemic significantly affected the Gallery’s operations in 2019–20 and necessitated a temporary closure of close to three months. QAGOMA acknowledges that there is continued uncertainty around the duration of the impact of the pandemic in the coming year(s), and that ministerial approval to modify the Operational Plan 2020–21 may be sought.

The closure and associated consequences resulted in underperformance against targets for some measures. As at the end of February 2020, prior to the full effects of COVID-19 restrictions, the Gallery was meeting or exceeding all but one of its performance measures (which was subsequently achieved by 30 June). The full details of QAGOMA’s performance outcomes can be found on page 12 of this report.

At the time of this report, no changes have been made to the scheduling of the Gallery’s forward program of blockbuster exhibitions (defined as those with an audience target in excess of 100 000 visitors) as a result of COVID-19 restrictions.

At the invitation of Arts Queensland and the Australia Council for the Arts, the Gallery is participating in the COVID-19 Audience Outlook Monitor longitudinal research study of more than 150 national arts and culture organisations. The study is tracking audience attitudes and behaviours during the COVID-19 pandemic. First-wave data, available as at 30 June, reported that 85 per cent of visitors plan to attend arts and cultural events as much or more than they did before the pandemic. Subsequent data to be made available in 2020–21 will continue to assist the Gallery and the arts sector to set targets, and more broadly to ensure programming will meet audience needs.

Looking ahead to the Gallery’s Strategic Plan 2020–24, planning for the milestone tenth iteration of the flagship Asia Pacific Triennial of Contemporary Art exhibition (2021–22) is uppermost, as is the preparation and delivery of the blockbuster exhibitions ‘The Motorcycle: Design, Art, Desire’ (2020–21) and ‘European Masterpieces from The Metropolitan Museum of Art, New York’ (2020–21). QAGOMA’s Digital Transformation Initiative and All-Ages Learning Centre also remain strategic opportunities. QAGOMA continues to pursue non-government revenue sources and funding for forward exhibitions. Sustaining audience growth and digital investment also remain strategic risks for the Gallery, given particularly uncertain economic outcomes caused by the COVID-19 pandemic.

Operational Plan 2019–20The Queensland Art Gallery Board of Trustees’ Operational Plan 2019–20 was based on its Strategic Plan 2019–23.

The operational plan outlined undertakings to:

• develop the Collection

• deliver an ambitious exhibition program, including the ticketed blockbuster ‘Water’ and major exhibitions of work by Australian artists Margaret Olley and Ben Quilty

• present exhibitions of work by Queensland artists Shirley Macnamara, Jon Molvig, Mavis Ngallametta and Goobalathaldin Dick Roughsey

• commence planning and development towards ‘The 10th Asia Pacific Triennial of Contemporary Art’ in 2021–22, including scope to specially mark this milestone exhibition in the series

• develop an integrated action plan to progress the Gallery’s digital transformation strategy

• continue to build the audience and profile for the Brisbane International Film Festival (BIFF), including presenting an accompanying exhibition at GOMA for BIFF 2019

• work with the Gallery’s Indigenous Advisory Panel to commence the Gallery’s inaugural Reconciliation Action Plan

• progress negotiations with The Metropolitan Museum of Art, New York, and the Mori Art Museum, Tokyo, regarding significant exhibition projects

• recognise and celebrate the 40th anniversary of the Foundation and the transformative influence of major philanthropic gifts, including the unprecedented bequest of Win Schubert AO

• commence the silent phase of a large-scale public fundraising campaign towards QAGOMA’s Collection Online project.

The operational plan was not modified during the year.

The Premier and the Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts did not give any directions to the Board during or relating to the financial year.

12 Queensland Art Gallery Board of Trustees Annual Report 2019–20 OUTCOMES

Notes2019–20 target /

estimate

2019–20 actual

Visits to QAGOMA onsite and at touring venues [Service Delivery Statement measure]

1 1 400 000 1 203 786

Audience satisfaction with onsite visit [Service Delivery Statement measure]

2, 3 95% 97%

Non-government revenue as a percentage of total revenue [Service Delivery Statement measure]

4 30% 31%

Value of acquisitions gifted to the Queensland Art Gallery Collection 5 $2.5 million $3.8 million

Visitors whose experience of exhibitions exceeded their expectations 2, 6 45% 65%

Number of external publications, papers presented and awards 7 30 56

Website visits and use of digital interactives 8 1 500 000 1 724 451

Percentage of onsite visits originating from interstate or overseas 2, 9 35% 38%

Percentage of visitors whose experience at QAGOMA inspired lifelong learning 2, 10 20% 76%

User charges as a percentage of total revenue 11 15% 14%

Queensland Government subsidy per visit 12 $25 $29.01

OUTCOMES

Performance measures

Notes

1 The variance between the 2019–20 target and the actual result can be attributed to the impacts of COVID-19. QAG was closed in line with COVID-19 restrictions from midday 23 March 2020 to 21 June 2020. GOMA was closed from midday 23 March 2020 and did not reopen before 30 June 2020. Visitation to QAGOMA Touring exhibitions in regional Queensland was also affected by COVID-19 temporary venue closures. At the time of closure, the Gallery was tracking 19% above its progressive target towards the overall annual target for this measure.

2 Result reflects outcome as at 15 March 2020; visitor surveying was suspended for the remainder of the financial year due to COVID-19.

3 Outcome is the highest achieved in six years, influenced by the broad appeal of exhibitions including ‘Margaret Olley: A Generous Life’, ‘Quilty’ and ‘Water’.

4 Variance to target is primarily due to the value of gifted artworks, donations income and an increase in sponsorship.

5 Patterns of giving can fluctuate and are influenced by the strength of the Gallery’s institutional profile, its exhibition program and its reputation and relationships with artists and philanthropists.

6 Key exhibitions influencing this year’s result included ‘Margaret Olley: A Generous Life’, ‘Quilty’ and ‘Water’.

7 Result is influenced by the exhibition program, invitations from other institutions and professional bodies, and available research funding.

8 Outcome is influenced by high levels of online and onsite digital activity associated with ‘Margaret Olley: A Generous Life’, ‘Quilty’ and ‘Water’.

9 Interstate and overseas visitation exceeded target levels prior to the travel restrictions related to COVID-19.

10 The outcome for this measure has been significantly higher than the target since its introduction in 2018–19; the 2020–21 target for this measure will be adjusted accordingly.

11 Variance to target was influenced by COVID-19 restrictions (including the Gallery’s temporary closure) on revenue from admissions (including the ticketed exhibition, 'Water') and commercial services, including food and beverage services.

12 Subsidy per visit is the value of Queensland Government-administered funding per visit, and, as such, is reliant on meeting the annual visitation target, which was unfavourable due to the COVID-19 temporary closure. At the end of Q3, the Gallery was tracking favourably at 12% above the target for this measure.

OUTCOMES Queensland Art Gallery Board of Trustees Annual Report 2019–20 13

144 (160 works)

Statistics

ONSITE ATTENDANCE

QAGOMA attendance 1 146 277

QAG attendance 505 755

GOMA attendance 640 522

Children (subset of QAGOMA total attendance) 183 474

EXHIBITION ATTENDANCE (blockbuster and major)

Water (ticketed) 121 205

Quilty 311 846a

Margaret Olley: A Generous Life 339 128a

Jon Molvig: Maverick 277 442a

TOURING ATTENDANCE

QAGOMA exhibitions and programs in regional Queensland

36 366

Other offsite venues (Qld) 6 097

National venues –

International venues 15 046

COLLECTION

Total number of works 19 153

Works acquired in 2019–20 536

AUSTRALIAN CINÉMATHÈQUE

Short and feature films presented 273

Cinema screenings and events 426

Attendees at screenings and cinema programs

28 591

LEARNING

Volunteer-guided tours 2164

Participants in volunteer-guided tours 17 726

Tours for visitors with disability 80

Participants in volunteer-guided tours for visitors with disability

651

Participants in school group visits 20 034

Participants in student group visits (includes tertiary and English language colleges)

5527

Participants in special interest group visits (includes adult and international)

4778

PUBLIC ENGAGEMENT

Onsite public programs presented 101

Attendees at onsite public programs 12 970b

Virtual public programs presented (from May 2020)

8

QAGOMA Member programs 114

QAGOMA Member program attendees 2933

QAGOMA Members 5334

PUBLICATIONS

Publications published by the Gallery 5

Staff contributions to external publications 26

Papers presented (unpublished) 25

VOLUNTEERS 7994

Curatorial volunteers 5

Library volunteers 10

Volunteer guides 93

Trainee volunteer guides –

DIGITAL ENGAGEMENT

Website user sessions (qagoma.qld.gov.au) 1 031 396

Engagement with onsite digital interactives 135 072

Notes

a) Visitation represents the total attendance at either QAG or GOMA (as applicable) for the duration of the relevant free exhibition.

b) Includes online participants where applicable (e.g. where an onsite event was also livestreamed via the website).


Collection and exhibitions — Build Queensland’s globally significant Collection and deliver compelling exhibitions.

1.1 Develop and exhibit the Collection with a focus on contemporary art from Australia, Asia and the Pacific and a commitment to Queensland art and artists.

• QAGOMA acquired 536 works of art during the year, bringing the total number of artworks in the Collection at 30 June 2020 to 19 153. The full list of 2019–20 acquisitions is included in this report (see page 22).

• The major exhibition ‘Water’ enabled the Gallery to bring important new works into the Collection. Peter Fischli and David Weiss’s Snowman 1987/2017–19, an icon of the exhibition and firm favourite with visitors, entered the Collection late in the previous financial year with the generous support of Tim Fairfax AC. Other acquisitions included a recent major painting on metal of the sacred spring Milngurr 2018 by Dhuwarrwarr Marika; two works titled Rika (Bull kelp water carrier) 2019 by Lola Greeno, shown alongside one of her maireener-shell necklaces; and an expanded version of Megan Cope’s reconstruction of an Aboriginal oyster-shell midden from the Brisbane region, RE FORMATION 2016–19, supported by the Gallery’s Contemporary Patrons. The estate of Tasmanian photographer Peter Dombrovskis gifted three exhibition prints depicting the Tasmanian wilderness, including Morning mist, Rock Island Bend, Franklin River, 1979 1979, printed 2019 — the ‘poster’ image that sustained the Save the Franklin/‘No Dams’ campaign of 1982.

• Through the support of a $600 000 grant from the Australian Government’s National Cultural Heritage Account, the Gallery acquired the first five of 13 Papunya board paintings from a private collection; these paintings will enter the Collection over a three-year period. Judiciously assembled by Ian Rogers over the last two decades, the collection provides a window into the first critical years of what became known as the contemporary Aboriginal art movement. It includes fine works by the most significant of these founding artists — a group of men whose work on small boards went on to have a profound influence on the course of Australian art, and whose paintings are now recognised internationally. Each work is representative of a distinct approach by the senior cultural men of Papunya, and when acquired in full, these works will transform the Gallery’s Indigenous Australian art collection.

• Other acquisition highlights for the Gallery’s collection of Indigenous Australian art included Bloodlines 1993 by Gordon Bennett, acquired through the support of the Neilson Foundation. Of Aboriginal Australian and Anglo-Celtic descent, Bennett’s art challenged racial stereotypes, official histories of Australia and simplistic notions of self and identity. Through the support of Paul, Sue and Kate Taylor, the Gallery acquired Queensland-born Danie Mellor’s The pleasure and vexation of history 2017, a meticulously drawn rainforest scene that imagines an interaction between the artist’s ancestors and European settlers. Two works from the Queensland Indigenous artist Shirley Macnamara’s solo exhibition at QAG were acquired: Nhugu (Waterlilies) 2019, created specifically for the exhibition, and Dyinala Bine By 2018, which records the difficult history of Indigenous employment in Australia. The Gallery now holds the most significant collection of Macnamara’s work anywhere in the world. From donor Robert Bleakley, the Gallery received a significant gift of 66 early bark paintings representative of the regional styles of painting across Arnhem Land and northern Australia in the 1950s and 1960s.

• Additions to the Asian and Pacific art collection included a number of works from ‘The 9th Asia Pacific Triennial of Contemporary Art’ (APT9) held in 2018–19: a documentary film on the Women’s Wealth project that focused on women’s contemporary creative expression in the Autonomous Region of Bougainville and the Solomon Islands archipelago; the artist book boat home boat 2016 by Vietnamese artist Ly Hoàng Ly and the painting Floating 2017 by indigenous Taiwanese artist Idas Losin; and seven photographs from New Zealand artist Anne Noble’s popular installation Museum: For a time when the bee no longer exists. Purchased for ‘The 10th Asia Pacific Triennial of Contemporary Art’ (APT10), a work by Tongan artist Sione Maileseni entered the Collection; Kato kafa toho 2018 draws interesting links to other fibre artworks in the Gallery’s Pacific and Australian collections.

• The Gallery presented significant exhibitions of work by Queensland artists (or work relating to Queensland) during the year. See the Director’s Overview and Exhibitions sections of this report for more on ‘Margaret Olley: A Generous Life’, ‘I, Object’, ‘Jon Molvig: Maverick’, ‘Shirley Macnamara: Dyinala, Nganinya’ and ‘Mavis Ngallametta: Show Me the Way to Go Home’. A range of Collection-based displays addressed themes of time (‘Perceptions of Time’), work and labour across diverse cultures (‘Work, Work, Work’), the dynamics of colour and form (‘Geometries’), and the techniques and iconography of classical thangka (scroll) painting (‘Gods and Gridlock’).

Strategic objectives


• In June, the Gallery adopted an updated Collection Development Plan, setting collecting priorities and future directions for all collecting areas for the next four years. The document includes the Australian Cinémathèque as a distinct curatorial area, with collecting expertise, strategies and priorities relating to the moving image to complement other curatorial portfolios. It also features a new emphasis on the acquisition of works by women artists in those collecting areas where this may have been neglected historically.

1.2 Develop and deliver blockbuster and major exhibitions that hold wide audience appeal.

• The Gallery’s summer blockbuster exhibition of 2019–20, ‘Water’ embraced the potential of contemporary art to address big issues, start meaningful discussions and inspire action. Fundamental to life, water is also a resource in and of peril, including drought and floods, rising tides and destructive rains. ‘Water’ presented the work of 32 Australian and international artists in a nuanced response to the theme and drew overwhelmingly positive responses from more than 121 000 visitors before its season was cut short by the Gallery’s closure due to COVID-19 restrictions. The exhibition’s themes aligned with a strengthening over the past two years of the Gallery’s approach to its own environmental sustainability; the Gallery moves into the 2020–21 financial year with a new annual target for a reduction in landfill waste and energy consumption, and a five-year target to become carbon neutral.

• Preparations for forthcoming blockbuster exhibitions continued during the year. Opening in November 2020, ‘The Motorcycle: Design, Art, Desire’ is scheduled as the first major exhibition of the new financial year, and likely the first in Australia to open following institutional closures due to COVID-19. Negotiations continued with The Metropolitan Museum of Art, New York, resulting in the confirmation of a major exhibition for GOMA in mid 2021, 'European Masterpieces from The Metropolitan Museum of Art, New York'.

1.3 Develop the Asia Pacific Triennial of Contemporary Art, Australia’s leading exhibition series on the region’s contemporary art.

• Extensive planning and development continued towards the milestone exhibition ‘The 10th Asia Pacific Triennial of Contemporary Art’ (APT10), scheduled to open in late 2021. Prior to COVID-19-related travel restrictions, approximately three-quarters of the research travel planned for APT10 had been completed. To date, nearly

50 artists (or projects) have been confirmed for the exhibition. During the year, ten interlocutors, artists, curators and arts professionals from across the Asia Pacific region contributed to the development of APT10. Development also commenced for the Asia Pacific Art Papers, a three-part digital publication giving insights into contexts and art practices across the region; the publication will be produced to mark 30 years of APT.

• Natasha Matila-Smith was announced as the recipient of the inaugural Creative New Zealand Pacific Curator Residency, hosted by QAGOMA with partners Creative New Zealand Arts Council of New Zealand Toi Aotearoa and Tautai Pacific Arts Trust. Ms Matila-Smith commenced work on a project of Pacific Art in New Zealand that will be presented as part of APT10.

1.4 Take a leading role in research and debate in the arts and share knowledge broadly.

• QAGOMA’s publishing section produced five major publications during the year. The monograph James Turrell: Night Life, generously supported by Liz Pidgeon and Graeme Wikman, documents the most complex and valuable public art project ever realised by QAGOMA — Night Life 2018 by James Turrell — and features an extensive interview with the artist, conducted by QAGOMA Director Chris Saines. The Gallery commissioned Florian Holzherr, Turrell’s long-time photographer, to document Night Life’s full spectrum of colours especially for the publication. The Water exhibition catalogue, printed sustainably in Queensland, explores the life-sustaining element in all its states, including contributions by exhibition curator Geraldine Kirrihi Barlow, Australian philosopher of science Professor Peter Godfrey-Smith, environmentalist Professor Don Henry AM, and award-winning novelist Alexis Wright. The Jon Molvig: Maverick exhibition catalogue, published with the support of the Gordon Darling Foundation, is the first significant publication on this important Queensland artist since Betty Churcher’s 1984 monograph. It features scholarly interpretations of the artist’s legacy by curator Michael Hawker and art historians Samantha Littley, Michele Helmrich and Glenn R Cooke, as well as an interview with the artist’s wife Otte Bartzis by gallerist Bruce Heiser. Shirley Macnamara: Dyinala, Nganinya, produced to accompany the exhibition of the same name, is the first major publication on the Indjalandji/Alyawarr sculptor and includes beautiful new photography of her works, as well as photographs of country by the artist. Mavis Ngallametta: Show Me the Way to Go Home is similarly


the first monograph on this esteemed senior Queensland Indigenous artist and, in addition to sumptuous photography of her large-scale paintings, features quotes by the late artist, translated into her languages of Kugu Uwanh and Wik-Mungkan.

• The QAGOMA Research Library continued its focus on knowledge-sharing through the development of curated vitrine displays — featuring ephemera, photographs, artist books, artist sketches and other items in the Library’s collection — on Queensland artists Loma Lautour and Ian Fairweather. The latter was drawn from correspondence between Ian Fairweather and Marion Smith from 1957 to 1973, which was donated by the estate of Marion Smith through the Queensland Art Gallery Foundation. A selection of this correspondence is now included in an important new book Ian Fairweather: A Life in Letters (Text Publishing, 2019), edited by Claire Roberts and John Thompson, and supported by Philip Bacon AM, Australian Research Council and QAGOMA. The book was launched at the Gallery on 24 October with a panel discussion involving Claire Roberts, John Thompson, QAGOMA Director Chris Saines and special guest author David Malouf.

• The Australian Centre of Asia Pacific Art (ACAPA), the Gallery’s Asia Pacific research and publishing arm, continued to host the long-running 'Perspectives: Asia' lecture series, in partnership with the Griffith Asia Institute. Work continued on the digitisation of the Asia Pacific Triennial Archive, held in the Research Library, an important resource for researchers, curators and students. Mark Philip Bradley, Bernadotte E Schmitt Distinguished Service Professor of History, University of Chicago, was one of a number of international and Australian-based researchers who visited the archive during the year.

• In November, the Gallery hosted directors and curators from leading art institutions around the world as part of the annual conference for the International Committee for Museums and Collections of Modern Art (CiMAM) in Australia. The group toured QAGOMA with a focus on the Australian art galleries in QAG and the exhibition ‘I, Object’ in GOMA; delegates also visited Minjerribah (Stradbroke Island). Attendees included senior representatives of Tate Modern (London), Sharjah Foundation (United Arab Emirates), National Museum of Modern and Contemporary Art, Korea (Seoul) and the Museum of Contemporary Art Australia (Sydney).

• A number of staff received awards during the year relating to their work and research. At the 2019 Australian Institute for the Conservation of Cultural Material (AICCM) Awards, QAGOMA Paintings Conservator Gillian Osmond was

awarded the Colin Pearson Outstanding Research in the Field of Material Conservation Award. The 2020 Ishibashi Foundation/The Japan Foundation Fellowship for Research on Japanese Art was awarded to Reuben Keehan, Curator, Contemporary Asian Art. The 2019 Australian Library and Information Association (ALIA) Student of the Year Award was presented to Library Technician Kristen Hayden, while Assistant Curator of International Art Sophie Rose was a finalist in the inaugural Bonniers Konsthall (BKH) Curator Award 2019.

Audiences and engagement — Connect people with the enduring power of art and ideas.

2.1 Offer exceptional experiences onsite and online that target attendance and enhance visitor satisfaction.

• Public programs during ‘Margaret Olley: A Generous Life’ and ‘Quilty’ attracted more than 8694 attendees to 33 programs. Up Late, the after-hours program held every Friday night in August, attracted 5000 visitors. Up Late featured live music by Australian bands and performers, as well as talks relating to the exhibitions. A special session of GOMA Talks for ‘Quilty’ explored the topic of toxic masculinity. Presented in partnership with ABC Radio National, it was viewed by more than 660 people across three locations at GOMA and online; it was also broadcast through various ABC platforms.

• Organised and curated by QAGOMA’s Australian Cinémathèque, the 2019 Brisbane International Film Festival (BIFF, 3–13 October) presented more than 110 features, documentaries and short films by emerging and established talent from around the world. This year’s Festival Patrons were the high-profile Australian writer and director Baz Luhrmann and Academy Award-winning costume designer Catherine Martin; their much-loved films Strictly Ballroom 1992 and The Great Gatsby 2013 featured in the program. The festival was accompanied by an exhibition at GOMA titled ‘Setting the Stage’, as well as an inaugural short film competition. BIFF ticket sales increased by 31 per cent in 2019.

• For ‘Water’, QAGOMA presented a range of public programs that highlighted the stories behind the artworks and sparked conversations about the environment. During the exhibition’s opening week, nearly 1000 visitors participated in ten programs, including a keynote talk by Olafur Eliasson, artist talks, panel discussions, workshops and interactive tours for kids. Presented in partnership with ABC Radio National, GOMA Talks returned during ‘Water’ to explore the rise of eco-anxiety. The inspiring program featured four under-25 change-makers, and


was viewed by 649 people onsite and online. Other public programs included Brisbane River walking tours that explored Aboriginal history and the significance of the river, and a special edition of PechaKucha, presented in partnership with the Asia Pacific Architecture Festival 2020. Ten public programs were unfortunately cancelled in response to COVID-19 restrictions, including a major Up Late festival presented as part of Curiocity Brisbane 2020, which was planned for March 2020. The Australian Cinémathèque’s free film program ‘The Noise of Waters’ (17 January – 8 March 2020) attracted over 7000 patrons to 46 films from around the world, including titles from Brazil, France, Japan, the Pacific Islands, Poland, the United States and Australia.

• During the temporary closure due to COVID-19 restrictions, QAGOMA’s digital output increased. On the Gallery’s website, social and video channels, content was posted under the hashtag #homewithQAGOMA. Virtual exhibition tours were produced for ‘I, Object’, ‘Work, Work, Work’ and the Australian and International art collections. A video series was created for ‘Mavis Ngallametta: Show Me the Way to Go Home’, including a walk-through and ten curatorial reflections on specific works and themes. In addition, curators’ insight videos explored works in the Collection. Virtual public programs were launched in May 2020, supported by Presenting Partner HSBC. Across a 54-day period, more than 2000 people participated in eight online (and live) public programs, ranging from talks on contemporary art to a series of drawing workshops inspired by works in the Gallery’s Collection. Playlists chosen by Gallery curators and Collection artists were made available via the music-streaming platform Spotify. Subscriptions to the Gallery’s YouTube channel increased significantly during the temporary closure, as did audience engagement with QAGOMA Blog articles.

• Significant progress was made with the Gallery’s Digital Transformation Initiative, with the Digital Transformation Manager starting their role in January. During the year, procurement commenced for both a new Digital Asset Management System (DAMS) and a new Collection Management System (CMS). Both systems represent critical digital infrastructure that will enable QAGOMA to provide enhanced digital access to its Collection. A beta test site (and pilot project) that contained approximately 5600 Collection works, with high-quality images and interpretative material, was launched in the public realm to gather feedback. This project will inform the longer-term Collection Online Project and the modernisation of the Gallery’s Collection catalogue. Significant work was also undertaken to improve the alignment of Collection

documentation with international conventions, in order to increase the discoverability of works in the Gallery’s Collection and the interoperability of Collection systems.

2.2 Encourage lifelong learning for people of all ages through QAGOMA Learning and the Children’s Art Centre.

• The Children’s Art Centre presented three major projects by contemporary artists during the year: Ben Quilty’s ‘Family Portrait’; ‘Island Fashion’, featuring four Australian and Pacific artists; and ‘Below the Tide Line’, a cross-cultural collaboration presented in association with Erub Arts, Marion Gaemers and Lynette Griffiths that showcased ghost net sculptures by artists from Erub Island in the Torres Strait. Each exhibition was highly interactive, including hands-on making and multimedia activities. Experiential works in ‘Water’ — including Olafur Eliasson’s Riverbed 2014 and William Forsythe’s The Fact of Matter 2009 — were also drawcards for young visitors and their families during the year.

• The Gallery’s online Learning Collection resource for schools was expanded with new content related to ‘Water’, ‘Mavis Ngallametta: Show Me the Way to Go Home’ and the Open Studio project. A suite of learning resources was developed for ‘Water’, which aligned with the Australian Curriculum and Queensland Senior Syllabus and included teacher notes for primary and secondary levels. Selected artworks from ‘Water’ also featured in the online Learning Collection. PowerPoint resources, developed in collaboration with the Gallery’s Teacher Advisory Group, provided cross-curriculum links and inquiry topics to allow deeper engagement with exhibition themes. Students from the Queensland Academy for Science, Mathematics and Technology and the Queensland Virtual STEM Academy helped to create an animated video Water: What Does it Make You Think? that explored the students’ responses to selected works.

• More than 6000 students (early years, primary, secondary and tertiary) and booked groups from community associations visited the ‘Water’ exhibition; some 20 per cent of these booked school groups travelled from regional locations. Some 182 secondary students from regional and metropolitan schools participated in the ‘Water’ Q&A for Secondary Schools program in February. ‘Water’ curator Geraldine Kirrihi Barlow responded to students’ questions during the 45-minute illustrated program. The forum allowed students to gain insights into how the exhibition was curated, as well as the role of a curator. A video of the forum was posted on QAGOMA’s YouTube channel as a digital learning resource.


• As part of the feasibility study supported by Arts Queensland for the All-Ages Learning Centre envisioned for QAG, architecture and design studio Architectus was awarded the tender for the concept design phase. The concept design progressed through a series of workshops led by Architectus, which involved staff from all program areas, as well as external consultants. An All-Ages Learning Centre pilot program, Open Studio continued with four-month residencies at QAG by artists John Honeywill, Natalya Hughes and Grace Lillian Lee. Open Studio highlights art-making as a learning-based practice underpinned by research, experimentation and problem-solving; it was presented with support from the Copyright Agency.

2.3 Provide exhibitions and programs to Queenslanders in regional, remote and outer metropolitan communities.

• Two QAGOMA exhibitions continued their regional Queensland tours during the year: ‘Physical Video’ and ‘Robert MacPherson: BOSS DROVERS’. A touring component drawn from ‘Patricia Piccinini: Curious Affection’, a major exhibition held at GOMA in 2018, was postponed due to COVID-19 restrictions. In January, the annual Kids on Tour program — based on the Children’s Art Centre exhibition ‘Island Fashion’ — commenced and visited venues throughout Queensland, including the Torres Strait. This program, as well as several exhibitions at touring venues, will be extended into 2020–21 as a result of COVID-19 restrictions. Regional touring exhibitions and programs attracted 36 366 visitors. During the year, 20 per cent of participants in QAGOMA’s online public programs identified as living in outer metropolitan Brisbane, or regional or remote Queensland communities.

• In August, the annual program Design Tracks Creative Pathways — created to improve the confidence of First Nation senior secondary students in their creative abilities — brought together 21 students from across Queensland for a three-day residency. Another 20 students attended a half-day mentoring session. The program was the third in the series and the first to involve Cultural Centre precinct partners Queensland Museum, State Library of Queensland and Queensland Performing Arts Centre, as well as program partner Gilimbaa.

• Since 2018, QAGOMA Learning’s Art as Exchange, which aims to strengthen regional access to arts education, has developed into a significant program. Art as Exchange brings together leaders in art education to develop the communities they serve. The program

involves collaborations and residencies, and assists the development of local arts and culture policies. In October, Art as Exchange was held over two days in Carnarvon Gorge with Bidjara/Ghungalu/Garingbal artist Dale Harding, and involved participants from Maranoa Regional, Central Highlands Regional, Banana Shire and Woorabinda Aboriginal Shire Councils.

2.4 Engage with and provide access for diverse audiences and communities.

• As part of its commitment to access for all, QAGOMA continued to present regular and on-request guided tours for visitors with dementia, visitors with low or no vision, members of the Deaf and low-hearing communities, and visitors with other physical or cognitive impairments. During September, additional programs were scheduled for visitors with disability to support Disability Action Week and Dementia Awareness Month. For the ‘Water’ exhibition, the Gallery’s Volunteer Guides provided daily tours for adult special interest groups from community associations and disability groups, as well as the general public. QAGOMA Learning produced a video with the assistance of a Gallery visitor from the Deaf community, who presented her experience of the ‘Water’ exhibition in Auslan. The video, with captions, can be viewed via the Auslan playlist on QAGOMA TV. Visitors with autism, sensory sensitivity or disability were invited to attend two low-sensory ‘Water’ viewings outside regular Gallery opening hours. QAGOMA’s online public programs were offered with Auslan interpretation and captioned for the Deaf and hard-of-hearing communities.

• QAGOMA’s Pacific art department continued to make connections and actively engage with south-east Queensland-based Pacific community cultural groups in the lead up to ‘The 10th Asia Pacific Triennial of Contemporary Art’ (APT10). During the year, the Gallery collaborated with the Pasifika Young Peoples Wellbeing Network to host a Pasifika Youth Tour. Guided by the Pacific art curatorial team, the tour provided the participants with the opportunity to learn about the Gallery’s approach to working with artists and communities in the Pacific region, and to share reflections of their own experiences with arts institutions. The tour included a viewing of Nicolas Molé’s major installation Ils vous regardent (They look at you) 2015, reconfigured 2017, which was commissioned for APT8.


Partnerships and practices — Build our community of partners and organisational capability.

3.1 Collaborate to extend the Gallery’s capacity and influence through partnerships and networks.

• The Gallery continued to collaborate regionally and internationally to deliver exhibitions and programs. ‘Contemporary Art from Asia, Australia and the Pacific: Selected Works from QAGOMA’s Asia Pacific Triennial’ was presented from 23 August to 18 October 2019 at the Centro Cultural Palacio la Moneda (CCLM), Santiago, Chile. A collaboration between QAGOMA and CCLM, the exhibition represents the first time an APT-themed exhibition has toured internationally. National and international loans from private and public collections featured in the major exhibitions ‘Water’, ‘Jon Molvig: Maverick’ ‘Mavis Ngallametta: Show Me the Way to Go Home’ and ‘Shirley Macnamara: Dyinala, Nganinya’. In partnership with Art Exhibitions Australia, the Gallery secured a major exhibition from The Metropolitan Museum of Art, New York, for GOMA in mid 2021.

• Project partnerships were also integral to the Gallery’s delivery of public engagement, learning and cinema programs throughout the year. The Gallery acknowledges its important relationships across these sectors that contribute to positive outcomes and programs for audiences.

• Collaboration between the Gallery and Cultural Centre precinct partners continued to be a priority during the year. Recent and continuing projects include the Cultural Centre First Nation Graduate program, which saw the first graduate working in the Gallery’s Development and Commercial Services department in the first half of 2020. The conservation teams of QAGOMA, State Library of Queensland and Queensland Museum are continuing a productive collaborative relationship. Most recently, this has focused on research, analysis and the restoration of historical Queensland photographs by Richard Daintree, which have relevance for each institution’s collection.

• During the year, QAGOMA played an active role in supporting the planning and development of Quandamooka Yoolooburrabee Aboriginal Corporation, and their objectives for the Quandamooka Art, Museum and Performance Institute. This support included the provision of strategic design, business, facility management, audience engagement and exhibition programming advice.

3.2 Attract philanthropic support for our inspiring and ambitious program through the QAGOMA Foundation.

• The QAGOMA Foundation generated $5.556 million in 2019–20, of which cash donations and bequests were $2.909 million and gifted artworks were $2.759 million.

• The 2019 QAGOMA Foundation Appeal enabled the acquisition of Thai artist Pannaphan Yodmanee’s work In the aftermath 2017–18, which was a major commission for ‘The 9th Asia Pacific Triennial of Contemporary Art’. An appeal was not held in 2020 due to COVID-19 restrictions; however, the generosity of regular Foundation Appeal supporters enabled the acquisition of a suite of major works on paper and a sculpture by Queensland-born artist Lindy Lee (Lee’s works were to be the focus of the 2020 Appeal). The Foundation’s specialist giving groups — Contemporary Patrons and Future Collective — continued to pool their donations towards annual acquisitions. The Contemporary Patrons voted to support Quandamooka artist Megan Cope’s RE FORMATION 2016–19, which was the first work encountered by visitors to the ‘Water’ exhibition. The Future Collective supported Pepper’s ghost, wind turners, blue and yellow 2018 by Melbourne artist Taree Mackenzie.

• To acknowledge the generosity of Foundation members, several initiatives were implemented as part of the Foundation’s 40th anniversary celebrations in 2019. These included the installation of donor recognition boards in both buildings, new signage that shares information about those benefactors who are honoured through named gallery spaces, new labels for all artworks on display that were acquired through the Foundation, and a new Foundation membership category, ‘Visionary’, which acknowledges donors whose giving has truly transformed the Gallery.

• The Foundation’s outcomes and activities are detailed in its annual Year in Review publication.


3.3 Develop non-government revenue through sponsorships, grants and profitable commercial services.

• Longitudinal funding for the Gallery’s flagship project, the Asia Pacific Triennial of Contemporary Art, was secured from a number of partners and grantors during the year, including the highly competitive Australia Council Four Year Funding for Organisations program. The Gallery’s Business Development and Partnerships team secured support for the Gallery’s programs from external funding bodies through strategic advocacy to Tourism and Events Queensland and the Department of Foreign Affairs and Trade, as well as through corporate partnerships, memberships and the Gallery’s Business Leaders Network.

• The ‘Water’ exhibition received crucial support from Strategic Partner, Tourism and Events Queensland (TEQ). TEQ's support was vital in promoting ‘Water’ to national and international audiences. Principal Partner HSBC Bank Australia had a strong alignment with the ideals of ‘Water’ in view of HSBC’s own sustainability credentials, including initiatives such as the HSBC Water Programme. Major Partner Urban Utilities provided educational opportunities that allowed audiences to demonstrate their personal connection with this precious resource. ‘Water’ was also supported by Tourism and Media Partners Brisbane Marketing, Brisbane Airport Corporation, Seven Network, Southern Cross Austereo through Hit105 FM, JCDecaux, and Schwartz Media through The Saturday Paper and The Monthly; and Supporting Partners Archie Rose Distilling Co., Bacchus Wine Merchant, Emporium Hotel South Bank and Singapore Airlines.

• Non-government operational revenue generation was the topic of the annual strategic workshop for the Board of Trustees and Foundation Committee, which was held in November. The workshop focused on cultural tourism, digital transformation, blockbuster ticketed exhibitions and corporate giving, together with the challenges, risks and opportunities associated with existing or potential revenue streams. Following the workshop, Arts Queensland funded a six-month position in QAGOMA’s Marketing team to develop a Cultural Tourism Strategy and Tourism Development Plan for the Gallery and the Queensland Cultural Centre more broadly.

• COVID-19 restrictions affected the Gallery’s visitation and, in turn, its revenue streams, particularly food and beverage services, retail, and ticketed exhibition admission. Just prior to the Gallery’s temporary closure, significant work had been undertaken to restructure and stabilise

the employment arrangements of the Gallery’s food and beverage staff, in order to adjust to peaks and troughs in visitation. During the closure, the Gallery’s food and beverage services continued to trade successfully by operating a ‘Pop-up Providore’, with take-home meals and produce boxes. The QAG Cafe reopened for dine-in service in line with QAG’s reopening on 22 June.

• The Gallery’s retail arm continued to offer custom merchandise in association with specific exhibitions, such as ‘Margaret Olley: A Generous Life’, ‘Water’ and ‘Island Fashion’. The QAGOMA Store design markets were a highlight of the year, with the 30 November market the largest to date — over 60 stallholders attracted over 3000 visitors. In May, during the Gallery’s temporary closure, an online market was held for the first time. Profiling the work of 31 local artists and makers, it resulted in a 39 per cent increase in the value of the average order.

