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QUEENSLAND ART GALLERY | GALLERY OF MODERN ART

FROM THE DIRECTOR interconnectedness of artistic traditions, materials and ideas across cultural and geographic boundaries.

We dedicated the second half of the year to the visual culture of contemporary Japan, with ‘Future Beauty: 30 Years of Japanese Fashion’, from the Kyoto Costume Institute, complementing the best of our own holdings of Japanese contemporary art in ‘We can make another future: Japanese art after 1989’.

In November, QAGOMA was privileged to host a once-in-a-lifetime suite of functions for world leaders attending the G20 Leaders’ Summit in Brisbane, when we were able to share the best of our Australian collection and showcase our buildings and catering and events expertise with a truly global audience.

Our most ambitious touring exhibition to date, ‘My Country: Contemporary Art from Black Australia’, travelled to Auckland Art Gallery Toi o Tāmaki in New Zealand, and we forged new institutional partnerships to consolidate our leadership in the Asia Pacific region.

We also honoured two of the visionaries who first turned the Gallery’s gaze toward Asia. Former chair of the Board of Trustees, Richard Austin AO, OBE, was posthumously awarded the inaugural Gallery Medal for his inspiring chairmanship from 1987 to 1995; and the Gallery was privileged to be chosen to host a memorial service for another former chair, and former Queensland premier, Wayne Goss.

This year we placed considerable focus on the Collection: its growth, depth, versatility, and the conversations it starts with our audiences. A hallmark of 2014 has been the reimagining of our holdings through new displays, crafted in response to our new strategic direction. We want to be the leading institution for the contemporary art of Australia, Asia and the Pacific, and we want the Collection to represent that determination, just as our commitment to the Asia Pacific Triennial of Contemporary Art has long underscored it.

As the year began, ‘Cai Guo-Qiang: Falling Back to Earth’ continued its extraordinary summer season. A monumental and moving exhibition, it attracted unprecedented attendance for a solo contemporary art exhibition in Australia, and delivered a remarkable economic impact for Queensland.

‘Harvest’, an exhibition at GOMA about the relationship between food and art, included a highlight addition to the Collection in the form of four of Tomás Saraceno’s Biospheres, acquired with the support of Tim Fairfax, AC. Meanwhile, Indigenous Australian art returned to the forefront of QAG with a new display, and the international and Asian collections were comprehensively reinstalled, eschewing chronology to reveal the

Chris Saines at the opening of ‘Everywhen, Everywhere’ | QAG | October 2014 | Photograph: Joe Ruckli

Installation view of the international and Asian collections | QAG | October 2014 | Photograph: Joe Ruckli

It must be said that the Foundation, under the inspiring leadership of its President, Tim Fairfax, and the strong guidance of the Foundation Committee, has been at the forefront of the Gallery’s new strategic direction. It very successfully refreshed the format of its Annual Appeal and Annual Dinner events — and integrated the Foundation’s first fundraising auction into the latter. The Foundation also inaugurated the QAGOMA Future Collective of young benefactors, making the Gallery’s fundraising body as vital as it’s ever been.

Corporate sponsorship continues to play a very significant role in enabling us to expand the scale and ambition of our exhibitions and programs. The support of sponsors is invaluable to the world-class programming our audiences have come to expect. I extend my grateful thanks to our leading corporate partners Santos GLNG, Audi Australia, Glencore, Yering Station and Virgin Australia, to our many other sponsors, and our tourism and media partners.

The Queensland Government remains our most steadfast partner. I thank Campbell Newman, MP, Premier of Queensland, Ian Walker, MP, Minister for Science, Information Technology, Innovation and the Arts, and Jann Stuckey, MP, Minister for Tourism, Major Events, Small Business and the Commonwealth Games, for their support.

I also thank Sue Rickerby, Director-General of the Department of Science, Information Technology, Innovation and the Arts, and Kirsten Herring, Deputy Director-General, Arts Queensland, along with the staff of Arts Queensland, for their support of our activities. I recognise the contribution of Stephen Gregg, Chair, Leanne Coddington, Chief Executive Officer, and the team at Tourism and Events Queensland.

Our governing body, the Queensland Art Gallery Board of Trustees, continued to provide very strong and clear direction. I personally thank the Chair,

Professor Susan Street, AO, who has brought extraordinary enthusiasm and perceptiveness to her post; and Deputy Chair Philip Bacon, AM, whose deft guidance and deep experience is greatly valued.

It is my pleasure to end the year with a revitalised Executive Management Team, and thank my colleagues Celestine Doyle, Maud Page, Simon Wright and Adam Lindsay for their close counsel and collaboration. Beginning in 2015, Celestine Doyle moves to head up the formation of another new initiative, the Asia Pacific Council.

I want also to pay tribute to great friends of the Gallery who have passed away this year: artists Robert Hunter and Gordon Bennett, QAG architect Robin Gibson, AO, benefactor Henry Bartlett, CMG, OBE, early APT advocate Jonathan Mane-Wheoki, CNZM, and Wayne Goss. Their legacies surround us, in our Collection, our culture and our buildings.

Looking ahead, we gear up for ‘The 8th Asia Pacific Triennial of Contemporary Art’, exhibitions with David Lynch, Michael Parekowhai and Robert MacPherson, and our first major survey of contemporary Queensland art for many years, ‘GOMA Q’.

With the heart-warming response to our revitalised Collection displays, and the staging of events of local, national and global importance, to the major exhibitions that have fired our visitors’ imaginations, it feels that now, more than ever, QAGOMA is part of the very fabric of Brisbane and the Queensland community. As we approach our 120th anniversary in March 2015, we have much to look back on, and much more to look forward to.

Chris Saines, CNZMDirector, Queensland Art Gallery | Gallery of Modern Art

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‘Cai Guo-Qiang: Falling Back to Earth’ broke records for attendance to an exhibition by a living contemporary artist [see p.12 for more]

Yayoi Kusama’s The obliteration room toured to three continents and was seen by over 2 million people[see p.70 for more]

Almost 10 000 people saw a film in ‘Fairytales and Fables’ – the most popular Australian Cinémathèque summer program to date[see p.62 for more]

In November, QAGOMA hosted a suite of prestigious events for world leaders attending the G20 Leaders’ Summit in Brisbane[see p.82 for more]

In its 2014 Quality of Life survey, London's Monocle magazine cited the Gallery of Modern Art as the reason Brisbane was chosen as one of its top 25 world cities

Total attendance: 1.29 million QAG: 570 040 | GOMA: 720 457 Children 12 and under: 253 000

59 895 visitors to touring exhibitions and programs in regional Queensland

501 new acquisitions, bringing the Collection to 16 717 objects

More than 10 000 visitors to 142 public programs

Volunteers contributed 32 363 hours to the Gallery

1 599 832 visits to the QAGOMA website

QAGOMA on social media: · Facebook: 45 500+ likes | up 35% · Twitter: 15 500+ followers | up 32% · Instagram: 12 000+ followers | up 160%

2014 AT A GLANCEQAGOMA’S VISION IS TO BE THE LEADING INSTITUTION FOR THE CONTEMPORARY ART OF AUSTRALIA, ASIA AND THE PACIFIC

A visitor to ‘Harvest’ shares an image of Shirana Shabazi and Sirous Shaghaghi’s Still life: Coconut and other things 2009 | Commissioned for Kids’ APT6 | Gift of the artist through the Queensland Art Gallery Foundation 2010 | GOMA | June 2014 | Photograph: Joe Ruckli

GOMA | 23 NOVEMBER 2013 – 11 MAY 2014 Curator: Russell Storer, former Curatorial Manager, Asian and Pacific Art, QAGOMA

‘Falling Back to Earth’ — an ambitious exhibition of installations by international artist Cai Guo-Qiang — continued into 2014 as the art event of the summer. When it closed in May, it had received the highest total attendance for a ticketed exhibition by a contemporary artist in Australia to date.