3.4 Sustain an innovative and inclusive workplace that empowers people to perform at their best.

• The Gallery achieved a 78 per cent engagement rate in the 2019 whole-of-government employee survey Working for Queensland, a rate significantly higher than the Queensland Public Service and Public Service Office median. The results revealed continuing positive trends in staff relationships and job empowerment. Improving on the previous year’s survey, which showed that staff had positive perceptions of QAGOMA’s commitment to Workplace Health and Safety and integrity matters, the 2019 survey results demonstrated continued growth in these important areas. This has been a direct result of the Gallery’s continued investment in these cultural fundamentals.

• Improvement opportunities identified through the 2019 Working for Queensland survey included providing more support for staff in the Performance Planning process and looking for opportunities to reduce red tape. New training and resources were developed to support staff with their individual performance plans from 1 July 2020. In February, QAGOMA commenced its Red Tape Reduction project, enlisting 42 staff from across most departments to help identify and drive improvement initiatives.

• The Gallery’s Information Management and Technology team and Digital Transformation Manager facilitated the rapid implementation of work-from-home technology as a result of COVID-19 restrictions and the Gallery’s


temporary closure in March. Nearly 60 per cent of the Gallery’s workforce was able to work from home effectively from late March using remote access and virtual meeting technology. Approximately 25 per cent of staff continued to work onsite with strict social distancing and hygiene practices in place. The Gallery’s COVID-19 communications plan included weekly all-staff video updates from the Director, and weekly work health and safety emails outlining practical advice on hygiene, social distancing, well-being and working-from-home ergonomics.

• The Gallery continued to record significant improvements in all key areas of work health and safety management and reporting culture. The Lost Time Injury Frequency Rate (LTIFR) reduced from 5.57 as at 30 June 2019 to 1.82 as at 30 June 2020, with one Lost Time Injury recorded during the year. The reduction in the LTIFR can be attributed to strategies including an improved safety focus and management of higher-risk tasks, as well as the implementation of online and in-person safety training sessions targeting Gallery departmental safety needs. The Total Recordable Case Frequency Rate has reduced overall from 24.13 at the end of the 2018–19 financial year to 10.92 as at 30 June 2020.

• The Gallery continued to work with Terri Janke and Company, an Indigenous-owned legal firm, to assist in the development of the Gallery’s first Reconciliation Action Plan. Terri Janke facilitated an all-staff workshop on 5 November, attended by more than 110 staff, and a Reconciliation Action Plan working group was established, with the support of the Gallery’s Indigenous Advisory Panel. It is anticipated that the formal plan will be published in the latter half of 2020, for implementation from 2021.

3.5 Improve the functionality of the Gallery’s physical spaces to enhance visitor experience.

• In June, a substantially updated Sustainability Policy was adopted. The new policy articulates a vision for the Gallery to be a leading example of sustainable museum practices and to become carbon neutral. The Gallery has committed to achieving readiness for Climate Active carbon neutral certification through the Australian Government’s Department of Environment and Energy within five years. In developing the policy, the QAGOMA Sustainability Committee (comprising 32 staff representatives) and sustainability representatives from the Queensland Government’s Department of Environment and Science

were consulted. This year, significant environmental sustainability initiatives included the continuation of the LED Exhibition and House Lighting Upgrade Projects, funded by Arts Queensland; the continuation of world-leading conservation research and progress towards developing new climate-specific temperature and relative humidity parameters for the storage and display of collections; the introduction of a new formal performance measure, which will commence as part of the 2020–21 Operational Plan; and the introduction of several new recycling waste streams, including soft plastics, nitrile gloves, and pens and markers, as well as a drink container refund scheme.

• The Gallery’s Facilities team, in partnership with Arts Queensland’s Arts Property and Facilities team, undertook critical infrastructure and maintenance improvements in both Gallery buildings during the year, taking advantage of the COVID-19 temporary closure to progress multiple maintenance works. Cleaning providers Springmount Services were responsive and diligent in their provision of additional cleaning services in response to COVID-19 restrictions, with both buildings subject to deep-cleaning.

• The ‘Water’ exhibition created many opportunities to activate GOMA’s ground floor exhibition space. The Exhibition Design team worked closely with curators and commissioned artists to realise a vision for the exhibition that would both delight and challenge audiences. ‘Water’ also provided the opportunity for the Gallery to reprise and recontextualise some contemporary works from the Collection, including David Medalla’s Cloud Canyons No.25 1963/2015 and Cai Guo-Qiang’s Heritage 2013. In consultation with the artist, the Exhibition Design team resolved a new configuration for Heritage, incorporating 45 of its 99 animals, while retaining its spectacular nature. As a result, the Gallery now has two artist-approved iterations of this major work, increasing opportunities for its future display and external loan. The most significant challenge of the ‘Water’ installation was undoubtedly Olafur Eliasson’s Riverbed 2014. Prior to ‘Water’, this work had been installed only once, and in a very different architectural context at the Louisiana Museum of Modern Art in Denmark. In the 12 months leading up to the opening of ‘Water’, QAGOMA’s exhibition designers worked alongside technical staff from Eliasson’s studio to build a stream that would flow over more than 130 tonnes of rock. The resulting installation realised the artist’s vision and also created a truly memorable work for visitors to GOMA.


Acquisitions

Donations and gifts through the Queensland Art Gallery | Gallery of Modern Art Foundation

Airey Family

Anonymous donor

Anonymous donor

Anonymous donor

Anonymous donor in recognition of John Sharpe and Claire Armstrong

Australian Government through the National Cultural Heritage Account

Henry and Amanda Bartlett Trust

Anne Best

Robert Bleakley

Janet Burchill and Jennifer McCamley

Bequest of Emanuel Theodore Cassimatis in memory of his parents Theodore and Stella Cassimatis

Conal Coad and Colin Beutel

Estate of Brigid Cole-Adams

Contemporary Patrons

Suzanne Davies

Suzanne Davies and Richard Dunn

Suzanne Davies in memory of John Dowell Davies AO, Betty Olive and Pamela Jane Davies

Liz Dombrovskis

Bequest of Helen Dunoon

Belinda and Darren Elderton

Estate of Jessica Ellis

Carol Fripp and John Blakeley

Future Collective

Mark Grant

Julie Green and Frans Vandenburg in memory of Loti and Victor Smorgon

Bruce Heiser in memory of Peter Beiers

Helen Lai in memory of her son, Hiram To

Dana McCown

Dr Judith McKay

Alex and Kitty Mackay

Glenn Manser in memory of Martin Wardrop

Mather Foundation

Cathryn Mittelheuser AM

Timothy Morrell

Neilson Foundation

Gael Newton AM

Clinton Ng

Anne Noble

Timothy North and Denise Cuthbert

Oceania Women’s Fund

Meredith Osmond in memory of her mother Edith Meryl Cullen (née Raff) and great-grandfather Alexander Raff

Mark Pennings

Estate of Jennifer Margaret Phipps

Patricia Piccinini

Estate of Betty P Quelhurst

Rio Tinto

Timothy Roberts

Ross Searle

Margaret Shaw and Helen Creagh in memory of Muriel FS Shaw

Brian and Megan Sheahan

Rosamond Shepherd

Dr Michael Shera

Bequest of June Marie Sherrin

Bequest of Jennifer Taylor

Paul Taylor

Paul, Sue and Kate Taylor

Peter Tyndall in memory of Peter Beiers

YOUNG-HAE CHANG HEAVY INDUSTRIES

Michael Zavros

Cultural Gifts Program

Anonymous donor

Anonymous donor

Anonymous donor in recognition of John Sharpe and Claire Armstrong

Robert Bleakley

Janet Burchill and Jennifer McCamley

Conal Coad and Colin Beutel

Suzanne Davies

Suzanne Davies and Richard Dunn

Suzanne Davies in memory of John Dowell Davies AO, Betty Olive and Pamela Jane Davies

Mark Grant

Julie Green and Frans Vandenburg in memory of Loti and Victor Smorgon

Bruce Heiser in memory of Peter Beiers

Alex and Kitty Mackay

Glenn Manser in memory of Martin Wardrop

Clinton Ng

Timothy North and Denise Cuthbert

Meredith Osmond in memory of her mother Edith Meryl Cullen (née Raff) and great-grandfather Alexander Raff

Mark Pennings

Patricia Piccinini

Rio Tinto

Rosamond Shepherd

Dr Michael Shera

Paul, Sue and Kate Taylor

Michael Zavros

Commissioned

Oceania Women’s Fund


ABDULLAH, AbdulAustralia b.1986Someone else’s king and someone else’s country 2014Type C photograph on lustre paper, mounted on aluminium, A.P. 1/2 (ed. of 5)180 x 100cmAcc. 2020.221Gift of an anonymous donor through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

AH KEE, VernonKuku Yalanji/Waanyi/Yidinyji/Guugu Yimithirr peopleAustralia b.1967Down 2005Charcoal on canvas120 x 80cmAcc. 2020.102Gift of Timothy North and Denise Cuthbert through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

AKAMINE, BerniceHawai’i b.1949Ma‘o (Gossypium tomentosum) (Hawaiian cotton) (from ‘Nā Waiho‘olu‘u Hawai‘i, The colors of Hawai‘i‘ series) 2006Cotton with cotton thread on cotton with natural plant dye38.9 x 32.8cmAcc. 2019.162

‘Iliahi (Santalum ellipticum) (Sandalwood) (from ‘Nā Waiho‘olu‘u Hawai‘i, The colors of Hawai‘i‘ series) 2006, reworked 2019Cotton with cotton thread on cotton with natural plant dye36.7 x 31.5cmAcc. 2019.163

Gifts, Bequests, Purchases

‘Uki‘uki (Dianella sandwicensis) (Hawaiian lily) (from ‘Nā Waiho‘olu‘u Hawai‘i, The colors of Hawai‘i‘ series) 2006Cotton with cotton thread on cotton with natural plant dye39.8 x 27.6cmAcc. 2019.164

Noni (Morinda citrifolia) (Indian mulberry) (from ‘Nā Waiho‘olu‘u Hawai‘i, The colors of Hawai‘i‘ series) 2005Cotton with cotton thread on cotton with natural plant dye36.5 x 26.4cmAcc. 2019.165

Hau (Hibiscus tiliaceus) (Sea hibiscus) (from ‘Nā Waiho‘olu‘u Hawai‘i, The colors of Hawai‘i‘ series) 2006Cotton with cotton thread on cotton with natural plant dye42 x 43.8cmAcc. 2019.166

‘Ōlena (Curcuma longa) (Turmeric) (from ‘Nā Waiho‘olu‘u Hawai‘i, The colors of Hawai‘i‘ series) 2005, reworked 2019Cotton with cotton thread on cotton with natural plant dye36.7 x 25.3cmAcc. 2019.167

Kalo (Colocasia esculenta) (Taro) (from ‘Nā Waiho‘olu‘u Hawai‘i, The colors of Hawai‘i‘ series) 2006, reworked 2019Cotton with cotton thread on cotton with natural plant dye41 x 39.2cmAcc. 2019.168Purchased 2019 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

ALBERT, KukileenFederated States of Micronesia b.c.1973Urohs dereht (thread skirt) with rooster mwahi (design) 2019Poly-cotton machine embroidery with satin appliqué on cotton with acetate75 x 92 x 6cmAcc. 2019.198Purchased 2019 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

ALBERT, TonyGirramay/Yidinyji/Kuku Yalanji peopleAustralia b.1981austrALIEN 2007Synthetic polymer paint on velvet22.5 x 25cmAcc. 2020.108Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

ALLEN, DavidaAustralia b.1951Sisters 1991Oil on marine plywood240 x 213cmAcc. 2020.121Gift of Dr Michael Shera through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

Mother swinging her baby 1989Oil on marine plywoodTwo parts: 90.5 x 115.8cm (overall, irreg.)Acc. 2020.230a–bGift of Julie Green and Frans Vandenburg in memory of Loti and Victor Smorgon through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program


AMAGULA, Thomas NandjiwarraAnindilyakwa peopleAustralia 1926–89The East Wind with dolphins and stars c.1962Natural pigments on eucalyptus bark75.5 x 43.5cm (irreg.)Acc. 2020.295Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

ANDERSON, GeromePitjantjatjara peopleAustralia c.1940–2011Llbili (Birth Place) 2007Synthetic polymer paint on linen104 x 139.5cmAcc. 2019.219The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

ANDHRA PRADESH WEAVERIndiaPlain rumal (Madras handkerchief style) c.1999Cotton, weft ikat102 x 211cmAcc. 2020.010Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

ANNING, Michael BoiyoolYidinyji peopleAustralia b.1955Yalma Nalan Gugal (Cross boomerang design firemaker) 2019Softwood with natural pigments, PVA fixative and natural fibre string80 x 17.5 x 5cm (approx.)Acc. 2019.177

Yumun Nalan Gugal (Native banana design firemaker) 2019Softwood with natural pigments, PVA fixative and natural fibre string80 x 17.5 x 5cm (approx.)Acc. 2019.178

Wanggulay Nalan Gugal (White cockatoo design firemaker) 2019Softwood with natural pigments, PVA fixative and natural fibre string80 x 17.5 x 5cm (approx.)Acc. 2019.179

Bida Nalan Gugal (Bark dish design firemaker) 2019Softwood with natural pigments, PVA fixative and natural fibre string80 x 17.5 x 5cm (approx.)Acc. 2019.180

Banga Nalan Gugal (Native bee design firemaker) 2019Softwood with natural pigments, PVA fixative and natural fibre string80 x 17.5 x 5cm (approx.)Acc. 2019.181

Mugaru Nalan Gugal (Hand-held fish net design firemaker) 2019Softwood with natural pigments, PVA fixative and natural fibre string80 x 17.5 x 5cm (approx.)Acc. 2019.182Purchased 2019 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

ASHTON, WillAustralia 1881–1963A street in Pont Aven 1920sOil on canvas60 x 53cmAcc. 2019.126Bequest of June Marie Sherrin through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

ASHWORTH, OliveAustralia 1915–2000Textile length: Reef fantasy 1971Commercial screenprint on cotton furnishing fabric154 x 123cmAcc. 2020.092

Textile length: Great Barrier Reef c.1970sCommercial screenprint on cotton sateen126 x 112cmAcc. 2020.093Gift of Dr Judith McKay through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

ASHWORTH, Olive (Textile designer) INDIGENOUS DESIGNS OF AUSTRALIA (Clothing and textile company)Australia est. 1971Great Barrier Reef neck tie c.1980sCommercial screenprint on fabric136 x 7.6cmAcc. 2020.094Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

ATKINSON, Alfred (Photographer)Australia 1867–1950 ATKINSON PHOTO (Cairns, north Qld) (Studio)AustraliaReady for Corroboree, N.Q. c.1900Postcard: Black-and-white photographic print8.8 x 13.8cmAcc. 2020.176Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

BAKER, AlecYankunytjatjara peopleAustralia b.1932Ngura (Country) 2018Synthetic polymer paint on canvas198 x 243cmAcc. 2019.139Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

BAKULANGAY, Wurrpandiya Marawili Mardarrpa peopleAustralia 1944–2002 NAPUWARRI, Marawili Mardarrpa peopleAustralia b.1967Yulengor (Lightning snake) 2002Natural pigments on eucalyptus bark269 x 66cmAcc. 2020.289Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program


BANDAK, NymMurrinhpatha peopleAustralia c.1904–81Sacred waterholes and stars date unknownNatural pigments on eucalyptus bark79 x 36cmAcc. 2020.247Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

BEATO, Felice (Felix)Italy/England 1832–1909; active Japan 1863–84A social meal c.1866Hand-coloured albumen silver photograph34.8 x 49.8cmAcc. 2019.189Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

BEDFORD, PaddyGija peopleAustralia c.1922–2007Wirwirji – Police Hole 2004Natural pigments with acrylic binder on Belgian linen122 x 135cmAcc. 2020.038The Taylor Family Collection. Gift of Paul, Sue and Kate Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

BELL, RichardKamilaroi/Kooma/Jiman/Gurang Gurang peopleAustralia b.1953It does not matter – Hide the Truth 2001Synthetic polymer paint on canvas120 x 120cmAcc. 2020.104

Words 1992–93Synthetic polymer paint on canvas60.5 x 91.5cmAcc. 2020.105Gift of Timothy North and Denise Cuthbert through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

White girls can’t hump 2002Gravel, glue and synthetic polymer paint on canvas60 x 60cmAcc. 2020.243Gift of Suzanne Davies and Richard Dunn through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

BENNETT, GordonAustralia 1955–2014Bloodlines 1993Synthetic polymer paint and rope on canvas on woodTriptych: 182 x 420cm (overall)Acc. 2019.170a–cPurchased 2019 with funds from the Neilson Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation

BENNETT, RuberyAustralia 1893–1987Sydney Harbour 1920sOil on board51 x 40cmAcc. 2019.128Bequest of June Marie Sherrin through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

BEVAN, CE Australia b. unknownFather Power (Brisbane) c.1868Albumen photograph on paper mounted on card10 x 6.2cmAcc. 2020.150Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

BHASKAR RAO, GuntiIndia b. unknownDiagonal telia rumal 1999Dyed cotton, warp and weft ikat supplementary weft lines, alizarin dye105 x 102cmAcc. 2020.019

Peacock, parrot and lotus rumal 1999Dyed cotton, warp and weft ikat, alizarin dye108 x 108cmAcc. 2020.021

Telia rumal with Islamic designs c.1990sDyed cotton, warp and weft ikat, alizarin dye105 x 108cmAcc. 2020.022Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

BILINYARA, BobWulaki/Djinang peopleAustralia b.c.1915Wulagai (Wulaki), hollow log ceremony c.1960Natural pigments on eucalyptus bark68.5 x 32cmAcc. 2020.279Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

BINYINYUWUYDjambarrpuyngu, Waynbarrnga peopleAustralia 1928–82Niwuda (wild honey) totem c.1963Natural pigments on eucalyptus bark80 x 36cmAcc. 2020.280Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

BLACK, DorritAustralia 1891–1951Girl with plaits c.1938Pencil on paper25.5 x 17.5cmAcc. 2020.109Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

BROADBENT, TunganeCook Islands b.1940Chalice 2019Tivaevae ta’orei: Cotton cloth with cotton embroidery thread200 x 200cmAcc. 2019.169Purchased 2019 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation


Orchid 2020Tivaevae: Manu-style quilt, commercial cotton cloth and thread in appliqué technique200 x 200cmAcc. 2020.062Commissioned 2019 with funds from the Oceania Women’s Fund through the Queensland Art Gallery | Gallery of Modern Art Foundation

BROOKS, ByronPitjantjatjara peopleAustralia b.c.1951Wati Pira 2015Synthetic polymer paint on linen136 x 90cmAcc. 2019.214The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

BROWN Jr, EliphaletUnited States 1816–86Temple at Tumai, Lew Chew 1854Lithograph on paper15.5 x 22.4cmAcc. 2019.223Gift of Gael Newton AM through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

BROWN, LeonardAustralia b.1949Holy prophet and forerunner of the Lord, John the Baptist 2003Egg tempera, 24-kt gold leaf and gesso on beechwood panel54 x 40cmAcc. 2020.045a–b

The rising of Lazarus (Lazarus of the four days in the tomb) 2013Egg tempera, 24-kt gold leaf and gesso on beechwood panel51 x 41cmAcc. 2020.046a–bPurchased 2020 with funds from the Airey Family through the Queensland Art Gallery | Gallery of Modern Art Foundation

BROWN, MikeAustralia 1938–97Night 1996Computer print on paper27 x 27cmAcc. 2020.114Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

BURANDAY Waynbarrnga, GeorgeAustralia c.1914–80Morning Star ceremony mid 1960sNatural pigments on eucalyptus bark87 x 58cmAcc. 2020.281Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

BURTON, Alfred Henry (Photographer)United Kingdom/New Zealand 1834–1914 BURTON BROTHERS PHOTOGRAPHERS & ARTISTS (Studio)New Zealand 1866–1914Native girl and large taro plant 1899Albumen photograph on paper mounted on cardImage: 20 x 15cm; card: 29.8 x 24.6cmAcc. 2020.066Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

BURTON BROTHERS PHOTOGRAPHERS & ARTISTSNew Zealand 1866–1914Native girls, Rotuma 1899Albumen photograph on paper mounted on cardImage: 15 x 20cm; card: 24.6 x 29.8cmAcc. 2020.065Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

BUVELOT, LouisSwitzerland/Australia 1814–88Brisbane 1866Watercolour on paper31 x 24.5cmPurchased 2020 with funds from the Bequest of Helen Dunoon through the Queensland Art Gallery | Gallery of Modern Art Foundation

CAMERON, Julia MargaretEngland 1815–79The Bride of Abydos [Annie Chinery, Mrs Ewen Hay Cameron] 1871Albumen photograph on paper33.8 x 27.5cmAcc. 2020.119Purchased 2020 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

CARL AND FRITZ MARQUARDT (MARQUARDT BROTHERS)Germany/Samoa c.1850–1935Unsere neuen Landleute aus Samoa (Our new fellow countrymen from Samoa) 1901Gelatin silver photographImage: 13.9 x 9.8cm; card: 16.8 x 10.9cmAcc. 2020.063Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

CARROLL, LewisEngland 1832–98Xie Kitchin, Captive Princess, 26 June 1875 1875Hand-tinted albumen photograph from wet plate negative on paper, ed. of 8 known copies15.1 x 9.3cmAcc. 2020.088Purchased 2020 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

CAUCHI, BenNew Zealand b.1974Black Shroud #2 2005Ambrotype14 x 11cmAcc. 2019.140Gift of Conal Coad and Colin Beutel through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

CHARGOIS STUDIO (Cairns)Australia c.1920–47Part of fernery, Lake Barrine (Atherton Tableland) c.1924Gelatin silver photograph on paper8.3 x 13.3cmAcc. 2020.169Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020


CHASE, attrib. to HLUnited States 1831–1901Queen Kalama (Jane Lahilahi Mahienaena Kalama) c.1860Albumen photograph on paper mounted on cardImage: 6.5 x 5.2cm (oval); sheet: 9.0 x 5.7cm; card: 10.1 x 6.2cmAcc. 2020.081

Major of Household troops, Maehonua c.1860sAlbumen photograph on paper mounted on cardImage: 9.0 x 5.9cm; card: 10.4 x 6.3cmAcc. 2020.082

Mrs Maehonua (Lucy Muolo Maehonua) c.1860sAlbumen photograph on paper mounted on cardImage: 8.5 x 5.7cm; card: 10.7 x 6.1cmAcc. 2020.083Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

CHIRALA WEAVERIndiaIndigo rumal late 19th/ early 20th centuryCotton, warp and weft ikat, natural dyes90 x 77cmAcc. 2020.009

Gold thread telia rumal late 19th/ early 20th centuryDyed cotton, warp and weft ikat, double ikat on corner border90 x 77cmAcc. 2020.012

Fragment of telia rumal late 19th/early 20th centuryCotton, weft ikat, supplementary weft in centre field, alizarin dye22 x 49cmAcc. 2020.027

Fragment of telia rumal late 19th/early 20th centuryCotton warp and weft ikat, alizarin dye23 x 35cmAcc. 2020.028

Fragment of telia rumal late 19th/early 20th centuryCotton, warp ikat in centre field, weft ikat motifs within grids, alizarin dye41 x 46.5cmAcc. 2020.029

Fragment of telia rumal late 19th/early 20th centuryCotton, weft ikat with warp ikat in centre field, warp ikat and supplementary weft lines in corner, alizarin dye53 x 45cmAcc. 2020.030

Fragment of telia rumal late 19th/early 20th centuryCotton, weft ikat, alizarin dye23 x 35cmAcc. 2020.031Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

COLE-ADAMS, BrigidAustralia 1938–2015The last house 2011Synthetic polymer paint on canvas90 x 90cmAcc. 2019.171Purchased 2019 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

Cruising 2012Synthetic polymer paint on canvas70 x 90cmAcc. 2019.172Purchased 2019 with funds from the Estate of Betty P Quelhurst through the Queensland Art Gallery | Gallery of Modern Art Foundation

Spotlight 1972Colour stencil, ed. 2/329 x 30cmAcc. 2019.173

Orange rectangle 1973–74Screenprint on paper, ed. of 141 x 41cmAcc. 2019.174

Stripes I 1973–74Screenprint on paper, not editioned25 x 24.7cmAcc. 2019.175

Stripes II 1973–74Screenprint on paper25 x 24.7cmAcc. 2019.176Purchased 2019 with funds from the Bequest of Helen Dunoon through the Queensland Art Gallery | Gallery of Modern Art Foundation

Sunrise 1973Etching on paper9.5 x 9cmAcc. 2020.006

Mountain road c.1980Linocut on paper19.5 x 14.5cmAcc. 2020.007

Stripes (Experimental print) 1973–74Screenprint on paper24.7 x 25cm Acc. 2020.008Gift of the Estate of the artist through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

COPE, MeganQuandamooka peopleAustralia b.1982RE FORMATION 2016–19Cast-concrete oyster shells, copper slag12 000+ pieces: installed dimensions variableAcc. 2019.160a–Purchased 2019 with funds from the Contemporary Patrons through the Queensland Art Gallery | Gallery of Modern Art Foundation

COTTON, ShaneNew Zealand b.1964Half Cast (seven) 2010Silkscreen print with hand-applied synthetic polymer paint on paper122 x 122cmAcc. 2020.308Gift of an anonymous donor through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

COVENTRY, VirginiaAustralia b.1942Miss World Televised 1 1974Vintage gelatin silver photograph15.5 x 13.5cmAcc. 2020.041

Miss World Televised 2 1974Vintage gelatin silver photograph15.5 x 13.5cm Acc. 2020.042




Spaces Between Houses – Two Blocks 1977Vintage silver gelatin photographs, hand-printed, ed. of 119 sheets: 15.1 x 17.8cm (each)Acc. 2020.117a–sPurchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

DARGIE, WilliamAustralia 1912–2003Study for portrait of Albert Namatjira c.1957–59Lithograph on paper24.5 x 22cmAcc. 2020.214Gift of Timothy Roberts through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

DAVILA, JuanChile/Australia b.1946Pieta 1984Synthetic polymer paint, spray-paint, printed paper and newsprint on colour photograph79 x 91cmAcc. 2020.219Gift of Suzanne Davies and Richard Dunn through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

DAWIDI Birritjama, NevilleLiyagalawumirr, Walkurwalkur peopleAustralia 1921–70Wagilag sisters late 1960sNatural pigments on eucalyptus bark119.5 x 62cmAcc. 2020.282Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

DE CARVALHO, ArthurHong Kong/United States 1890–1969Untitled (Junks Shanghai) c.1930Gelatin silver photograph mounted on card30 x 29cmAcc. 2019.226Gift of Gael Newton AM through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

DEACON, DestinyKu’a Ku’a & Erub/Mer peopleAustralia b.1957Some night musak 1997Bubble-jet print from polaroid photograph on paper, ed. 1/549 x 39cmAcc. 2019.144Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

Dance little lady 1993Laser print55 x 44.5cm (sight)Acc. 2020.106Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

DELAUNAY, SoniaFrance 1885–1979Composition with triangles and semi-circles date unknownColour etching and aquatint on paper, ed. 118/12549 x 40cm Acc. 2019.132Bequest of Emanuel Theodore Cassimatis in memory of his parents Theodore and Stella Cassimatis through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

DICKSON, MenziesUnited States 1840–91Kanacha King of the Fijis c.1870–90Albumen photograph on paper mounted on cardImage: 9.0 x 5.5cm; sheet: 9.2 x 5.7cm; card: 10.5 x 6.3cmAcc. 2020.075

Kanaka natives of the Sandwich Islands c.1870–90Albumen photograph on paper mounted on cardImage 8.2 x 5.2cm; sheet: 9.3 x 5.7cm; card: 10.6 x 6.3cmAcc. 2020.076

Kanaka native of the Sandwich Islands c.1870–90Albumen photograph on paper mounted on cardImage: 7.2 x 5.5cm (oval); card: 9.4 x 6.4cmAcc. 2020.077

Hula dancer and man with drum c.1870–90Albumen photograph on paper mounted on cardImage: 9.3 x 5.7cm; card: 10.5 x 6.3cmAcc. 2020.078Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

DJANAMBAYNGU, GeorgeGupapuyngu/Daygurrgurr peopleAustralia 1926–76Birrkurrda, wild honey dreaming c.1960Natural pigments on eucalyptus bark74 x 41cmAcc. 2020.283Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

DJANBARDI, RonnieGurrgoni peopleAustralia 1925–94Namandi: The spirits of the dead c.1976Natural pigments on eucalyptus bark66 x 35 cmAcc. 2020.278Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

DJANGHARA, IgnatiaWunambal peopleAustralia c.1930–unknownWandjina and Bradshaw figures date unknownNatural pigments on eucalyptus bark27.5 x 25cmAcc. 2020.245Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

DOMBROVSKIS, PeterAustralia 1945–96Morning mist, Rock Island Bend, Franklin River, 1979 1979, printed 2019Epson inkjet print on Canson Baryta Prestige paper mounted on Alupanel; printed from digital scan of original transparency86.3 x 63.5cm Acc. 2020.223


Giant kelp, Hasselborough Bay, Macquarie Island, Tasmania, 1984 1984, printed 2019Epson inkjet print on Canson Baryta Prestige paper mounted on Alupanel; printed from digital scan of original transparency86.3 x 63.5cm Acc. 2020.224

South Cape Rivulet, southwest Tasmania, 1990 1990, printed 2019Epson inkjet print on Canson Baryta Prestige paper mounted on Alupanel; printed from digital scan of original transparency86.3 x 63.5cm Acc. 2020.225Gift of Liz Dombrovskis through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

DONALDSON, JudithPitjantjatjara peopleAustralia c.1936–2008 WEST, CarlenePitjantjatjara peopleAustralia b.c.1944 PENNINGTON, MyrtlePitjantjatjara peopleAustralia b.c.1939 HOGAN, TheresaPitjantjatjara peopleAustralia b. unknown DAVIES, LorrainePitjantjatjara peopleAustralia b.c.1955Minyma Tjuta at Tjintirlkara 2006Synthetic polymer paint on canvas183 x 125cmAcc. 2019.221The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

DUFTY, attrib. to FHEngland/Australia 1846–1910Tongan women c.1870sAlbumen photograph on paper mounted on cardImage: 8.7 x 5.7cm; card: 10.5 x 6.3cmAcc. 2020.072

Fijian man c.1870sAlbumen photograph on paper mounted on cardImage: 7.8 x 4.8cm; sheet: 9.4 x 6.2cm; card: 10.3 x 6.2cmAcc. 2020.073

Man from inland Viti Levu (Cai Kolo mountain people) c.1870sAlbumen photograph on paper mounted on cardImage: 8.6 x 5.6cm; card: 10.3 x 6.2cmAcc. 2020.074Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

DUNN, RichardAustralia b.1944Untitled (Art and Fear) 1986Synthetic polymer paint on canvasEight pieces: 228 x 224cm (overall)Acc. 2020.123

Untitled (Historical tropes) 1986Synthetic polymer paint on canvasEight pieces: 228 x 224cm (overall)Acc. 2020.124Gift of Suzanne Davies through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

ELLIOTT, SueBundjalung peopleAustralia/England 1953–c.1999Christ I’m tired c.1993Synthetic polymer paint on canvas42 x 43.5cm (irreg.)Acc. 2020.107Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

EMBREY, attrib. to FredKabi Kabi peopleAustralia c.1880–1939Untitled ceremonial figure c.1930Carved softwood with natural pigments, emu feathers bound with bush string and resin65.5 x 14 x 14cmAcc. 2020.061Purchased 2020 with funds from the Mather Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation

ENTATA, Irene (Potter)Arrernte/Luritja peopleAustralia 1946–2014 HERMANNSBURG POTTERS (Pottery workshop)Australia est. 1990Albert Namatjira droving 2001Earthenware, hand-built terracotta clay with underglaze colours and applied decoration, leather53 x 36cm (diam.) (complete)Acc. 2019.183a–b

Rex and Albert painting in Palm Valley 2001Earthenware, hand-built terracotta clay with underglaze colours and applied decoration, leather50 x 29cm (diam.) (complete)Acc. 2019.184a–b

The events leading to Albert’s death 2001Earthenware, hand-built terracotta clay with underglaze colours and applied decoration44 x 35cm (diam.) (complete)Acc. 2019.185a–bPurchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

FARSARI, AdolfoItaly 1841–98; active Japan 1885–90Girls in winter night c.1887Hand-coloured albumen silver photograph27.8 x 21.2cmAcc. 2019.190Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

GAJAM FAMILY (Family)India GAJAM Govardhana (Designer)India b.1949Shawl 1999Dyed tussah silk, warp and weft ikat92 x 280cmAcc. 2020.024Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020


GAJAM GovardhanaIndia b.1949100 motif telia rumal 2011Cotton, warp and weft ikat, natural dyes305 x 305cm (approx.)Acc. 2020.026Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

GAJAM RamuluIndia 1944–2012Telia rumal 1999Dyed cotton, warp and weft ikat, alizarin dye, natural oil and ash treatment109 x 107cmAcc. 2020.018

His master’s voice c.1970sDyed cotton, warp and weft ikat114 x 113cmAcc. 2020.023Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

GANO, Jesmaine SakoiNakas clan, Hakö language groupAutonomous Region of Bougainville b.1990 LEPPING, Georgianna MaetaleSolomon Islands b.1990Women’s Wealth workshop 2018Single-channel HD video: 30 minutes, colour, sound, 16:9, ed. of 1Acc. 2019.157Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

GIBSON, BessieAustralia 1868–1961A native of North Africa 1920sOil on canvas70 x 60cmAcc. 2019.127Bequest of June Marie Sherrin through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

GOLUWAAustralia c.1915–unknownCircumcision Ceremony date unknownNatural pigments on eucalyptus bark59 x 21cmAcc. 2020.293Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

GRANT, FredPitjantjatjara peopleAustralia b.c.1943Pirilyi 2013Synthetic polymer paint on linen136 x 91cmAcc. 2019.211The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

GRANT, NedPitjantjatjara peopleAustralia b.c.1941 Mr JAMIESONPitjantjatjara peopleAustralia b. unknownMulpulaa 2004Synthetic polymer paint on linen139 x 98cmAcc. 2019.213The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

GREENO, LolaPalawa peopleAustralia b.1946Rika (Bull kelp water carrier) 2019Bull kelp, ti-tree wood skewers and spun plant fibre string8 x 43 x 13cm; 28cm (high, with handles)Acc. 2019.150

Rika (Bull kelp water carrier) 2019Bull kelp, ti-tree wood skewers and spun plant fibre string8 x 60 x 12.5cm; 30cm (high, with handles)Acc. 2019.151Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

GROVES, HelgaAustralia b.1961Subterranean detail no.2 2003Oil on Belgian linen60.2 x 60.5cmAcc. 2020.229Gift of Bruce Heiser in memory of Peter Beiers through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

GURRUWIWI, MithinarriGalpu, Galwurr, Dhangu peopleAustralia 1929–76Yulengor (Rainbow Serpent) at Mirrarmina date unknownNatural pigments on eucalyptus bark133 x 48cmAcc. 2020.288Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

HALL, FionaAustralia b.1953Words 1989Polaroid photograph on paper49 x 60cmAcc. 2020.110

Untitled (from ‘The Price is Right’ series) 1994Polaroid photograph on paper64 x 49cmAcc. 2020.111Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

HARRIS, BrentAustralia b.1956Troubled (Appalling moment) 1995Soft-ground etching, foul-bite and plate-tone on grey paper on paper25 x 18.6cm Acc. 2020.239

Troubled (Appalling moment) 1995Soft-ground etching, foul-bite and plate-tone on buff paper on paper25 x 18.6cm Acc. 2020.240

To the forest 1999Colour screenprint on paper91.6 x 152.1cm Acc. 2020.241


To the river 2004Colour lithograph on off-white wove paper, ed. 15 or 16/3033.2 x 35.6cm Acc. 2020.242Gift of Mark Grant through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

HOARE, CBUnited Kingdom/Tahiti c.1830–76Group of wild natives c.1868–76Albumen photograph on paper mounted on cardImage: 5.6 x 9.0cm; card: 6.2 x 10.5cmAcc. 2020.086Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

HOARE, Mrs SUnited Kingdom/Tahiti c.1833–1920Jeune gens Taitiens c.1880Albumen photograph on paper mounted on cardImage: 13 x 9.8cm; card: 16.5 x 11.8cmAcc. 2020.064Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

HOBSON, NaomiKaantju/Umpila peopleAustralia b.1978Iwayi (Saltwater crocodile) 2019Earthenware, hand-built terracotta clay with incised white slip63 x 17 x 17cm (irreg.)Acc. 2019.146

Iwayi (Saltwater crocodile) 2019Earthenware, hand-built terracotta clay with incised white slip57 x 10.1 x 10.1cm (irreg.)Acc. 2019.147

Iwayi (Saltwater crocodile) 2019Earthenware, hand-built terracotta clay with incised white slip61 x 14.5 x 14.5cm (irreg.)Acc. 2019.148Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

HOGAN, SimonPitjantjatjara peopleAustralia b.c.1930Lingka 2017Synthetic polymer paint on linen137 x 90cmAcc. 2019.215The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

HOGAN, TimoPitjantjatjara peopleAustralia b.1973Lake Baker 2017Synthetic polymer paint on linen137 x 89cmAcc. 2019.216The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

HOOKEY, GordonWaanyi peopleAustralia b.1961Wreckonin 2007Oil on canvas168 x 152cmAcc. 2020.103Gift of Timothy North and Denise Cuthbert through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

HUGHAN, Allan (Ramsay Cunningham)England/Australia/New Caledonia c.1834–83(Three New Caledonian men) c.1875Albumen photograph on paper mounted on cardImage: 9.7 x 5.7cm; card: 10.6 x 6.3cmAcc. 2020.084

Jeune Canaque c.1870–80sAlbumen photograph on paper15 x 10cmAcc. 2020.085Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

HUNTER, Henry Ireland b. unknownGeorge before he left for Queensland (For Colonel Thompson) c.1880sAlbumen photograph on paper mounted on card10.2 x 6.1cmAcc. 2020.151Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

Ike NO TAIGAJapan 1723–76Untitled (plum blossom branch) c.18th century Ink on paper, fabric mount111 x 56.5 x 2.5cmAcc. 2020.100Gift of Peter Tyndall in memory of Peter Beiers through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

JAMBALULU, attrib. to Jimmy MulwirrkbirrkJalama peopleAustralia c.1908–60Captured kangaroo date unknownNatural pigments on eucalyptus bark48.3 x 30.5cmAcc. 2020.262Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

JAMBUWAL, attrib. to (Paddy) CaptainAustralia c.1927–unknownCorroboree date unknownNatural pigments on eucalyptus bark35.6 x 57.2cmAcc. 2020.263

Creature of the Dreamtime date unknownNatural pigments on eucalyptus bark54.6 x 38.1cmAcc. 2020.264Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program


JANET BURCHILL & JENNIFER McCAMLEY (Collaboration)Australia est. 1983 BURCHILL, Janet (Artist)Australia b.1955 McCAMLEY, Jennifer (Artist)Australia b.19576 to 6 2013Synthetic polymer paint on moulded plywood174 x 60cmAcc. 2019.142

Point Blank 2016Neon122 x 180cmAcc. 2019.143Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

The Landing (yellow) 2005Cauterised rubber on moulded plywood150 x 64cmAcc. 2020.238Gift of the artists through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

JERREMS, CarolAustralia 1949–80Vale Street 1975Gelatin silver photograph on paper20 x 30cm Acc. 2020.313Purchased 2020 with funds from Paul Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

Juliet holding ‘Vale Street’ 1976Gelatin silver photograph on paper, ed. of 9, plus artist proofs30.5 x 20cm Acc. 2020.039

Macquarie University: University Court, Yellow Cake Day Balloon 1977Gelatin silver photograph on paper, ed. of 8, plus artist proofs38 x 22cm Acc. 2020.040Purchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

JONES, HenryUnited Kingdom/Australia 1826–1911Pacific Islander c.1877–79Albumen photograph on paper mounted on cardImage: 9.0 x 5.5cm; card: 10.4 x 6.3cmAcc. 2020.071Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

KELLY, DeborahAustralia b.1962Tank Man Tango 2009Multi-channel video and photographic installation with poster (endless supply), ed. of 1Acc. 2020.122a–b

LYING WOMEN 2016Two-channel video installation: colour stop-motion animations from paper collage; one channel projected, stereo sound; 3:56 minutes; one channel on monitor, silent, ed. 4/8Acc. 2020.220Gift of an anonymous donor through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

KERRY & COAustralia 1892–1917Aboriginal King c.1890sPostcard: Black-and-white photographic print13.7 x 8.9cmAcc. 2020.177

Group of Black trackers c.1890sPostcard: Black-and-white photographic print13.7 x 8.9cmAcc. 2020.178

“Eudra”, Australian Aboriginal c.1890sPostcard: Black-and-white photographic print13.9 x 8.9cmAcc. 2020.179

King “Narimboo” series 5 – Australian Aboriginals c.1900sPostcard: Black-and-white photographic print13.6 x 9cmAcc. 2020.180

“Narimboo” Aboriginal Chief, Australia c.1900sPostcard: Black-and-white photographic print13.6 x 9cmAcc. 2020.181

“Narimboo” Aboriginal Chief, Australia c.1900sPostcard: Black-and-white photographic print13.6 x 9cmAcc. 2020.182

Aboriginal Chief Workii Tribe c.1900sPostcard: Black-and-white photographic print13.6 x 9cmAcc. 2020.183



“Coongardi” Aboriginal warrior, Australia c.1900sPostcard: Black-and-white photographic print13.6 x 8.7cmAcc. 2020.186

A warrior, series 5 – Australian Aboriginals c.1900sPostcard: Black-and-white photographic print13.5 x 8.7cmAcc. 2020.187

Aboriginal with Devil’s Mask c.1890sPostcard: Black-and-white photographic print13.6 x 8.7cmAcc. 2020.188




Aboriginal Chief 1890sPostcard: Black-and-white photographic print13.6 x 8.7cmAcc. 2020.191Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

KOOLMATRIE, YvonneNgarrindjeri peopleAustralia b.1944Burial basket 2018Coil-woven sedge rushes29 x 55 x 118cmAcc. 2019.116

Burial basket (with handle) 2017Coil-woven sedge rushes57 x 46 x 113cmAcc. 2019.117Purchased 2019 with funds from Cathryn Mittelheuser AM through the Queensland Art Gallery | Gallery of Modern Art Foundation

KOOWOOTHA, Heather Marie(Wunjarra)Wik-Mungkan and Yidinji/Djabugay peopleAustralia b.1966Poleen 2019Lithograph on Dutch 250gsm cotton etching paper, ed. 1/1560 x 43cm Acc. 2020.053

Booboo kutjarr (Ghost children) 2017Lithograph on Arches BFK 300gsm cotton paper, ed. 3/1032 x 49cm Acc. 2020.054

The story tellers 2017Drypoint on Arches BFK 300gsm cotton paper, ed. 2/2565 x 82cm Acc. 2020.055

The land lady 2015Drypoint on Arches BFK 300gsm cotton paper, ed. 5/3554 x 43.5cm Acc. 2020.056

The land lord 2015Drypoint on Arches BFK 300gsm cotton paper, ed. 5/3554 x 48cm Acc. 2020.057

Boy in the flour drum 2014Etching and aquatint on Arches BFK 300gsm cotton paper, ed. 7/3549.6 x 32.7cm Acc. 2020.058

Mother and daughter reunion 2014Etching and aquatint on Arches BFK 300gsm cotton paper, ed. 11/3549.2 x 39.6cm Acc. 2020.059

Youth under siege 2014Etching and aquatint on Arches BFK 300gsm cotton paper, ed. 8/3549.5 x 33.9cm Acc. 2020.060Purchased 2020 with funds from Brian and Megan Sheahan through the Queensland Art Gallery | Gallery of Modern Art Foundation

KUNISADA, UtagawaJapan 1786–1865The actor Hanshirō Iwai c.1820sColour woodblock print on paper36 x 24cmAcc. 2019.222Gift of Carol Fripp and John Blakeley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

KUSAMA, YayoiJapan b.1929One of the Endless Narcissus 2001Stainless steel ball, ed. of 200018cm (diam.)Acc. 2019.186Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

LAING, RosemaryAustralia b.1959NASA – Kennedy Space Center #1 1998–99Type C photograph on paper, ed. 2/3118 x 266cm Gift in recognition of John Sharpe and Claire Armstrong through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

bulletproofglass #7 2002Type C photograph on paper, ed. 10/1570 x 112cmAcc. 2020.222Gift of Clinton Ng through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

LALIQUE, RenéFrance 1860–1945Serpent vase c.1924Dark amber frosted with moulded glass 25 x 26cmAcc. 2019.131Bequest of Emanuel Theodore Cassimatis in memory of his parents Theodore and Stella Cassimatis through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

LANDGRAF, KapulaniKanaka ‘ŌiwiUnited States b.1966‘A’ua 2019Digital prints on aluminium, with sound, ed. 1/3108 sheets: 75 x 50cm (each), installed dimensions variableAcc. 2019.134.001–109Purchased 2019 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

LARTER, PatEngland/Australia 1953–96Jazzy Jazz 1993Synthetic polymer paint and glitter on board91.8 x 61.8cmAcc. 2020.115Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

LEE, LindyAustralia b.1954Transformation by fire 2017Fire on cold-pressed paper154.5 x 102cmAcc. 2020.131

Earth and fire 2018Fire on cold-pressed paper154.5 x 102cmAcc. 2020.132

Elliptical rain 2018Chinese ink, rain and fire on cold-pressed paper154.5 x 102cmAcc. 2020.133

Resting in a cloud of stars 2018Chinese ink and fire on cold-pressed paper154.5 x 102cmAcc. 2020.134


Quiescence 2018Chinese ink and fire on cold-pressed paper154.5 x 102cmAcc. 2020.135

Write, erase, re-write 2018Chinese ink, fire, and giclée print on cold-pressed paper154.5 x 102cmAcc. 2020.136Purchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

Without Providence 1988Oil and wax on canvas193 x 141.5cmAcc. 2020.218Gift of Suzanne Davies and Richard Dunn through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

LEURA TJAPALTJARRI, TimAnmatyerre/Arrernte peopleAustralia c.1929–84Bushfire Corroboree 1973Synthetic polymer paint on composition board60 x 57cmAcc. 2020.035Purchased 2020 with the support of the Australian Government through the National Cultural Heritage Account and the Queensland Art Gallery | Gallery of Modern Art Foundation

LIPUNDJA, JimmyGupapunygu, Daygurrgurr peopleAustralia 1912–68The Rainbow Serpent in a waterhole date unknown Natural pigments on eucalyptus bark90 x 37.5cmAcc. 2020.284Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

LOMER, AlbertAustralia active 1862–1905(Seated lady with plaited hair, Brisbane) c.1860sAlbumen photograph on paper mounted on card10 x 6.1cmAcc. 2020.152

(Standing lady with plaited hair, Brisbane) c.1860sAlbumen photograph on paper mounted on card10 x 6.1cmAcc. 2020.153

William Albert Lidden Court, Born Dec. 20 79 (Brisbane) c.1880Albumen photograph on paper mounted on card, hand-coloured10.3 x 6.3cmAcc. 2020.154Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

LOSIN, IdasTaiwan b.1976Floating 2017Oil on canvas135 x 179cmAcc. 2019.118Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

LY, Ly HoàngVietnam b.1975boat home boat 2016Wood, double-sided silkscreen on paper, ed. unlimitedBox: 25 x 18 x 4cm; book: 13 x 300 x 25cmAcc. 2019.119a–cPurchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

MacFARLANE, StewartAustralia/United States b.1953Outcast 1996Oil on canvas166 x 120cmAcc. 2020.231Gift of Alex and Kitty Mackay through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MACKENZIE, TareeAustralia b.1980White Light Shadows: Circles, Squares, Triangles 2014Mixed media kinetic light installation with three-channel live video projectionKinetic sculpture: 165 x 220 x 220cm; projections: dimensions variableAcc. 2020.047a–

Pepper’s ghost, wind turners, blue and yellow 2018Acrylic, foam core, steel, reflective tinting, LEDs, motor, paint, wood, vinylReflective screen: 200 x 120 x 7cm; hanging sculpture: 150 x 80 x 80cm; brackets: 120 x 120cmAcc. 2020.048.001–003Purchased 2020 with funds from the Future Collective through the Queensland Art Gallery | Gallery of Modern Art Foundation

MACNAMARA, ShirleyIndjalandji/AlyawarrAustralia b.1949Spinifex and Peach 2019Woven spinifex (Triodia pungens), horse hair, porcupine (echidna) quills, ochres and spinifex resin45 x 35 x 32cmAcc. 2019.161Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

Nhugu (Waterlilies) 2019Spinifex (Triodia pungens), feathers, bone, ochre, spinifex resin, waxed thread and fixativeFive parts: 38 x 74cm (approx., each)Acc. 2020.002.001–005

Dyinala Bine By 2018Arches paper, archival paper, fixative, copper, ink, ed. 1/3Nine sheets: 78 x 57cm (each); 57 x 35cm (comp., each)Acc. 2020.003a–iPurchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

MacPHERSON, RobertAustralia b.1937A note to Sister Bonaventure 1983Photocopy and Kodak ‘Box Brownie’ camera, ed. 1/5Photocopy: 29.7 x 21cm; camera: 11 x 11 x 8.5cmAcc. 2020.098a–b

“DRY RIVER: 22 STOCKROUTES 22 FROG POEMS”. IN MEMORY OF ALEX WILSON MASTER HORSEMAN 1996Graphite, ink and stain on paper23 sheets: 30 x 42.5cm (each)Acc. 2020.099Gift of an anonymous donor in memory of Peter Beiers through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020


MAHONY, FrankAustralia 1862–1916Ser[geant] Major Iveireimei, Fijian Armed Constabulary 1902Oil on paper laid on card18.5 x 13.5cmAcc. 2020.095Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

MAILESENI, SioneTonga b.1983Kato kafa toho 2018Woven coconut husk fibres (pulu) and coconut leaf midrib (tu’a niu)38.1 x 130.6 x 130.6cmPurchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

MAKANI Wilinggar, MickMildjingi Djinang peopleAustralia 1920–84Morning Star ceremony c.1960sNatural pigments on eucalyptus bark133 x 46cmAcc. 2020.285Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MAMINYAMANJA, Nakanapa TrevorAnindilyaugwa peopleAustralia active 1980sMinyamanja c.1980sNatural pigments on eucalyptus bark41 x 135.5cm (irreg.)Acc. 2020.296Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MANDARRK, WallyDangbon/Kune peopleAustralia 1915–87Birlmu (five barramundi) c.1960sNatural pigments on eucalyptus bark47 x 100cmAcc. 2020.274Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MANGGUDJA, Samuel GanarradjKunwinjku peopleAustralia c.1909–83Rainbow Serpent date unknownNatural pigments on eucalyptus bark34.9 x 47cmAcc. 2020.265Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MARIKA, DhuwarrwarrRirratjingu/Miliwurrwurr peopleAustralia b.c.1945Milngurr 2018Enamel paint on aluminium composite board (Alupanel)150 x 150cmAcc. 2019.135Purchased 2019 with funds from Anne Best through the Queensland Art Gallery | Gallery of Modern Art Foundation

Yalangbara 2019Natural earth pigments on bark176 x 91cmAcc. 2019.136Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

MARIKA, MathamanRirratjingu/Miliwurrwurr, Dhangu peopleAustralia c.1916–70Untitled (Buralku – spirit place for the dead) c.1960Natural pigments on eucalyptus bark76 x 37.5cmAcc. 2020.290Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MARIKA, Mawalan 1Rirratjingu/Miliwurrwurr, Dhangu peopleAustralia 1908–67Sacred totem animals c.1960Natural pigments on eucalyptus bark98 x 45cmAcc. 2020.125Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MARIKA, WandjukRirratjingu peopleAustralia 1927–87MARIKA, Mawalan 2Rirratjingu peopleAustralia b.1957Djan’kawu and his sisters 1980sNatural pigments on eucalyptus bark214 x 71cmAcc. 2020.291Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MATHEWSON, ThomasAustralia 1842–1934Mrs Selby (Brisbane) c.1870sAlbumen photograph on paper mounted on card10.3 x 6.3cmAcc. 2020.155

(Seated lady with open umbrella, Brisbane) c.1870Albumen photograph on paper mounted on card10.5 x 6.4cmAcc. 2020.156Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

MATHEWSON, Thomas (Photographer)Australia 1842–1934 MATHEWSON & Co (Studio)Australia 1876–late 1890s(Young woman with lace bow, Brisbane) c.1880sAlbumen photograph on paper mounted on card10.6 x 6.3cmAcc. 2020.157Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

MELLOR, DanieMamu/Ngadjonji and Anglo-Australian heritageAustralia b.1971The pleasure and vexation of history 2017Wax pastel, wash with oil pigment, watercolour and pencil on paper220 x 140cmAcc. 2019.113The Taylor Family Collection. Purchased 2019 with funds from Paul, Sue and Kate Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation


MENNIE, DonaldScotland 1875/87–c.1944; active China c.1899–1944Temple of Confucius (plate LXIII from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page38 x 28cm (sheet); 27.2 x 20.2cm (photogravure)Acc. 2019.225

Through the Ping Tzu Men, Peking (plate X from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page26.6 x 22cm (complete page)Acc. 2019.228

A Peking shop (plate XXIX from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page25.4 x 21cm (complete page)Acc. 2019.229

Anting Men street Peking (plate IV from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page18.2 x 19.6cm (complete page)Acc. 2019.230

Peking from Coal Hill (plate XLII from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page23 x 27cm (complete page)Acc. 2019.231

Camel study (plate XIII from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page27 x 22cm (complete page)Acc. 2019.232

The midday meal (plate XV from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page23 x 25.6cm (complete page)Acc. 2019.233

Marble gate at Chu Yung Kuan, Peking (plate XIV from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page28.4 x 21.1cm (complete page)Acc. 2019.234

Along the sunlit dusty street (near the Yung Ting Men) Peking (plate XV from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page19.8 x 29.4cm (complete page)Acc. 2019.235

A street in the Tatar City (plate XXII from ‘The Pageant of Peking’ book) c.1920Photogravure tipped on paper page23.2 x 25.2cm (sheet); 21.0 x 23.6cm (photogravure)Acc. 2019.236

The Pageant of Peking 1920, third edition printed 1922Book with 66 mounted ‘Vandyke’ photogravures, first limited edition of 100033.2 x 43 x 4.5cm (closed)Acc. 2019.237Gift of Gael Newton AM through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

METCALFE, Daniel FAustralia active in Qld c.1868–90(Five gentlemen, Brisbane) c.1860sAlbumen photograph on paper mounted on card10.2 x 6.4cmAcc. 2020.158

(Young girl with pink ribbons) c.1870s Albumen photograph on paper mounted on card, hand-coloured10.2 x 6.4cmAcc. 2020.159Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

MILLER, GodfreyAustralia 1893–1964Nude study c.1954Pencil on paper37 x 27cmAcc. 2020.112Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

MOLINIER, PierreFrance 1900–76Untitled (study of the French performance artist Thierry Agullo) 1976, printed 1994Cibachrome photograph29.8 x 29.5cmAcc. 2020.309

Untitled (study of the French performance artist Thierry Agullo) 1976, printed 1994Cibachrome photograph30 x 29.5cmAcc. 2020.310

Self-portrait with mannequin 1975, printed 1994Cibachrome photograph30 x 30cmAcc. 2020.311Gift of Alex and Kitty Mackay through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MOLVIG, JonAustralia 1923–70Madam Z c.1958–60Watercolour on paper58.5 x 44cmAcc. 2020.096Gift of Alex and Kitty Mackay through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MONTANO, AAUnited States 1847–1910Queen Emma of Hawai’i, Honolulu 1886Albumen photograph on paper mounted on cardImage: 14.4 x 10.4cm; card: 17.1 x 12.8cmAcc. 2020.080Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery l Gallery of Modern Art Foundation

MULLER, EmilAustralia active Toowoomba 1885–1904(Man in buttoned jacket, Toowoomba) c.1890Albumen photograph on paper mounted on card10.5 x 6.4cmAcc. 2020.160Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

MUNGATOPI, Deaf TommyTiwi peopleAustralia c.1925–85All-bin-mix-up c.1957Natural pigments on eucalyptus bark100 x 34cmAcc. 2020.126


Coral Dreaming Pukamani design c.1964Natural pigments on eucalyptus bark81 x 51.5cmAcc. 2020.127Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

MURAKAMI, TakashiJapan b.1962Oval 2000Plastic, vinyl, mini CD, ed. of 300025.5 x 18 x 18cm (overall)Acc. 2019.187a–ePurchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

MUYBRIDGE, EadweardUnited States 1830–1904Kangaroo Jumping (plate 751 from ‘Animal Locomotion’ album) 1887Collotype on paper21 x 34.3cm Acc. 2020.147

Cockatoo in Flight (plate 760 from ‘Animal Locomotion’ album) 1887Collotype on paper22.2 x 32.4cm Acc. 2020.148

Man leaping forwards (plate 163 from ‘Animal Locomotion’ album) 1887Collotype on paper22.9 x 33cm Acc. 2020.149Purchased 2020 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

NABUNU, Spider NamirrkiGunwinggu (Kunwinjku) peopleAustralia c.1925–75Male and female Namarnday, spirits of the Stone Country c.1966Natural pigments on eucalyptus bark107 x 52cmAcc. 2020.266Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NAINA, ClintonKu’a Ku’a & Erub/Mer peopleAustralia b.1971Untitled c.2011Bleach on paper74.7 x 54cm (sight)Acc. 2020.052Purchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

NAJOMBOLMI (Charlie Barramundi Naiyombolmi)Jawoyn-Kundedjnjenghmi peopleAustralia c.1890–67Untitled (six mimihs copulating) c.1958Natural pigments on eucalyptus bark70 x 40cmAcc. 2020.128

Spiny ant-eater spirits of Balawurru 1966Natural pigments on eucalyptus bark56 x 30cmAcc. 2020.260Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NALGONDA WEAVERIndiaDouble dupatta rumal early 20th centuryDyed cotton, warp and weft ikat, corner grids with supplementary weft115 x 257cmAcc. 2020.011

Embroidered dupatta rumal 2004Puttapaka saree, cotton yarn, silk embroidery, warp and weft ikat, dyes92 x 250cmAcc. 2020.013

Telia rumal with lions, clocks and swastikas c.1990sDyed cotton, warp and weft ikat in centre, supplementary weft lines in border corner112 x 208cmAcc. 2020.014

Telia rumal with Arab motifs c.1990sCotton with alizarin dye, warp and weft ikat, supplementary corner lines115 x 103cmAcc. 2020.015

Telia rumal with nine symbol repeat c.1990sDyed cotton, warp and weft ikat105 x 108cmAcc. 2020.017Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

NAMATBARA, Paddy CompassIwaidja peopleAustralia c.1890–1973Untitled (spirit figures) c.1960Natural pigments on eucalyptus bark94 x 46cmAcc. 2020.129Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NAMOK, RosellaUngkum peopleAustralia b.1979Yiipay & Kungkay (Stormy Day) 2000Synthetic polymer paint on canvas130 x 174cmAcc. 2020.244Gift of Suzanne Davies and Richard Dunn through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NAROMINakara peopleAustralia 1923–unknownBark painting of body painting c.1970Natural pigments on eucalyptus bark90 x 38cmAcc. 2020.276

Wandurrk: Spirit figure and bird date unknownNatural pigments on eucalyptus bark73.5 x 27 cmAcc. 2020.277Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program


NAROMI, MickNakara peopleAustralia 1923–unknownWandurk: Spirit figure from Gurrgoni Country 1980Natural pigments on eucalyptus bark94 x 24cmAcc. 2020.275Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NAWIRRIDJ, Barnabas GadjakAustralia c.1920–unknownCeremonial dance in a sacred cave c.1966Natural pigments on eucalyptus bark32.1 x 24.5cmAcc. 2020.267Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NEWILIMarri Ammu, Marri Ngarr and Murrinh Thebin peopleAustralia c.1910–93Tribal battle in the mangroves at Sandfly Creek 1971Natural pigments on eucalyptus bark42 x 72cmAcc. 2020.246Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NGALLAMETTA, JoelKugu-Muminh/Kugu-Uwanh peopleAustralia 1966–2019Thap Yonk 4 2018Natural pigments and synthetic polymer paint on canvasSix panels: 121 x 35cm (each); 242 x 105cm or 121 x 210cm (installed)Acc. 2019.156a–fPurchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

NGANJMIRA, Bobby BarrdjarayKunwinjku peopleAustralia 1915–92Snakes and mimih spirit c.1966Natural pigments on eucalyptus bark53.3 x 33cmAcc. 2020.268

Legend of Nimbuwah Rock 1968Natural pigments on eucalyptus bark69 x 33cmAcc. 2020.269

Mimihs spearing a kangaroo date unknownNatural pigments on eucalyptus bark78 x 60cmAcc. 2020.270

Sacred and secret – Kunapipi Ceremony date unknownNatural pigments on eucalyptus bark75 x 47cmAcc. 2020.271

Mythical Rainbow Serpent date unknownNatural pigments on eucalyptus bark28 x 44.5cmAcc. 2020.272

Mimih hunting goanna and fish c.1966Natural pigments on eucalyptus bark35.6 x 47cmAcc. 2020.273Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NGULEINGULEI MURRUMURRU, DickBularlkdja clan, Kunwinjku/Dangbon peopleAustralia c.1920–88Mimih hunting echidnas date unknownNatural pigments on eucalyptus bark58 x 58cmAcc. 2020.258

Spirit people and flying fox date unknownNatural pigments on eucalyptus bark39.4 x 66cmAcc. 2020.259Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NGULMARMAR, DickGanalbingu peopleAustralia 1911–79Untitled c.1965Natural pigments on eucalyptus bark73 x 39cmAcc. 2020.286Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

NILSEN, LaurieMandandanji peopleAustralia 1953–2020Once were Fishermen I 2014Barbed wire, wire mesh, enamel paint, food packaging and household debris49 x 236 x 49cm (irreg.)Acc. 2020.050a–

Once were Fishermen II 2014Wire mesh, bicycle tyre frames, PVC piping, cable ties, netting, food packaging63 x 190 x 63cm (irreg.)Acc. 2020.051Purchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

NOBLE, AnneNew Zealand b.1954Conversatio: A Cabinet of Wonder 2018Photographs, wooden cabinet, metal, glass, sound, scent, patterned perspex, colony of bees190 x 70 x 170cm (closed)Acc. 2019.114.001–003Gift of the artist through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

Dead Bee Portrait #1 2015, printed 2018Pigment on archival paper, ed. 6/1074 x 99cm Acc. 2019.120






Dead Bee Portrait #14 2016, printed 2018Pigment on archival paper, ed. 3/1074 x 99cm Acc. 2019.125The Taylor Family Collection. Purchased 2019 with funds from Paul, Sue and Kate Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

Eidolon (II) #3 20173D resin print12 x 10 x 10cmAcc. 2019.130Gift of the artist through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

OGAWA, KazumaJapan 1860–1929A waitress c.1900Hand-coloured collotype36 x 29.9cm; 26.2 x 18.2cm (image)Acc. 2019.192

Morning glory (frontispiece from album ‘Japan: Described and illustrated by the Japanese’ vol.4 1897–98) c.1895Hand-coloured collotype40.0 x 31.8cm; 26.7 x 21.6cm (image)Acc. 2019.193Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

OGAWA, attrib. to KazumaJapan 1860–1929Flower study c.1885Albumen silver photograph in carte de visite format 8 x 5cmAcc. 2019.191.001

Flower study c.1885Albumen silver photograph in carte de visite format8 x 5cmAcc. 2019.191.002

Flower study c.1885Albumen silver photograph in carte de visite format8 x 5cmAcc. 2019.191.003

Flower study c.1885Albumen silver photograph in carte de visite format8 x 5cmAcc. 2019.191.004Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

PARKER, HaroldAustralia 1873–1962Narcissus 1920Bronze statuette31.8 x 13.5 x 15.5cmAcc. 2020.089Gift of Rosamond Shepherd through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

PENNINGTON, LawrencePitjantjatjara peopleAustralia b.c.1934Pukara 2014Synthetic polymer paint on linen133 x 105cmAcc. 2019.210The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

PICASSO, PabloSpain 1881–1973Head of a young woman 1956Lithograph on paper, ed. unknown19.5 x 13.5cmAcc. 2019.133Bequest of June Marie Sherrin through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

Au Cirque (At the circus) (from ‘La Suite des Saltimbanques’ series) 1905–06, printed 1913Drypoint on Japon laid paper, ed. 27 or 29 [Bloch 9; Baer 11.b.1]22.2 x 14cm Acc. 2020.001Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

PICCININI, PatriciaAustralia b.1965The Field (Planting) 2018ABS and PPE plastic200 objects: 100 x 25 x 10cm (each, approx.); installed dimensions variableAcc. 2020.226.001–200Gift of the artist through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

Sacrifice (from ‘Your time starts now’ series) 1996Type C photograph on paper, ed. of 6135 x 135cm (sight)Acc. 2020.227Gift of Mark Pennings through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

POULSEN, Poul CAustralia 1857–1925(Gentleman with moustache, Brisbane) c.1890sAlbumen photograph on paper mounted on card10.5 x 6.3cmAcc. 2020.162

(Working man with hat) c.1880sAlbumen photograph on paper mounted on card10.6 x 6.3cmAcc. 2020.163

(Young gentleman, Maryborough) c.1880sAlbumen photograph on paper mounted on card8.6 x 7.5cmAcc. 2020.164

(Young lady, standing with hand on chair) c.1880sAlbumen photograph on paper mounted on card10.6 x 6.3cmAcc. 2020.170Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020


POULSEN, Poul C (Photographer) AMERICAN STUDIO (King William Street, Adelaide & Queen Street, Brisbane) (Studio)Australia(Lady with lace neck ruff and jewelled pinned bow) c.1880sTintype: emulsion on tin in paper mount9.8 x 6.1cmAcc. 2020.161Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

PRESLEY, PatjuPitjantjatjara peopleAustralia b.c.1845Kalaya Piti 2017Synthetic polymer paint on canvas137 x 110cmAcc. 2019.220The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

PURUNTATAMERI, StanislausTiwi peopleAustralia 1906–87The death of the first ancestor date unknownNatural pigments on eucalyptus bark68 x 60cmAcc. 2020.250Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

PUTTAPAKA WEAVERIndiaTelia rumal with clocks and planes c.1990sDyed cotton, warp and weft ikat, corner grids warp ikat and supplementary weft, alizarin dye120 x 120cmAcc. 2020.016

Sari 1999Cotton, warp and weft ikat, double ikat on border, synthetic dyes114 x 565cmAcc. 2020.025Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

RAMALINGUM, ChiluveruIndia b. unknownGeometric rumal 1997Dyed cotton, warp and weft ikat93 x 100cmAcc. 2020.020Gift of Dana McCown through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

RARRU, MargaretLiyagawumirr peopleAustralia b.1940Dhumala (Makassan canoe sail) 2019–20Woven pandanus (Pandanus spiralis), hand-rolled kurrajong (Brachychiton populneus) bark string150 x 281cmAcc. 2020.049Commissioned 2019 with funds from the Queensland Art Gallery | Gallery of Modern Art Foundation

RENNIE, RekoKamilaroi peopleAustralia b.1974Untitled #I (from ‘ALWAYS’ series) 2018Synthetic polymer and flash paint on cotton on cedar stretches240 x 148cm (irreg.)Acc. 2019.145Purchased 2019 with funds from Belinda and Darren Elderton through the Queensland Art Gallery | Gallery of Modern Art Foundation

RICTOR, IanPitjantjatjara peopleAustralia b.c.1955Untitled 2005Synthetic polymer paint on linen132 x 127cmAcc. 2019.217The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

RICTOR, MickPitjantjatjara peopleAustralia b.c.1956Pila Nguru 2018Synthetic polymer paint on canvas137 x 90cmAcc. 2019.218The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

ROBERTS, LukeAustralia b.1952Alpha 1991Watercolour on paper28 x 27.5cmAcc. 2020.113Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

ROGGENKAMP, MartinAustralia active 1874–1900(Young child seated on chair, Toowoomba) c.1880sAlbumen photograph on paper mounted on card10.3 x 6.3cmAcc. 2020.165Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

ROONEY, RobertAustralia 1937–2017Jennifer Phipps 1, July 1978 1978Type C photograph on paper20 x 30.5cm Acc. 2020.004

Jennifer Phipps 2, 1980 1980Type C photograph on paper20 x 30.5cm Acc. 2020.005Gift of the Estate of Jennifer Margaret Phipps through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

ROUGHSEY, Goobalathaldin DickLardil peopleAustralia 1924–85The Creation Story of the Lardil Tribe c.1964Natural pigments and synthetic polymer paint on bark (likely Messmate Stringybark (Eucalyptus obliqua))70 x 50.4cm (irreg.)Acc. 2019.152


Gidegal, the Moon Man c.1964Natural pigments and synthetic polymer paint on bark (likely Messmate Stringybark (Eucalyptus obliqua))61.5 x 36.5cmAcc. 2019.153

The coming of the Balamando people 1964Synthetic polymer paint on bark (Eucalyptus sp.)62 x 56cm (irreg.)Acc. 2019.154

First Missionary, Mornington Island 1977Synthetic polymer paint on composition board60 x 90cmAcc. 2019.155Purchased 2019 with funds from the Mather Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation

SAICK, SosereenFederated States of Micronesia b.c.1971Tetua (rooster) 2019Coconut fibre and rib, pandanus leaf and shells67 x 68 x 3.5cmAcc. 2019.200Purchased 2019 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

SHAW, MurielAustralia 1911–90(Portrait of a woman) c.1938Oil on canvas mounted on board45 x 40cmAcc. 2020.090

recto: (Cubist abstract) 1938verso: (Lady in white blouse) Oil on canvas51.2 x 41cm Acc. 2020.091a–bGift of Margaret Shaw and Helen Creagh in memory of Muriel FS Shaw through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

SHERRIN, FrankAustralia 1893–1968Boat anchorage, Breakfast Creek 1945Oil on canvas on board35.5 x 45.5cmAcc. 2019.129Bequest of June Marie Sherrin through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

SILVY, CamilleFrance/United Kingdom 1835–1910Queen Emma of Hawai’i in Paris 1865Albumen photograph on paper mounted on cardImage: 8.3 x 5.7cm; card: 9.5 x 6.4cmAcc. 2020.079Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery l Gallery of Modern Art Foundation

SITTHIKET, VasanThailand b.1957Thai Youth! (from ‘This World is not a Theatre’ series) 2000Synthetic polymer paint on canvas200 x 200cmAcc. 2020.305

Thai Prostitutes Monument! (from ‘This World is not a Theatre’ series) 2000Synthetic polymer paint on canvas200 x 200cmAcc. 2020.306

Unlimited Happiness of Minister! (from ‘10 Evil Scenes of Thai Politic’ series) 2010Synthetic polymer paint on canvas165 x 180cmAcc. 2020.307Gift of Alex and Kitty Mackay through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

STEWART, TyzaAustralia b.1990Green and Gold 2012Oil on panelDiptych: 45 x 30cm; 45.1 x 30cmAcc. 2020.232a–b

Untitled (self) 2012Oil on panel45.1 x 30cmAcc. 2020.233

mo screen recording #2 2013Oil on panel21.5 x 32.5cmAcc. 2020.234

selfie #1 2013Oil on panel45.1 x 30cmAcc. 2020.235

SO HAPPY 2 b in yr photo 2014Oil on panel120 x 45cmAcc. 2020.236

Untitled 2015Oil on panel122 x 61cmAcc. 2020.237Gift of Alex and Kitty Mackay through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

STIEGLITZ, AlfredUnited States 1864–1946In the New York Central Yards 1903, [published in ‘Camera Work’, no. 36, October 1911]Photogravure on Japanese tissue mounted to paper19.4 x 13.5cm Acc. 2020.118Purchased 2020 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

STILLFRIED-RATENICZ, Baron Raimund vonAustria 1839–1911; active Japan 1871–86 WATKINS, CarletonUnited States 1829–1916 BARKER, attrib. to GeorgeCanada 1844–94‘Photographic views’ album of Japanese photographs and American landscapes bound in London by Tapper booksellers and printers circa 1873 1860s–70sBound album with 50 albumen silver photographs33.2 x 43 x 5cm (closed)Acc. 2019.196.001–050Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation


TABER, Isiah West (Photographer)United States 1830–1912 TABER & CO. (Studio)United States 1875–1906Samoan Chief Lanulo and wife 1893–94Albumen photograph on paper mounted on cardImage: 11.6 x 20.4cm; sheet: 12.4 x 20cm; card: 13.4 x 20.4cmAcc. 2020.069Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

TATTERSALL, AJNew Zealand/Samoa 1866–1951Taupou (village maid) 1890sAlbumen photograph on paper mounted on cardImage: 20.8 x 13.6cm; card: 22.2 x 14.6cmAcc. 2020.067