Cai’s compelling scenes transformed GOMA’s ground-floor galleries into sites of wonder, inspiration and contemplation. The final months of ‘Falling Back to Earth’ saw Tai Chi classes, tea ceremonies, twilight viewings, and long queues of visitors snaking in through GOMA’s front doors in a bid not to miss the exhibition.

‘Falling Back to Earth’ was the outcome of a long relationship between the Gallery and the artist, underpinned by his participation in two previous Asia Pacific Triennials.

CAI GUO-QIANG FALLING BACK TO EARTH

• 229 323 VISITORS

• $14.51 MILLION CONTRIBUTED TO QUEENSLAND’S ECONOMY

• EVENT-RELATED VISITOR NIGHTS: 115 978

• INTERNATIONAL MEDIA VALUE OF OVER $10 MILLION

• 87 502 CUPS OF TIE YUAN TEA SERVED IN THE TEA PAVILION

• INTERNATIONAL DESIGN AND COMMUNICATION AWARDS: - RUNNER-UP IN BEST SCENOGRAPHY: TEMPORARY

EXHIBITION CATEGORY

• QUEENSLAND TOURISM AWARDS 2014: - SILVER IN MAJOR EVENTS AND FESTIVALS CATEGORY

• INTERNATIONAL DESIGN AWARDS: - BRONZE IN MULTIMEDIA – ANIMATION CATEGORY FOR

‘LET’S CREATE AN EXHIBITION WITH A BOY NAMED CAI’ - HONOURABLE MENTION IN PRINT – BOOKS CATEGORY

FOR THE CHILDREN’S ART CENTRE PUBLICATION LET’S CREATE AN EXHIBITION WITH A BOY NAMED CAI

Visitors run with the wolves of Cai Guo-Qiang’s Head On 2006 | Deutsche Bank Collection, commissioned by Deutsche Bank AG | March 2014 | Photograph: Brad Wagner

Visitors queue outside GOMA during the final days of ‘Falling Back to Earth’ | May 2014 | Photograph: Brodie Standen

A gongfu tea ceremony at the Tea Pavilion | February 2014 | Photograph: Chloë Callistemon

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QAG | 2 NOVEMBER 2013 – 9 FEBRUARY 2014Curators: Wendy Kaplan, Department Head and Curator, Decorative Arts and Design, LACMA and Bobbye Tigerman, Associate Curator, Decorative Arts and Design, LACMA

California goes with summer like homemade lemonade, and this survey of mid-century design from the Los Angeles Museum of Contemporary Art (LACMA) provided a cool retreat from Brisbane’s subtropical heat. Fashion and furniture, ceramics and surfboards — the Golden State was seen at its best in this exploration of the shaping, making, living and selling of the American dream, from the Great Depression to the Swinging Sixties.

During our Endless Summer Sundays events, collectors shared their passions, era-specific makeovers were offered and swing dancing took over the Watermall.

CALIFORNIA DESIGN 1930–1965 LIVING IN A MODERN WAY

• 59 999 VISITORS

• $2.08 MILLION CONTRIBUTED TO QUEENSLAND’S ECONOMY

• EVENT-RELATED VISITOR NIGHTS: 15 464

• 5111 PEOPLE TO UP LATE

• 2492 TO ENDLESS SUMMER SUNDAYS AND OTHER PROGRAMS

• QAGOMA’S INSTAGRAM FOLLOWING TRIPLED THANKS TO A COMPETITION TO WIN A REPLICA EAMES CHAIR AND OTTOMAN SET, COURTESY OF LIVING EDGE.

Visitors sharing their ‘California Design’ experience | February 2014 | Photograph: Mark Sherwood

External signage for ‘California Design’ | Photograph: Mark Sherwood

Chrissy Keepence, from the Lindy Charm School for Girls, gives a period makeover during the final Endless Summer Sunday | January 2015 | Photograph: Brad Wagner

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GOMA | 22 FEBRUARY – 6 OCTOBER 2014Curator: Bree Richards, former Associate Curator, Contemporary Australian Art, QAGOMA

‘Trace: Performance and its Documents’ looked at how the fleeting and physical practice of performance art is documented through photography, video, works on paper and objects. Feats of endurance, repetition and ritual range in tone from the sublime to the ridiculous, and each leaves a residual trace by which the performance can be represented in a collection. ‘Trace’ included the residue of works by pioneering practitioners Dennis Oppenheim, John Baldessari and Carolee Schneemann, and new commissions from Australian artists.

TRACE PERFORMANCE AND ITS DOCUMENTS

ON 10 MAY, GOMA AND ITS SURROUNDS WERE ANIMATED BY TRACE LIVE – 9 PROGRAMS ATTENDED BY MORE THAN 600 VISITORS. AUSTRALIAN ARTISTS WITH PRACTICES SPANNING THE SITE-SPECIFIC, THE PERFORMATIVE AND THE EPHEMERAL JOINED US IN PERSON AND ONLINE FOR PERFORMANCES AND TALKS. LEADING ARTIST MIKE PARR DELIVERED A KEYNOTE TALK, AND KERRIE POLINESS EXECUTED HER FIELD DRAWING #1 ON THE MAIWAR GREEN. MICHAELA GLEAVE PERFORMED A SEVEN-HOUR ENDURANCE ACTION FROM NEW YORK VIA WEBCAM, AND AGATHA GOTHE-SNAPE BROUGHT DANCERS FROM THE QUEENSLAND UNIVERSITY OF TECHNOLOGY INTO THE EXHIBITION SPACE TO INTERPRET A VISUAL SCORE FROM THE EXHIBITION, TO THE SURPRISE AND DELIGHT OF VISITORS.

Kerrie Poliness’s Field Drawing #1 2008 was created on the Maiwar Green outside GOMA | May 2014

Artist Mike Parr delivers a keynote address during Trace Live | May 2014

A visitor gets up close with Gosia Wlodarczak Personal Space South East Walls: 78 x 4=312 2002–03 | Gift of the artist through the Queensland Art Gallery | Gallery of Modern Art Foundation 2013. Donated through the Australian Government’s Cultural Gifts Program

Agatha Gothe-Snape’s Other ways to enter and exit 2014 is performed as part of Trace Live in front of Alan Griffith’s Balamara 2002 | Purchased 2005. Queensland Art Gallery Foundation | May 2014

Photographs: Brodie Standen

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GOMA | 15 MARCH – 3 AUGUST 2015Curator: David Burnett, Curator, International Art, QAGOMA

Music, visual art and the ephemera of pop culture combined in this Collection-based investigation of image, sound and object. Sculptures by Nam June Paik and Martin Creed were set against iconic album covers with art connections: Gerhard Richter on the cover of Sonic Youth’s Daydream Nation, Peter Saville for Joy Division and, of course, Andy Warhol’s iconic image for the Velvet Underground and Nico.

Candice Breitz’s masterful video work juxtaposing a dozen fan renditions of Michael Jackson’s Thriller album is the ultimate portrait of the artist in absentia, while John Cage was represented by one of the first-ever sound ‘multiples’: Mozart Mix, 25 cassette tapes of compositions by Wolfgang Amadeus Mozart, any five of which may be played simultaneously to merge and overlap into a new, chance composition.