Häuptling mit familie Samoa (Chief with the Samoa family) c.1890sAlbumen photograph on paper mounted on cardImage: 13.8 x 8.7cmAcc. 2020.068Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

TAWALE, SaloteFiji/Australia b.1976Person peel 2002Single-channel SD video: 2:05 minutes, colour, silent, ed. 1/6Acc. 2020.137

Ripper 2002Single-channel SD video: 6:40 minutes, colour, sound, ed. 1/6Acc. 2020.138

The Peel 2004Single-channel HD video: 5:08 minutes, colour, sound, ed. 1/6Acc. 2020.139

Rollergirl 2004Single-channel SD video: 2:48 minutes, colour, sound, ed. 1/6Acc. 2020.140

I get so emotional 2006Single-channel SD video: 4:30 minutes, colour, sound, ed. 1/4Acc. 2020.141

Dressing up: Ode to Mogul 2013Single-channel HD video: 9:17 minutes, colour, sound, ed. 1/4Acc. 2020.142

Pocari sweat 2014Single-channel HD video: 4:46 minutes, colour, sound, ed. 1/4Acc. 2020.143

Skull video (from ‘Sometimes you make me nervous’) 2015Single-channel HD video: 7:30 minutes, colour, silent, ed. 1/4Acc. 2020.144

Guard 2017Single-channel HD video: 5:45 minutes, colour, sound, ed. 1/4Acc. 2020.145Purchased 2020 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

TEQAE, Imelda VaevaviniTavula language groupSolomon Islands b.1968Sekeke Pua (clay pot) 2018Earthenware, hand-built14 x 16 x 17cmAcc. 2020.146Purchased 2020 with funds from the Oceania Women’s Fund through the Queensland Art Gallery | Gallery of Modern Art Foundation

THANAKUPIThaynakwith peopleAustralia 1937–2011Tribal brothers 1980sHand-built earthenware tiles with underglazesFour panels: 75 x 110 x 4cm (each, irreg.); 160 x 230 x 4cm (overall, irreg.)Acc. 2020.130a–dGift of Rio Tinto through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

TJAMPITJINPA, Kaapa MbitjanaAnmatyerre/Arrernte peopleAustralia c.1925–89Untitled (Goanna Story) 1971Synthetic polymer paint on composition board78.5 x 54.5cmAcc. 2020.033Purchased 2020 with the support of the Australian Government through the National Cultural Heritage Account and the Queensland Art Gallery | Gallery of Modern Art Foundation

TJAPALTJARRI, Mick NamarariPintupi peopleAustralia 1926–98‘Tingari’ Cycle Dreaming Journey 1972Synthetic polymer paint on composition board70 x 42cmAcc. 2020.034Purchased 2020 with the support of the Australian Government through the National Cultural Heritage Account and the Queensland Art Gallery | Gallery of Modern Art Foundation

TJUNGARRAYI, Shorty LungkardaPintupi peopleAustralia c.1920–87Water Dreaming 1972Synthetic polymer paint on composition board34 x 46cmAcc. 2020.036Purchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

TJUNGARRAYI, Yala Yala GibbsPintupi peopleAustralia c.1928–98Classic Travelling Dreaming 1971Synthetic polymer paint on composition board34.5 x 28.5cmAcc. 2020.037Purchased 2020 with the support of the Australian Government through the National Cultural Heritage Account and the Queensland Art Gallery | Gallery of Modern Art Foundation


TJUNGURRAYI, PatrickPintupi/Kukatja peopleAustralia c.1940–2017Untitled (Ngaru) 2009Synthetic polymer paint on linen183 x 244cmAcc. 2020.032Purchased 2020. Queensland Art Gallery | Gallery of Modern Art Foundation

TO, HiramAustralia 1964–2017The Pledge (from ‘I love you more than my own death’ series) 2007Steel, fibreglass, lenticular transparency, lightsFour parts: 180 x 100 x 60cm (installed)Acc. 2020.215a–d

The Prestige (from ‘I love you more than my own death’ series) 2007Steel, fibreglass, lenticular transparency, lightsThree parts: 220 x 300 x 50cm (installed, approx.)Acc. 2020.216a–c

8 Models (No. 1–8) (from ‘I love you more than my own death’ series) 2007Lithographic printing platesEight parts: 89 x 112 x 3cm (each, framed)Acc. 2020.217a–hGift of Helen Lai in memory of her son, Hiram To, through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

TRAILL, JessieAustralia 1881–1967A Japanese Mt Warning, Tweed River NSW 1921Aquatint on paper, 2nd state, ed. 4/524.5 x 15.5cmAcc. 2019.141Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

TREVOR, RAustralia active c.1895–98This is Tom’s family taken four years ago without the last boy (Childers) c.1890sAlbumen photograph on paper mounted on card10 x 13.8cm (image); 10.6 x 16.3cm (card)Acc. 2020.171Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

TUTTLE & CO (Sydney)Australia 1883–92Cunningham troupe in Sydney 1883Albumen photograph on paper mounted on card12.8 x 19.8cm (image)Acc. 2020.087Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

TYNDALL, PeterAustralia b.1951detailA Person Looks At A Work Of Art/ someone looks at something...LOGOS/HA HA ] In memory of Peter Beiers ( 2018A Person Looks At A Work Of Art/ someone looks at something...CULTURAL CONSUMPTION PRODUCTION Marker on paper with artist stamp, handwritten label on screenprint on paperTwo sheets: 42.5 x 29.5cm; 11.5 x 20cmAcc. 2020.101a–bGift of Peter Tyndall in memory of Peter Beiers through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

detailA Person Looks At A Work Of Art/someone looks at something… 1985A Person Looks At A Work Of Art/ someone looks at something...CULTURAL CONSUMPTION PRODUCTIONOil on canvas; gilded and varnished wood on canvas; gilded and varnished wood68 x 28.5cmAcc. 2020.116Gift of Timothy Morrell through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

UNDERWOOD, RoyPitjantjatjara peopleAustralia b.c.1937Mulaya 2013Synthetic polymer paint on linen136 x 90cmAcc. 2019.209The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

UNKNOWN (Photographer)JapanRice harvest c.1890Hand-coloured albumen silver photograph19.2 x 24.3cmAcc. 2019.195Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

UNKNOWN ARTISTFederated States of MicronesiaUrohs dereht (thread skirt) with flower mwahi (design) 2019Poly-cotton machine embroidery on cotton with acetate71 x 90 x 6cmAcc. 2019.199Purchased 2019 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

UNKNOWN ARTISTMarshall IslandsEk (fish) 2019Teneriffe needlework: Coconut fibre and rib, pandanus leaf and shells30 x 59 x 2cmAcc. 2019.201

Ek (fish) 2019Teneriffe needlework: Coconut fibre and rib, pandanus leaf, raffia and shells23.5 x 58 x 4cmAcc. 2019.202

Ek (fish) 2019Teneriffe needlework: Coconut fibre and rib, pandanus leaf and shells26 x 61.5 x 3cmAcc. 2019.203


Ek (fish) 2019Teneriffe needlework: Coconut fibre and rib, pandanus leaf and shells27.5 x 54 x 2.5cmAcc. 2019.204

Ek (fish) 2019Teneriffe needlework: Coconut fibre and rib, pandanus leaf and shells23.5 x 45.5 x 3cmAcc. 2019.205

Ek (fish) 2019Teneriffe needlework: Coconut fibre and rib, pandanus leaf, raffia and shells20 x 43 x 3cmAcc. 2019.206

Ek (fish) 2019Teneriffe needlework: Coconut fibre and rib, pandanus leaf and shells19 x 43 x 1.5cmAcc. 2019.207

Juon Bwijin in ek (school of fish) 2019Teneriffe needlework: Coconut fibre and rib, pandanus leaf and shells20 pieces: 7 x 12.5cm, 7 x 13cm, 6.5 x 12cm, 6 x 12.5cm, 8.5 x 13cm, 7.5 x 12.5cm, 7 x 12.5cm, 7.5 x 13cm, 8 x 13cm, 7 x 11.5cm, 6.5 x 12cm, 8 x 13.5cm, 8 x 12cm, 7.5 x 12cm, 8 x 13.5cm, 6.5 x 14cm, 8 x 14cm, 8 x 13.5cm, 7.5 x 13cm, 6.5 x 11cmAcc. 2019.208a–tPurchased 2019 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation

UNKNOWN (Photographer)ChinaChina – Golden Island, River Yangtsze c.1885Albumen silver photograph17.5 x 25.5cmAcc. 2019.224

Canton – view across the river to Shameen c.1890Albumen silver photograph20 x 27cmAcc. 2019.227Gift of Gael Newton AM through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

UNKNOWN (Photographer)Australia (Woman, baby and three children in front of Brisbane shingle-roofed house) c.1870sAlbumen photograph on paper mounted on card6.3 x 10.3cmAcc. 2020.166

(Woman, baby, three children and dog in front of Brisbane shingle-roofed house) c.1870sAlbumen photograph on paper mounted on card6.3 x 10.3cmAcc. 2020.167Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

UNKNOWN ARTISTAustraliaChest of drawers c.1880sQueensland Kauri pine, Black Bean, Australian Red Cedar, with ebony veneer inlays126.5 x 126.5 x 62cmAcc. 2019.158a–hGift of Meredith Osmond in memory of her mother Edith Meryl Cullen (née Raff) and great-grandfather Alexander Raff through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

UNKNOWN (Photographer)AustraliaA Torres Strait man ready for dance c.1900Gelatin silver photograph on paper7 x 11.4cmAcc. 2020.173

Judge Real’s residence and family group, Brisbane, Queensland c.1900Gelatin silver photograph on paper8.9 x 14.5cmAcc. 2020.174

Native dancer and musician, Murray Island c.1900Postcard: Black-and-white photographic print8.7 x 13.9cmAcc. 2020.192

Hair dressed in mourning, Aborigines, N. Queensland (from ‘Coloured Shell Series: Queensland Views’) 1914Postcard: Colour photographic print8.7 x 13.7cmAcc. 2020.193

Kanaka built house, Queensland c.1900Postcard: Colour photographic print8.7 x 13.7cmAcc. 2020.194

“Yaragar”, King of Barron. “Ye-i-nie” King of Cairns. Crowned Empire Day 1906 1906Postcard: Black-and-white photographic print13.8 x 8.7cmAcc. 2020.195

(Aboriginal clan group, North Queensland) c.1900Postcard: Black-and-white photographic print8.7 x 13.8cmAcc. 2020.196

Aboriginals, Mulgrave district 1904Postcard: Black-and-white photographic print8.7 x 13.6cmAcc. 2020.197

Kauri pine tree, L. Barrine, NQ c.1900Postcard: Black-and-white photographic print13.5 x 8.2cmAcc. 2020.198

Chinese orchard, Cardwell, Q c.1900Postcard: Colour photographic print8.6 x 13.7cmAcc. 2020.199

Barron River, Cairns (with three Indigenous figures) (from ‘Shell Series: Queensland scenery, rivers and creeks, series 1’) 1905Postcard: Black-and-white photographic print8.1 x 13.5cmAcc. 2020.200

Barron River, Cairns. Tropical Queensland c.1905Postcard: Colour photographic print9.1 x 14cmAcc. 2020.201


Mark, centre figure, somewhere in Queensland (Three figures seated on rock on the beach) c.1900Postcard: Black-and-white photographic print8.7 x 13.7cmAcc. 2020.202

Dunk Island Queensland Aus (Group of sailors) 1918Postcard: Black-and-white photographic print13.5 x 8.7cmAcc. 2020.203

Dunk Island Queensland 1918Postcard: Black-and-white photographic print13.5 x 8.7cmAcc. 2020.204

Aboriginal Camp, Queensland c.1900Postcard: Black-and-white photographic print8.7 x 13.7cmAcc. 2020.206

Queensland Aboriginals, near Townsville, North Queensland c.1900Postcard: Black-and-white photographic print8.9 x 13.9cmAcc. 2020.207

Aborigines, Nanango, Queensland (series II) c.1890Postcard: Black-and-white photographic print8.5 x 13.2cmAcc. 2020.208

Mainland Blacks Gulf of Carpentaria c.1900Postcard: Black-and-white photographic print8.6 x 13.7cmAcc. 2020.209

Olanda and others at Coconut (Poruma) Island c.1900Postcard: Black-and-white photographic print8.6 x 13.7cmAcc. 2020.210

Spear throwing Palm Is. Qld 1957Postcard: Black-and-white photographic print14.1 x 8.9cmAcc. 2020.211Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

UNKNOWN ARTISTAustralia Sea plants date unknownNatural pigments on eucalyptus bark87 x 47cmAcc. 2020.294Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

UNKNOWN (Photographer)Native village, Murray island c.1900Postcard: Black-and-white photographic print8.7 x 13.9cmAcc. 2020.212Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

UNKNOWN (Photographer)Queensland Aborigines. Calboonya, Fraser Island Aboriginal, with necklace of kangaroo teeth and seagull headdress c.1900Postcard: Black-and-white photographic print13.2 x 8.6cmAcc. 2020.213Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

UNKNOWN ARTISTBathurst IslandAustralia active 1930s–40sCeremonial dance ritual objects c.1940s or earlierNatural pigments on eucalyptus bark47 x 82.5cmAcc. 2020.248Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

UNKNOWN ARTISTBathurst and Melville IslandsAustralia active 1960sUntitled (Pukumani story) c.1960Natural pigments on eucalyptus bark75 x 53cmAcc. 2020.249Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

UNKNOWN ARTISTNorth-western Arnhem LandAustraliaLongneck turtle c.1950sNatural pigments on eucalyptus bark47 x 31cmAcc. 2020.251Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

UNKNOWN ARTISTWestern Arnhem LandAustraliaMimihs hunting echidna c.1960sNatural pigments on eucalyptus bark73.5 x 44cmAcc. 2020.256

Crocodile and water plant c.1950sNatural pigments on eucalyptus bark44 x 39cmAcc. 2020.257Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

UNKNOWN ARTISTGroote EylandtAustraliaUntitled (the artist’s Country) date unknownNatural pigments on eucalyptus bark45.5 x 25cmAcc. 2020.312

Untitled (bark of a butterfly) date unknownNatural pigments on eucalyptus bark65 x 41.5cmAcc. 2020.298

Turtles and a dolphin against a black background and surrounded by the constellation of the Seven Sisters date unknownNatural pigments on eucalyptus bark58 x 32.5cmAcc. 2020.299

Untitled (painting of a barracuda) date unknownNatural pigments on eucalyptus bark29 x 43cmAcc. 2020.300


Untitled (painting of a fish) date unknownNatural pigments on eucalyptus bark38.5 x 64.5cmAcc. 2020.301

Untitled (three barracuda) date unknownNatural pigments on eucalyptus bark33 x 22cm Acc. 2020.302

Sea creatures c.1960Natural pigments on eucalyptus bark39 x 88cmAcc. 2020.303

Cephalopod squid ‘Dilyimba’ 1950sNatural pigments on eucalyptus bark45.5 x 28cmAcc. 2020.304Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

UNKNOWN (Photographer)France/Australia Nouvelles Hebrides – Arrivee de nouveaux recrues a bord d’une goelette, [New Hebrides – arrival of new recruits aboard a schooner] (Blackbirders/returnees) c.1900Postcard: Black-and-white photographic print13.7 x 8.9cmAcc. 2020.205Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

UNKNOWN (Photographer)United StatesCENTENNIAL PHOTOGRAPHIC CO. (Sole licencee for photography, Centennial International Exhibition, Philadelphia)United StatesThe Queensland Court at the Philadelphia International Exhibition 1876Stereoscopic albumen photographs10.4 x 8cm (each)Acc. 2020.097Gift of Gael Newton AM through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

USUI, ShuzaburoJapan active 1869–89Woman spinning cotton c.1880Hand-coloured albumen silver photograph24.3 x 19.3cmAcc. 2019.194Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

WALKER, KaraUnited States b.1969Freedom, a fable 1997Offset lithographs and laser-cut paper, bound in brown leather, ed. of 400023.5 x 21 x 1.9cmAcc. 2019.188Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

WALKER, LennardPitjantjatjara peopleAustralia b.c.1946Minyma Tjutaku 2014Synthetic polymer paint on linen137 x 90cmAcc. 2019.212The Glenn Manser Collection. Gift of Glenn Manser in memory of Martin Wardrop through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019. Donated through the Australian Government’s Cultural Gifts Program

WARRABADALUMBA, attrib. to Jabarrgwa KneepadAnindilyaugwa peopleAustralia c.1896–1975Untitled (clouds) c.1962Natural pigments on eucalyptus bark38.5 x 66cmAcc. 2020.297Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

WATSON, JohnAustralia active 1855–75Robert Wallace (Brisbane) c.1870Albumen photograph on paper mounted on cardImage: 8.5 x 5.3cm; card: 14.3 x 10.7cm Acc. 2020.175Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

WEED, Charles LUnited States 1824–1903Fiji cannibals c.1880Albumen photograph on paper mounted on cardImage: 8.6 x 5.8cm; card: 10.4 x 6.3cmAcc. 2020.070Purchased 2020 with funds from the Estate of Jessica Ellis through the Queensland Art Gallery | Gallery of Modern Art Foundation

WHITELEY, BrettAustralia 1939–92Small hissing painting 1965Oil and metal tube on boardBoard: 43 x 38cm; frame: 55 x 49.5cmAcc. 2020.120Gift of Suzanne Davies in memory of John Dowell Davies AO, Betty Olive and Pamela Jane Davies through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

WILDER, Joseph WarrinAustralia active 1862–82(Indian gentleman, Rockhampton) c.1872–82Albumen photograph on paper mounted on card10.5 x 6.4cmAcc. 2020.168Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

THE WILEY STUDIO (Brisbane)AustraliaMrs O’Neill with love from [illeg.]. Brisbane, Sept 1896 c.1896Albumen photograph on paper mounted on card13.2 x 9.2cm (image); 16.5 x 10.7cm (card)Acc. 2020.172Gift of Ross Searle through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020

WILSON, Regina PilawukNgan’gikurrunggurr peopleAustralia b.1948Yerrdagarri (Message stick) 2018Synthetic polymer paint on linen200 x 220cmAcc. 2019.149Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation


WOODBURY AND PAGE (Photographic studio)England/Indonesia; active Indonesia 1857–1908UNKNOWN (Photographers)Middle East 19th centuryUNKNOWN (Photographers)England 19th century‘Photographic views’ album of Indonesian and Middle Eastern landscapes bound in London by Tapper booksellers and printers circa 1873 1860s–70sBound album with 45 albumen silver photographs33.2 x 43 x 5cm (closed)Acc. 2019.197.001–045Purchased 2019 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

WULULU, JimmyGupapuyngu peopleAustralia 1936–2005Hollow log ceremony 1965Natural pigments on eucalyptus bark129.5 x 66cmAcc. 2020.287Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

WUNUNGMURRA, DjirrirraDhalwangu/Narrkala peopleAustralia b.1968Buyku 2019Natural pigments on incised bark181 x 79cmAcc. 2019.137

Buyku (Larrakitj) 2019Stringybark wood with natural pigments on hollow stringybark pole271 x 30 x 30cmAcc. 2019.138Purchased 2019. Queensland Art Gallery | Gallery of Modern Art Foundation

WURRKIDJ, Anchor BarbuwaKunwinjku peopleAustralia 1924–77Mythical echidna hunted by mimih c.1960sNatural pigments on eucalyptus bark40.6 x 66cmAcc. 2020.261Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

YIRAWALAKunwinjku peopleAustralia c.1894–1976Lorrkon ceremony dance of skeletons date unknownNatural pigments on eucalyptus bark78 x 37cmAcc. 2020.252

Waterholes date unknownNatural pigments on eucalyptus bark82.5 x 27cmAcc. 2020.253

Lumaluma c.1970Natural pigments on eucalyptus bark64 x 33cmAcc. 2020.254

Untitled (mimih spirit) c.1970Natural pigments on eucalyptus bark71 x 31cmAcc. 2020.255Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

YOUNGHAE CHANG HEAVY INDUSTRIESSouth Korea est. 1999CRUCIFIED TVS – NOT A PRAYER IN HEAVEN 2018Five-channel video installation: 19:14 minutes, black and white, sound, 16:9, ed. 1/3 (+ 2 A.P.)Installed dimensions variableAcc. 2019.115Gift of YOUNGHAE CHANG HEAVY INDUSTRIES through the Queensland Art Gallery | Gallery of Modern Art Foundation 2019

YUNUPINGU, MunggurruwuyGumatj peopleAustralia c.1907–78Macassan Praus c.1958Natural pigments on eucalyptus bark110 x 72cmAcc. 2020.292Gift of Robert Bleakley through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program

ZAVROS, MichaelAustralia b.1974Homework 2014Giclée print on cotton rag paper, ed. A.P. 1/8112.5 x 150cm Acc. 2020.228Gift of the artist through the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated through the Australian Government’s Cultural Gifts Program


ExhibitionsUnless otherwise stated, all exhibitions are organised by QAGOMA.

* Indicates an exhibition where its duration was impacted by the Gallery's temporary closure in line with COVID-19 restrictions. The Gallery was closed from midday on 23 March 2020 to 21 June 2020 (QAG) and from midday 23 March to 6 August 2020 (GOMA).

Indigenous Australian Art Collection: Namatjira Story*17 June 2017 – 5 October 2020 | QAGCurated by Bruce Johnson McLean

‘Namatjira Story’ interweaves works by renowned Aboriginal artist Albert Namatjira with paintings by his mentor Rex Battarbee, and explores the legacy of Namatjira’s influence on the first, second and fourth generation of artists in the Arrernte landscape painting and ceramics tradition.

A Fleeting Bloom: Japanese Art from the Collection8 September 2018 – 29 September 2019 | QAGCurated by Tarun Nagesh

This exhibition celebrated the classic arts of Japan. Magnificent folded screens, ceramics, photography and paintings captured moments of beauty through seasonal aspects of nature, the passages of history, and the philosophies of transcendence and impermanence that underpin forms of Buddhist art. The exhibition featured key works bequeathed by James Fairfax AC.

Goobalathaldin Dick Roughsey: Stories of this Land30 March – 18 August 2019 | QAGA collaboration between Cairns Art Gallery and QAGOMA, curated by Teho Ropeyarn (Cairns Art Gallery) and Bruce Johnson McLean (QAGOMA)

‘Stories of this Land’ was the first major retrospective celebrating the life and work of Goobalathaldin Dick Roughsey (1924–85). The exhibition brought together 70 works, including barks, paintings, ceremonial and historical objects, draft illustrations from Roughsey’s children’s book, The Rainbow Serpent, and three storybook films.

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A collaboration between Queensland Art Gallery | Gallery of Modern Art and Cairns Art Gallery

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Exhibitions and programs

Creative Generation Excellence Awards in Visual Art (2019)25 May – 25 August 2019 | GOMAAn initiative of the Department of Education and Training, supported by QAGOMA

This annual exhibition showcased the achievements of senior visual art students from schools throughout Queensland.

Desert Colours: Central Australian Painting 25 May – 15 December 2019 | GOMACurated by Bruce Johnson McLean

Since the 1970s, Australia’s arid interior has been redefined by Aboriginal artists as a place of great natural and cultural vibrancy. In ‘Desert Colours’, works by some of the best known ‘colour painters’ from the Central and Western Desert attest to their spiritual connection to Desert Country, culture and life in the region, and the brilliance of its landscape.

Geometries25 May 2019 – 2 February 2020 | QAGCurated by Peter McKay and Ellie Buttrose

This exhibition showcased works by artists who excel in creating mesmerising optical effects using deceptively simple strategies. Their works explore the structuring relationships between the most elementary components of shape, scale and sequencing.

Perceptions of Time*25 May 2019 – 23 March 2020 | GOMACurated by Amanda Slack-Smith

‘Perceptions of Time’ looked at the different ways in which artists explore how perceptions of time can be altered through the intervention of personal experiences and histories.


Margaret Olley: A Generous Life15 June – 13 October 2019 | GOMACurated by Michael Hawker

‘A Generous Life’ examined the legacy and influence of much-loved Australian artist Margaret Olley (1923–2011), who spent a formative part of her career in Brisbane. Olley was a charismatic character who exerted a lasting influence on many artists, from William Dobell to Jeffrey Smart, as a mentor, friend and muse over several decades.

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Nicolas Molé: They look at you*15 June 2019 – 23 March 2020 | GOMA

Nicolas Molé’s immersive animated installation embodies the forest environment of his ancestral home, Lifou, in New Caledonia. This major installation was last seen in Brisbane in 2015 when it premiered as part of ‘The 8th Asia Pacific Triennial of Contemporary Art’.

Quilty29 June – 13 October 2019 | GOMAA partnership between the Art Gallery of South Australia, QAGOMA and the Art Gallery of New South Wales. Curated by Lisa Slade (Art Gallery of South Australia)

Ben Quilty is one of Australia’s most acclaimed contemporary artists. ‘Quilty’, his first major survey exhibition in a decade, explored his early reflections on the initiation rituals performed by young Australian men, his experience as an official war artist in Afghanistan and his campaign to save the lives of Bali Nine pair Andrew Chan and Myuran Sukumaran. The exhibition also included works inspired by Quilty’s visits with author Richard Flanagan to Lebanon, Lesbos and Serbia; his revisions of the Australian landscape; and raw, intimate portraits of himself, family and friends.

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Work, Work, Work*3 August 2019 – 23 March 2020 | GOMA Curated by Ellie Buttrose

‘Work, Work, Work’ brought together artworks from the Gallery’s Collection from across the globe that responded to the ideas of work and labour.

I, Object*3 August 2019 – 29 August 2021 | GOMA Curated by Bruce Johnson McLean and Katina Davidson

‘I, Object’ looks at the many complex relationships Indigenous Australian artists have with objects: from the histories informing their creation to the social and cultural consequences of their collection. Many Indigenous people consider their cultural objects as family or as part of themselves — physical, tangible products of their cultural inheritances. Throughout the world, many museums hold significant items of Indigenous cultural material. These items, considered by many to be ancestors, are a great source of pride and inspiration; however, their housing in public and private collections over many generations also represents a great source of cultural loss and trauma.

Jon Molvig: Maverick14 September 2019 – 2 February 2020 | QAGCurated by Michael Hawker

Jon Molvig (1923–70) spent the greater part of his productive life in Brisbane, where he dominated the art scene into the late 1960s. Brisbane was the catalyst for his major works, providing him with scope for his expressionist view of the world. This survey exhibition acknowledged his contribution to the local art community, featured his early, vibrant works drawing on European influences, and brought his stylistic eclecticism to the fore.

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Shirley Macnamara: Dyinala, Nganinya21 September 2019 – 1 March 2020 | QAGCurated by Diane Moon

Queensland sculptor and weaver Shirley Macnamara of the Indjalandji/Alyawarr people is an inspirational Indigenous Australian artist. This exhibition highlighted Macnamara’s unique sculptural pieces crafted from the spinifex plant and its runner roots, and featured works from the full span of her practice from 1997 to 2019.

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Setting the Stage21 September 2019 – 22 March 2020 | GOMACurated by Amanda Slack-Smith

'Setting the Stage' featured artists who reflect on the theatrical stage within their work, drawing on its construction, aesthetic language and purpose. The exhibition accompanied the 2019 Brisbane International Film Festival (BIFF) and brought together works across various media that use sets, props, costumes and staging.

Works from the Asian Collection*26 October 2019 – 11 October 2020 | QAGCurated by Tarun Nagesh

This exhibition explores the gradual shifts in pattern, colour and technique that can be traced across thousands of years in ceramics from China, Japan, Korea and South-East Asia, along with shared motifs, technological developments, and the marks of artistic influence that have spread through ages and across cultures.

Water*7 December 2019 – 23 March 2020 | GOMACurated by Geraldine Kirrihi Barlow. Ticketed exhibition

From major immersive experiences to smaller-scale treasures by Australian and international artists, ‘Water’ highlighted this precious resource and aimed to spark conversations on the environmental and social challenges faced by the world today. Among the must-see artworks in the exhibition were Riverbed 2014 by Danish–Icelandic artist Olafur Eliasson, featuring a stream running through a vast landscape, which was created from more than 110 tonnes of rock; Peter Fischli and David Weiss’s Snowman 1987/2017–19; Julian Charrière’s The Blue Fossil Entropic Stories I 2013, a powerful image of an iceberg being blowtorched; RE FORMATION 2016–19, a large sculptural oyster-shell midden by Quandamooka artist Megan Cope; and Cai Guo-Qiang’s Heritage 2013, an installation of 45 life-size animals gathered around a pristine blue lake.

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Indigenous Women Painters*23 December 2019 – 23 March 2020 | GOMACurated by Katina Davidson

Indigenous women painters contribute significantly to the cultural life of Queensland. In the majestic Dibirdibi Country 2008, Kaiadilt artist Mirdidingkingathi Juwarnda Sally Gabori represents the site of Kabararrji, on Bentinck Island off the coast of Queensland in the Gulf of Carpentaria. Makarrki – King Alfred's Country 2008, a collaboration involving seven senior painters from Bentinck Island, shows the country of King Alfred, a senior Kaiadilt law man and leader at a time when the Kaiadilt people were uprooted from Bentinck and Sweers Islands to Mornington Island. Jolene Roughsey, a Lardil painter from Gununa, is a granddaughter of the well-known painter Goobalathaldin Dick Roughsey (1924–85). Her bold painting Headband 2005 is an interpretation of the distinctive headband worn by male dancers of her family group.


Ai Weiwei: Boomerang*29 February 2020 – 8 August 2021 | QAG

Composed of 270 000 crystal pieces, Ai Weiwei’s Boomerang, first installed during ‘The 5th Asia Pacific Triennial of Contemporary Art’ in 2006, fills the soaring space of QAG’s Watermall. The work is both a dreamscape and a monument to consumption and the conspicuous display of new wealth.

Errant Objects* 29 February 2020 – 8 August 2021 | QAGCurated by Reuben Keehan

Inspired by Ai Weiwei's Boomerang 2006, ‘Errant Objects’ explores the legacy of the readymade, as well as assemblage and the re-contextualisation of cultural objects, through works from the Gallery’s contemporary Asian art holdings.

Gods and Gridlock*29 February 2020 – 8 August 2021 | QAGCurated by Reuben Keehan

‘Gods and Gridlock’ features works by artists who, by experimenting with techniques and iconography, seek the relevance of classical thangka painting in an age of digital communication. Scroll paintings that emerged from Buddhist figurative traditions in India and China, thangka flourished in Tibet from the eleventh century onwards. Recognisable for their precise brushwork, detailed imagery and strictly proportionate geometry, these paintings principally depict the Buddha and other deities or teachers. They function as educational, devotional and meditational aids, but also serve as sources of artistic innovation and reflection.

Mavis Ngallametta: Show Me the Way to Go Home*21 March 2020 – 7 February 2021 | QAGCurated by Bruce Johnson McLean and Katina Davidson

Mavis Ngallametta (1944–2019) made a profound contribution to arts and culture nationally and particularly in her home state of Queensland. An elder of the Putch clan and a cultural leader of the Wik and Kugu people of Aurukun, Mavis Ngallametta was one of the most well-regarded, senior, community-based artists in Australia. This exhibition surveys a decade of her intricate and animated paintings, bringing together major works from her Pamp/Swamp, Kendall River, Wutan, Ikalath, Yalgamunken, intertidal estuary and bushfire series for the first time.

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Creative Generation Excellence Awards in Visual Art (2020)18 April – 22 June 2020 An initiative of the Department of Education and Training, supported by QAGOMA

This annual exhibition showcases the achievements of senior visual art students from schools throughout Queensland. In 2020, the exhibition and supporting collateral was presented online only due to the impacts of COVID-19.


QAGOMA Learning project

Open Studio*8 June 2019 – ongoing | QAG

Open Studio explores the creative practice of contemporary Australian artists. Featured artists share their studio practice and provide insights into how they work. Artists included John Honeywill (8 June – 29 September 2019), Natalya Hughes (5 October 2019 – 27 January 2020) and Grace Lillian Lee (1 February – 5 October 2020).

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This project is supported by the Copyright Agency's Cultural Fund.

Children’s Art Centre exhibitions and projects

Ben Quilty: Family Portrait 15 June – 20 October 2019 | GOMACurated by Tamsin Cull, Laura Mudge and Jacqueline Tunny

Opening in advance of the major exhibition ‘Quilty’ at GOMA, ‘Ben Quilty: Family Portrait’ invited young visitors to explore portraiture in an artist studio setting. The exhibition was developed in collaboration with the artist and his two children.

Island Fashion10 August 2019 – 15 March 2020 | GOMACurated by Tamsin Cull, Laura Mudge and Jacqueline Tunny

‘Island Fashion’ celebrated the influence of cultural traditions, contemporary art and fashion design in the work of Australian and Pacific artists. The exhibition showcased the work of Grace Lillian Lee, Letila Mitchell, Maryann Talia Pau and Ranu James, all of whom act to preserve cultural knowledge and strengthen ties in their communities through their art practice. Hands-on making and multimedia activities encouraged children to explore fashion and adornment.

Below the Tide Line*7 December 2019 – 23 March 2020 | GOMADeveloped by QAGOMA in collaboration with Erub Arts and artists Marion Gaemers and Lynnette Griffiths, and presented in association with ‘Water’ at GOMACurated by Tamsin Cull, Laura Mudge, Jacqueline Tunny and Cosima Scales

The artists featured in 'Below the Tide Line' create sculptures made out of ghost nets to raise awareness about ocean pollution. 'Below the Tide Line' featured a spectacular display of ghost net artworks, as well as a drawing activity and an interactive screen-based animation exploring ocean conservation issues. A number of workshops invited members of the public to work with ghost nets to make a piece of coral to add to a collaborative ‘coral bommie’ in the exhibition.


Australian Cinémathèque programs and screenings

Nothing But Time5 July – 1 September 2019 | GOMACurated by Rosie Hays

‘Nothing But Time’ considered our complex relationship with the temporal experience, balancing the relentless ticking of the clock with our desire to savour life before it passes us by. Screening in association with ‘Perceptions of Time’ (GOMA), these films examined how we negotiate our emotional connection to the passage of time, and how this informs the narratives we construct. The program featured a special event screening of the classic silent film Safety Last! 1923, directed by Fred C Newmeyer and Sam Taylor, which was accompanied by a new score performed by David Bailey on the Gallery’s 1929 Wurlitzer organ.

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Peter Strickland: Capturing the Uncanny26–28 July 2019 | GOMAPresented in partnership with the Queensland Film Festival

This retrospective of Peter Strickland’s films and radio plays included the Queensland premiere of his most recent feature, In Fabric 2018.

Mahamat-Saleh Haroun6–22 September 2019 | GOMACurated by Rosie Hays

Mahamat-Saleh Haroun is a unique voice in contemporary cinema. His subtly crafted films engage with the African experience, whether critiquing the strictness of Muslim schools in Chad or presenting a gentle portrait of the refugee experience on the streets of Paris.

Brisbane International Film Festival 20193–13 October 2019 | GOMA and cinema partnersArtistic Director: Amanda Slack-Smith

This was the second iteration of the long-running and much-loved Brisbane International Film Festival (BIFF) presented by QAGOMA. Across 11 days, BIFF 2019 celebrated contemporary international and Australian screen culture with new-release features, documentaries, short films and curated programs, alongside screenings with live music, conversations and panel discussions. BIFF was presented in association with six cultural and commercial partners. Festival Patrons were Academy Award-nominated writer, director and producer Baz Luhrmann, and his collaborator of over 30 years, Academy Award-winning costume and production designer Catherine Martin.

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BIFF acknowledges the generous support of its 2019 Champions: Belinda Elderton, Darren Elderton, Gina Fairfax, Mary-Jeanne Hutchinson, Professor Emeritus Ian O’Connor AC, Liz Pidgeon and Rick Wilkinson.


Staged Directions25 October – 16 November 2019Curated by Amanda Slack-Smith

Inspired by ‘Setting the Stage’ in GOMA, ‘Staged Directions’ looked at the way filmmakers draw on the formal aspects of the stage — construction, aesthetics, language and purpose — to role-play social and political ideas within their works. SPONSOR

APSA 2019 Best Animated Feature Film Nominees16–17 November 2019Presented in partnership with SIGGRAPH Asia and the Asia Pacific Screen Awards

This program showcased the nominees for Best Animated Feature Film at the 2019 Asia Pacific Screen Awards. A short film winner from the 2018 SIGGRAPH Asia Computer Animation Festival preceded the screening of each feature film.

In Conversation + Film: Sunday Too Far Away20 November 2019Presented in partnership with the Asia Pacific Screen Awards and in association with NFSA Restores, the National Film and Sound Archive’s digital restoration program

A landmark film in the re-emergence of Australian film production in the 1970s, Sunday Too Far Away 1975 tells the story of a shearers' strike in the 1950s. The screening was followed by an in-conversation with APSA Academy President Jack Thompson AM, the star of the film, and renowned Australian actor David Wenham.

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Kinokonzert: Ensemble Offspring & Nosferatu21 November 2019Presented in partnership with the Goethe-Institut Australien

This special live music and film event brought together the virtuoso musicians of the Sydney-based contemporary chamber group Ensemble Offspring and FW Murnau’s iconic silent film Nosferatu: A Symphony of Horror 1922.

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Paul Schrader: God's Lonely Man22 November – 15 December 2019Curated by Robert Hughes

Director and screenwriter Paul Schrader is one of the most influential and revered figures of 1970s New Hollywood cinema, with his screenplays having been adapted by many highly respected filmmakers, including Sydney Pollack (The Yakuza 1974), Martin Scorsese (Taxi Driver 1976) and Brian De Palma (Obsession 1976). Stepping behind the camera as director for the first time with Blue Collar 1978, Schrader is now in his fifth decade of filmmaking and remains one of the most incisive and prescient figures in modern American cinema. His most recent film, First Reformed 2017 earned Schrader his first nomination for Best Original Screenplay at the 2019 Academy Awards. This program presented a selected retrospective of Schrader’s screenplays, both directed by the writer and by a number of his notable contemporaries.

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The Noise of Waters17 January – 8 March 2020Curated by Robert Hughes

Presented in association with ‘Water’ (GOMA), ‘The Noise of the Waters’ brought together films that explored humanity’s complex and contradictory relationship with water. Two silent films with new scores featured — the newly restored Buster Keaton comedy Steamboat Bill, Jr 1928, directed by Charles Reisner, was accompanied by David Bailey playing the Gallery’s 1929 Wurlitzer organ; and Jean Grémillon’s The Lighthouse Keepers 1929 was accompanied by a soundtrack by local New Wave band Corporate Vibes.

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Kinokonzert: Ashley Hribar and The Cabinet of Dr Caligari5 March 2020Presented in partnership with the Goethe-Institut Australien

Considered a quintessential work of German expressionist cinema, The Cabinet of Dr Caligari 1920 tells the story of a deranged hypnotist who uses a somnambulist to commit murders on his behalf. Celebrating the centenary of its release with a new 4K digital restoration, the screening was accompanied by a score by Australian pianist–composer Ashley Hribar.

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Portrait of a Woman on Fire: Céline Sciamma13–22 March 2020Curated by Victoria Wareham

An exciting voice in contemporary French cinema, filmmaker Céline Sciamma approaches themes of gender fluidity, adolescence and love in an authentic way. Sciamma received widespread critical acclaim for her coming-of-age trilogy (Water Lilies 2007, Tomboy 2011 and Girlhood 2014), and is highly sought after as a scriptwriter. She was awarded the Best Screenplay and Queer Palm awards at the most recent Cannes Film Festival for her directorial feature Portrait of a Lady on Fire 2019. This program showcased Sciamma as both writer and director.

Cancelled programsSome Australian Cinémathèque programs were cancelled — screenings for the World Science Festival Brisbane 2020, ‘All in a Day’s Work’ and ‘Live Music and Film: Modern Times’ — due to the Gallery’s temporary closure in alignment with COVID-19 restrictions.


QAGOMA Touring Exhibitions presented in regional Queensland

The dates listed below reflect tour venues in 2019–20; some of these exhibitions also toured in 2018–19 or will tour in 2020–21.

Physical Video Curated by Amanda Slack-Smith

'Physical Video' features video art drawn from the Gallery’s Collection that shows how artists use physical gestures and actions to illustrate social, political and aesthetic concerns.

Logan Art Gallery 2 August – 7 September 2019

Hervey Bay Regional Gallery 14 September – 20 October 2019

Gympie Regional Gallery 20 November 2019 – 11 January 2020

The Centre Beaudesert 17 January – 18 March 2020

The Butter Factory Cooroy 26 June – 1 August 2020*

‘Physical Video’ at The Butter Factory Cooroy was rescheduled from its original advertised dates (27 March – 3 May 2020) due to COVID-19 restrictions.

Island Fashion on Tour* 1 January – 30 October 2020 Developed by the Children’s Art Centre in collaboration with artists Grace Lillian Lee, Letila Mitchell, Maryann Talia Pau and Ranu JamesCurated by Tamsin Cull, Laura Mudge, Jacqueline Tunny and Henri van Noordenburg

This free program — planned for more than 110 venues around Queensland and the Torres Strait — encourages children and families to get creative with fashion and adornment through hands-on making and multimedia activities. ‘Island Fashion on Tour’ celebrates the influence of traditional cultures, contemporary art and fashion design in the work of Australian and Pacific artists.

‘Island Fashion on Tour’ was extended from its original advertised end date of 30 April 2020 to 30 October 2020 due to COVID-19 restrictions. A total of 21 venues hosted the program from 1 January to 30 April 2020; the remaining venues are scheduled to host the program between 1 July and 30 October 2020.

Robert MacPherson: BOSS DROVERS Curatorial coordinators: Peter McKay, Henri van Noordenburg and Simon Wright

‘Robert MacPherson: BOSS DROVERS’ is a touring installation of 200 drawings from the 2400 individual sheets that form the single work 1000 FROG POEMS: 1000 BOSS DROVERS (“YELLOW LEAF FALLING”) FOR H.S. 1996–2014 by Robert MacPherson.

Artspace Mackay 4 May – 7 July 2019

Perc Tucker Regional Gallery, Townsville 13 July – 1 September 2019

Toowoomba Regional Art Gallery 19 October – 1 December 2019

Redland Art Gallery 8 December 2019 – 26 January 2020

Caboolture Regional Art Gallery 13 June – 12 September 2020

Venues in Gympie and Bundaberg were also scheduled to host this exhibition, but these tour dates were cancelled due to COVID-19 restrictions.

Exhibitions presented internationally

Contemporary Art from Asia, Australia and the Pacific: Selected Works from QAGOMA’s Asia Pacific Triennial23 August – 18 October 2019, Centro Cultural Palacio la Moneda (CCLM), Santiago, ChileThis exhibition was a collaboration between QAGOMA and CCLM

Following an invitation from CCLM Director Beatriz Bustos Oyanedel — an Australia Council-funded international visiting professional to ‘The 9th Asia Pacific Triennial of Contemporary Art’ (APT9) — QAGOMA presented an exhibition of works from APT9 and previous APTs at Santiago’s CCLM.

Due to civil unrest in Santiago, this exhibition closed earlier than its original advertised end date of 8 December 2019.

GOVERNANCE Queensland Art Gallery Board of Trustees Annual Report 2019–20 57

GOVERNANCE

Organisational chart as at 30 June 2020

Food and Beverage Services and

Events

Business Development

and Partnerships

Retail

Media

Marketing, Advertisingand Digital

Digital Transformation

DirectorateDirector, Chris Saines CNZM

Audit and Risk Management CommitteeChair, Catherine Sinclair

QAGOMA Foundation Committee

President, Tim Fairfax AC

ExhibitionManagement

Australian Art

Asian and Pacific Art

International Art

Australian Cinémathèque

Conservation andRegistration

Public Engagement

Design, Workshop and Installation

Information and Publishing

Learning

Queensland Art GalleryBoard of Trustees

Chair, Professor Emeritus Ian O'Connor AC

Collection and ExhibitionsDeputy Director,

Simon Elliott

Learning and Public Engagement Assistant Director,

Simon Wright

QAGOMA Foundation

Development and Commercial Services

Assistant Director, Tarragh Cunningham

Operations and Governance

Assistant Director, Duane Lucas

Finance

Governance and Reporting

Protection and Visitor Services

Facilities

Information Management

and Technology

58 Queensland Art Gallery Board of Trustees Annual Report 2019–20 GOVERNANCE

Board member Role Term of appointmentNumber of meetings attended

Remuneration

Professor Emeritus Ian O’Connor AC

Chair and member2/3/17 – 1/3/202/3/20 – 1/3/23

5 $7500

Rick Wilkinson Deputy Chair and member 2/3/17 – 1/3/20 4 $2250

Elizabeth Pidgeon Deputy Chair^ and member2/3/17 – 1/3/202/3/20 – 1/3/23

5 $3000

Dr Bianca Beetson Member 1/11/18 – 31/10/21 6 $3000

The Honourable Justice Martin Daubney AM

Member 2/3/20 – 1/3/23 2 Nil#

Gina Fairfax Member 2/3/17 – 1/3/202/3/20 – 1/3/23

5 $3000

The Honourable John Mickel Member 9/3/17 – 4/2/20 3 $1786.88

Catherine Sinclair Member 2/3/20 – 1/3/23 2 $1000

Paul Taylor Member2/3/17 – 1/3/202/3/20 – 1/3/23

6 $3000

Remuneration listed above is in line with the period of the relevant appointment. The Board incurred $0 total out-of-pocket expenses during the year.

^ Appointed Deputy Chair 27/4/20

# Not eligible for fees as a public sector employee

Management and structure

Queensland Art Gallery Board of Trustees

The Queensland Art Gallery Act 1987 stipulates that the Board consists of the number of members appointed by the Governor in Council. In appointing a member, regard must be had to the person’s ability to contribute to the Board’s performance and the implementation of its strategic and operational plans. A person is not eligible for appointment as a member if the person is not legally able to manage a corporation under the Corporations Act 2001 (Cth). Members are appointed for terms of not more than three years and are eligible for reappointment upon expiry of their terms. Members are appointed on the conditions decided by the Governor in Council.

The Board met six times during the year and considered matters including:

• the Strategic Plan 2020–24 and Operational Plan 2020–21

• the financial statements for 2018–19 and quarterly financial reports for 2019–20

• COVID-19 response, impacts and management

• appointments to the QAGOMA Foundation Committee and to the Audit and Risk Management Committee, including a new Chair

• trusts of which the Board is trustee, including The Josephine Ulrick and Win Schubert Charitable Trust and The Frank Sherrin Purchase Fund

• progress presentations on the Gallery’s All-Ages Learning Centre, the development of a Reconciliation Action Plan, and Digital Transformation Initiative

• acquisitions and loan requests

• Risk Appetite Statement

• major Gallery policies or key documents of relevance to or approved by the Board

• performance reports and exhibition outcomes

• QAGOMA Foundation Committee performance review

• governance improvement recommendations following external review of the Board and Audit and Risk Management Committee, undertaken from January to April 2019

• annual performance review of the Director.

In November, the Board and the QAGOMA Foundation Committee held a strategic workshop focused on own-source revenue. In April, an induction session and supporting resources were provided to the Board’s two new members.

Remuneration for members of the Board of Trustees and the Audit and Risk Management Committee is set in accordance with the Queensland Government’s Remuneration Procedures for Part-Time Chairs and Members of Queensland Government Bodies. Annual remuneration is set at $7500 for the Chair and $3000 for members of the Board of Trustees, and $1250 for the Chair and $750 for members of the Audit and Risk Management Committee.

The transactions of the Board are accounted for in the financial statements.

Further information about the Board can be accessed at www.qagoma.qld.gov.au/about/our-team.

Members of the Board during 2019–20 are listed below.


CHAIR Professor Emeritus Ian O’Connor ACProfessor Emeritus Ian O’Connor AC was Vice Chancellor and President of Griffith University from 2005 to 2018 and is Chair of the Federal Government’s Higher Education Standards Panel. In 2017, he was awarded the Companion of the Order of Australia for his contributions to the community.

DEPUTY CHAIR Liz Pidgeon Elizabeth (Liz) Pidgeon is co-founder and Director of Cornerstone Properties and a Director of the Pidgeon Group of Companies. Liz is a former president of the Property Council of Australia (Queensland Division) and is a past Director of Brisbane Marketing. She is also a former Board Member of the Wesley Research Institute, Property Industry Foundation, and former Chair of the Surf Life Saving Foundation.

Dr Bianca BeetsonDr Bianca Beetson is a Gubbi Gubbi/Kabi Kabi (Sunshine Coast) Waradjuri (NSW) artist, and is Director of the Indigenous Research Unit at Griffith University. She is also an accomplished curator and was a former member of the seminal Aboriginal artist collectives Campfire group and proppaNOW. Bianca is a member of the Artist Advisory Board at the Museum of Contemporary Art Australia and a board member of Digi Youth Arts.

The Honourable Justice Martin Daubney AMThe Honourable Justice Martin Daubney AM has been a judge of the Supreme Court of Queensland since 2007, and is currently serving as President of the Queensland Civil and Administrative Tribunal. In 2018, Justice Daubney was appointed a Member of the Order of Australia for significant service to the law, the judiciary, education and the community.

Gina FairfaxGina Fairfax is a trustee of the Tim Fairfax Family Foundation and an advocate for access to art and education in rural, regional and remote communities. In 2018, Gina and her husband Tim Fairfax AC were awarded the 2018 Creative Partnerships Australia Award for Philanthropy Leadership, an acknowledgment of their significant and enduring legacy to the arts in Australia.

Catherine SinclairCatherine Sinclair is a Director of The Consultancy Bureau and a Councillor of the Royal National Agricultural and Industrial Association of Queensland (RNA). She has experience as a member of tribunals and boards in transport, the arts, and local government sectors. Former roles include Chair of the Residential Tenancies Authority, Director of the Brisbane Airport Corporation, Deputy Chair of the Port of Brisbane and Director of Brisbane Festival.

Paul TaylorPaul Taylor is the head of Australian equities and portfolio manager of the Fidelity Australian Equities Fund. He is the Chair of the Dean’s Society for Business, Economics and Law at the University of Queensland, and, together with his wife Sue, played a key role in establishing the University of Queensland’s Centre for the Business and Economics of Health.

Board Members


Executive Management Team

DIRECTOR Chris Saines CNZMFor more than 35 years, Chris Saines has led galleries in Australia and New Zealand as a director, curatorial and collection manager, educator and curator. Prior to joining QAGOMA as Director, Chris was Director of Auckland Art Gallery Toi o Tāmaki, New Zealand, from 1996 to 2013. He regularly judges major art prizes and is on the board of the Australia–Japan Foundation. He has sat on the selection panels for both Australian and New Zealand representations at the Venice Biennale, most recently for the 2019 Biennale.

The Director is appointed as Director of the Queensland Art Gallery | Gallery of Modern Art by the Governor in Council upon recommendation by the Minister for the Arts and approved by the Board. The Director is appointed for a term of not more than five years under the Queensland Art Gallery Act 1987 and is eligible for reappointment upon expiry of the term.

DEPUTY DIRECTOR, COLLECTION & EXHIBITIONS Simon ElliottSimon Elliott oversees curatorial, exhibition management, conservation, imaging and registration activities, with direct responsibility for managing and developing the Gallery’s Collection. Simon has more than 30 years’ experience in leading Australian galleries and is currently Vice-President of the Australian Museums and Galleries Association.

ASSISTANT DIRECTOR, DEVELOPMENT & COMMERCIAL SERVICES Tarragh CunninghamTarragh Cunningham is responsible for developing audiences and partnerships through media, marketing and sponsorship; overseeing digital transformation; and leading the Gallery’s commercial services. Tarragh has worked in the museum and gallery sector for almost 25 years. In 2020, she was accepted into the Australia Council Leadership Program, and in 2019 was a Mentor in the Creative Partnerships Australia Arts Leadership Mentoring Program.

ASSISTANT DIRECTOR, OPERATIONS & GOVERNANCE Duane LucasDuane Lucas leads governance; Board, government and stakeholder reporting; audit and risk management; strategic and operational plan development; financial, human resources and information technology functions and activities; protection and visitor services; facilities management; and cultural precinct liaison and coordination. Duane has more than 30 years’ experience in the public sector, specialising in governance and corporate services.

ASSISTANT DIRECTOR, LEARNING & PUBLIC ENGAGEMENT Simon WrightSimon Wright is responsible for design (encompassing exhibition, graphic, multimedia and web design), information and publishing, learning (education, access and regional services) and public engagement (public programs, Members and Children’s Art Centre). Simon has held curatorial and management positions in commercial and public galleries and museums. He was Director of Griffith Artworks and Griffith University Art Gallery from 2005 to 2012, and, since 2013, has been a Board member of Brisbane’s Institute of Modern Art.


The Audit and Risk Management Committee (ARMC) is a sub-committee of the Board of Trustees and provides independent assurance and assistance to the Board on the Gallery’s:

• internal control structure

• risk management practices

• internal and external audits

• financial accountability, as prescribed under the Financial Accountability Act 2009, particularly in relation to the preparation of annual financial statements

• compliance with relevant laws, regulations and government policies.

The committee met four times during the year and considered matters including:

• COVID-19 response and planning

• financial statements for 2018–19 and quarterly financial reports for 2019–20

• external audit strategy and plan, including a review of findings of external audit reports and management responses to recommendations

• internal audit plan for 2020 and 2021 and internal audit reports

• review of the QAGOMA Strategic Risk Register

• work health and safety performance

• the Risk Management Group’s quarterly reporting on strategic and operational risks

• Collection revaluation

• major Gallery policies of relevance to the role of the committee

• financial guarantees and leave liability.

In performing its functions, the ARMC observed its Terms of Reference and had due regard to Queensland Treasury’s Audit Committee Guidelines: Improving Accountability and Performance.

Members of the committee during 2019–20 are listed below.

Name Role Term of appointmentNumber of meetings attended

Remuneration

Rick Wilkinson Chair and member 26/4/17 – 1/3/20 3 $937.50

Catherine Sinclair Chair and member 9/4/20 – 1/3/23 1 $283.47

Dr Bianca Beetson Member 1/11/18 – 31/10/21 4 $750

The Honourable John Mickel Member 26/4/17 – 4/2/20 2 $446.72

Paul Taylor Member12/6/17 – 1/3/202/3/20 – 1/3/23

4 $750

Remuneration listed above is in line with the period of the relevant appointment.

Audit and Risk Management Committee


Name Role Term of appointmentNumber of meetings attended in 2019–20

Remuneration

Tim Fairfax AC President11/10/19 –10/10/2231/8/16 – 31/8/19

4 Nil

Philip Bacon AM Member27/4/20 – 26/4/2326/4/17 – 26/4/20

3 Nil

The Honourable Justice Thomas Bradley Member 31/8/16 – 31/8/19 0 Nil

Anna Cottell Member11/10/19 – 10/10/2231/8/16 – 31/8/19

2 Nil

Kathy Hirschfeld AM Member11/10/19 – 10/10/2231/8/16 – 31/8/19

3 Nil

Mary-Jeanne Hutchinson Member11/10/19 – 10/10/2231/8/16 – 31/8/19

1 Nil

John Lobban Member 31/8/16 – 31/8/19 1 Nil

Judy Mather Member 11/10/19 – 10/10/22 3 Nil

Joseph O’Brien Member11/10/19 – 10/10/2231/8/16 – 31/8/19

3 Nil

Professor Emeritus Ian O’Connor AC Trustee member19/3/20 – 1/3/2326/4/17 – 1/3/20

3 Nil

Elizabeth Pidgeon Trustee member19/3/20 – 1/3/2326/4/17 – 1/3/20

3 Nil

Dr Sally Sojan Member 11/10/19 – 10/10/22 3 Nil

Paul Spiro Member 31/8/16 – 31/8/19 1 Nil

Paul Taylor Trustee member19/3/20 – 1/3/2326/4/17 – 1/3/20

4 Nil

Queensland Art Gallery | Gallery of Modern Art Foundation Committee

The QAGOMA Foundation supports the development of the state art collection and the presentation of major national and international exhibitions and community-based public programs, including regional and children’s exhibition programs. The Foundation receives support through donations, bequests and gifts of artworks from individual benefactors, as well as Queensland Government funding.

The Foundation Committee is established as a committee of the Board under section 40C of the Queensland Art Gallery Act 1987. Its function is to raise funds to assist in the fulfilment of the Board’s functions, including by:

• encouraging gifts, donations, bequests and legacies of property for the benefit of the Board

• managing and investing property made available to the committee by the Board.

The transactions of the committee are accounted for in the financial statements of the Board.

The committee met four times in 2019–20.

Cash donations and bequests totalling $2.972m were received by the Foundation during the year, thanks to the invaluable support of donors.

The Foundation gratefully acknowledges the inspiring support of Paul, Sue and Kate Taylor; the Neilson Foundation; Liz Pidgeon and Graeme Wikman; and Cathryn Mittelheuser AM.

Gifts of 273 artworks valued at $2.759 million were also made through the Foundation. The Foundation particularly acknowledges Robert Bleakley, Suzanne Davies, Alex and Kitty Mackay, and Paul, Sue and Kate Taylor for their gifts to the Collection.

This year, 39 new members joined the QAGOMA Foundation and 20 members upgraded their level of membership. The Foundation’s group for young philanthropists, the Future Collective has a total of 64 members. The Foundation’s Contemporary Patrons group has 20 members, as at 30 June 2020.

Further details of the QAGOMA Foundation’s operations and activities are available in the Foundation Year in Review 2019–20, to be published in November 2020.

Members of the committee during 2019–20 are listed below.


Risk management and accountability

Risk managementThe Gallery’s Board and Executive Management Team are committed to a robust organisational culture and processes that identify and manage risks. QAGOMA aims to engage with risk in a measured and informed way, and this approach is underpinned by the Gallery’s risk management framework and risk appetite statement. The Gallery has a Risk Management Group that supports, advises and reports quarterly to the Executive Management Team. The Group provided reports to the Audit and Risk Management Committee on areas including operational risk management matters and related risks arising from the activities and operations of the Gallery.

Risk management in response to COVID-19 In response to the COVID-19 pandemic, the Gallery activated its framework of emergency management plans on 14 February 2020 (‘Lean forward’ response from 2 February; ‘Stand up’ response from 12 March ongoing). Implementation of these plans and other responses to issues as they emerge is coordinated by the Gallery’s Crisis Management Team (CMT), chaired by the Director.

The framework through which the Gallery is managing its response to COVID-19 incorporates the following interfacing plans:

• Pandemic Management Plan

• Business Continuity Plan

• IT Disaster Recovery Plan

• Disaster Management Plan

• Emergency Response Plan

• Security Management Plan and procedures.

The Gallery’s disaster activation response is aligned with the Queensland State Disaster Management Plan, which was developed by the Queensland Disaster Management Committee.

At midday on 23 March 2020, the Gallery closed to the public, aligning to the National Cabinet discussion on 22 March and its direction regarding the closure of non-essential services. Following guidance provided by the Arts Minister's office, through Arts Queensland, the Chair of the Queensland Art Gallery Board of Trustees formally directed that the Gallery be closed to the public.

On 26 May 2020, QAGOMA submitted a draft COVID Safe Operational Work Health and Safety Plan and COVID-19 Recovery Strategy for the Queensland Art Gallery building (QAG COVID Safe Plan) for approval by Queensland Health. Following receipt on 16 June of Queensland Health’s approval of the QAG COVID Safe Plan, and pursuant to consultation with the Arts Minister and formal written instruction from the Board Chair, QAG reopened to the public on 22 June 2020. As outlined in the QAG COVID Safe Plan, comprehensive work health and safety measures are in place to address the safety of staff and visitors.

Internal auditAn internal audit function is carried out on the Gallery’s behalf by the Corporate Administration Agency under a service level agreement. The internal audit function is independent of management and external auditors. The role of the internal audit includes:

• appraising the Gallery’s financial administration and its effectiveness with regard to the functions and duties imposed on it by Section 61 of the Financial Accountability Act 2009

• providing audit services and advice to the Audit and Risk Management Committee and the Gallery on the effectiveness, efficiency, appropriateness, legality and probity of the Gallery’s operations.

The internal audit operates under a charter that is consistent with relevant audit and ethical standards, has due regard for Queensland Treasury’s Audit Committee Guidelines, and is approved by the Audit and Risk Management Committee.

The effectiveness of the internal audit function is monitored by the Audit and Risk Management Committee, with the internal auditor attending committee meetings and presenting internal audit reports directly to the committee. The internal auditor consulted with Gallery management and evaluated auditable systems against established criteria to develop the Internal Audit Plan 2019–20. The following audits were completed in 2019–20:

• procurement

• assets and portable equipment

• corporate credit card.

All audit outcomes indicated that the Gallery has robust systems in place, with some minor adjustments recommended and accepted by the Audit and Risk Management Committee, and implemented by relevant managers and staff.


External scrutinyThe Queensland Art Gallery Board of Trustees was not subject to any external audits other than the Queensland Audit Office’s mandated audit report on financial controls and the financial statements.

Information systems and record governanceQAGOMA is committed to using digital technology to increase efficiency and to contribute to sustainability by reducing paper use. Electronic approval processes are being implemented where appropriate. The Gallery employed a full-time Digital Transformation Manager to further increase the use of digital technology and lead the Gallery’s Digital Transformation Initiative.

The Gallery continues to progress its compliance with Queensland regulatory requirements, including the Public Records Act 2002 and the policy requirements of the Records Governance Policy and Information Standard 34: Metadata.

The use of an appropriate Electronic Document and Record Management System (eDRMS) is a key component in attaining compliance. The record governance function is managed by dedicated record management staff, in accordance with Gallery policy and legislative requirements. Access to records within the eDRMS is restricted to staff who require access to perform their roles. Disposal of Gallery records occurs only in accordance with the policy requirements of the Records Governance Policy.

QAGOMA has approved procedures outlining record management rules and responsibilities for preserving the Gallery’s public records. Staff are informed of new developments in record management practices through the Gallery’s record management intranet page and regular emails.


Human resources

Workforce planning and performanceAs at 30 June 2020, the Gallery’s workforce consisted of 269 full-time equivalent staff. The permanent employee separation rate was 4.35 per cent.

The Corporate Administration Agency (CAA) is the main provider of human resource services to the Gallery, including payroll services, recruitment, training and development, job evaluation, workforce strategy, policy development and workplace relations.

The Gallery plays an active role in Cultural Centre-wide networks to ensure employees have access to appropriate support when specific workplace matters arise (rehabilitation, harassment and discrimination). QAGOMA continued its collaboration with the State Library of Queensland and Queensland Museum to deliver a combined corporate induction program for new staff. The program provided detailed information on staff responsibilities and entitlements, as well as in-depth training on the Queensland Government’s Code of Conduct and ethical responsibilities of staff. The Gallery also continued the staff tours program to orientate new staff and encourage overall engagement; the program offers tours of major exhibitions, as well as buildings and facilities.

In January, QAGOMA commenced its participation in the Cultural Centre First Nation Graduate Program. The program gives two First Nation graduates the opportunity to work full-time across Cultural Centre institutions and Arts Queensland over a two-year period, with the aim of increasing the number of Aboriginal and Torres Strait Islander employees within these agencies.

Through CAA, the Gallery delivered an annual training and development calendar targeted at frontline supervisors (Managing in a Public Service Environment) and team leaders/managers (Reasonable Management Action), while staff lunchbox training sessions addressed career planning, work–life balance, job applications and interview skills. Further, the Gallery was part of a consortium of CAA clients that transitioned in the latter half of the year to a new online learning management system, ELMO, which provides staff with access to professional development and skills-based courses.

QAGOMA has an Agency Consultative Committee, made up of representatives from staff, management and the Together union. The Committee liaises as required to resolve identified issues. Gallery management consulted staff delegates throughout the year to address workplace issues, with no formal Committee meetings held in 2019–20.

Employment arrangements and COVID-19In line with the Queensland Government Directive 01/20 – Employment Arrangements in the Event of a Health Pandemic, the Gallery retained existing staff during the COVID-19 pandemic, including temporary and casual employees. Pursuant to Queensland Government expectations, the Director exercised the discretion to continue to pay casual employees who were not working during the pandemic, through the agency of paid special leave; noting that the majority of casuals who were not able to perform their usual roles were redeployed to other departments during this period. QAGOMA offered flexible working arrangements during the pandemic, specifically so that staff who could work from home did so whilst operationally convenient, with approximately 60 per cent of the workforce working remotely during the closure of QAGOMA to the public.

Public sector ethicsThe Board, the Director and all Gallery employees are bound by the whole-of-government Code of Conduct for the Queensland Public Service under the Public Sector Ethics Act 1994. The Gallery’s administrative procedures and management practices are developed and conducted according to the ethics, principles and values set out in the Public Sector Ethics Act 1994 and the Code of Conduct for the Queensland Public Service.

Integrity and accountability are a significant ongoing focus for the Board and its Audit and Risk Management Committee (ARMC).The Gallery has robust controls to manage the risk of fraud and corruption, including a clear delegation policy and procedural framework, targeted staff awareness and training initiatives, specialist internal expertise and oversight from the Finance department, quarterly self-assessment checks on internal controls (reported to ARMC), and an ongoing schedule of independent internal and external audits to ensure the monitoring of areas susceptible to fraudulent activity.

Across QAGOMA, active reporting occurs at governance forums on related initiatives, with a focus on continual improvement and monitoring the integrity and accountability framework in the workplace.

In 2019–20, full-time and part-time employees completed mandatory online training on the Code of Conduct and Fraud and Corruption Awareness (Queensland Government). In addition, public sector ethics training was delivered by the Gallery’s shared service provider, the Corporate Administration Agency (CAA). CAA also delivered Reasonable Management Action and Managing in a Public Sector


Environment programs to Gallery managers and supervisors to promote ethical behaviour and standards, and to improve communication to create a positive workplace.

The Gallery plays an active role in the Cultural Centre Referral Officer network, ensuring employees who believe they have been bullied or harassed in the workplace have access to an initial point of contact who can provide impartial support and resolution options.

Human rightsIn line with the Human Rights Act 2019, QAGOMA acknowledges the importance of respecting, protecting and promoting human rights.

Since the introduction of the Act in January 2020, the Gallery:

• discussed the new legislation at executive level and agreed to promote awareness and education from leadership to all QAGOMA staff

• included acknowledgment of the Act in the Gallery’s Strategic Plan 2020–24

• advised all staff of the introduction of the new laws and promoted education resources and online training via the Queensland Human Rights Commission (QHRC) website

• encouraged representatives attend Queensland Government information sessions on the Act, including the Statutory Authorities information session and the QHRC Commissioner’s presentation to the Department of Environment and Science

• consulted with staff who manage complaints and provide visitor services on acting compatibly with human rights laws

• installed posters made available by QHRC in staff areas; these posters listed protected rights and a step-by-step guide on acting compatibly with human rights

• offered and encouraged staff to complete an eLearning Management System Human Rights training course (as at 30 June, completed by 83 staff members).

Queensland public service valuesQAGOMA supports the values of the Queensland public service by:

• putting customers first, seeking to know audiences and meet their needs

• turning ideas into action by presenting transformative experiences in the visual arts

• unleashing potential with a focus on young people and emerging creatives

• being courageous by presenting art that both challenges and delights

• empowering staff by offering opportunities to work in multidisciplinary project teams and to engage in professional development.

Disclosure of additional informationThe Gallery publishes reports on the following areas on the Queensland Government Open Data website (https://data.qld.gov.au) in lieu of including them in this annual report:

• consultancies

• overseas travel.

Notice of correction to the Queensland Art Gallery Board of Trustees Annual Report 2018–19In the table of Board members on p.64 of the 2018–19 report, attendance for Elizabeth Pidgeon should read four meetings, not three; and in the table of Audit and Risk Management Committee members on p.67, attendance for The Honourable John Mickel should read four meetings, not two.

GLOSSARY Queensland Art Gallery Board of Trustees Annual Report 2019–20 67

APT Asia Pacific Triennial of Contemporary Art

ARMC Audit and Risk Management Committee

BIFF Brisbane International Film Festival

CAA Corporate Administration Agency

CCLM Centro Cultural Palacio la Moneda

CMT Crisis Management Team

COVID-19 A disease caused by a new strain of coronavirus. 'CO' stands for corona, 'VI' for virus, 'D' for disease, ‘19’ represents 2019.

GOMA Gallery of Modern Art

LED Light-emitting diode

LTIFR Lost Time Injury Frequency Rate

QAG Queensland Art Gallery

QAGOMA or ‘the Gallery’ Queensland Art Gallery | Gallery of Modern Art

QAO Queensland Audit Office

QHRC Queensland Human Rights Commission

TEQ Tourism and Events Queensland

GLOSSARY

68 Queensland Art Gallery Board of Trustees Annual Report 2019–20 SUMMARY OF FINANCIAL PERFORMANCE

SUMMARY OF FINANCIAL PERFORMANCE

Financial Summary 2019–20This summary provides an overview of the financial performance and position for 2019–20 for the Queensland Art Gallery Board of Trustees.i

Statement of Comprehensive IncomeThe Statement of Comprehensive Income sets out income and expenditure of the Gallery.

Statement of Comprehensive Income2020 $000

2019 $000

Total Income 66 522 64 172

Total Expenses 60 640 57 040

Operating Result from Continuing Operations 5 882 7 132

Increase in asset revaluation surplus 41 273 46 012

Total Comprehensive Income 47 155 53 144

Income

The Gallery’s base funding comes from the Queensland Government which comprises cash grants ($37.7m), and the fair value of rental services provided by Arts Queensland for nil consideration ($10.9m). Grants and contributions from other entities were $8.5m, of which $3.0m was from cash donations, bequests and fundraising, $2.8m was from donations of artworks, $2.1m was from cash and contra sponsorship, and $0.6m was from other grants. User charges and fees were $7.8m, of which $3.2m was from food and beverage operations, $1.9m was from retail operations, and $2.0m was from exhibition ticket sales. In addition, the Gallery received interest and distributions from managed funds of $1.0m and sundry revenue of $0.6m.

Income for 2019–20 was $2.4m above the previous financial year primarily due to increases in Queensland Government grants (up $3.3m), admission revenues (up $1.4m — the major exhibition in 2018–19 was unticketed); donations (up $0.5m) and sponsorships (up $0.4m). Offsetting these increases, investment returns and revenue from food and beverage operations decreased by $1.9m and $1.2m, respectively, mainly due to the impact of the COVID-19 pandemic.

Expenses

Expenses for the Gallery were $60.7m in 2019–20. Major costs were employee expenses ($30.6m or 50.4% of total cost), supplies and services ($16.4m or 27.1%), and the fair value of rental services provided by Arts Queensland for nil consideration ($10.9m or 17.9%). Expenditure in 2019–20 was $3.6m above the previous year mainly due to a unrealised loss on investments of $1.6m and an increase in employee expenses of $1.5m (due to award increases and payment of a one-off $1250 certified agreement signing bonus to employees), and an increase in supplies and services of $0.6m (which can be highly variable from year to year depending on the nature and timing of exhibition programs).

Grants and other contributions – Qld Government $37.7m

Other grants and contributions $8.5m

User charges and fees $7.8m

Other revenue $0.6m

Interest and distributions $1.0m

Services received free of charge $10.9m

Supplies and services $16.4m

Employee expenses 30.6m

Services received free of charge $10.9m

Other expenses 2.8m

SUMMARY OF FINANCIAL PERFORMANCE Queensland Art Gallery Board of Trustees Annual Report 2019–20 69

Operating Result from Continuing Operations

The Operating Result from Continuing Operations (income less expenses) was $5.9m in 2019–20, of which $2.8m represents the fair value of artworks donated to the Gallery.

Other Comprehensive Income – Increase in asset revaluation reserve

As at 30 June 2020, the Gallery’s Collection was revalued in line with accounting requirements, resulting in an increase in value of $41.3m (approximately 8% of the Collection value prior to revaluation).

Statement of Financial PositionThe Statement of Financial Position sets out the Net Assets (that is, assets less liabilities) and Equity of the Gallery.

As at 30 June 2020, the Net Assets of the Gallery were $603.9m, up $46.4m on the 30 June 2019 position.

The Gallery’s major assets were the Art Collection ($553.1m) and financial assets held in respect of the QAGOMA Foundation ($42.0m).

Comparison to the 2019–20 Budgetii

Actual $000

Budget $000

Variance $000

Total Income 66 522 65 546 976

Total Expenses 60 640 61 169 (529)

Operating Result from Continuing Operations 5 882 4 377 1 505

Increase in asset revaluation surplus 41 273 5 000 36 273

Total Comprehensive Income 47 155 9 377 37 778

Total income for 2019–20 was $1.0m favourable to budget, primarily due to greater than expected grants and sponsorships of $4.6m (which because of their variability and nature are difficult to estimate), offset by unfavourable variances in user charges ($1.9m) and investment returns ($1.7m) due to COVID-19 impacts.

Total expenditure for 2019–20 was $0.5m favourable to budget, primarily due to savings in supplies and services of $2.1m (due to the payment of an exhibition fee in 2020–21 rather that 2019–20 as budgeted) and unrealised losses on investments due to the impact of COVID-19 on investment valuations ($1.6m).