SEEN + HEARD WORKS & MULTIPLES FROM THE COLLECTION

Installation view of Candice Breitz’s King (A portrait of Michael Jackson) 2005 | Purchased 2008 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation | March 2014 | Photograph: Brodie Standen

Album cover displays and picture discs on turntables in ‘Seen + Heard’ | March 2014 | Photograph: Mark Sherwood

Visitors mix it up at a multiple-turntable workshop run by artist and musician Lawrence English | March 2014 | Photograph: Brodie Standen

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QAG | 22 MARCH — 20 JULY 2014Curator: Michael Hawker, Associate Curator, Australian Art, QAGOMA

From the earliest records of European exploration and settlement of Queensland to the exuberant Expressionism of the late twentieth century, ‘Transparent’ told a 150-year tale of the state through 150 watercolours, some being exhibited for the first time. Conrad Martens’s image of the nascent township of Brisbane in the early 1850s, the sensuous landscapes of Kenneth Macqueen, the tropical palette that described Indigenous artist Joe Rootsey’s deep connection to Cape York country, and the gestural fluidity of Joy Roggenkamp, each explored different aspects of this luminous medium.

‘Transparent’ afforded ample opportunities for in-depth programs, including a half-day course on watercolour conservation and introductory techniques for QAGOMA’s 50+ audience. The beautiful exhibition publication, published with the generous support of QAGOMA Foundation members Des and Sharon Whybird, included an essay by Gallery conservator Samantha Shellard on the history of watercolour artist papers.

TRANSPARENT WATERCOLOUR IN QUEENSLAND 1850S–1980S

Visitors at the Foundation Preview of ‘Transparent’ | March 2014 | Photograph: Mark Sherwood

Hadieh Afshani, artist and lecturer, Queensland College of Art, Griffith University, leads a hands-on watercolour workshop | May 2014 | Photograph: Joe Ruckli

Visitor to ‘Transparent’ | Photograph: Joe Ruckli

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PLEASURE OF PLACE: PHOTOGRAPHS BY RICHARD STRINGER: 26 OCTOBER 2013 – 16 MARCH 2014Curator: Michael Hawker, Associate Curator, Australian Art, QAGOMA

SAM FULLBROOK: DELICATE BEAUTY5 APRIL – 10 AUGUST 2014Curator: Angela Goddard, Curator, Australian Art, QAGOMA

MADONNA STAUNTON: OUT OF A CLEAR BLUE SKY30 AUGUST 2014 – 1 MARCH 2015Curator: Peter McKay, Curator, Contemporary Australian Art, QAGOMA

GLENCORE QUEENSLAND ARTISTS’ GALLERY

Installation view of the photographs of Richard Stringer in ‘The Pleasure of Place’ | Photograph: Mark Sherwood

A guest at the Foundation Viewing of ‘Sam Fullbrook: Delicate Beauty’ | April 2014 | Photograph: Brad Wagner

The official opening of ‘Madonna Staunton: Out of a Clear Blue Sky’ | August 2014 | Photograph: Joe Ruckli

Professor Sue Street, AO, Chair, QAGOMA Board of Trustees; Gallery Director Chris Saines, CNZM; QAGOMA Curator of Australian Art, Angela Goddard; former QAGOMA Curatorial Manager of Australian Art, Julie Ewington; and QAGOMA Foundation President Tim Fairfax, AC, at the Foundation Preview of ‘Sam Fullbrook: Delicate Beauty’ | April 2014 | Photograph: Brad Wagner

The ongoing support of Glencore helps tell the stories of Queensland and its artists in a dedicated gallery space at QAG. Richard Stringer’s photography recalled moments of historical significance, such as Brisbane’s 1974 floods, and iconic local landmarks, including the lamented Cloudland ballroom. Postwar tonalist Sam Fullbrook’s fascination for the south-east Queensland landscape, and for the personalities and drama of horse racing, was explored in ‘Delicate Beauty’. One of the state’s greatest living artists, Madonna Staunton, was celebrated for both her long practice of collage and assemblage — out of Dada, Fluxus and Abstract Impressionist lineages — and a surprising new body of work in which she has returned to the painting of her early career.

In conjunction with ‘Out of a Clear Blue Sky’, Glencore supported artist Sue Loveday’s tour of regional Queensland venues during October and November, presenting an introduction to stop-motion animation through Madonna Staunton’s working techniques, including assemblage, collage and wordplay. Students transformed their compositions of found words and wooden offcuts into stop-motion animation.

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QAG | 12 APRIL – 13 JULY 2014 Curator: Cara Pinchbeck, Curator of Aboriginal and Torres Strait Islander Art, Art Gallery of New South Wales, with QAGOMA Collection inclusions selected by Diane Moon, Curator, Indigenous Fibre Art, QAGOMA The intricacies of Yolngu culture, clan relationships and connection to country were revealed in the dynamic lines of 80 vibrant crayon drawings from the Yirrkala community in north-east Arnhem Land. These vivid drawings, created when anthropologists Ronald M and Catherine H Berndt introduced this new medium to the community in the 1940s, capture a unique moment — the translation of the rich knowledge of Indigenous people into new forms. An arrangement of larrakitj (burial poles) by descendants of the original Yirrkala artists, from the Gallery’s Collection, represented the legacy of that moment.

The exhibition was developed by the Art Gallery of New South Wales in conjunction with Buku-Larrnggay Mulka Art Centre at Yirrkala and the Berndt Museum at the University of Western Australia.

YIRRKALA DRAWINGS

Artist Yalpi Yunupingu in conversation around the larrakitj from the QAGOMA Collection | April 2014

Wäka Mununggurr, the son of prolific Yirrkala artist Wonggu Munungurr, speaks at the opening of ‘Yirrkala Drawings’ | April 2014

Visitors to ‘Yirrkala Drawings’ | April 2014

Photographs: Brad Wagner

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GOMA | 10 MAY 2014 – 6 SEPTEMBER 2015Curator: Diane Moon, Curator, Indigenous Fibre Art, QAGOMA

‘Terrain’ explores the aesthetic influence of the land on the material, form and content of Indigenous Australian artists’ works. At the heart of the exhibition are traditionally utilitarian objects, such as conical bags and fish traps, created here as purely aesthetic objects — when grouped and upturned, they mirror the topographical undulations of the landscape. The Gallery’s comprehensive holdings of works by esteemed senior Indigenous fibre artists Yvonne Koolmatrie (SA), Lena Yarinkura (NT) and Shirley Macnamara (QLD), acknowledge how they have paved the way for recognition of a previously unappreciated genre.

Featuring beautiful feathered body adornments from Galiwin’ku in the far north, and the exquisite shell necklaces made by Tasmania’s Palawa artists, ‘Terrain’ is a rich as well as broad sweep of country, filtered through the knowledge and creativity of Indigenous Australian artists. The exhibition showcases many generous gifts to the Gallery, in particular from the late Margaret Mittelheuser, AM, Cathryn Mittelheuser, AM, Professor John Hay, AC, and Mrs Barbara Hay.

TERRAIN INDIGENOUS AUSTRALIAN OBJECTS AND REPRESENTATIONS

Dilly bags (conical baskets) by Arnhem Land artists, installed for ‘Terrain’ | May 2014

Tjiti Tjuta (Many children) 2008–09 by Ngaanyatjarra and Pitjanjatjara artists, installed in ‘Terrain’ | Purchased 2012 with funds from Margaret Mittelheuser, AM, and Cathryn Mittleheuser, AM, through the Queensland Art Gallery Foundation | May 2014

Photographs: Mark Sherwood

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GOMA | 28 JUNE – 21 SEPTEMBER 2014Curators: Ellie Buttrose, Associate Curator, International Contemporary Art, QAGOMA (exhibition), and Rosie Hays, Associate Curator, Australian Cinémathèque, QAGOMA (film program)

‘Harvest’ celebrated food in art, on film and on the plate. Over 150 works from the Collection filled GOMA’s ground floor, from seventeenth-century still lifes to contemporary photography and video, to dramatic installations, including Argentine artist Tomás Saraceno’s future-facing Biospheres 2009 in the Long Gallery. The ethical implications of the global food trade were highlighted by Xu Zhen’s ShanghART Supermarket Australia 2007–08, while local knowledge and relationships with land were the subject of the ‘Bush tucker’ series by Rona Rubuntja and Emily Floyd’s Permaculture crossed with feminist science fiction 2008.

Californian artist duo Fallen Fruit crowd-sourced an installation, which paid homage to the humble Queensland pineapple, and the unique exhibition publication featured a section of recipes that drew on the themes of ‘Harvest’.

‘Harvest: Food on Film’ was a generous sampling of the pleasures and politics of food in cinema, touching on cultural identity, deprivation, nourishment and the importance of the shared meal to human relations. The exhibition project was also the perfect opportunity for the Gallery’s self-managed food, beverage and events teams to flourish, with carefully crafted menus, cooking demonstrations and events devoured by the audience.

HARVEST ART, FILM + FOOD

• 130 776 VISITORS TO GOMA DURING ‘HARVEST’

• 1562 PEOPLE CAME TO 18 PUBLIC PROGRAMS WITH 36 EXPERT SPEAKERS AND PANELLISTS

• 4462 PEOPLE SAW 44 FILMS IN ‘HARVEST: FOOD ON FILM’

• THREE SESSIONS OF GOMA TALKS — HELD IN CONJUNCTION WITH ABC RADIO NATIONAL — HAD 958 VIEWERS IN PERSON AND ONLINE

GOMA Talks Politics of Food with ABC Radio National’s Paul Barclay and guests | July 2014 | Photograph: Natasha Harth

Ben Williamson, executive chef of Gerard’s Bistro, at the open-air food demonstration during the ‘Harvest’ opening weekend | June 2014 | Photograph: Joe Ruckli

Installation view of Simryn Gill’s Forking Tongues 1992 | Purchased 2001. Queensland Art Gallery Foundation | August 2014 |

Installation view of Fallen Fruit’s (David Burns and Austin Young) Fallen Fruit of Brisbane: Pineapple Express! 2014 in the GOMA Foyer Cabinet during ‘Harvest’ | June 2014 |

Photographs: Natasha Harth

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QAG | 30 AUGUST 2014 – 24 MAY 2015Curator: Kathryn Weir, former Curatorial Manager, International Art and Australian Cinémathèque, QAGOMA

Bringing the contemporary to QAG, ‘Sublime’ features artworks of wonder that reflect the gap between logic and the greater concept of the infinite. The sublime geometry of Timo Nasseri’s mirrored Epistrophy VI 2012 repositions the infinity-evoking muqarnas of Islamic architecture to reflect a fragmented image of the world, while the convex/concave spiritual abstraction of Anish Kapoor’s Void (#13) 1991–92 seems to swallow light at its indistinct edges. The suspended black inner-tubes of Michael Sailstorfer’s Wolken (Clouds) 2010 and unspooled videotape of Zilvinas Kempinas’s Columns 2006 evoke the immensity of nature and technology respectively, by creating a sense of vertiginous awe.

‘Sublime’ was the Australian debut for Oskar Fischinger’s Raumlichtkunst (Space-Light-Art) c.1926/2012. The Centre for Visual Music reconstructed the pioneering German–American filmmaker and avant-garde artist’s historic performances, which brought together abstract art, cinema and music — decades ahead of its time — into a multi-channel HD video installation.

SUBLIME CONTEMPORARY WORKS FROM THE COLLECTION

‘Sublime’ installation of Zilvinas Kempinas’s Columns 2006 | Purchased 2012 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation | August 2014 | Photograph: Mark Sherwood

Installation view of ‘Sublime’ featuring Xu Bing’s A book from the sky 1987–91 | The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 1994 with funds from the International Exhibitions Program and with the assistance of The Myer Foundation and Michael Sidney Myer through the Queensland Art Gallery Foundation; and Gordon Bennett Triptych: Requiem, Of Grandeur, Empire 1989 | Purchased 1989 under the Contemporary Art Acquisition Program with funds from Hill & Taylor, Solicitors through the Queensland Art Gallery Foundation | September 2014 | Photograph: Mark Sherwood

Art historian Rex Butler asks ‘What is the sublime?’ during a floortalk | September 2014 | Photograph: Brodie Standen

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GOMA | 6 SEPTEMBER 2014 – 20 SEPTEMBER 2015Curator: Reuben Keehan, Curator, Contemporary Asian Art, QAGOMA The Gallery’s quarter century of collecting contemporary Japanese art has built one of the most extensive holdings of its kind outside Japan, replete with landmark works by important senior artists Lee Ufan, Yayoi Kusama, Ay-O and Takashi Murakami, as well as notable pieces by emerging voices Sachiko Kazama, Tomoko Kashiki and Chim↑Pom. ‘We can make another future’ surveys 100 works from this period, which coincides with the Heisei era of the Japanese imperial calendar, in a sophisticated reflection on the social conditions in Japan and the anxieties that accompany them.

The explosive colours of ‘superflat’ and ‘Cool Japan’ are positioned alongside meditative reflections on consumer culture, technology, and national and sexual identity. Drawing on acquisitions from the Asia Pacific Triennials, this exhibition was built from a deep history of research and ongoing engagement.

HIRAKI SAWA’S IMMERSIVE MULTI-CHANNEL AUDIOVISUAL INSTALLATION O 2009, COMMISSIONED FOR APT6, WAS PRESENTED IN CONJUNCTION WITH ‘WE CAN MAKE ANOTHER FUTURE’.

AS WELL AS FEATURING WORKS GIFTED BY GENEROUS PATRONS AND THE ARTISTS THEMSELVES, ‘WE CAN MAKE ANOTHER FUTURE’ DRAWS HEAVILY ON THE KENNETH AND YASUKO MYER COLLECTION OF CONTEMPORARY ASIAN ART — WORKS ACQUIRED FOR THE GALLERY WITH THE SUPPORT OF THE MYER FOUNDATION AND MICHAEL SIDNEY MYER.

WE CAN MAKE ANOTHER FUTURE JAPANESE ART AFTER 1989

Visitors with Tadasu Takamine’s Baby Insa-dong 2004 | The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2014 with funds from Michael Sidney Myer through the Queensland Art Gallery | Gallery of Modern Art Foundation | September 2014 | Photograph: Joe Ruckli

Students from Woombye State School inspect Takahiro Iwasaki’s Reflection Model (Perfect Bliss) 2010–12 | The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2013 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation | September 2014 | Photograph: Mark Sherwood

Curator Reuben Keehan leads a discussion tour of ‘We can make another future’ | December 2014 | Photograph: Brodie Standen

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QAG | FROM 20 SEPTEMBER 2014Curators: Sally Foster, Assistant Curator, International Art, and Tarun Nagesh, Associate Curator, Asian Art, QAGOMA

Drawing on the history of cultural, mercantile and artistic exchange between Europe, East Asia and Australia, the newly installed display put key holdings of historic European and Asian art and design in dialogue with modern and contemporary art.

Exploring art and faith in everyday life, the invention of porcelain in China and its introduction into Europe, and the influence of Japanese art and design, the display weaves a coherent and often surprising thread through the Gallery’s permanent collections.

Also included in the display are important loans from the National Gallery of Australia and the University of Queensland, including selected pieces from the Nat Yuen Collection of Chinese Antiquities.