Overall, the Gallery’s Operating Result from Continuing Operations was $1.5m favourable to budget.

Financial Governance

The Gallery is managed in accordance with the requirements of the Financial Accountability Act 2009, the Financial and Performance Management Standard 2019, the Statutory Bodies Financial Arrangements Act 1982 and the Queensland Art Gallery Act 1987.

The Gallery has a well-developed risk management framework and internal audit oversight, both under the supervision of the Audit and Risk Management Committee. The Gallery maintains a strong system of internal controls, and expenditures are monitored to provide value for money. The risk management framework under the supervision of the Audit and Risk Management Committee ensures that potential liabilities and risks are appropriately reviewed and treated. In addition, the Gallery’s financial operations and accounts are externally audited by the Queensland Audit Office.

Assurances to this effect have been provided by Professor Emeritus Ian O’Connor AC, Chair of the Queensland Art Gallery Board of Trustees, and Mr Chris Saines CNZM, Director of the Queensland Art Gallery | Gallery of Modern Art, to the Queensland Audit Office.

i Trading as the Queensland Art Gallery | Gallery of Modern Art.ii 2019–20 Queensland State Budget – Service Delivery Statements – Queensland Art Gallery

70 Queensland Art Gallery Board of Trustees Annual Report 2019–20 COMPLIANCE CHECKLIST

Summary of requirement Basis for requirement Annual Report reference

Letter of compliance

• A letter of compliance from the accountable officer or statutory body to the relevant Minister/s ARRs – section 7 1

Accessibility

• Table of contents• Glossary ARRs – section 9.1

3

67

• Public availability ARRs – section 9.2 Inside back cover

• Interpreter service statementQueensland Government Language Services PolicyARRs – section 9.3

Inside back cover

• Copyright notice Copyright Act 1968ARRs – section 9.4 Inside back cover

• Information licensing QGEA – Information LicensingARRs – section 9.5 Inside back cover

General information

• Introductory information ARRs – section 10.1 4–5

• Machinery of Government changes ARRs – section 31 and 32 n/a

• Agency role and main functions ARRs – section 10.2 4–11

• Operating environment ARRs – section 10.3 11

Non-financial performance

• Government’s objectives for the community ARRs – section 11.1 10

• Other whole-of-government plans/specific initiatives ARRs – section 11.2 n/a

• Agency objectives and performance indicators ARRs – section 11.3 10–21

• Agency service areas and service standards ARRs – section 11.4 12

Financial performance • Summary of financial performance ARRs – section 12.1 68–9

Governance – management and structure

• Organisational structure ARRs – section 13.1 57

• Executive management ARRs – section 13.2 60

• Government bodies (statutory bodies and other entities) ARRs – section 13.3 58–62

• Public Sector Ethics Public Sector Ethics Act 1994ARRs – section 13.4 65–6

• Human RightsHuman Rights Act 2019

ARRs – section 13.566

• Queensland public service values ARRs – section 13.6 66

Governance – risk management and accountability

• Risk management ARRs – section 14.1 63

• Audit committee ARRs – section 14.2 61

• Internal audit ARRs – section 14.3 63

• External scrutiny ARRs – section 14.4 64

• Information systems and record governance ARRs – section 14.5 64

Governance – human resources

• Strategic workforce planning and performance ARRs – section 15.1 65

• Early retirement, redundancy and retrenchmentDirective No.04/18 Early Retirement, Redundancy and Retrenchment

ARRs – section 15.2n/a

Open data

• Statement advising publication of information ARRs – section 16 66

• Consultancies ARRs – section 33.1 data.qld.gov.au

• Overseas travel ARRs – section 33.2 data.qld.gov.au

• Queensland Language Services Policy ARRs – section 33.3 n/a

Financial Statements

• Certification of financial statementsFAA – section 62FPMS – sections 38, 39 and 46ARRs – section 17.1

B: 48

• Independent Auditors ReportFAA – section 62FPMS – section 46ARRs – section 17.2

B: 49–51

FAA Financial Accountability Act 2009 FPMS Financial and Performance Management Standard 2019 ARRs Annual report requirements for Queensland Government agencies

COMPLIANCE CHECKLIST

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019–20 1

PART B

PART B

QUEENSLAND ART GALLERY BOARD OF TRUSTEES FINANCIAL STATEMENTSFOR THE FINANCIAL YEAR ENDED 30 JUNE 2020

2 Queensland Art Gallery Board of Trustees Annual Report 2019–20 FINANCIAL STATEMENTS

PART B

Queensland Art Gallery Board of Trustees Financial Statements for the year ended 30 June 2020

Page 2 of 48

TABLE OF CONTENTS Financial Statements Statement of Comprehensive Income

Page 4

Statement of Financial Position 5 Statement of Changes in Equity 6 Statement of Cash Flows (includes Notes to the Statement of Cash Flows) 7

Notes to the Financial Statements

Section 1 About the Gallery and this Financial Report

A1. Basis of Financial Statements Preparation 9 A1-1 General Information 9 A1-2 Compliance with Prescribed Requirements 9 A1-3 Presentation Details 9 A1-4 Authorisation of Financial Statements for Issue 9 A1-5 Basis of Measurement 10 A1-6 The Reporting Entity 10 A2. Objectives of the Gallery 10

A3. Accounting Estimates and Judgements 10

Section 2 Notes about our Financial Performance

B1. Revenue 11 B1-1 Grants, Sponsorships and Contributions 11 B1-2 Rent Received Below Fair Value 14 B1-3 User Charges and Fees 14 B1-4 Interest and Distributions from Managed Funds 16 B1-5 Other Revenue 16 B2. Gains on Disposal and Re-measurement of Assets 17 B3. Expenses 18 B3-1 Employee Expenses 18 B3-2 Supplies and Services 19 B3-3 Depreciation and Amortisation 19 B3-4 Loss on Disposal and Re-measurement of Assets 19 B3-5 Other Expenses 19

Section 3 Notes about our Financial Position

C1. Cash and Cash Equivalents 20 C2. Receivables 20 C3. Inventories 20 C4. Other Financial Assets 21 C5. Property, Plant and Equipment and Related Depreciation Expense 22 C5-1 Closing Balances and Reconciliation of Carrying Amount 22 C5-2 Recognition and Acquisition 23 C5-3 Measurement using Historical Cost 23 C5-4 Measurement using Fair Value 23 C5-5 Depreciation Expense 24 C5-6 Impairment 24 C6. Payables 25 C7. Accrued Employee Benefits 25 C8. Other Liabilities 26 C9. Right-to-use Assets and Lease Liability 27 C9-1 Leases as Lessee 27 C10 Equity 28 C10-1 Asset Revaluation Surplus by Asset Class 28


PART B

Queensland Art Gallery Board of Trustees Financial Statements for the year ended 30 June 2020

Page 3 of 48

TABLE OF CONTENTS (continued)

Section 4 Notes about Risks and Other Accounting Uncertainties

D1. Fair Value Measurement 29 D1-1 Accounting Policy and Inputs for Fair Value 29 D1-2 Categorisation of Assets and Liabilities Measured at Fair Value 29 D2. Financial Risk Disclosures 30 D3. Commitments 31 D4. Contingencies 31 D5. Events Occurring after the Balance Date 31 D6. Future Impact of Accounting Standards Not Yet Effective 31 D7. Significant Financial Impacts from COVID-19 Pandemic 31 Section 5

Notes about our Performance compared to Budget

E1. Budgetary Reporting Disclosure 32 E2. Budget to Actual Comparison – Statement of Comprehensive Income 32 E3. Budget to Actual Comparison – Statement of Financial Position 34

E4. Budget to Actual Comparison – Statement of Cash Flows 36

Section 6 Other Information

F1. Key Management Personnel (KMP) Disclosures 38 F2. Related Party Transactions 40

F3. Transactions in relation to the Queensland Art Gallery ǀ Gallery of Modern Art (QAGOMA)

Foundation 40 F3-1 QAGOMA Foundation Statement of Financial Income 40 F3-2 QAGOMA Foundation Statement of Financial Position 41 F3-3 Restricted Assets Held by QAGOMA Foundation 41 F4. Restricted Assets Held by the Gallery 41 F5. Trust Transactions and Balances 42 F6. First Year Application of New Accounting Standards or Change in Accounting Policy 42 F6-1 AASB 15 Revenue from Contracts with Customers 42 F6-2 AASB 1058 Income of Not-for-Profit Entities 43 F6-3 Impact of Adoption of AASB 15 and AASB 1058 in the Current Period 44 F6-4 AASB 16 Leases 45 F7. Taxation 47 F8. Climate Risk Disclosures 47

Certification Management Certificate 48


PART B

Queensland Art Gallery Board of Trustees Statement of Comprehensive Income

for the year ended 30 June 2020

Page 4 of 48

The accompanying notes form part of these statements.

OPERATING RESULT Notes 2020 2019 $’000 $’000 Income from continuing operations Grants, sponsorships and contributions B1-1 46,232 42,075 Rent received below fair value B1-2 10,874 10,941 User charges and fees B1-3 7,806 7,420 Interest and distributions from managed funds B1-4 990 1,967 Other revenue B1-5 618 913 Total revenue 66,520 63,316

Gains on disposal and re-measurement of assets B2 2 856

Total income from continuing operations 66,522 64,172 Expenses from continuing operations Employee expenses B3-1 30,571 29,093 Supplies and services B3-2 16,412 15,853 Grants and subsidies - 40 Depreciation and amortisation B3-3 574 552 Finance costs 1 - Rent received below fair value B1-2 10,874 10,941 Other expenses B3-5 588 537 Total expenses 59,020 57,016 Loss on disposal and re-measurement of assets B3-4 1,620 24 Total expenses from continuing operations 60,640 57,040

Operating result from continuing operations 5,882 7,132 OTHER COMPREHENSIVE INCOME Increase in asset revaluation surplus C10-1 41,273 46,012 Total other comprehensive income 41,273 46,012 TOTAL COMPREHENSIVE INCOME 47,155

53,144


PART B

Queensland Art Gallery Board of Trustees Statement of Financial Position

as at 30 June 2020

Page 5 of 48


Notes 2020 2019 $’000 $’000 Current assets Cash and cash equivalents C1 10,963 10,560

Receivables C2 357 647

Inventories C3 843 725

Prepayments 447 222

Total current assets 12,610 12,154

Non-current assets Other financial assets C4 40,582 41,043

Property, plant and equipment C5 557,743 511,968

Right-of-use assets C9 140 -

Total non-current assets 598,465 553,011 Total assets 611,075 565,165 Current liabilities Payables C6 3,905 4,405

Lease liabilities C9 67 -

Accrued employee benefits C7 2,369 3,026

Other liabilities C8 808 261

Total current liabilities 7,149 7,692

Non-current liabilities Lease liabilities C9 61 -

Total Non-current liabilities 61 - Total liabilities 7,210 7,692 Net assets 603,865 557,473 Equity Contributed equity 19,314 19,314 Accumulated surplus 220,685 215,566 Asset revaluation surplus C10-1 363,866 322,593 Total equity 603,865 557,473


PART B

Queensland Art Gallery Board of Trustees Statement of Changes in Equity for the year ended 30 June 2020

Page 6 of 48

Contributed Equity

Accumulated Surplus

Asset Revaluation

Surplus (Note C10-1)

Total

$000 $000 $000 $000

Balance as at 1 July 2018 19,314 208,434 276,581 504,329

Operating result

Operating result from continuing operations - 7,132 - 7,132

Other comprehensive income

Increase in asset revaluation surplus - - 46,012 46,012

Balance as at 30 June 2019 19,314 215,566 322,593 557,473

Balance as at 1 July 2019 19,314 215,566 322,593 557,473

Net effect of changes in accounting policies/prior year adjustment

-

(763)

-

(763)

Operating result

Operating result from continuing operations - 5,882 - 5,882

Other comprehensive income

Increase in asset revaluation surplus - - 41,273 41,273

Balance as at 30 June 2020 19,314 220,685 363,866 603,865 The accompanying notes form part of these statements.


PART B

Queensland Art Gallery Board of Trustees Statement of Cash Flows


Page 7 of 48


Notes 2020 2019 $’000 $’000 Cash flows from operating activities Inflows: Grants, sponsorships and contributions 41,804 39,417

User charges and fees 7,823

7,273

Interest receipts and distributions from managed funds 990 1,967

GST collected from customers 861 1,082

GST input tax credits from ATO 1,452 1,377

Other 557 854

Outflows:

Employee expenses (31,132) (28,787)

Supplies and services (14,109) (14,534)

Grants and subsidies - (40)

GST paid to suppliers (1,275) (1,463)

GST remitted to ATO (920) (1,099)

Other (642) (518)

Net cash provided by operating activities CF-1 5,409 5,529

Cash flows from investing activities CF-2

Inflows:

Sales of property, plant and equipment 3

21

Outflows:

Payments for investments (1,073) (1,394)

Payments for property, plant and equipment (3,776) (3,620)

Net cash used in investing activities (4,846) (4,993)

Cash flows from financing activities CF-3

Outflows:

Lease payments (160) -

Net cash used in financing activities (160) -

Net increase (decrease) in cash and cash equivalents 403 536

Cash and cash equivalents – opening balance C1 10,560 10,024

Cash and cash equivalents – closing balance C1 10,963 10,560


PART B


Statement of Cash Flows for the year ended 30 June 2020

Page 8 of 48

NOTES TO THE STATEMENT OF CASH FLOWS CF-1 RECONCILIATION OF OPERATING RESULT TO NET CASH PROVIDED BY OPERATING ACTIVITIES

2020 2019 $’000

$’000

Operating surplus/(deficit) 5,882 7,132

Non-cash items included in operating result:

Depreciation expenses 574 552 (Gain)/loss on sale of property, plant and equipment 13 21 Donated assets received (2,759) (1,124) (Gain)/loss on financial assets at fair value through profit and loss 1,534

(853)

Other non-cash items - - Changes in assets and liabilities:

(Increase)/decrease in GST input tax credits receivable 118 (103) (Increase)/decrease in receivables 172 134 (Increase)/decrease in inventories (118) (30) (Increase)/decrease in prepayments (241) (52) Increase/(decrease) in payables 1,106 (99) Increase/(decrease) in accrued employee benefits (657) 199 Increase/(decrease) in other current liabilities (215) (248)

Net cash provided by operating activities 5,409

5,529 CF-2 NON- CASH INVESTING ACTIVITIES Assets donated to the Gallery (principally artwork) are recognised as revenues (refer Note B1-1), but are not included in Statement of Cash Flow as they are non-cash. CF-3 CHANGES IN LIABILITIES ARISING FROM FINANCING ACTIVITIES 2020

Opening balance

Non-cash changes

Cash changes

Closing balance

New leases

acquired Cash

repayment principal

Lease liabilities 260 28 (160) 128 Total 260 28 (160) 128


PART B


Notes to the Financial Statements for the year ended 30 June 2020

Page 9 of 48

SECTION 1

ABOUT THE GALLERY AND THIS FINANCIAL REPORT

A1 BASIS OF FINANCIAL STATEMENTS PREPARATION

A1-1 GENERAL INFORMATION These financial statements are for the Queensland Art Gallery Board of Trustees.

The Queensland Art Gallery Board of Trustees is a Queensland Government statutory body established under the Queensland Art Gallery Act 1987.

The Queensland Art Gallery Board of Trustees (which will hereafter be referred to as the Gallery) is controlled by the State of Queensland which is the ultimate parent. The head office and principal place of business of the Gallery is:

Queensland Art Gallery | Gallery of Modern Art Stanley Place South Brisbane QLD 4101

The principal objectives of the Gallery are disclosed at Note A2.

For information in relation to these financial statements please call (07) 3840 7303, email [email protected] or visit the Gallery's website.

A1-2 COMPLIANCE WITH PRESCRIBED REQUIREMENTS The Gallery has prepared these financial statements in compliance with section 39 of the Financial and Performance Management Standard 2019 and with Queensland Treasury's Minimum Reporting Requirements for reporting periods beginning on or after 1 July 2019.

The Gallery is a not-for-profit entity and these general purpose financial statements are prepared on an accrual basis (except for the Statement of Cash Flows which is prepared on a cash basis) in accordance with Australian Accounting Standards and Interpretations applicable to not-for-profit entities.

New accounting standards early adopted and/or applied for the first time in these financial statements are outlined in Note F6.

A1-3 PRESENTATION DETAILS Currency and rounding

Amounts included in the financial statements are in Australian dollars and have been rounded to the nearest $1,000 or, where that amount is $500 or less, to zero unless disclosure of the full amount is specifically required.

Comparatives

Comparative information reflects the audited 2018-19 financial statements.

Current/non-current classification

Assets and liabilities are classified as either 'current' or 'non-current' in the Statement of Financial Position and associated notes.

Assets are classified as 'current' where their carrying amount is expected to be realised within 12 months after the reporting date. Liabilities are classified as 'current' when they are due to be settled within 12 months after the reporting date, or the Gallery does not have an unconditional right to defer settlement to beyond 12 months after the reporting date.

All other assets and liabilities are classified as non-current.

A1-4 AUTHORISATION OF FINANCIAL STATEMENTS FOR ISSUE The financial statements are authorised for issue by the Chair of the Queensland Art Gallery Board of Trustees and Director of the Gallery at the date of signing the management certificate.


PART B

Queensland Art Gallery Board of Trustees Notes to the Financial Statements for the year ended 30 June 2020

Page 10 of 48

A1-5 BASIS OF MEASUREMENT Historical cost is used as the measurement basis in this financial report except for the following:

• the Art Collection and the Library Heritage Collection are measured at fair value • non-current financial assets are measured at fair value • right-of-use assets are measured at cost less any accumulated depreciation and any accumulated impairment losses;

and • inventories are measured at the lower of cost and net realisable value.

Historical cost

Under historical cost, assets are recorded at the amount of cash or cash equivalents paid or the fair value of the consideration given to acquire them at the time of their acquisition. Liabilities are recorded at the amount of proceeds received in exchange for the obligation or at the amounts of cash or cash equivalents expected to be paid to satisfy the liability in the normal course of business.

Fair value Information about the Gallery’s Property, plant and equipment valuations and the Gallery's financial instrument valuations are included in Notes C5 and D2.

Present value

Present value represents the present discounted value of the future net cash inflows that the item is expected to generate (in respect of assets) or the present discounted value of the future net cash outflows expected to settle (in respect of liabilities) in the normal course of business.

Net realisable value

Net realisable value represents the amount of cash or cash equivalents that could currently be obtained by selling an asset in an orderly disposal.

A1-6 THE REPORTING ENTITY The financial statements include all income, expenses, assets, liabilities and equity of the Gallery.

Included in these results are the income, expenses, assets, liabilities and equity of the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Foundation, which is a committee of the Queensland Art Gallery Board of Trustees. Additional disclosures pertaining to the operations of the QAGOMA Foundation are provided at Note F3.

All material transactions and balances internal to the economic entity have been eliminated.

A2 OBJECTIVES OF THE GALLERY The principal objective of the Gallery, as set out in the Queensland Art Gallery Act 1987, is to contribute to the cultural, social and intellectual development of all Queenslanders.

The following guiding principles, also set out in the Queensland Art Gallery Act 1987, provide the framework for the delivery of the Gallery's programs and services:

• Leadership and excellence should be provided in the visual arts. • There should be responsiveness to the needs of communities in regional and outer metropolitan areas. • Respect for Aboriginal and Torres Strait Islander cultures should be affirmed. • Children and young people should be supported in their appreciation of, and involvement in, the visual arts. • Diverse audiences should be developed. • Capabilities for lifelong learning about the visual arts should be developed. • Opportunities should be developed for international collaboration and for cultural exports, especially to the Asia

Pacific region. • Content relevant to Queensland should be promoted and presented.

A3 ACCOUNTING ESTIMATES AND JUDGEMENTS The preparation of financial statements necessarily requires the determinations and use of certain critical accounting estimates, assumptions, and management judgements that have the potential to cause a material adjustment to the carrying amounts of assets and liabilities within the next financial year. Such estimates, judgements and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised and in future periods as relevant.

Estimates and assumptions that have a potential significant effect are outlined in the following financial statement notes:

Property, plant and equipment and related depreciation expense – Note C5

Rental services received below fair value – Note B1-2

Other financial assets: fair value of QIC Cash Enhanced Fund and QIC Long Term Diversified Fund – Note C4


PART B



Page 11 of 48

SECTION 2

NOTES ABOUT OUR FINANCIAL PERFORMANCE

B1 REVENUE

B1-1 GRANTS, SPONSORSHIPS AND CONTRIBUTIONS

2020 2019 $’000 $’000 Revenue recognised under AASB 15 Revenue from Contracts with Customers

Sponsorships Sponsorship – cash 441 206 Sponsorship – in-kind 1,669 1,534 2,110 1,740 Revenue recognised under AASB 1058 Income of Not-for-Profit Entities

Grants Queensland Government administered funding from Arts Queensland 36,719 32,986 Other Queensland Government grants 984 1,415 Other grants 665 692 38,368 35,093 Contributions Donations – cash 2,918 3,949 Donations – artwork 2,759 1,124 Bequests – cash 63 142 Fundraising 14 27 5,754 5,242 Total 46,232 42,075

Accounting policy - Sponsorships

The Gallery’s sponsorships are entered into through formal sponsorship agreements under which a sponsor provides sponsorship revenue to the Gallery (either in cash or contra goods or services) in return for the right to be recognised or associated with the Gallery (e.g. through signage and publications) and the provision of sponsor benefits (e.g. invitations to events, provision of tickets to exhibitions). Sponsorships are generally provided as a contribution towards the cost of presenting an exhibition.

Sponsorship revenue is accounted for under AASB 15 Revenue from Contracts with Customers. As nearly all performance obligations under the sponsorship agreement are provided over time and not at a point in time, revenue is recognised at the time of invoice under the sponsorship agreement. Where the sponsorship is enforceable and contains sufficiently specific performance obligations for the Gallery to transfer goods or services to a third-party, the revenue is initially deferred (as a contract liability) and recognised as or when the performance obligations are satisfied. In 2019-20, all of the Gallery’s sponsorship revenue was recognised on invoice.

Accounting policy - Grants and contributions

Grants and contributions are non-reciprocal transactions where the Gallery does not directly give approximately equal value to the grantor or donor.

Where the grant or contribution is enforceable and contains sufficiently specific performance obligations for the Gallery to transfer goods or services to a third-party, the transaction is accounted for under AASB 15 Revenue from Contracts with Customers. Revenue is initially deferred (as a contract liability) and recognised as or when the performance obligations are satisfied. The Gallery did not have any grants or contributions accounted for under AASB 15 Revenue from Contracts with Customers in 2019-20 or 2018-19.


PART B


Page 12 of 48

B1-1 GRANTS, SPONSORSHIPS AND CONTRIBUTIONS (continued) Otherwise, the grant or contribution is accounted for under AASB 1058 Income of Not-for-Profit Entities, whereby revenue is recognised upon receipt of the funding, except for special purpose capital grants received to construct non-financial assets to be controlled by the Gallery. Special purpose capital grants are recognised as unearned revenue when received, and subsequently recognised progressively as revenue as the Gallery satisfies its obligations under the grant through construction of the asset.

Disclosure - Sponsorships

Sponsorship Nature and timing of satisfaction of performance obligations, including significant payment terms

Revenue recognition policies

Sponsorship: cash Sponsorships are entered into through formal sponsorship agreements under which a sponsor provides cash to the Gallery (to allow the Gallery to further its objectives) in exchange for promotional benefit.

As at 30 June 2020, all revenue was recognised on invoice.

Sponsorship: in-kind In-kind sponsorships (e.g. provision of goods and services such as advertising, accommodation or beverages) are entered into through formal sponsorship agreements under which a sponsor provides in-kind goods and services (to allow the Gallery to further its objectives) in exchange for promotional benefit.

As at 30 June 2020, all revenue was recognised as goods and services as received.

Disclosure - Grants and contributions

Specific purpose capital grants or contributions

Grant Nature and timing of satisfaction of performance obligations, including significant payment terms


Australian Government grants: Department of Communications and the Arts: Australian Indigenous artworks

Specific purpose grant from National Cultural Heritage Account for acquisition of Australian Indigenous artworks (capital).

Revenue is recognised as the artworks are acquired.

As at 30 June 2020 all revenue has been recognised, as all requirements have been met.

Queensland Government grants



Arts Queensland – administered grant

Recurrent grant provided for general Gallery purposes.

Revenue is recognised on receipt.

Arts Queensland - specific purpose grants

Periodically, specific purpose grants are received from Arts Queensland. Grant agreements are enforceable, and sufficiently specific to be able to identify when the grant conditions are met.

Revenue is recognised when the grant conditions are met.

As at 30 June 2020, $0.331m remains in unearned revenue in respect of the All-Ages Learning Centre concept design and feasibility study.

Other Queensland Government grants – specific purpose grants – where the agreements were not sufficiently specific to identify when the grant conditions were met

Periodically, specific purpose grants are received from other Queensland Government entities where the grant agreement was not sufficiently specific to identify when the grant conditions were met.

Revenue is recognised when invoiced as per the grant agreement.


PART B



Page 13 of 48

B1-1 GRANTS, SPONSORSHIPS AND CONTRIBUTIONS (continued) Other grants



Australian Government grants: Australia Council: Asia Pacific Triennial (APT)

Grant provided to support the Gallery’s APT exhibition. Grant agreement was not sufficiently specific to identify when the grant conditions were met.


Australian Government grants: Department of Foreign Affairs and Trade/Australia–Japan Foundation

Grant provided to support the Gallery’s Chiharu Shiota exhibition, which was postponed due to COVID-19. The contract includes a clause requiring repayment if the grant is not used for its specified purpose.

As at 30 June 2020, all the revenue remains in unearned revenue pending clarification in relation to whether the grant is to be repaid or transferred to the later exhibition date.

Private sector grants: Gordon Darling Foundation

Grant provided to support the Unfinished Business: Art of Gordon Bennett publication. Grant agreement was not sufficiently specific to identify when the grant conditions were met.


Private sector grant: Copyright Agency Cultural Fund

Grant provided to support the Gallery’s Open Studio program. Grant agreement was not sufficiently specific to identify when the grant conditions were met.


Contributions

Contribution Nature and timing of satisfaction of performance obligations, including significant payment terms


Donation, bequests, and fundraising: cash

Donations, bequests and fundraising received in 2019-20 to enable the Gallery to further its objectives. No donations or bequests were received in 2019-20 for the acquisition of specific non-financial assets.

Revenue is recognised on receipt.

Donations: in-kind (e.g. donated artwork)

Gifts of artwork received in 2019-20. Revenue is recognised at fair-value at the time of acceptance by the Gallery.


PART B


Page 14 of 48

Accounting policy - User charges and fees

Revenue from contracts with customers is generally recognised when the Gallery transfers control over goods or services to the customer. In a small number of cases where the revenue is received ahead of the supply of goods or services, the amount is immaterial, and it would be onerous to do otherwise, the Gallery has elected to bring revenue to account on receipt.

The following table provides information about the nature and timing of the satisfaction of performance obligations, significant payment terms, and revenue recognition for the Gallery’s user charge revenue from contracts with customers.

B1-2 RENT RECEIVED BELOW FAIR VALUE

Accounting policy - Rent received below fair value

Contribution of services are recognised only if the services would have been purchased if they had not been donated and their fair value can be reliably measured. Where this is the case, an equal amount is recognised as revenue and an expense.

Disclosure - Rent received below fair value

Rent received below fair value consists of the market value rent on the premises occupied by the Gallery and provided by Arts Queensland for nil consideration. The value is based on market appraisal via the State Valuation Service. This is recognised as both an income and expense. These services would otherwise have been purchased by the Gallery and can be reliably measured.

2020 $’000

2019 $’000

Rent of buildings 10,874 10,941

Total 10,874 10,941

B1-3 USER CHARGES AND FEES

2020 $’000

2019 $’000

Revenue from contracts with customers:

Admission revenues 1,982 624 Retail revenue 1,931 1,833 Food and beverage (F&B) revenue 3,243 4,157 Venue hire 167 259 Members revenue 229 267 Function revenue 176 191 Other user charge revenue 78 89

Total 7,806 7,420


PART B



Page 15 of 48

B1-3 USER CHARGES AND FEES (continued)

Disclosure - User charges and fees

User charge / fee

Nature and timing of satisfaction of performance obligations, including significant payment terms


Admission revenues

Admission revenues are received for ticketed exhibitions and cinema programs.

Approximately 95% of admission revenue is received at the time the service is delivered (e.g. ticket is purchased at the entrance to the exhibition), and hence revenue is recognised at the time of sale.

Approximately 5% of tickets will be purchased in advance (e.g. through QTIX). If tickets purchased in advance are for a specific date (e.g. an Up Late program), revenue is recognised on that date. Otherwise, revenue is recognised at the date of sale.

The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for admission revenue.

Retail revenue

Sale of retail products at the Gallery’s stores or online.

Approximately 96% of retail revenue is received simultaneously with the delivery of goods (sales are made onsite), and hence revenue is recognised on the day of sale.

For the remaining 4% of sales, the purchase is made online, and hence the revenue is received prior to the delivery of the goods. As the revenue is immaterial, and as orders are fulfilled promptly, revenue is recognised on the date of sale.

The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for retail revenue.

F&B Revenue: Outlets

Sale of food and beverages at the Gallery’s outlets (GOMA Bistro, GOMA Restaurant, and QAG Cafe).

Nearly all (over 99%) of revenue received on the day the service is provided. Revenue is recognised at the time of sale, as services are delivered.

For services paid in advance of delivery (e.g. gift vouchers), revenue is recognised as the services are delivered.

The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for F&B outlet revenue.

F&B Revenue: Catering

The Gallery provides restaurant and function catering in-house.

All revenue is brought to account on the day the catering is provided.

The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for F&B catering revenue.

Venue hire Hire of Gallery venue spaces. All revenue is brought to account on the date of venue hire.

The adoption of AASB 15 Revenue from Contracts with Customers in 2019-20 did not change the timing of revenue recognition for venue hire revenue.

Members revenue

Gallery membership can be acquired by individuals or family groups for periods of one to three years with benefits provided in return (e.g. discounts on admission to ticketed exhibitions, discount on food, beverages and retail purchases, invitations to exclusive members events, and free Gallery publications).

Under AASB 15 Revenue from Contracts with Customers, revenue is deferred until the Gallery satisfies the associated performance obligations (that is, supplies the membership benefits). Given the nature of membership benefits (very large numbers of small benefits; benefits mostly unrestricted in quantity and timing), the Gallery has determined that performance obligations will be assessed as satisfied on an even basis over the duration of the membership period. Consequently, revenue is recognised over the membership period.

In prior years, the Gallery recognised revenue as the membership payment was received. Note F6-1 details the impact of this change on transition.


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B1-4 INTEREST AND DISTRIBUTIONS FROM MANAGED FUNDS

Disclosure – Other investment revenue – distributions

Distributions are issued by the QIC Cash Enhanced Fund and the QIC Long Term Diversified Fund (see Note C4). Distributions are reinvested in the fund.

2020 $’000

2019 $’000

Other investment revenue - distributions 773 1,678 Interest 217 289 Total 990 1,967

B1-5 OTHER REVENUE Disclosure – Other investment revenue – franking credits

Consists of franking credits attached to distributions from the QIC Long Term Diversified Fund. These amounts are refundable by the Australian Taxation Office.

Disclosure – Recovery from catering clients of third-party event costs

In order to streamline arrangements for clients, the Gallery pays agreed third-party event costs (e.g. audio-visual screening) and recovers payment from the client. Revenue is recognised when the event is held.

Disclosure – Insurance recoveries

As a result of the closure of the Gallery due to COVID-19, the Gallery incurred losses in respect of the early closure of the Water exhibition and other commercial services (e.g. closure of retail stores and food and beverage operations). The Gallery holds business interruption insurance with QGIF for these losses.

As per Queensland Treasury requirements, the Gallery is only able to recognise QGIF insurance recoveries when it is almost certain that they will be received. As no confirmation has been received from QGIF that the claims ($1.521m) have been accepted, no insurance revenue has been recognised at 30 June 2020 for these losses.

During 2019-20, the Gallery received an insurance recovery of $997 in relation to a travel claim.

2020 $’000

2019 $’000

Other investment revenue – franking credits 60 154

Recovery from catering clients of thirdparty event costs 358 512

Insurance recoveries from the Queensland Government Insurance Fund (QGIF)

1 -

Recovery of exhibition touring costs from other galleries 132 4

Miscellaneous 67 243

Total 618 913


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B2 GAINS ON DISPOSAL AND RE-MEASUREMENT OF ASSETS

Accounting policy - Unrealised gains on investments held at fair value Gains arising from changes in the fair value of investments are included in the operating result in the period in which they arise.

Refer to Note C4 and C5-1 for further information on the Gallery’s investments.

2020 $’000

2019 $’000

Unrealised gains on investments held at fair value - 853

Net gains from disposal of plant and equipment 2 3

Total 2 856


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B3 EXPENSES

B3-1 EMPLOYEE EXPENSES

Accounting policy - Long service leave levy

Under the Queensland Government’s Long Service Leave Scheme, a levy of 2.35% (2.1% in 2018-19) is payable by the Gallery to cover the cost of employees' long service leave. The levies are expensed in the period in which they accrue. Amounts paid to employees for long service leave are claimed from the scheme quarterly in arrears.

Accounting policy – Employer superannuation contributions

Post-employment benefits for superannuation are provided through defined contribution (accumulation) plans or the Queensland Government’s QSuper defined benefit plan as determined by the employee’s conditions of employment.

Defined Contribution Plans - Contributions are made to eligible complying superannuation funds based on the rates specified in the relevant EBA or other conditions of employment. Contributions are expensed when they are paid or become payable following completion of the employee’s service each pay period.

Defined Benefit Plan - The liability for defined benefits is held on a whole-of-government basis and reported in those financial statements pursuant to AASB 1049 Whole of Government and General Government Sector Financial Reporting. The amount of contributions for defined benefit plan obligations is based upon the rates determined on the advice of the State Actuary.

Contributions are paid by the Gallery at the specified rate following completion of the employee’s service each pay period. The Gallery’s obligations are limited to those contributions paid.

Accounting policy – Payroll tax

Payroll tax is payable to the Office of State Revenue at 4.95% of taxable wages (4.75% in 2018-19). Payroll tax is expensed each pay period, and is accrued when salaries and wages are due but unpaid.

Disclosure – Key management personnel

Key management personnel and remuneration disclosures are detailed in Note F1.

Employee benefits

2020 $’000

2019 $’000

Salaries and wages* 23,637 22,509 Employer superannuation

contributions 2,846 2,688

Annual leave expenses 1,782 1,806 Long service leave levy 566 468 Employee Related Expenses Payroll tax 1,394 1,275 Workers’ compensation premium 235 200 Fringe benefits tax 18 27 Staff recruitment and training 52 74 Other employee related expenses 41 43 Total 30,571 29,093

Number of full-time equivalents (FTEs) (30 June) 269 296

* Wages and salaries includes $0.430m of $1,250 one-off, pro-rata payments for 310 full-time equivalent employees (announced in September 2019).

Accounting policy – Salaries and wages

Salaries and wages due but unpaid at reporting date are recognised as employee expenses and in the Statement of Financial Position at the current salary rates. As the Gallery expects such liabilities to be wholly settled within 12 months of reporting date, the liabilities are recognised at undiscounted amounts.

Accounting policy - Sick leave

Prior history indicates that, on average, sick leave taken each reporting period is less than the entitlement accrued. This is expected to continue in future periods. Accordingly, it is unlikely that existing accumulated entitlements will be used by employees and no liability for unused sick leave entitlements is recognised. As sick leave is non-vesting, an expense is recognised for this leave as it is taken.

Accounting policy - Annual leave expenses The Gallery holds annual leave balances at undiscounted values as the difference between the undiscounted and discounted values is immaterial.


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B3-2 SUPPLIES AND SERVICES Accounting policy – Distinction between Supplies and services and Grants and subsidies

For a transaction to be classified as supplies and services, the value of goods or services received by the Gallery must be of approximately equal value to the value of the consideration exchanged for those goods or services. Where this is not the substance of the arrangement, the transaction is classified in expenses under grants and subsidies.

Accounting policy - Lease expenses

Lease expenses include lease rentals for short-term leases, leases of low value assets and variable lease payments which are expensed on payment in accordance with AASB 16 Leases which took effect from 2019-20. The Gallery applied the modified retrospective transition method and has not restated comparative information for 2018-19.

Refer to Note C9 for a breakdown of lease expenses and other lease disclosures.