INTERNATIONAL AND ASIAN COLLECTION

Works by Ah Xian, including Human human – lotus, cloisonne figure 1 2000–01 | Purchased 2002. The Queensland Government’s Gallery of Modern Art Acquisitions Fund | Photograph: Mark Sherwood

Hand-built stoneware narrow-necked jars (tsubo) from the Muromachi period (1392–1573) | Photograph: Mark Sherwood

Visitors in the international and Asian collection galleries, QAG | October 2014 | Photograph: Joe Ruckli

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QAG | FROM 18 OCTOBER 2014Curator: Bruce McLean, Curator, Indigenous Australian Art, QAGOMA

Returning the Indigenous Australian art collection to prominence in QAG’s Melbourne Street entrance, this permanent display explores ideas underpinning the Dreaming — the ‘everywhen’ once posited by anthropologist WEH Stanner — where knowledge and history from all times combine to inform contemporary and future existence. Major works from the turn of the nineteenth century to the present provide a grounding in the history, ideas and art of Australia’s first peoples and cultures.

As a centrepiece, the recently acquired Embassy 2013 by Richard Bell recreates the Aboriginal Tent Embassy — a potent symbol of Indigenous Australia’s struggle for empowerment since the 1970s. Fiona Foley’s DISPERSED 2012, on display for the first time since its acquisition, has an ominous presence, while Bell’s Judgement Day 2008 hangs above the entrance to the Australian galleries, provocatively declaring that ‘Australian art does not exist’.

EVERYWHEN, EVERYWHERE

Guests at the opening of ‘Everywhen, Everywhere’ | October 2014 | Photograph: Joe Ruckli

A volunteer guide discusses Richard Bell’s Judgement Day (Bell’s Theorem) 2008 | The James C Sourris, AM, Collection. Gift of James C Sourris, AM, through the Queensland Art Gallery | Gallery of Modern Art Foundation 2013. Donated through the Australian Government’s Cultural Gifts Program | November 2014 | Photograph: Mark Sherwood

Curator Bruce McLean speaks at the opening of ‘Everywhen, Everywhere’ | October 2014 | Photograph: Joe Ruckli

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QAG | 16 AUGUST 2014 – 26 APRIL 2015Curator: Tarun Nagesh, Associate Curator, Asian Art, QAGOMA

More than 60 Japanese prints featured in this Collection display, which expressed the endurance of this artistic tradition. Leading printmakers of the last 60 years have drawn from techniques and imagery centuries old, while also experimenting with new forms and technologies. From the early innovators of the sosaku-hanga (creative print) movement to works by celebrated contemporary artists Masami Teraoka, Lee Ufan, Ay-O, Tadanori Yokoo and Tōkō Shinoda, ‘Hanga’ celebrated rich colour, subtle texture and the refined designs of a medium that continues to hold an important place in Japanese art and culture.

HANGA MODERN JAPANESE PRINTS

QAG | FROM 4 OCTOBER 2014Curator: Diane Moon, Curator, Indigenous Fibre Art, QAGOMA

‘Island Currents’ celebrates the land, sea and sky of north Queensland. Paintings by Aboriginal women of Bentinck Island, in the Gulf of Carpentaria, map terrain and water while recollecting historic events that profoundly affected local lives. Torres Strait Islander masks and headdresses on display include the iconic feathered dhoeri, the symbol on the Torres Strait flag, and zamiyakal — dance machines which are manipulated using an ingenious system of string pulleys during ceremonial performances.

ISLAND CURRENTS

A special after hours tour of ‘Hanga’ with Morris Low, Associate Professor of Japanese History, University of Queensland | August 2014 | Photograph: Mark Sherwood

Installation view of ‘Island Currents’, including Mirdidingkingathi Juwarrnda (Mrs Gabori) Dibirdibi Country 2008 | Purchased 2008 with funds from Margaret Mittelheuser, AM, and Cathryn Mittelheuser, AM, through the Queensland Art Gallery Foundation | © Mrs Gabori/Licensed by Viscopy, 2015; and Birrmuyingathi Maali Netta Loogatha, Mirdidingkingathi Juwarrnda (Mrs Gabori), Warthadangathi Bijarrba Ethel Thomas, Thunuyingathi Bijarrb May Moodoonuthi, Kuruwarriyingathi Bijarrb Paula Paul, Wirrngajingathi Bijarrb Dawn Naranatjil and Rayarriwarrtharrbayingat Amy Loogatha’s Makarrki – King Alfred’s Country 2008 | Purchased 2009 with funds from Professor John Hay, AC, and Mrs Barbara Hay through the Queensland Art Gallery Foundation | Photograph: Mark Sherwood

‘HANGA’ INCLUDED ‘HOPE — ASPIRATION IN THE ABSTRACT’, A PORTFOLIO OF PRINTS RESPONDING TO THE 2011 EARTHQUAKE AND TSUNAMI IN JAPAN, COMMISSIONED BY TOKYO-BASED COLLECTOR NORMAN TOLMAN AND GIFTED BY HIM TO THE GALLERY IN 2014.

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GOMA | 25 OCTOBER 2014 – 8 FEBRUARY 2015Curator: Kathryn Weir, former Curatorial Manager, International Art and Australian Cinémathèque, QAGOMA

Brisbane-born Tracey Moffatt returned to her roots with a recent body of work, ‘Spirit Landscapes’ 2013 — an extended meditation on how we inhabit places and are inhabited by them. Comprised of five photographic series and a digital photograph, ‘Spirit Landscapes’ addresses aspects of relationship to place, delineating landscapes of the mind and spirit and evoking both childhood and ancestral memories. Interspersed with these were works by other artists, drawn from the QAGOMA Collection, which Moffatt situated in dialogue with her own, further drawing out relationships to place. The exhibition ‘Spirited’ was also the premiere of a new video work, Art calls, in which Moffatt effortlessly assumes the role of a television talk show host in discussion with her artist friends, at home and in their studios.

EVERY WORK BY TRACEY MOFFATT IN ‘SPIRITED’ HAS BEEN GIFTED TO THE QAGOMA COLLECTION THROUGH THE GENEROSITY OF DR PAUL ELIADIS, DR MICHAEL AND EVA SLANCAR, AND THE ARTIST. THANK YOU!

TRACEY MOFFATT SPIRITED

Ellie Buttrose, Associate Curator of International Contemporary Art, in conversation with Tracey Moffatt during the opening weekend of ‘Spirited’ | October 2014 | Photograph: Brad Wagner

Installation view of As I lay back on my ancestral land from ‘Spirit Landscapes’ series 2013 | Gift of Dr Michael and Eva Slancar through the Queensland Art Gallery | Gallery of Modern Art Foundation 2014. Donated through the Australian Government’s Cultural Gifts Program | October 2014 | Photograph: Mark Sherwood

Tracey Moffatt speaks to media about her Night spirits photograph, part of the ‘Spirit Landscapes’ suite of works | October 2014 | Photograph: Mark Sherwood

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GOMA | 1 NOVEMBER 2014 – 15 FEBRUARY 2015Curator: Akiko Fukai, Director and Chief Curator, Kyoto Costume Institute

Curated by eminent fashion historian Akiko Fukai, ‘Future Beauty’ was the centrepiece of the Gallery’s summer focus on the richly varied contemporary visual culture of Japan.

The tremendous innovation of Japanese fashion designers from the early 1980s to the present was seen in more than 100 garments from the archives of the Kyoto Costume Institute. From the elegant to the outrageous, these designs crystallise the impact that Japanese designers Issey Miyake, Rei Kawakubo of Comme des Garçons and Yohji Yamamoto brought to bear on the fashion world in the late twentieth century.

‘Future Beauty’ celebrated deconstructed and asymmetric sculptural forms, the uniquely Japanese concept of flatness, innovation in material, and the influence of street styles and subcultures on techno-couturier Junya Watanabe, ‘Ura-Harajuku’ pioneer Jun Takahashi, and a new generation of radical designers.

FUTURE BEAUTY 30 YEARS OF JAPANESE FASHION

Harajuku girls of Brisbane at the official opening for ‘Future Beauty’ | November 2014 | Photograph: Joe Ruckli

QAGOMA Deputy Director of Collection and Exhibitions, Maud Page; Exhibition Manager, Tarragh Cunningham; featured ‘Future Beauty’ designer Akira Isogawa; Associate Curator of Asian Art Tarun Nagesh; and Assistant Director of Learning and Public Engagement, Simon Wright, at the ‘Future Beauty’ opening, November 2014 | Photograph: Mark Sherwood

‘Future Beauty’ pop-up shop | Photograph: Brodie Standen

A guest at the ‘Future Beauty’ official opening using the resource lounge | Photograph: Joe Rucki

Installation view of Jun Takahashi’s Autumn/Winter 2000–01 collection | Collection: Kyoto Costume Institute | November 2014 | Photograph: Mark Sherwood

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A richly furnished resource lounge, abundant with fascinating ephemera, complemented ‘Future Beauty’ and was the site of a series of Up Late sessions. Live sets from Harajuku punks Broken Doll, Brisbane AV wunderkind Sampology and London industrialists Factory Floor lit up a custom-built Hello Kitty stage.

An appearance by Hello Kitty designer Yuko Yamaguchi, a series of monthly Future Fashion Sundays and Brisbane’s first Comme des Garçons Pocket store each added to the summer exhibition’s appeal. Even Katy Perry chose to wind down in ‘Future Beauty’ after her run of Brisbane dates.

FUTURE BEAUTY PROGRAMS

Illustrator Lauren Carney delivers a drawing workshop for Future Fashion Sunday | December 2014

Harajuku punks Broken Doll perform at Future Beauty Up Late | November 2014 |

The LylaClare Style Team giving free ‘Future Beauty’ inspired makeovers at Up Late | November 2014

Photographs: Brodie Standen

DURING FUTURE FASHION SUNDAYS, DR NADIA BUICK OF THE FASHION ARCHIVES HOSTED ART+FASHION: ONE  ON ONE CONVERSATIONS WITH:

· MITCHELL OAKLEY SMITH, JOURNALIST

· DR CRAIG DOUGLAS, ART HISTORIAN

· IAN GOLDING, FASHION PHOTOGRAPHER

· MICHAEL ZAVROS, ARTIST, AND GAIL REID, FASHION DESIGNER

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INDIGENOUS AUSTRALIAN ART Mirdidingkingathi Juwarrnda (Mrs Gabori) | Kaiadilt people | Dibirdibi Country 2012 | Synthetic polymer paint on linen | Four panels: 121 x 121cm (each); 121 x 484cm (installed) | Purchased with funds from Margaret Mittelheuser, AM, and Cathryn Mittelheuser, AM, through the Queensland Art Gallery | Gallery of Modern Art Foundation | © Mrs Gabori 2012. Licensed by Viscopy, Sydney, 2015 One of Australia’s most important painters, the late Mrs Gabori created highly idiosyncratic mind-mapped landscapes, in which layers of her understanding of country are loosely transcribed. Coming to painting as an octogenarian only ten years ago, she initially embraced a strikingly vibrant palette, but in Dibirdibi Country 2012 she used only dark navy blue and white to mark the physical, metaphysical and cultural landscape of the big saltpan of her late husband’s country on Bentinck Island. The restrained palette does nothing to diminish the knowledge, experiences, sense of longing and deep love of country that radiate from this beautiful painting.

Richard Bell | Kamilaroi/Jiman/Kooma people | Embassy 2013 | Canvas tent with annex, aluminium frame, rope and projection screen; synthetic polymer paint on board | 320 x 500 x 600cm (installed) | Purchased 2014. Queensland Art Gallery | Gallery of Modern Art Foundation | © The artist

On Australia Day in 1972, four young Aboriginal men erected a beach umbrella and a sign that read ‘Aboriginal Embassy’ on the lawns opposite Parliament House in Canberra, protesting the announcement by then prime minister William McMahon that no form of Aboriginal land rights or ownership would be recognised under Australian law. Richard Bell’s Embassy 2013 is based on that epicentre of ongoing Aboriginal and Torres Strait Islander empowerment struggles. Inside the Embassy, Bell’s video trilogy Imagining Victory asks Australians to think about the history of Aboriginal people’s struggle for justice, and honours those who have fought to ensure an Aboriginal presence in contemporary Australian life and discourse.

Joyce Hinterding | Large Ulam VLF loop (graphite) 2011 | Graphite, stencil, mixer / 200 x 200cm (installed, variable) | Purchased 2014. Queensland Art Gallery | Gallery of Modern Art Foundation

In Large Ulam VLF loop (graphite), Joyce Hinterding translates invisible forces into an intriguing composition. Graphite is used not only to draw, but to draw energy from the surrounding environment. The work functions as antenna and instrument, relaying forces that sing the space. The drawing reacts to subtle shifts we cannot see or hear, and to human interaction, creating unpredictable visual and sonic forms in the process. By using energy as an aesthetic form of expression, Hinterding questions the possibilities of sounds, spaces and objects in relation to each other, as well as the ways we perceive them.

CONTEMPORARY AUSTRALIAN ART

Robert MacPherson | 1000 FROG POEMS: 1000 BOSS DROVERS (“YELLOW LEAF FALLING”) FOR H.S. 1996–2014 | Graphite, ink and stain | 2400 sheets: 30 x 42.5cm (each) | Purchased 2014 with funds from the Queensland Art Gallery | Gallery of Modern Art Foundation, Paul and Susan Taylor, Donald FT McDonald AM, OBE and Christine A McDonald, OAM

Executed as if by the hand of the artist’s ten-year-old alter ego, Robert Pene, in 1947, and then stained to give them an aged patina, each of these 2400 drawings depicts a ‘boss drover’ in a heroic and weathered portrait, and all are based on people who did in fact move livestock overland. This epic work – the largest the Gallery has ever acquired by a living Australian artist - laments the disappearance of specialised knowledge, the history of cattle droving and pastoral life. Robert MacPherson has called many of his works ‘frog poems’ — it comments on the unreliability of descriptive systems to capture the diverse reality of a subject. Vast in scale, 1000 FROG POEMS will be presented in full for the first time as part of a major exhibition of MacPherson’s work in 2015.

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2014 FOUNDATION APPEAL

Ben Quilty | Sergeant P, after Afghanistan 2012 | Oil on linen | 190 x 140cm | Purchased 2014 with funds from the Queensland Art Gallery | Gallery of Modern Art Foundation Appeal and Returned & Services League of Australia (Queensland Branch)

Ben Quilty’s tour to Afghanistan as an official war artist for the Australian War Memorial was revelatory for the young painter, and resulted in a series of intimate portraits of Australians at war. The subject of the 2014 QAGOMA Foundation Appeal, Sergeant P, after Afghanistan 2012 is a raw image of a burden that is often hidden from view and a deeply empathetic portrayal of an Australian involved in military conflict. Despite his injuries making the experience painful, the subject insisted on standing while Quilty painted. The portrait captures the intensity of experience felt by soldiers involved in military conflict and was a fitting addition to the Collection in the first year of the ANZAC centenary.

The launch of this year’s Appeal saw the Archibald Prize-winning artist speak about the work in conversation with Gallery Director Chris Saines, and the striking work was acquired thanks to the contribution of the Returned & Services League of Australia (Queensland Branch) and the overwhelming support of over 240 individual Appeal donors.