2020 $’000

2019 $’000

Advertising, promotion and public relations 2,274 1,980

COGS on food & beverage sales 1,010 1,182 COGS on retail sales 1,195 1,060 Contractors and consultants 2,554 2,324 Lease expenses 126 - Other exhibition related expenses 992 - Postage, freight and storage 658 1,297 Property equipment and maintenance costs 3,814 4,238

Stationery, printing, books and publications 627 800

Telecommunications and access fees 264 337 Travel expenses 410 741 Other supplies and services 2,488 1,894

Total 16,412 15,853

B3-3 DEPRECIATION AND AMORTISATION

Depreciation – property, plant and equipment 411 552

Refer to Note C-5 for accounting policy and disclosures in relation to Property, plant and equipment.

Depreciation - right-of-use (leased) assets 163 -

Refer to Note C-9 for accounting policy and disclosures in relation to AASB 16 Leases which took effect from 2019-20. The Gallery applied the modified retrospective transition method and has not restated comparative information for 2018-19.

Total 574 552

B3-4 LOSS ON DISPOSAL AND RE-MEASUREMENT OF ASSETS

Revaluation decrement on investment of financial assets held at fair value 1,605 -

In 2019-20, the Gallery incurred an unrealised loss in the fair value of investments, primarily following share market falls after COVID-19. Refer to Note B2 in relation to unrealised gains received in 2018-19.

Refer to Note C4 for further information on the Gallery’s investments.

Loss on sale or disposal - plant & equipment 15 24

Total 1,620 24

B3-5 OTHER EXPENSES Disclosure – Audit fees - external

Total Audit fees quoted by the Queensland Audit Office relating to the 2019-20 financial statements are $49,500 (2018-19: $49,000).

Audit fees – external 50 49 Bank and investment fees 239 226 Insurance premiums – QGIF 170 156 Insurance premiums – other 22 29 Trustee fees and reimbursements 29 28 Other 78 49

Total 588 537


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SECTION 3

NOTES ABOUT OUR FINANCIAL POSITION

C1 CASH AND CASH EQUIVALENTS Accounting policy – Cash and cash equivalents

For the purposes of the Statement of Financial Position and the Statement of Cash Flows, cash and cash equivalents include deposits at call with the Queensland Treasury Corporation (QTC), and deposits at bank, including all cash and cheques receipted but not banked at 30 June.

2020

$’000 2019

$’000 Cash at QTC – QTC Capital Guaranteed Cash Fund and foreign currency reserves

7,950 9,193

Cash at bank and on hold 2,987 1,339 Imprest accounts 26 28

Total 10,963 10,560

C2 RECEIVABLES Accounting policy – Receivables

Trade debtors are recognised at the amounts due at the time of sale or service delivery i.e. the agreed purchase/contract price. Settlement of these amounts is required within 30 days from invoice date. Other receivables are recognised at their assessed values and are typically received within 90 days. No interest is charged, and no security is obtained on receivables.

Disclosure - Credit Risk Exposure of Receivables

The maximum exposure to credit risk at balance date for receivables is the gross carrying amount of those assets. No collateral is held as security.

Based on historical experience, the Gallery’s risk in relation to non-payment of receivables is minimal.

Trade debtors 12 189 GST receivable 83 260 GST payable (5) (64) Franking credits receivable from the Australian Tax Office 215 154

Long service leave reimbursements from Queensland Treasury 45 46

Other 7 62

Total 357 647

C3 INVENTORIES Accounting policy – Inventories

Retail inventories are held for sale through the Gallery stores.

Publication inventories are held for sale through the Gallery stores or commercial distributors.

Beverage inventories are held for sale in the Gallery’s cafes and restaurants. All food is expensed at the time of purchase.

Inventories are valued at the lower of cost or net realisable value. Net realisable value is determined on the basis of the Gallery's normal selling pattern.

Cost is assigned on a weighted average basis. Immaterial expenditure incurred in transporting inventory to the Gallery is expensed as incurred.

Retail 683 633 Publication 126 55 Beverage 34 37

Total 843 725


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C4 OTHER FINANCIAL ASSETS Accounting policy – Other financial assets

QIC investments are valued at the unit prices provided by QIC as at 30 June each year. Changes to market value are recognised as income or expenditure in determining the net result for the period.

Included in Other financial assets are net assets of the QAGOMA Foundation that must be preserved based on the conditions imposed at the time of donation or bequest. Refer to Note F3-3 for further information. As these invested funds are preserved, the investments are classified as non-current financial assets.

2020 $’000

2019 $’000

Non-Current

At fair value QIC Long Term Diversified Fund (Previously named as QIC Growth Fund) 37,390 37,644

QIC Cash Enhanced Fund 3,192 3,399

Total 40,582 41,043


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C5 PROPERTY, PLANT AND EQUIPMENT AND RELATED DEPRECIATION EXPENSE

C5-1 CLOSING BALANCES AND RECONCILIATION OF CARRYING AMOUNT

Art Collection

Library Heritage

Collection Plant and

Equipment Work in

Progress Total

2020 2020 2020 2020 2020 $000 $000 $000 $000 $000

Gross 553,108 397 8,707 2,062 564,274 Less: Accumulated Depreciation - - (6,531) - (6,531) Carrying amount at 30 June 2020 553,108 397 2,176 2,062 557,743

Represented by movements in carrying amount:

Carrying amount at 1 July 2019 507,018 397 2,423 2,130 511,968 Acquisitions 2,058 - 112 - 2,170 Transfer between asset classes - - 68 (68) - Donations received 2,759 - - - 2,759 Disposals - - (16) - (16)

Gains/(losses) recognised in other comprehensive income:

Net revaluation increments 41,273 - - - 41,273

Depreciation - - (411) - (411)

Carrying amount at 30 June 2020 553,108 397 2,176 2,062 557,743

Art Collection

Library Heritage

Collection Plant and

Equipment Work in

Progress Total

2019 2019 2019 2019 2019 $000 $000 $000 $000 $000

Gross 507,018 397 8,783 2,130 518,328 Less: Accumulated Depreciation - - (6,360) - (6,360) Carrying amount at 30 June 2019 507,018 397 2,423 2,130 511,968

Represented by movements in carrying amount:

Carrying amount at 1 July 2018 452,311 396 2,891 3,545 459,143 Acquisitions 5,749 1 40 493 6,283 Transfer between asset classes 1,822 - 86 (1,908) - Donations received 1,124 - - - 1,124 Disposals - - (42) - (42)

Gains/(losses) recognised in other comprehensive income:

Net revaluation increments 46,012 - - - 46,012

Depreciation - - (552) - (552)

Carrying amount at 30 June 2019 507,018 397 2,423 2,130 511,968


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C5-2 RECOGNITION AND ACQUISITION Basis of capitalisation and recognition thresholds

Items of property, plant and equipment with a historical cost or other value equal to or exceeding the following thresholds in the year of acquisition are reported as property, plant and equipment in the following classes:

Art Collection $1

Library Heritage Collection $1

Plant and equipment $5,000

Items with a lesser value are expensed in the year of acquisition.

Expenditure on property, plant and equipment is capitalised where it is probable that the expenditure will produce future service potential for the Gallery. Subsequent expenditure is only added to an asset’s carrying amount if it increases the service potential or useful life of that asset. Maintenance expenditure that merely restores original service potential (lost through ordinary wear and tear) is expensed.

Accounting policy – Cost of acquisition

Historical cost is used for the initial recording of all property, plant and equipment acquisitions. Historical cost is determined as the value given as consideration and costs incidental to the acquisition (such as architects' fees and engineering design fees), plus all costs incurred in getting the assets ready for use.

Assets acquired at no cost or for nominal consideration are recognised at their fair value at date of acquisition.

C5-3 MEASUREMENT USING HISTORICAL COST Accounting policy

Plant and equipment is measured at historical cost less any accumulated depreciation in accordance with the Queensland Treasury’s Non-Current Asset Policies for the Queensland Public Sector. The net carrying amounts are not materially different from their fair value.

C5-4 MEASUREMENT USING FAIR VALUE Accounting policy

Under the Queensland Treasury’s Non-Current Asset Policies for the Queensland Public Sector, all heritage and cultural assets are required to be carried at fair value. These assets are reported at their revalued amounts, being the fair value at the date of valuation.

Art Collection

The valuation of the Art Collection is conducted in accordance with the Gallery’s Art Collection Revaluation Policy which has been approved by the Board and which has been prepared in line with AASB 116 Property, Plant and Equipment, AASB 13 Fair Value Measurement and Queensland Treasury’s Non-Current Asset Policies for the Queensland Public Sector. The revaluation process is managed by the Deputy Director, Collection and Exhibitions, with revaluations approved by the Director, and then endorsed by the Board.

The Gallery’s Art Collection is comprised of over 19,000 works which makes it impractical to revalue each work, every year. The Art Collection is materially influenced by the highest valued works while lower value works (particularly those below $50,000) have not historically resulted in large movements and any changes in value have not had a material impact on the overall value of the Art Collection.

Consequently, the Gallery has adopted a systematic, risk-based approach to the revaluation with:

• top 10 works by value revalued every three years, with independent valuers used to support final Gallery valuations • works with a valuation above $500,000 revalued every three years generally by internal experts, although assistance

is obtained from external experts at the Gallery’s discretion • works with a valuation between $50,000 and up to $500,000 revalued every three years by internal experts, although

assistance is obtained from external experts at the Gallery’s discretion, and • works below $50,000 reviewed every ten years.

In addition, works with a valuation above $500,000 are reviewed every year for movements in currency exchange rates which would have affected valuations. As part of the Art Collection Revaluation Policy, the Gallery has retained a provision to revalue the complete Art Collection if it is believes that there has been an underlying movement in art works not revalued in the current year of + or - 10% of the overall valuation.


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C5-4 MEASUREMENT USING FAIR VALUE (continued) In determining fair value, the Gallery uses a market valuation approach which takes into account:

• publicly available sale prices of comparable works by the same or other artists (e.g. auction records) • the price paid for the item (noting that the fair value over time for some works could be significantly less than the

purchase price and conversely, could be significantly more) • sales information provided by artist agents (noting that they should be treated with caution if they cannot be

independently verified) • current conditions in the art market • physical condition and attributes of the artwork, and • valuation advice and opinions provided by experts.

Considerable judgement is required in determining fair value, as the fair values of individual works may rise and fall depending on a variety of broad market factors such as overall economic conditions, trends in the art market, or the perceived importance of the artist, alongside the intrinsic elements of the object in question (size, date, subject matter, history, provenance, relevance or impact, rarity, etc.). For some artworks, and particularly for those with high values, there may be few or no comparable works that exist or have come to auction to allow comparison.

Any revaluation increment arising on the revaluation of Art Collection assets is credited to the asset revaluation surplus, except to the extent it reverses a revaluation decrement previously recognised as an expense. A decrease in the carrying amount on revaluation is charged as an expense, to the extent it exceeds the balance, if any, in the asset revaluation surplus refer to Note C10-1.

Heritage Library Collection

As the value of the Heritage Library Collection is immaterial to the overall value of Property, plant and equipment (less than 0.08%) the Gallery has elected not to revalue the Heritage Library Collection in line with Queensland Treasury’s Non-Current Asset Policies for the Queensland Public Sector.

C5-5 DEPRECIATION EXPENSE Accounting policy

Property, plant and equipment is depreciated on a straight-line basis so as to allocate the net cost or revalued amount of each asset, less its estimated residual value, progressively over its estimated useful life to the Gallery. The Art Collection and the Library Heritage Collection are not depreciated due to the heritage and cultural nature of the assets.

Assets under construction (work-in-progress) are not depreciated until construction is complete and the asset is put to use or is ready for its intended use, whichever is the earlier. These assets are then reclassified to the relevant class within property, plant and equipment.

Key Judgement:

The following depreciation rates are used for Property, plant and equipment:

Class Rate % Computers and servers 20-30 Motor vehicles 25 Leasehold improvements 6-10 Other 10-20

C5-6 IMPAIRMENT Accounting policy

Indicators of Impairment and Determining Recoverable Amounts

All non-current physical assets are assessed for indicators of impairment on an ongoing basis, or where the asset is measured at fair value, for indicators of a change in fair value/service potential since the last valuation was completed. Where indicators of a material change in fair value or service potential since the last valuation arise, the asset is revalued at the reporting date under AASB 13 Fair Value Measurement. If an indicator of possible impairment exists, the Gallery determines the asset’s recoverable amount under AASB 136 Impairment of Assets. Recoverable amount is equal to the higher of the fair value less costs of disposal and the asset’s value in use.


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C5-6 IMPAIRMENT (continued) Where the carrying amount of the asset exceeds the recoverable amount, the impairment loss is accounted for as follows:

• for assets measured at cost, an impairment loss is recognised immediately in the statement of comprehensive income;

• for assets measured at fair value, the impairment loss is treated as a revaluation decrease and offset against the revaluation surplus of the relevant class to the extent available. Where no asset revaluation surplus is available in respect of the class of asset, the loss is expensed in the statement of comprehensive income as a revaluation decrement.

Where an impairment loss subsequently reverses, the carrying amount of the asset is increased to the revised estimate of its recoverable amount, but so that the increased carrying amount does not exceed the carrying amount that would have been determined had no impairment loss been recognised for the asset in prior years.

For assets measured at cost, impairment losses are reversed through income.

For assets measured at fair value, to the extent the original decrease was expensed through the statement of comprehensive income, the reversal is recognised in income, otherwise the reversal is treated as a revaluation increase for the class of asset through asset revaluation surplus.

When an asset is revalued using either a market or income valuation approach, any accumulated impairment losses at that date are eliminated against the gross amount of the asset prior to restating for the revaluation.

C6 PAYABLES

Accounting policy – Payables

Trade creditors are recognised upon receipt of the goods or services ordered and are measured at the nominal amount i.e. agreed purchase/contract price, gross of applicable trade and other discounts. Amounts owing are unsecured.

Disclosure – Accruals

Artwork accruals are works that have been committed to the Art Collection but payment is yet to be finalised.

Other accruals are made up of purchase orders and other expenses incurred but not invoiced or paid in the period to which they relate.

2020 $’000

2019 $’000

Trade creditors 295 514 Payroll tax payable 475 148 Artwork accruals 1,513 3,119 Other accruals 1,578 530 Other payables 44 94

Total 3,905 4,405

C7 ACCRUED EMPLOYEE BENEFITS

Accounting policy – Accrued employee benefits

The Gallery holds annual leave balances at undiscounted values as the difference between the undiscounted and discounted values are immaterial.

Accrued Employee Benefits Current Salaries and wages outstanding 124 776 Employee superannuation contributions payable 17 86

Parental leave payable 5 3 Long service leave levy payable 142 135 Annual leave payable 2,081 2,026

Total 2,369 3,026


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C8 OTHER LIABILITIES

Disclosure – Contract liabilities

Contract liabilities arise from contracts with customers under AASB 15 Revenue from Contracts with Customers.

Of the contract liability balance at 1 July 2019 of $0.260m (venue hire and catering), $0.226m was recognised as revenue in 2019-20.

Of the contract liability balance at 30 June 2020, all of the balance is expected to be recognised as revenue in 2020-21 as performance obligations are performed.

There were no significant changes in contract liabilities during the year.

Refer Note B1-1 and B1-3 for further information in relation to treatment of contracts with customers under AASB 15 Revenue from Contracts with Customers.

Disclosure – Unearned revenue

Unearned revenue arises from transactions that are not contracts with customers under AASB 15 Revenue from Contracts with Customers.

The unearned revenue in respect to the Arts Queensland grant is the unexpended portion of one enforceable and sufficiently specific grant for the All Ages Learning Centre concept design and feasibility study.

Refer Note B1-1 for further information in relation to the treatment of Grants and contributions under AASB 1058 Income of Not-for-Profit Entities.

2020 $’000

2019 $’000

Contract liabilities

Deposits held for venue hire and catering 171 260

Membership revenue paid in advance 265 -

Unearned revenue

Other Queensland Government grants: Arts Queensland: All-Ages Learning Centre concept design and feasibility study

331 -

Sponsorship revenue for an exhibition postponed due to COVID-19 30 -

Other Queensland Government grants: Education Queensland: Creative Generation - prepayment of grant for 2020-21

9 -

Other liabilities

Other liabilities - other 2 1

Total 808 261


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C9 RIGHT-TO-USE ASSETS AND LEASE LIABILITIES A new accounting standard AASB 16 Leases came into effect in 2019-20, resulting in changes to the Gallery’s accounting for leases for which it is lessee. The transitional impact of the new standard is disclosed in Note F6-4.

C9-1 LEASES AS LESSEE Right-of-use assets

Buildings Plant and equipment

Total

$'000 $'000 $'000 2019-20 Opening balance at 1 July 114 162 276 Additions - 27 27 Depreciation charge (98) (65) (163) Closing balance at 30 June 16 124 140

Lease liabilities

2020 $’000

2019 $’000

Current

Lease liabilities 67 -

Non-current

Lease liabilities 61 -

Total 128 -

Accounting policies – Leases as lessee

As per Queensland Treasury’s Financial Reporting Requirements the Gallery has not recognised the right-of-use assets and lease liabilities arising from short-term leases (less than one year) and leases of low value assets (expected to cost less than $10,000 when new). Lease payments from these assets are recognised as expenses on a straight-line basis over the lease term.

Where a contract contains both a lease and non-lease components (such as asset maintenance services) the Gallery has elected not to separate the lease and non-lease components and instead accounts for them as a single lease component.

When measuring the lease liability, the Gallery uses its incremental borrowing rate as the discount rate (as the interest rates implicit in the leases cannot be readily determined). To determine its incremental borrowing rate, the Gallery uses loan rates provided by Queensland Treasury Corporation that correspond to the commencement date and term of the lease.

Disclosures – Leases as lessee

Details of leasing arrangements as lessee

Plant and equipment leases The Gallery occasionally enters into leases for plant and equipment including photographic, photocopiers, and cinema equipment.

Lease terms are generally five years or less. Some leases have renewal or extension options. The options are not included in the right-of-use asset or lease liability unless the Gallery is reasonably certain the lease will be renewed.

The photocopier lease has variable lease payments that depend on the volume of usage. The usage-based payments are recognised as lease expenses in Note B3-2 when incurred. They are not expected to vary materially from year to year.

Offsite Storage facilities The Gallery currently holds a lease for Unit A of an offsite storage facility. In May 2020 approval was requested for a modification to add Unit B to the current lease.

In June 2020, the Gallery became reasonably certain that it would terminate the current lease on 31 August 2020 and start a new lease for both Unit A and Unit B from 1 September 2020. The new lease and surrender of the current lease was signed on 2 July 2020.

The right-of-use asset value and the lease liability have been adjusted to reflect the new termination date of 31 August 2020.


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C9-1 LEASES AS LESSEE (continued) Motor vehicle lease with QFleet

The Gallery has one motor vehicle lease with QFleet. As QFleet has substitution rights over the vehicle, this vehicle is categorised as a procurement of services rather than as a lease. The service expenses are included in Note B3-2.

Amounts recognised in profit or loss

2020

$’000 2019

$’000

Interest expense on lease liabilities 1 -

Breakdown of ‘Lease expenses’ included in Note B3-2

Expenses relating to short-term leases 69 -

Expenses relating to leases of low value assets 5 -

Expenses relating to variable lease payments 52 -

Total cash outflow for leases 127 -

2018-19 disclosures under AASB 117

Operating leases

2020 $’000

2019 $’000

No later than one year 8 146

Later than one year and not later than five years 1 139

Total 9 285

C10 EQUITY

C10-1 ASSET REVALUATION SURPLUS BY ASSET CLASS Accounting policy

The asset revaluation surplus represents the net effect of upwards and downwards revaluations of assets to fair value.

Art Collection Library Heritage Collection Total

2020 $’000

2019 $’000

2020 $’000

2019 $’000

2020 $’000

2019 $’000

Balance 1 July 322,496 276,484 97 97 322,593 276,581

Revaluation increment 41,273 46,012 - - 41,273 46,012

Balance 30 June 363,769 322,496 97 97 363,866 322,593


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SECTION 4

NOTES ABOUT RISKS AND OTHER ACCOUNTING UNCERTAINTIES

D1 FAIR VALUE MEASUREMENT

D1-1 ACCOUNTING POLICY AND INPUTS FOR FAIR VALUE What is fair value?

Fair value is the price that would be received to sell an asset or paid to transfer a liability in an orderly transaction between market participants at the measurement date under current market conditions (i.e. an exit price) regardless of whether that price is directly derived from observable inputs or estimated using another valuation technique.

Observable inputs are publicly available data that are relevant to the characteristics of the assets/liabilities being valued.

Unobservable inputs are data, assumptions and judgements that are not available publicly, but are relevant to the characteristics of the assets/liabilities being valued. Significant unobservable inputs used by the Gallery include valuation of the Art Collection and valuation of managed funds held with QIC. Unobservable inputs are used to the extent that sufficient relevant and reliable observable inputs are not available for similar assets/liabilities.

A fair value measurement of a non-financial asset takes into account a market participant’s ability to generate economic benefits by using the asset in its highest and best use.

Fair value measurement hierarchy

Details of individual assets and liabilities measured under each category of fair value are set out in the tables at Note D1-2.

All assets and liabilities of the Gallery for which fair value is measured or disclosed in the financial statements are categorised within the following hierarchy, based on the data and assumptions used in the most recent specific appraisals:

Level 1: Represents fair value measurements that reflect unadjusted quoted market prices in active markets for identical assets and liabilities.

Level 2: Represents fair value measurements that are substantially derived from inputs (other than quoted prices that are included in Level 1) that are observable, either directly or indirectly.

Level 3: Represents fair value measurements that are substantially derived from unobservable inputs.

None of the Gallery’s valuations of assets or liabilities are eligible for categorisation into level 1 of the fair value hierarchy.

There were no transfers of assets between fair value hierarchy levels during the period.

The Gallery’s financial investments with QIC are categorised at Level 2 and the Gallery’s Art Collection and Library Heritage Collection are categorised at Level 3.

More specific fair value information about the Art Collection and Library Heritage Collections is included in Note C5-4.

D1-2 CATEGORISATION OF ASSETS AND LIABILITIES MEASURED AT FAIR VALUE The following investments are held at their fair value:

Level 1 Level 2 Level 3 Total Carrying

Amount

2020 2019 2020 2019 2020 2019 2020 2019 $'000 $'000 $'000 $'000 $'000 $'000 $'000 $'000 Art Collection - - - - 553,108 507,018 553,108 507,018

Library Heritage Collection - - - - 397 397 397 397

Investments in QIC - - 40,582 41,043 - - 40,582 41,043

Total - - 40,582 41,043 553,505 507,415 594,087 548,458


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D2 FINANCIAL RISK DISCLOSURES Financial assets and financial liabilities are recognised in the statement of financial position when the department becomes party to the contractual provisions of the financial instrument.The Gallery has the following categories of financial assets and financial liabilities.

Financial assets

Note 2020 $’000

2019 $’000

Cash and cash equivalents C1 10,963 10,560

Financial assets at amortised cost:

Receivables C2 357 647

Equity investments at fair value through QIC

QIC Cash Enhanced Fund C4 3,192 3,399

QIC Long Term Diversified Fund C4 37,390 37,644

Total financial assets 51,902 52,250

Financial liabilities

2020 $’000

2019 $’000

Financial liabilities at amortised cost:

Payables C6 3,905 4,405

Lease liabilities C9-1 128 -

Total financial liabilities as amortised cost 4,033 4,405

No financial assets and liabilities have been offset and presented net in the Statement of Financial Position.

Credit risk

Credit risk (the risk that the Gallery may incur a financial loss as a result of a counterparty to a financial instrument failing to discharge their obligation) exists in relation to cash and cash equivalents, non-current financial assets, and receivables.

Credit risks in relation to cash and cash equivalents and non-current financial assets are minimal as deposits are held by the QTC, the QIC, and the Commonwealth Bank. Risks are further minimised by ensuring all investments are in accordance with the Gallery’s Investment Policy, which is consistent with the Queensland Government’s Statutory Bodies Financial Arrangements Act 1982 (the SBFAA).

Based on historical experience, the Gallery’s risk in relation to non-payment of receivables is minimal.

Currency risk

Currency risk (the risk of loss from fluctuating foreign exchange rates) exists primarily to the extent that contracts, mainly exhibition contracts and art acquisition contracts, are in foreign currency. The Gallery minimises this risk by negotiating contracts in Australian dollars and by keeping payment terms short where possible. Where this is not possible and the amount is material, the Gallery may reduce currency risks by holding foreign currency when approved by the Treasurer under the SBFAA. Currently, the Gallery is holding USD $1.100m (equivalent to AUD $1.575m) and EUR €0.235m (equivalent to AUD $0.383m).

Currency risks from financial investments is minimal as under the SBFAA the Gallery must hold all investments in Australian dollars. Indirectly, the Gallery is exposed to currency risk to the extent that QIC investments are held in foreign currency. This risk is managed by QIC principally through the use of currency hedging.

Currency movements can impact the valuation of major international artworks. As these artworks are not held for trading, movements in valuations do not impact the Gallery’s cash flows and do not have an impact on the Gallery’s ability to meet its objectives.


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D3 COMMITMENTS 2020

$’000 2019

$’000 Forward exhibition contracts Not later than one year 2,295 793 Total 2,295 793

D4 CONTINGENCIES Litigation in progress

The Gallery does not have any litigation before the courts.

Contingent assets

As at 30 June 2020, the only contingent asset relates to an insurance claim of $1.521m with the Queensland Government Insurance Fund for business interruption in respect of the Water exhibition, Retail and F&B related to COVID-19.

D5 EVENTS OCCURRING AFTER THE BALANCE DATE No post balance date events have been identified.

D6 FUTURE IMPACT OF ACCOUNTING STANDARDS NOT YET EFFECTIVE All Australian accounting standards and interpretations with future effective dates are either not applicable to the Gallery’s activities or have no material impact.

D7 SIGNIFICANT FINANCIAL IMPACTS FROM COVID-19 PANDEMIC The following significant transactions were recognised by the Gallery during the 2019-20 financial year in response to the COVID-19 pandemic.

Operating Statement $’000

Significant expense items arising from COVID-19 Reduction in expenses due to deferment of exhibitions and programs (1,059) Reduction in F&B expenses attributable to COVID-19 (321) Reduction in Retail expenses attributable to COVID-19 (192) Reduction in general supplies and services attributable to COVID-19 (120) Unrealised losses on investments attributable to COVID-19 impacts 1,534

(158) Significant revenue items arising from COVID-19

Reduction in F&B revenue attributable to COVID-19 (1,011) Reduction in admissions revenue for Water due to early closure of the exhibition (978)

Reduction in gains on investment attributable to COVID-19 impacts (836) Reduction in investment distributions attributable to COVID-19 impacts (400) Reduction in Retail revenue attributable to COVID-19 (340) Reduction in revenue attributable to other exhibitions and programs (224) Reduction in QAGOMA memberships and function revenue (50) Payroll tax relief provided by the Queensland Government 265

(3,574) Balance Sheet Significant changes in assets arising from COVID-19

Decrease in cash due to reduction in cash revenue above ($2.738m) greater than savings in cash expenses above ($1.692m) (1,046)

Investment revaluation (decrement) attributable to COVID-19 impact (2,370)

(3,416)

Significant changes in equity arising from COVID-19

Decrease in equity due to impact of revenue and expense impacts (3,416)


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SECTION 5

NOTES ABOUT OUR PERFORMANCE COMPARED TO BUDGET

E1 BUDGETARY REPORTING DISCLOSURE This section contains explanations of major variances between the Gallery’s actual 2019-20 financial results and the original budget presented to Parliament.

Explanation of budget variances are provided for employee expenses where the variance is more than 5%, and for supplies and services where the variance is more than 10%. For all other reporting lines, explanations are provided where the variance is more than +/- $500,000 or where the Gallery believes that the explanation would assist in understanding of the financial statements.

E2 BUDGET TO ACTUAL COMPARISON – STATEMENT OF COMPREHENSIVE INCOME OPERATING RESULTS Variance

Notes Original Budget

2020

Actual Result

2020

Variance

$’000 $’000 $’000 % of

original budget

Income from Continuing Operations

Grants, sponsorships and contributions 1 41,648 46,232 4,584 11% Rent received free of charge 10,904 10,874 (30) - User charges and fees 2 9,722 7,806 (1,916) -20% Interest and distributions from managed funds 3 1,355 990 (365) -27% Other revenue 592 618 26 4% Total Revenue 64,221 66,520 2,299 4% Gains on disposal/revaluation of assets 4 1,325 2 (1,323) -100% Total Income from Continuing Operations 65,546 66,522 976 1% Expenses from Continuing Operations Employee expenses 30,616 30,571 (45) - Supplies and services 5 18,548 16,412 (2,136) -12% Grants and subsidies - - - - Depreciation 6 512 574 62 12% Rent received free of charge 10,904 10,874 (30) - Finance costs - 1 1 - Other expenses 589 588 (1) - Total expenses 61,169 59,020 (2,149) -4% Loss on disposal and re-measurement of assets 7 - 1,620 1,620 - Total Expenses from Continuing Operations 61,169 60,640 (529) -1%

Operating Result from Continuing Operations 4,377 5,882 1,505 34% Other Comprehensive Income Increase in asset revaluation surplus 8 5,000 41,273 36,273 725%

Total Other Comprehensive Income 5,000 41,273 36,273 725%

Total Comprehensive Income 9,377 47,155 37,778 403%


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E2 BUDGET TO ACTUAL COMPARISON – STATEMENT OF COMPREHENSIVE INCOME (continued) V1. An increase in Grants, sponsorship and contributions was primarily due to unbudgeted additional donations

($1.504m), an additional grant from Arts Queensland for the Gallery’s exhibition LED lighting upgrade ($1.150m), greater than expected contra-sponsorship ($0.669m), supplementation from the Queensland Government for the $1,250 (pro-rata) one-off Certified Agreement signing bonus paid to employees ($0.430m), a one-off grant from Queensland Treasury for payroll tax relief during COVID-19 ($0.265m), supplementation from the Queensland Government for industrial award wage increases ($0.212m), and the recognition of an Arts Queensland grant for the All-Ages Learning Centre concept design and feasibility study ($0.169m).

V2. A decrease in User charges was primarily due to the impact of COVID-19 on Food and Beverage Services revenue ($1.047m) and admissions to the Water exhibition ($0.978m).

V3. A decrease in Interest and distributions from managed funds was due to a fall in distributions from the QIC Long Term Diversified Fund as a result of a COVID-19 market impact ($0.302m), and reduced interest rates on bank deposits ($0.063m). The budget had been prepared expecting a consistent revenue stream based on historical returns.

V4. A decrease in Gains on disposal / revaluation of assets was due to a loss incurred by the QIC Long Term Diversified Fund as a result of falls in equity and other investments as a result of a COVID-19 market impact ($1.323m).

V5. A decrease in Supplies and services was primarily due to the payment of an exhibition fee in 2020-21 rather than 2019-20 as budgeted ($1.508m), delays in exhibition and program expenditure primarily as a result of COVID-19 (approximately $1.050m), the deferral of expenses in relation to the Digital Transformation Initiative to 2020-21 rather than 2019-20 as budgeted ($0.916m), savings in electricity and gas charges due to a reduction in usage and lower than expected tariff increases ($0.187m), and the transfer of lease costs to Depreciation as a result of the introduction of the AASB 16 Leases ($0.164m). Offsetting these savings, additional expenditure was incurred as a result of unbudgeted expenditure on the Gallery’s exhibition LED lighting upgrade ($1.150m – offset by unbudgeted grant revenue) and greater than expected contra-sponsorship related expenses ($0.669m – offset by unbudgeted contra-sponsorship revenue).

V6. An increase in Depreciation was primarily due to unbudgeted depreciation on right-of-use (leased) assets. V7. An increase in Loss on disposal and re-measurement of assets was due to the loss incurred by the QIC Long

Term Diversified Fund as a result of COVID-19 market impact in equity and other investments ($1.620m). V8. An increase in the Asset revaluation surplus was due to a greater than expected revaluation increases for the

“top 10” valued works in the Art Collection ($36.273m).


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E3 BUDGET TO ACTUAL COMPARISON – STATEMENT OF FINANCIAL POSITION

Variance Notes

Original Budget

2020

Actual Result

2020

Variance

$’000 $’000 $’000

% of original budget

Current Assets Cash and cash equivalents 9 7,797 10,963 3,166 41% Receivables 10 606 357 (249) -41% Inventories 11 700 843 143 20% Prepayments 12 220 447 227 103%

Total Current Assets 9,323 12,610 2,287 35% Non-Current Assets Other financial assets 13 36,900 40,582 3,682 10% Property, plant and equipment 14 479,710 557,743 78,033 16%

Right-of-use assets - 140 140 - Total Non-Current Assets 516,610 598,465 40,582 16% Total Assets 525,933 611,075 85,142 16%

Current Liabilities Payables 15 1,403 3,905 2,502 178% Lease liabilities - 67 67 - Accrued employee benefits 2,527 2,369 (158) -6% Other current liabilities 16 501 808 307 61%

Total Current Liabilities 4,431 7,149 2,718 61% Non-Current Liabilities Lease liabilities - 61 61 -

Total Non-Current Liabilities - 61 61 - Total Liabilities 4,431 7,210 2,779 63%

Net Assets 521,502 603,865 82,363 16%

Equity Contributed equity 19,314 19,314 - - Accumulated surplus 215,607 220,685 5,078 2% Asset revaluation reserve 8 286,581 363,866 77,285 27%

Total Equity 521,502 603,865 82,363 16%


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E3 BUDGET TO ACTUAL COMPARISON – STATEMENT OF FINANCIAL POSITION (continued) V9. An increase in Cash and cash equivalents was primarily due to greater than expected cash on hand at the

beginning of the financial year of $2.403m (as a result of setting the budget in April 2019 prior to obtaining closing balances for 2018-19) and greater than expected net cash provided by operating activities in 2019-20 ($4.345m, refer notes V2, V3, V17, and V18), offset by additional investments and payments for art acquisitions ($3.417m, refer V19 and V20).

V10. A decrease in Receivables was due to the COVID-19 closure of the Gallery in quarter four, which resulted in a decrease in account receivables and GST receivables ($0.221m), and a decrease in long service leave taken by employees in quarter four which reduced receivables from the Queensland Government’s Long Service Leave Scheme ($0.093m). These decreases were offset by an increase in franking tax credits receivables due to the late payment of 2018-19 franking tax credits by the Australian Tax Office ($0.065m).

V11. An increase in Inventories was primarily due to publication expenses incurred in advance for 2020-21 exhibitions ($0.100m), and an increase in retail inventories ($0.050m), primarily due to reduced retail sales due to the COVID-19 closure of the Gallery in quarter four.

V12. An increase in Prepayments was due to the payroll cycle which resulted in pays for 1 July 2020 to 3 July 2020 paid on 29 June 2020 ($0.232m).

V13. An increase in Other financial assets was primarily due to greater than expected investments carried forward from 2018-19 (the result of setting the 2019-20 budget in April 2019 prior to obtaining closing balances for 2018-19) ($4.097m).

V14. An increase in Property, plant and equipment was primarily due to greater than expected value of the Art Collection carried forward from 2018-19 ($42.293m - the result of setting the 2019-20 budget in April 2019 prior to obtaining closing balances for 2018-19), and greater than expected revaluation increases for the “top 10” valued works in the Art Collection in 2019-20 ($36.273m).

V15. An increase in Payables was primarily due to the balance outstanding in relation to a major artwork acquired in 2018-19 under an installment payment arrangement ($1.444m), an accrual for specialised items ordered but not yet received for the Gallery’s exhibition LED lighting upgrade ($1.002m), the deferral of the payroll tax payment until January 2021 under the Queensland Government COVID-19 payroll tax relief scheme ($0.334m), offset by lower than normal accruals as a result of reduction in activity levels due to COVID-19 ($0.278m).

V16. An increase in Other current liabilities was primarily due to an unspent grant in relation to the All-Ages Learning Centre concept design and feasibility study ($0.331m).