AUSTRALIAN ART TO 1975

Margaret Olley | The banana cutters 1963 | Oil on board | 95 x 121cm | Purchased 2014 with funds from Drs Philip and Lenna Smith through the Queensland Art Gallery | Gallery of Modern Art Foundation | © Estate of Margaret Olley

The uniquely Queensland subject of this painting is a rare departure from Margaret Olley’s well-known still-life and interior works. Her three male subjects, possibly of South Sea Islander descent, point to the forced recruiting of workers from Melanesia for the cane, banana and cotton industries in Queensland and northern New South Wales in the late nineteenth century. The banana cutters, with its modernist structuring in the intersecting planes of the background and actions of the workers, won Olley first prize in the fine arts competition at the 1963 Royal Queensland Show.

Dick Watkins | The Mooche 1968 | Synthetic polymer paint (PVA) and oil on canvas | 167.5 x 167.5cm | The James C Sourris, AM, Collection. Gift of James C Sourris, AM, through the Queensland Art Gallery | Gallery of Modern Art Foundation 2014. Donated through the Australian Government’s Cultural Gifts Program | © Richard John Watkins 1968. Licensed by Viscopy, Sydney, 2015

Dick Watkins belonged to a generation of Australian artists who explored international currents of Colour-Field and Abstraction in the 1960s and 70s. His work shows a restlessness and experimentation with a number of influences. In the case of The Mooche (with its titular reference to classic jazz numbers by Duke Ellington and Charlie Parker), these include the pioneering abstraction of Dutch painter Piet Mondrian (also an ardent jazz fan) and the intersecting planes of Cubism. More than the sum of its influences, the composition’s rhythmic arrangement of hard-edge basic shapes and gestural flourishes, and the use of mixed rather than primary colours, creates a layered and nuanced work.

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Unknown | Vairocana bonji (Sanskrit character) (detail) early 18th century | Gold leaf, ink and pigment on paper, silk brocade, lacquered wood finials | 136 x 39.5cm | Purchased 2014 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation

With its combination of figure and calligraphy, this scroll embodies fundamental aspects of Buddhist art. Its Sanskrit character in gold leaf represents the word ‘Vairocana’ (‘dainichi nyorai’ in Japanese), meaning the supreme or cosmic Buddha, and the Buddha of light. Single Sanskrit letters are sometimes used alone to represent particular deities and their powers, often in place of a figure. The calligraphy appears atop a lotus flower, a symbol of enlightenment and purity that features prominently in Buddhist art throughout Asia.

Unknown | Buddha 2nd–3rd century CE | Carved grey schist | 59.5 x 32 x 16cm | Purchased 2014 with funds from Thomas Bradley, QC, through the Queensland Art Gallery | Gallery of Modern Art Foundation

The great tradition of Gandharan sculpture was founded by a confluence of Eastern and Western classical cultures. The ancient kingdom of Gandhara was at the cross-roads of Europe, Central Asia and India, including parts of what are now Pakistan and Afghanistan. Centuries of contact with Europe, beginning with its conquest by Alexander the Great in the fourth century BCE, had a profound impact on the development of art in Gandhara. This image of the Buddha, with its European and Asian influences, embodies the accomplishment of artistic exchange that would provide the foundation for the image of the Buddha throughout the world.

David Medalla | Bubble machines 1963/2014 | Plexiglass tubing, motor pumps, porous stones, wood, water, detergent | Five tubes: 300 x 20cm, 250 x 20cm, 200 x 20cm, 150 x 20cm and 100 x 20cm (diam.); basin: 200cm (diam.) | Purchased 2014. Queensland Art Gallery | Gallery of Modern Art Foundation | Image courtesy: The artist and Galerie Kai Hilgemann, Berlin

David Medalla’s unpredictable, collaborative and open-ended approach to art-creation has made him a difficult artist to categorise, but he is increasingly recognised as significant in the development of installation, kinetic and participatory art. Philippines-born, he studied in the United States before moving to London in 1960 where he began to produce what have become his signature works. The Bubble machines deconstruct the idea of the solid, timeless and monumental sculpture by creating objects and situations that continually change form. To Medalla, they are a means to transform matter into energy, and give tangible form to invisible forces.

Yasumasa Morimura | White darkness 1994, printed 2008 | Gelatin silver photograph, ed. 1/7 | 168 x 135cm | The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2013 with funds from Michael Sidney Myer through the Queensland Art Gallery | Gallery of Modern Art Foundation

This is a powerful and unsettling example of the work of one of Japan’s most influential artists. The photographic self-portrait of the artist, who is pictured naked except for a pair of high-heeled shoes and a Renaissance-style beret, refers most explicitly to the bœuf écorché (slaughtered ox) tradition in Western art. In Morimura’s hands, this crucifixion metaphor — also exploited by Rembrandt, Chaïm Soutine, Marc Chagall and Francis Bacon — becomes a rumination on representation, mortality and social tensions in present-day Japan.

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PACIFIC ART INTERNATIONAL ART

Taloi Havini (artist) | Hakö (Haku) people, Nakas clan | Stuart Miller (photographer) | Russel and the Panguna mine (from the ‘Blood Generation’ series) (detail) 2009, printed 2014 | 84 x 120 cm | Purchased 2014. Queensland Art Gallery | Gallery of Modern Art Foundation

Working in media from porcelain to photography, Taloi Havini expresses her people’s deep cultural connection to land, particularly in the face of ongoing mining interests and the ravages of conflict in Bougainville. ‘Blood Generation’ is the name used in Bougainville to describe children born into the conflict between local landowners and the government of Papua New Guinea between 1988 and 1998. Members of this generation are the main subject of this photographic series, in which Havini and her cousin, Stuart Miller, explore the legacy of conflict, the loss of traditional lands and customary practices, as well as the a fiercely held sense of resistance and cultural autonomy.

Francis Upritchard | White Knight 2012 | Mixed media | Dimension variable | Purchased 2014 with funds from Tim Fairfax, AC, through the Queensland Art Gallery | Gallery of Modern Art Foundation

Francis Upritchard’s spectacular sculptural installations of modelled human figures deliberately tread a line between reality and fantasy. Less than life-size, and captured in elaborate poses with ungainly limbs and half-closed eyes, they resemble marionettes absorbed in their own world. The sculptures have many cultural and temporal influences: earlier series drew on a counter-cultural aesthetic to comment on failed utopias, while the recently acquired works from the 2012 series ‘A hand of cards’ reference street-performance traditions dating from the time of court actors and jester troupes, as well as Renaissance sculpture and the Bayeux tapestry.

Saul Leiter | Phone call 1957, printed later | Chromogenic print | 28 x 35.6cm | Purchased 2014. Queensland Art Gallery | Gallery of Modern Art Foundation Grant | © Saul Leiter Estate

Saul Leiter has been increasingly recognised in the past decade for his unique contribution to the history of twentieth-century photography. Though an admirer of Henri Cartier-Bresson, he was informed as much by his training as a painter as by his work as a photojournalist. In three painterly prints acquired by the Gallery this year, Leiter’s New York is found in fleeting, peripheral images that might otherwise go unnoticed. His repertoire of techniques — close focus, off-kilter framing, blur, reflection and refraction through glass, strong contrast — create poetic images in which ambiguity and contingency are in constant play.