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E4 BUDGET TO ACTUAL COMPARISON – STATEMENT OF CASH FLOWS

Variance Notes

Original Budget

2020

Actual Result

2020

Variance

Cash flows from operating activities

$’000

$’000

$’000 % of

original budget

Inflows: Grants, sponsorships and contributions 17 38,148 41,804 3,656 10% User charges and fees 2 9,722 7,823 (1,899) -20% Interest and distributions from managed funds 3 1,355 990 (365) -27% GST collected from customers 962 861 (101) -10% GST input tax credits from ATO 1,744 1,452 (292) -17% Other 622 557 (65) -10% Outflows: Employee expenses (30,616) (31,132) (516) 2% Supplies and services 18 (17,608) (14,109) 3,499 -20% Grants and subsidies - - - - GST paid to suppliers (1,744) (1,275) 469 -27% GST remitted to ATO (962) (920) 42 -4%

Other (559) (642) (83) 15% Net cash provided by (used in) operating activities 1,064 5,409 4,345 408% Cash flows from investing activities Inflows: Investments redeemed 19 1,371 - (1,371) -100% Sales of property, plant and equipment - 3 3 - Outflows: Payments for investments 19 - (1,073) (1,073) - Payments for property, plant and equipment 20 (2,800) (3,776) (976) 35% Net cash provided by (used in) investing activities (1,429) (4,846) (3,417) 239% Cash flows from financing activities Outflows: Lease payment - (160) (160) -

Net cash used in financing activities - (160) (160) - Net increase (decrease) in cash and cash equivalents (365) 403 768 -210% Cash and cash equivalents at beginning of financial year 8,162 10,560 2,398 29% Cash and cash equivalents at end of financial year 7,797 10,963 3,166 41%


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E4 BUDGET TO ACTUAL COMPARISON – STATEMENT OF CASH FLOWS (continued) V17. An increase in Grants, sponsorships and contributions was primarily due to additional donations ($1.504m), an

additional grant from Arts Queensland for the Gallery’s exhibition lighting upgrade ($1.150m), supplementation from the Queensland Government for the $1,250 (pro-rata) one-off payment paid to employees ($0.430m), a one-off grant from Queensland Treasury for payroll tax relief during COVID-19 ($0.265m), supplementation from the Queensland Government for public sector wage increases ($0.212m), and the recognition of an Arts Queensland grant for the All-Ages Learning Centre concept design and feasibility study ($0.169m).

V18. A decrease in Supplies and services was primarily due to the payment of an exhibition fee in 2020-21 rather than 2019-20 as budgeted ($1.508m), delays in exhibition and program expenditure primarily as a result of COVID-19 (approximately $1.050m), the deferral of expenses in relation to the Digital Transformation Initiative to 2020-21 rather than 2019-20 as budgeted ($0.916m), savings in electricity and gas charges due to a reduction in usage and lower than expected tariff increases ($0.187m), and the transfer of lease costs to Depreciation as a result of the introduction of the AASB 16 Leases ($0.164m), offset by a decrease in payables ($0.269m) and an increase in inventory payments ($0.155m).

V19. The QAGOMA Foundation recorded a cash surplus from operating activities in 2019-20 and as a result invested in, rather than redeemed, financial assets.

V20. An increase in Payments for property, plant and equipment was primarily due to payments in relation to a major artwork acquired in 2018-19 under an installment payment arrangement ($1.465m). The quantum of Art Collection acquisitions is highly variable from year to year, being dependent on available works, donations, and funds, and therefore variances to budgeted estimates are expected.


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SECTION 6

OTHER INFORMATION

F1 KEY MANAGEMENT PERSONNEL (KMP) DISCLOSURES Details of Key Management Personnel

The Gallery’s responsible Minister is identified as part of the Gallery’s KMP, consistent with additional guidance included in the revised version of AASB 124 Related Party Disclosures. That Minister is The Honourable Leeanne Enoch, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts.

The following non-ministerial KMP include those positions that had authority and responsibility for planning, directing and controlling the activities of the Gallery during 2019-20 and 2018-19. Further information on these positions can be found in the body of the Annual Report under the section relating to Executive Management Team.

Position Position Responsibility Board of Trustees The Board is responsible for reporting to the Minister, and for ensuring the Gallery

achieves its strategic and operational plans and performs its functions in a proper, effective and efficient way.

Director Provides strategic direction and leadership for the Gallery’s service delivery, with responsibility for the efficient, effective and economic management of operational outcomes, the QAGOMA Foundation and key stakeholder relations.

Deputy Director, Collection and Exhibitions

Portfolio responsibilities for Australian Art, Asian and Pacific Art, International Art, Australian Cinémathèque, Exhibition Management, Conservation and Registration.

Assistant Director, Development and Commercial Services

Portfolio responsibilities for Marketing, Media, Corporate Communications, Sponsorship and Business Development, Retail Services, and Food and Beverage Services.

Assistant Director, Learning and Public Engagement

Portfolio responsibilities for Public Programs, Children’s Art Centre, Memberships, Exhibition Design, Workshop, Installation, Graphic Design, Web and Multimedia, Access and Education and Regional Services.

Assistant Director, Operations & Governance

Portfolio responsibilities for Finance, Information Technology, Protection and Visitor Services, Property, Human Resources and Governance and Reporting.

Remuneration policies

Ministerial remuneration entitlements are outlined in the Legislative Assembly of Queensland’s Members’ Remuneration Handbook. The Gallery does not bear any cost of remuneration of Ministers. The majority of Ministerial entitlements are paid by the Legislative Assembly, with the remaining entitlements being provided by the Ministerial Services Branch within the Department of the Premier and Cabinet. As all Ministers are reported as KMP of the Queensland Government, aggregate remuneration expenses for all Ministers are disclosed in the Queensland General Government and Whole of Government Consolidated Financial Statements, which are published as part of Queensland Treasury’s Report on State Finances.

Remuneration entitlements for Board members are payable in accordance with Remuneration Procedures for Part-time Chairs and Members of Queensland Government Bodies published by the Department of Premier and Cabinet.

Remuneration policy for the Gallery’s other KMP is aligned to the conditions set by the Queensland Public Service Commission as provided for under the Public Service Act 2008. Individual remuneration and other terms of employment (including allowances and motor vehicle entitlements) are specified in employment contracts.

Remuneration expenses for KMP comprise the following components:

Short term employee expenses Board fees Salaries, allowances and leave entitlements earned and expensed for the entire year, or for that part of the year during which the employee occupied a KMP position Non-monetary benefits – consisting of provision of parking together with fringe benefits tax applicable to the benefit.

Long term employee expenses Long service leave levy expensed during the year Post-employment expenses Superannuation contributions expensed during the year Termination payments Payment in lieu of notice on termination


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F1 KEY MANAGEMENT PERSONNEL (KMP) DISCLOSURES (continued) Remuneration expenses

The following disclosure focuses on the expenses incurred by the Gallery attributable to non-Ministerial KMP during the respective reporting periods. The amounts disclosed are determined on the same basis as expenses recognised in the Statement of Comprehensive Income.

2019-20

Position

Short Term Employee Expenses

Long Term Employee Expenses

$'000

Post-Employment

Expenses $'000

Termination Expenses

$'000

Total Expenses

$'000 Monetary $'000

Non-Monetary

$'000 Board Member (Chair) – O’Connor, I 8 - - 1 - 9 Board Member – Mickel, J (to 04/02/2020) 2 - - - - 2 Board Member – Taylor, P 4 - - - - 4 Board Member (Deputy Chair) – Wilkinson, R (to 01/03/2020) 3 - - - - 3

Board Member – Beetson, B 4 - - - - 4 Board Member – Daubney, M - - - - - - Board Member – Fairfax, G 3 - - - - 3 Board Member (Deputy Chair from 27/04/20) – Pidgeon, L 3 - - - - 3

Board Member – Sinclair, C (from 02/03/2020) 1 - - - - 1 Director 342 3 41 48 - 434 Deputy Director, Collection & Exhibitions 171 3 17 19 - 210 Assistant Director, Development & Commercial Services 175 - 20 20 - 215

Assistant Director, Learning & Public Engagement 180 3 19 19 - 221 Assistant Director, Operations & Governance 182 3 17 20 - 221 Total 1,078 12 114 127 - 1,330 2018-19

Position

Short Term Employee Expenses

Long Term Employee Expenses

$'000

Post-Employment

Expenses $'000

Termination Expenses

$'000

Total Expenses

$'000 Monetary $'000

Non-Monetary

$'000 Board Member (Chair) – O’Connor, I 8 - - - - 8 Board Member – Mickel, J 4 - - - - 4 Board Member – Taylor, P 4 - - - - 4 Board Member – Beetson, B (From 01/11/2018) 3 - - - - 3 Board Member – Fairfax, G 3 - - - - 3 Board Member – Pidgeon, L 3 - - - - 3 Board Member (Deputy Chair) – Wilkinson, R 4 - - - - 4 Director 331 3 37 48 - 419 Deputy Director, Collection & Exhibitions 178 3 17 19 - 217 Assistant Director, Development & Commercial Services 170 - 17 19 - 206

Assistant Director, Learning & Public Engagement 180 3 22 20 - 225 Assistant Director, Operations & Governance 170 3 14 20 - 207 Total 1,058 12 107 126 - 1,303

Performance payments

No KMP remuneration packages provide for performance or bonus payments.


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F2 RELATED PARTY TRANSACTIONS Transactions with people/entities related to KMP

KMP and their relatives have gifted $1,911,173 in cash and $110,000 in artworks to the QAGOMA Foundation during the 2019-20 financial year.

Transactions with other Queensland Government controlled entities

The Gallery’s primary ongoing source of funding is from the Queensland Government grant, which is provided via Arts Queensland (Note B1-1).

Rental services are services provided free of charge by Arts Queensland (Note B1-2). The Gallery reimburses Arts Queensland on a full cost recovery basis for certain lease costs such as building maintenance, external security and cleaning.

The Gallery’s human resource management, internal audit and some financial services are provided by the Corporate Administration Agency on a full cost recovery basis.

The Gallery has insurance policies with the Queensland Government Insurance Fund (Note B3-5).

The Gallery has funds invested in the Queensland Treasury Corporation (QTC) Capital Guaranteed Cash Fund (Note C4).

The Gallery has investments with QIC in the Cash Enhanced Fund and Long Term Diversified Fund (Note B1-4, B2, B3-4 & C4).

F3 TRANSACTIONS IN RELATION TO THE QUEENSLAND ART GALLERY ǀ GALLERY OF MODERN ART (QAGOMA) FOUNDATION Included in the Gallery’s Statement of Comprehensive Income and Statement of Financial Position as at 30 June are the following income and expenses of the QAGOMA Foundation.

F3-1 QAGOMA FOUNDATION STATEMENT OF FINANCIAL INCOME 2020

$‘000 2019 $‘000

Income from Continuing Operations Revenue Government Grants 503 500 Donations - cash 2,909 3,939 Bequest - cash 63 142 Donations - artwork 2,759 1,124 Fundraising 15 27 Interest

11 21

Distributions from managed funds 773 1,678 Franking credit 60 154 Other revenue 100 104 Gains Gains on revaluations of investments - 853 Total Income from Continuing Operations 7,193 8,542 Expenses from Continuing Operations Contributions to the QAG Board of Trustees 7,735 7,552 Loss on revaluation of investments 1,534 - Other expenses 556 504 Total Expenses from Continuing Operations 9,825 8,056 Operating Result from Continuing Operations (2,632) 486


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F3-2 QAGOMA FOUNDATION STATEMENT OF FINANCIAL POSITION Amounts included in the Gallery’s Statement of Financial Position in respect of QAGOMA Foundation are as follows:

2020 $’000

2019 $’000

Current Assets

Cash and cash equivalents 1,178 573

Receivables 212 163

Prepayments 5 -

Total Current Assets 1,395 736 Non-Current Assets

Other financial assets – QIC Cash Enhanced Fund 3,192 3,399

Other financial assets – QIC Long Term Diversified Fund 37,390 37,644

Total Non-Current Assets 40,582 41,043

Total Assets 41,977 41,779 Current Liabilities Payables 2,904 78

Other current liabilities 23 19

Total Liabilities 2,927 97

Net Assets 39,050 41,682

F3-3 RESTRICTED ASSETS HELD BY QAGOMA FOUNDATION Net assets of the QAGOMA Foundation are only available for use in accordance with the Foundation’s charter which is to develop the Gallery's Collections and assist with the provision of major exhibitions and community-based public programs.

In addition, some of the earnings and net assets of the QAGOMA Foundation have further restrictions on their use, based on the conditions imposed at the time of donation or bequest (e.g. to acquire art of a particular era or type). The following donations and bequests are required to be preserved in accordance with the conditions imposed on their contribution.

Net assets of the Foundation required to be preserved:

2020 $’000

2019 $’000

Queensland Government contributions

Only income can be used for acquisitions, exhibitions or related purposes 10,222 9,972

Other private donations to the QAGOMA Foundation

Only income can be used for acquisitions, exhibitions or related purposes 16,000 16,000

Bequests For purposes specified in the original bequest, such as acquisitions, prizes or scholarships 5,904 5,904

Total 32,126 31,876

F4 RESTRICTED ASSETS HELD BY THE GALLERY Included in the Gallery’s Statement of Financial Position are the following assets that are restricted in their use.

Restricted assets held by the Gallery:

2020 $’000

2019 $’000

Bequest For purposes specified in the original bequest, such as acquisitions, prizes or scholarships

410 417

Total 410 417


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F5 TRUST TRANSACTIONS AND BALANCES The Queensland Art Gallery Board of Trustees acts as trustee for three charitable trusts which were established in accordance with the last will and testament of the benefactors.

As the Board acts only in a custodial role in respect of the trust’s assets, they are not included in these financial statements. Income and net assets of the charitable trusts are as follow:

2020

$’000 2019 $’000

Income 399 662 Expenses 56 67 Net Surplus 343 592 Assets 38,875 33,471 Liabilities - - Net Assets 38,875 33,471

F6 FIRST YEAR APPLICATION OF NEW ACCOUNTING STANDARDS OR CHANGE IN ACCOUNTING POLICY Accounting Standards applied for the first time

Three new accounting standards with material impact were applied for the first time in 2019-20:

• AASB 15 Revenue from Contracts with Customers • AASB 1058 Income of Not-for-Profit Entities • AASB 16 Leases

The effect of adopting these new standards are detailed in notes F6-1 to F6-4. No other accounting standards or interpretations that apply to the Gallery for the first time in 2019-20 have any material impact on the financial statements.

Accounting Standards early adopted

No Australian Accounting Standards have been early adopted for 2019-20.

F6-1 AASB 15 REVENUE FROM CONTRACTS WITH CUSTOMERS The Gallery applied AASB 15 Revenue from Contracts with Customers for the first time in 2019-20.

The nature and effect of changes resulting from adoption of AASB 15 Revenue from Contracts with Customers are described below.

New revenue recognition model

AASB 15 Revenue from Contracts with Customers establishes a new five-step model for determining how much and when revenue from contracts with customers is recognised. The five-step model and significant judgements at each step are detailed below.

Step 1 – Identify the contract with the customer

For the Gallery, AASB15 Revenue from Contracts with Customers applies to User charges and fee revenue, and some Grants and contributions which require the Gallery to transfer goods and services to third parties. Contracts must be enforceable and contain sufficiently specific performance obligations.

Step 2 – Identify the performance obligations in the contract

This step involves firstly identifying all the activities the Gallery is required to perform under the contract, and determining which activities transfer goods or services to the customer. Where there are multiple goods or services transferred, the Gallery must assess whether each good or service is a distinct performance obligation or should be combined with other goods or services to form a single performance obligation.

To be within the scope of AASB 15 Revenue from Contracts with Customers, the performance obligations must be ‘sufficiently specific’, such that the Gallery is able to measure how far along it is in meeting the performance obligations.

Step 3 – Determine the transaction price

When the consideration in the contract includes a variable amount, the Gallery needs to estimate the variable consideration to which it is entitled and only recognise revenue to the extent that it is highly probable a significant reversal of the revenue will not occur. For the Gallery, reversal of revenue is infrequent and immaterial.


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F6-1 AASB 15 REVENUE FROM CONTRACTS WITH CUSTOMERS (continued) Step 4 – Allocate the transaction price to the performance obligations

When there is more than one performance obligation in a contract, the transaction price must be allocated to each performance obligation, generally this needs to be done on a relative stand-alone selling price basis.

Step 5 – Recognise revenue when or as the Gallery satisfies performance obligations

Revenue is recognised when the Gallery transfers control of the goods or services to the customer. A key judgement is whether a performance obligation is satisfied over time or at a point in time. And where it is satisfied over time, the Gallery must also develop a method for measuring progress towards satisfying the obligation.

Other changes arising from AASB 15 Revenue from Contracts with Customers

AASB 15 Revenue from Contracts with Customers, also:

• specifies the accounting for incremental costs of obtaining a contract and costs directly related to fulfilling a contract • requires contract assets (accrued revenue) and contract liabilities (unearned revenue) to be shown separately • requires contract assets to be distinguished from receivables, and • establishes extensive new disclosures, which have been included in Notes B1-1 and C9.

Transitional impact

Description of transaction Classification (e.g. donation, bequest)

Total value of transaction that has already been brought to account as revenue

Value of transaction unperformed as at 1 July 2019

Members revenue User charges and fees An analysis of memberships at 30 June 2019 indicated that $263,000 of revenue was prepaid.

$263,000

The following table summarises the transitional adjustments on 1 July 2019 relating to the adoption of AASB 15 Revenue from Contracts with Customers.

$’000

Contract liabilities – Members revenue 263 Accumulated surplus (263)

F6-2 AASB 1058 INCOME OF NOT-FOR-PROFIT ENTITIES The Gallery applied AASB 1058 Income of Not-for-Profit Entities for the first time in 2019-20. The nature and effect of changes resulting from the adoption of AASB 1058 are described below.

Scope and revenue recognition under AASB 1058 Income of Not-for-Profit Entities

AASB 1058 applies to transactions where the Gallery acquires an asset for significantly less than fair value principally to enable the Gallery to further its objective, and to the receipt of volunteer services.

The Gallery’s revenue line items recognised under this standard from 1 July 2019 include most Grants and contributions.

General revenue recognition framework

The revenue recognition framework for in scope transactions, other than specific-purpose capital grants, is as follows:

• recognise the asset – e.g. cash, receivables, PP&E, a right-of-use asset or an intangible asset • recognise related amounts – e.g. contributed equity, a financial liability, a lease liability, a contract liability or a

provision (grants and donations in many cases can have nil related amounts) • recognise the difference as income upfront.


PART B


Page 44 of 48

F6-2 AASB 1058 INCOME OF NOT-FOR-PROFIT ENTITIES (continued) Specific-purpose capital grants

In contrast with previous standards such as AASB 1004 Contributions, AASB 1058 Income of Not-for-Profit Entities allows deferral of income from capital grants or contributions where:

• the contract requires the Gallery to use the funds to acquire or construct a recognisable non-financial asset (such as artwork or a building) to identified specifications

• the contract does not require the Gallery to transfer the asset to other parties and • the contract agreement is enforceable.

For these capital grants, the funding received is initially deferred in an unearned revenue liability and subsequently recognised as revenue as or when the Gallery satisfies the obligations under the agreement.

Volunteer services

Under AASB 1058 Income of Not-for-Profit Entities, the Gallery will recognise volunteer services only when the services would have been purchased if they had not been donated, and the fair value of the services can be measured reliably. This treatment is the same as in prior years.

AASB 1058 Income of Not-for-Profit Entities optionally permits the recognition of a broader range of volunteer services, however the Gallery has elected not to do so.

Transitional impact

The Gallery applied the modified retrospective transition method and has not restated comparative information for 2018-19 which continue to be reported under relevant standards applicable in 2018-19, such as AASB 1004 Contributions.

Revenue recognition for the most of the Gallery’s Grants and contributions will not change under AASB 1058 Income of Not-for-Profit Entities as compared to AASB 1004 Contributions. Revenue will continue to be recognised when the Gallery gains control of the asset (e.g. cash or receivable) in most instances.

There was one Gallery grant as at 30 June 2019 that fell within the scope of AASB 1058 Income of Not-for-Profit Entities (that is, a grant of $500,000 from Arts Queensland received in 2018-19 for the All-Ages Learning Centre concept design and feasibility study). As at 30 June 2019, the full amount of $500,000 had been recognised in revenue in accordance with AASB 1004 Contributions. On the transition date (1 July 2019), no expenditure had been incurred in relation to the concept design and feasibility study, and as a result, the full amount of the grant was recognised as an unearned revenue liability as with a corresponding adjustment to opening accumulated surplus.

The following table summarises the transitional adjustments on 1 July 2019 relating to the adoption of AASB 1058 Income of Not-for-Profit Entities.

$’000

Other current liabilities – Unearned revenue 500 Accumulated surplus (500)

F6-3 IMPACT OF ADOPTION OF AASB 15 AND AASB 1058 IN THE CURRENT PERIOD The following table shows the impacts of adopting AASB15 Revenue from Contracts with Customers and AASB 1058 Income of Not-for-Profit Entities on the Gallery's 2019-20 financial statements. It compares the actual amounts reported to amounts that would have been reported if the previous revenue standards (AASB 1004, AASB 118, AASB 111 and related interpretations) had been applied in the current financial year.


PART B



Page 45 of 48

F6-3 IMPACT OF ADOPTION OF AASB 15 AND AASB 1058 IN THE CURRENT PERIOD (continued)

As reported AASB 15 changes

AASB 1058 changes

Previous standards

$’000 $’000 $’000 $’000 Operating result for 2019-20

User charges 7,806 - (169) 7,637 Grants, sponsorships and contributions 46,232 2 - 46,234

Other revenue 12,484 - - 12,484 Expenses (60,640) - - (60,640)

Operating result for the year 5,882 2 (169) 5,715 Total comprehensive income 47,155 2 (169) 46,988 Balances as at 30 June 2020

Total Assets 611,075 - - 611,075 Liabilities

Other liabilities 808 (265) (331) 212 Other current liabilities 6,402 - - 6,402

Total Liabilities 7,210 (265) (331) 6,614 Equity Accumulated surplus/deficit 220,685 265 331 221,281 Total Equity/Net assets 603,865 265 331 604,461

Significant differences in the financial statement line items are described below.

User changes – Gallery membership

During 2019-20, User charges and fees revenue of $0.265m was recognised under AASB15 Revenue from Contracts with Customers for Gallery membership. The amount of revenue recognised reflects the performance obligations satisfied during the period and is $0.002m less than the revenue that would have been recognised under the previous standards.

Grants, sponsorships and contributions – All-Ages Learning Centre concept design and feasibility study

During 2019-20, grant revenue of $0.169m was recognised under AASB 1058 Income of Not-for-Profit Entities in relation to the All-Ages Learning Centre concept design and feasibility study. This amount would not have been recognised under previous standards as all of the revenue would have been recognised in prior periods when received. At 30 June 2020, a contract liability of $0.331m remains for this grant which would not have existed under the previous standards.

F6-4 AASB 16 LEASES The Gallery applied AASB 16 Leases for the first time in 2019-20. The Gallery applied the modified retrospective transition method and has not restated comparative information for 2018-19, which continues to be reported under AASB 117 Leases and related interpretations.

The nature and effect of changes resulting from the adoption of AASB 16 are described below.

Definition of a lease

AASB 16 Leases introduced new guidance on the definition of a lease.

For leases and lease-like arrangements existing at 30 June 2019, the Gallery elected to apply the practical expedient to grandfather the previous assessments made under AASB 117 and Interpretation 4 Determining whether an Arrangement contains a Lease about whether those arrangements contained leases.

The Gallery did not have any leases or lease-like arrangements where no formal assessment had been conducted under AASB 117.

Changes to lessee accounting

Previously, the Gallery classified its leases as operating or finance leases based on whether the lease transferred significantly all of the risks and rewards incidental to ownership of the asset to the lessee.


PART B


Page 46 of 48

F6-4 AASB 16 LEASES (continued) This distinction between operating and finance leases no longer exists for lessee accounting under AASB 16 Leases. From 1 July 2019, all leases, other than short-term leases (lease term of 12 months or less with the lease not containing a purchase option) and leases of low value assets (assets that cost less than $10,000 when new) are now recognised on the balance sheet as lease liabilities and right-of-use assets.

Lease liabilities

Lease liabilities are initially recognised at the present value of lease payments over the lease term that are not yet paid. The lease term includes any extension or renewal options that the Gallery is reasonably certain to exercise. The future lease payments included in the calculation of the lease liability comprise the following:

• fixed payments (including in-substance fixed payments), less any lease incentives receivable • variable lease payments that depend on an index or rate, initially measured using the index or rate as at the

commencement date • amounts expected to be payable by the Gallery under residual value guarantees • the exercise price of a purchase option that the Gallery is reasonably certain to exercise • payments for termination penalties, if the lease term reflects the early termination.

The discount rate used is the interest rate implicit in the lease, or the Gallery's incremental borrowing rate if the implicit rate cannot be readily determined.

Subsequently, the lease liabilities are increased by the interest charge and reduced by the amount of lease payments. Lease liabilities are also re-measured in certain situations such as a change in variable lease payments that depend on an index or rate (e.g. a market rent review), or a change in the lease term.

Right-of-use assets

Right-of-use assets are initially recognised at cost comprising the following:

• the amount of the initial measurement of the lease liability • lease payments made at or before the commencement date, less any lease incentives received • initial direct costs incurred, and • the initial estimate of restoration costs.

Right-of-use assets will subsequently give rise to a depreciation expense and be subject to impairment.

Right-of-use assets differ in substance from leased assets previously recognised under finance leases in that the asset represents the intangible right to use the underlying asset rather than the underlying asset itself.

Short-term leases and leases of low value assets

The Gallery has elected to recognise lease payments for short-term leases and leases of low value assets as expenses on a straight-line basis over the lease term, rather than accounting for them on balance sheet. This accounting treatment is similar to that used for operating leases under AASB 117. Currently, the Gallery does not have any short-term leases or leases of low value assets.

Transitional impact

Former operating leases as lessee

On transition, the Gallery only had two qualifying operating leases requiring recognition of a lease liability and a right-of-use asset under AASB 16 Leases (lease of photographic equipment, and lease of photocopiers).

In calculating the lease liability and right-of-use assets:

• the Gallery’s weighted average incremental borrowing rate on 1 July 2019 was 1.469%. • all right-of-use assets were measured at an amount equal to the lease liability, adjusted by the amount of any prepaid

or accrued lease payments. • all right-of-use assets were tested for impairment on transition and none were found to be impaired.

As the impact on the Statement of Financial Position and Statement of Comprehensive Income was immaterial ($10,161), the Gallery elected not to make any transitional adjustment as at 1 July 2019 in relation to these assets.

Three other leases did not require recognition of a lease liability and a right-of-use asset under AASB 16 Leases, namely:

• a motor vehicle lease with QFleet which does not meet the definition of a lease under AASB 16 Leases (as QFleet has asset substitution rights)

• an offsite storage lease which was not recognised under AASB 16 as the lease term at transition date was expected to be less than twelve months, and

• a lease of QAG and GOMA buildings from Arts Queensland for nil consideration.


PART B



Page 47 of 48

F6-4 AASB 16 LEASES (continued) Reconciliation of operating lease commitments at 30 June 2019 to the lease liabilities at 1 July 2019

$’000 Total undiscounted operating lease commitments at 30 June 2019 285

(4) less discount using the incremental borrowing rate at 1 July 2019 (1.469%)

Present value of operating lease commitments

281

(21) less adjustments due to reassessments of lease terms

Lease liabilities at 1 July 2019 260

F7 TAXATION The Gallery is a statutory body as defined under the Income Tax Assessment Act 1936 and is exempt from Commonwealth taxation with the exception of Fringe Benefits Tax (FBT) and Goods and Services Tax (GST). FBT and GST are the only taxes accounted for by the Gallery. GST credits receivable from and GST payable to the ATO are recognised and accrued (refer Note C2).

Additionally, the Gallery pays Payroll Tax to the Office of State Revenue in respect of employee salaries, wages, allowances, superannuation and eligible termination payments.

F8 CLIMATE RISK DISCLOSURE Climate Risk Assessment

The Gallery addresses the financial impacts of climate-related risks by identifying and monitoring the accounting judgements and estimates that will potentially by affected, including asset useful lives, fair value of assets, provisions or contingent liabilities and charges to future expenses and revenue.

The Gallery has not identified any material climate-related risks relevant to the financial report at the reporting date, however, constantly monitors the emergence of such risks under the Queensland Government’s Climate Transition Strategy.

Current Year impacts

No adjustments to the carrying value of recorded assets or other adjustments to the amounts recorded in the financial statements were recognised during the financial year.


PART B

Queensland Art Gallery Board of Trustees Management Certificate


CERTIFICATE OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES

These general purpose financial statements have been prepared pursuant to s62(1) of the Financial Accountability Act 2009

(the Act), s39 of the Financial and Performance Management Standard 2019 and other prescribed requirements. In

accordance with s62(1) of the Act we certify that in our opinion:

(a) the prescribed requirements for establishing and keeping the accounts have been complied with in all material

respects; and

(b) the financial statements have been drawn up to present a true and fair view, in accordance with prescribed accounting standards, of the transactions of the Queensland Art Gallery Board of Trustees for the financial year ended 30 June 2020 and of the financial position of the Queensland Art Gallery Board of Trustees at the end of that year; and

(c) We acknowledge responsibility under s7 and s11 of the Financial and Performance Management Standard 2019 for the establishment and maintenance, in all material respects, of an appropriate and effective system of internal controls and risk management processes with respect to financial reporting throughout the reporting period.

Professor Emeritus Ian O’Connor AC Chair Queensland Art Gallery Board of Trustees Date 21 / 08 / 2020

Chris Saines CNZM Director Queensland Art Gallery | Gallery of Modern Art Date 21 / 08 / 2020

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019−20 49

PART B

• Queensland• • Audit Office

Better public services

INDEPENDENT AUDITOR'S REPORT

To the Board of Queensland Art Gallery Board of Trustees

Report on the audit o f the financial report

Opinion

I have audited the accompanying financial report of Queensland Art Gallery Board ofTrustees.

In my opinion, the financial report:

a) gives a true and fair view of the entity's financial position as at 30 June 2020, and itsfinancial performance and cash flows for the year then ended

b) complies with the Financial Accountability Act 2009, the Financial and PerformanceManagement Standard 2019 and Australian Accounting Standards.

The financial report comprises the statement of financial position as at 30 June 2020, thestatement of comprehensive income, statement of changes in equity and statement of cashflows for the year then ended, notes to the financial statements including summaries ofsignificant accounting policies and other explanatory information, and the managementcertificate.

Basis for opinion

I conducted my audit in accordance with the Auditor−General Auditing Standards, whichincorporate the Australian Auditing Standards. My responsibilities under those standards arefurther described in the Auditor's Responsibilities for the Audit o f the Financial Report sectionof my report.

I am independent of the entity in accordance with the ethical requirements of the AccountingProfessional and Ethical Standards Board's APES 110 Code o f Ethics for ProfessionalAccountants (the Code) that are relevant to my audit of the financial report in Australia. Ihave also fulfilled my other ethical responsibilities in accordance with the Code and theAuditor−General Auditing Standards.

I believe that the audit evidence I have obtained is sufficient and appropriate to provide abasis for my opinion.

Other information

Other information comprises the information included in the entity's annual report for the yearended 30 June 2020, but does not include the financial report and my auditor's reportthereon.

The Board is responsible for the other information.

My opinion on the financial report does not cover the other information and accordingly I donot express any form of assurance conclusion thereon.

50 Queensland Art Gallery Board of Trustees Annual Report 2019−20 FINANCIAL STATEMENTS

PART B


Better public. service5

In connection with my audit of the financial report, my responsibility is to read the otherinformation and, in doing so, consider whether the other information is materially inconsistentwith the financial report or my knowledge obtained in the audit or otherwise appears to bematerially misstated.

If, based on the work I have performed, I conclude that there is a material misstatement ofthis other information, I am required to report that fact.

I have nothing to report in this regard.

Responsibilities of the entity for the financial report

The Board is responsible for the preparation of the financial report that gives a true and fairview in accordance with the Financial Accountability Act 2009, the Financial andPerformance Management Standard 2019 and Australian Accounting Standards, and forsuch internal control as the Board determines is necessary to enable the preparation of thefinancial report that is free from material misstatement, whether due to fraud or error.

The Board is also responsible for assessing the entity's ability to continue as a goingconcern, disclosing, as applicable, matters relating to going concern and using the goingconcern basis of accounting unless it is intended to abolish the entity or to otherwise ceaseoperations.

Auditor's responsibilities for the audit of the financial report

My objectives are to obtain reasonable assurance about whether the financial report as awhole is free from material misstatement, whether due to fraud or error, and to issue anauditor's report that includes my opinion. Reasonable assurance is a high level of assurance,but is not a guarantee that an audit conducted in accordance with the Australian AuditingStandards will always detect a material misstatement when it exists. Misstatements can arisefrom fraud or error and are considered material if, individually or in aggregate, they couldreasonably be expected to influence the economic decisions of users taken on the basis ofthis financial report.

As part of an audit in accordance with the Australian Auditing Standards, I exerciseprofessional judgement and maintain professional scepticism throughout the audit. I also:

• Identify and assess the risks of material misstatement of the financial report, whetherdue to fraud or error, design and perform audit procedures responsive to those risks,and obtain audit evidence that is sufficient and appropriate to provide a basis for myopinion. The risk of not detecting a material misstatement resulting from fraud is higherthan for one resulting from error, as fraud may involve collusion, forgery, intentionalomissions, misrepresentations, or the override of internal control.

• Obtain an understanding of internal control relevant to the audit in order to design auditprocedures that are appropriate in the circumstances. This is not done for the purposeof expressing an opinion on the effectiveness of the entity's internal controls, but allowsme to express an opinion on compliance with prescribed requirements.

• Evaluate the appropriateness of accounting policies used and the reasonableness ofaccounting estimates and related disclosures made by the entity.

FINANCIAL STATEMENTS Queensland Art Gallery Board of Trustees Annual Report 2019−20 51

PART B


.3etter public services

• Conclude on the appropriateness of the entity's use of the going concern basis ofaccounting and, based on the audit evidence obtained, whether a material uncertaintyexists related to events or conditions that may cast significant doubt on the entity'sability to continue as a going concern. If I conclude that a material uncertainty exists, Iam required to draw attention in my auditor's report to the related disclosures in thefinancial report or, if such disclosures are inadequate, to modify my opinion. I base myconclusions on the audit evidence obtained up to the date of my auditor's report.However, future events or conditions may cause the entity to cease to continue as agoing concern.

• Evaluate the overall presentation, structure and content of the financial report, includingthe disclosures, and whether the financial report represents the underlying transactionsand events in a manner that achieves fair presentation.

I communicate with the Board regarding, among other matters, the planned scope and timingof the audit and significant audit findings, including any significant deficiencies in internalcontrol that I identify during my audit.

Report on other legal and regulatory requirements

Statement

In accordance with s.40 of the Auditor−Genera/Act 2009, for the year ended 30 June 2020:

a) I received all the information and explanations I required.

b) I consider that, the prescribed requirements in relation to the establishment andkeeping of accounts were complied with in all material respects.

Prescribed requirements scope

The prescribed requirements for the establishment and keeping of accounts are contained inthe Financial Accountability Act 2009, any other Act and the Financial and PerformanceManagement Standard 2019. The applicable requirements include those for keeping financialrecords that correctly record and explain the entity's transactions and account balances toenable the preparation of a true and fair financial report.

26 August 2020

Melissa Fletcher Queensland Audit Officeas delegate of the Auditor−General Brisbane

QUEENSLAND ART GALLERY I GALLERY OF MODERN ARTStanley Place, South Brisbane, Queensland, AustraliaPO Box 3686, South Brisbane, Queensland 4101, Australia

Tel: 07 3840 7303Fax: 07 3844 8865Email: [email protected]: www.gagoma.gld.gov.au

Queensland Art Gallery Board of TrusteesAnnual Report 2019−20

ISSN: 0157−020X (print)1838−3165 (online)

0 Queensland Art Gallery Board of Trustees 2020

This annual report is licensed by the QueenslandArt Gallery Board of Trustees under a CreativeCommons Attribution (CC BY 4.0) International licence.

10)You are free to copy, communicate and adapt thisannual report, as long as you attribute the work to theQueensland Art Gallery Board of Trustees (QAGOMA).To view a copy of this licence, visithttp://creativecommons.org/licenses/by/4.0/

This annual report can be accessed atwww.gagoma.gld.gov.au/about/our−story/annual−reports

Please contact the Gallery by telephone 07 3840 7303or email [email protected] for furtherinformation or to obtain a hard copy of this report.

The Queensland Government is committed to providingaccessible services to Queenslanders from culturallyand linguistically diverse backgrounds. If you have difficultyunderstanding this report, please call 07 3840 7303and we will arrange an interpreter to effectivelycommunicate the report to you.

1=11

Interpreter

The Queensland Art Gallery Board of Trustees welcomesfeedback on this annual report. Please complete theonline feedback form at the Get Involved website atwww.gld.gov.au/annualreportfeedback

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