Henri Rivière | Les Trente-six vues de la Tour Eiffel (Thirty-six views of the Eiffel Tower) (detail) 1888–1902 | Bound edition of 36 colour lithographs, including 16 pages of text and 8 pages with titles and the imprint. In original slipcase 36 sheets: 17 x 21.2cm (each) | Purchased 2014. Queensland Art Gallery | Gallery of Modern Art Foundation

Henri Rivière’s series of views of the Paris landmark is regarded as an exemplar of Japonisme, the French stylistic borrowing from Japanese art and aesthetics. Rivière’s views are modelled on Katsushika Hokusai’s iconic series of woodblock prints titled ‘Thirty-six views of Mount Fuji’ c.1830–32, but are far from pastiche. They pay homage to the compositional nuance of Japanese ukiyo-e, while also expressing the monumental presence of the newly constructed Eiffel Tower over the Parisian cityscape. Rivière’s prints are shown alongside those by Hokusai and Hiroshige Ichiryusai in QAG, one of many Asian–European dialogues opened up by the new Collection displays.

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mounir fatmi | The angel’s black leg 2011 | SD video: 9:48 minutes, black and white, stereo, 4:3, ed. 2/5 | Purchased 2014 with funds from Tim Fairfax, AC, through the Queensland Art Gallery | Gallery of Modern Art Foundation

Moroccan artist mounir fatmi transforms a black-and-white reproduction of Fra Angelico’s painting The healing of Deacon Justinian 1438–40 into a multi-layered video work of shifting dimensions and flickering perspectives. As the original is blurred and dispersed, fatmi re-presents the painting’s narrative — martyred Christian saints posthumously and miraculously replacing the diseased leg of Roman deacon Justinian with the limb of a deceased Moor — as a more equitable exchange. In fatmi’s version, both the donor and the recipient survive in the wake of an aesthetic, cultural cross-transplant. Though the reciprocal exchange might be painful to both, the artist believes that such exchanges are indispensable for the survival of humanity.

Tomás Saraceno | Argentina b.1973 | Biospheres (installation) 2009 | PVC, rope, nylon monofilament, acrylic, air pressure regulator system 300cm (diam.) | Purchased 2014 with funds from Tim Fairfax, AC, through the Queensland Art Gallery | Gallery of Modern Art Foundation

These four Biospheres, which were hero works for this year’s ‘Harvest’ exhibition, demonstrate Tomás Saraceno’s signature technique of intertwining rope — in this case, weaving it around transparent inflated bubbles. Inspired by the geodesic domes of Buckminster Fuller, these spherical and suspended globes evoke floating cities, and also the concept of adaptability in a changing environment. Each threaded and knotted length of rope within the work is equally important to the structural integrity of the whole — a metaphor for the interconnectedness of ecosystems, and an ecological model of cultural cohabitation.

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CONSERVATION

QAGOMA’s diverse Collection faces a variety of conservation challenges — from the obscure paint choices of mid-twentieth-century Australian artists to new media works created with evolving digital platforms. The Gallery’s Centre for Contemporary Art Conservation is a world leader in these areas and frequently collaborates with artists and local and international institutions to ensure that artworks are preserved in their most authentic state.

Preventive conservation of Cai Guo-Qiang’s Heritage 2013At the conclusion of ‘Cai Guo-Qiang: Falling Back to Earth’, conservation and workshop staff took over the Long Gallery for preventive conservation activities, cleaning the 99 animal sculptures of Heritage in preparation for hibernation in their purpose-built storage and travelling crates.

Collaboration with UQ investigating Van Gogh’s SunflowersIn a research partnership with the University of Queensland’s Centre for Microscopy and Microanalysis, on behalf of the Van Gogh Museum, QAGOMA conservator Gillian Osmond undertook preliminary investigative work on two paint samples from Van Gogh’s Sunflowers series, which has laid the ground work for UQ to undertake high-resolution 3-D imaging of the samples.

Ron Mueck visits QAGOMA Conservation Artist Ron Mueck visited the Gallery’s conservation department to assess fading and retouch the surface painting of Collection work In bed 2005. The artist demonstrated his technique so that QAGOMA conservators can continue to retouch the artwork in the future.

GOMA’s Long Gallery becomes a temporary ark during the conservation of Cai Guo-Qiang’s Heritage 2013 | Purchased for the Queensland Art Gallery Collection with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation

Artist Ron Mueck and QAGOMA’s Head of Conservation, Amanda Pagliarino, discuss the conservation process for Mueck’s In bed 2005

Photographs: Mark Sherwood

QAGOMA & QUT William Robinson research collaborationQAGOMA’s Centre for Contemporary Art Conservation and QUT Art Museum are working together to identify the painting materials and methods used by Queensland artist William Robinson during his 45-year career, with the aim of developing best practice standards for the conservation and management of his paintings.

Paint characterisation researchThe extensive use of Dulux house paints by Australian painters Sidney Nolan, Charles Blackman and Ian Fairweather is well documented, but new research into the characterisation of early Australian water-based emulsion house paints, in collaboration with the senior conservation scientist at Tate, aims to accurately identify polymers in aged paint films to inform future treatment programs.

Conservation of an iPad appHead of Conservation Amanda Pagliarino and artist George Poonhkin Khut have been working on the conservation of his 2012 New Media Award winning artwork Distillery: Waveforming, looking at the long-term preservation of the original artwork and considering strategies for future presentations of this digital artwork as the technology of the platform on which it was originally developed becomes obsolete.

Conservation research intern Sophie Theobald Clark and Conservator Anne Carter in the Conservation Laboratory | Photograph: Natasha Harth

Conservation Technician Damian Buckley working on the frame of Hamilton MacCallum’s Sunday afternoon parade 1896 / Photograph: Mark Sherwood

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AUSTRALIAN CINÉMATHÈQUE

AS AN ASSOCIATE MEMBER OF THE INTERNATIONAL FEDERATION OF FILM ARCHIVES (FIAF) — AN ORGANISATION DEDICATED TO THE PRESERVATION OF FILM — THE AUSTRALIAN CINÉMATHÈQUE CAN DRAW ON AN EXPANSIVE NETWORK OF FILM ARCHIVES AND LIBRARIES TO SOURCE THE BEST AVAILABLE PRINTS OF RARE AND CLASSIC CINEMA AND MOVING-IMAGE WORKS.

FAIRYTALES AND FABLES10 JANUARY – 30 MARCH 2014 Curator: Amanda Slack-Smith, Associate Curator, Australian Cinémathèque, QAGOMA

Nine and a half thousand people attended 87 sessions during the Gallery’s most popular summer film program to date.

From the silent films of Georges Méliès to animated fables by Lotte Reiniger, to contemporary takes on the genres by Tim Burton and Terry Gilliam, ‘Fairytales and Fables’ reached beyond the well-known Disney adaptations to wider interpretations of European folk stories. It included radical renditions of classic tales, and original stories that combine elements of fairytale and fable with parody, experimentation and horror.

In 2014, the Gallery’s Australian Cinémathèque screened some 312 shorts, feature films and videos, attended by more than 28 500 visitors. Its curated programs delved deep into genres and themes and also included comprehensive filmmaker retrospectives and showcases of innovative and unknown international and historical cinema.

ORSON WELLES A RETROSPECTIVE 5 APRIL – 28 MAY 2014 Curator: Amanda Slack-Smith, Associate Curator, AustralianCinémathèque, QAGOMA

This extensive retrospective of the enigmatic auteur’s directorial work, from Citizen Kane 1941 onward, also included highlights of his prolific film and TV acting career and radio plays such as the infamous 1938 broadcast of War of the Worlds. It also boasted the Australian debut of the recently rediscovered and restored Too Much Johnson 1938, a slapstick comedy produced to accompany a stage production.

THE LAST OF ENGLAND THATCHERISM AND BRITISH CINEMA 4 APRIL – 24 JUNE 2014Curator: José Da Silva, Senior Curator and Head of Australian Cinémathèque, QAGOMA

Taking its name from the work of Derek Jarman, and starting with a complete retrospective of the audacious filmmaker’s feature work, ‘The Last of England’ was a stark look at the realities of life in the United Kingdom under Prime Minister Margaret Thatcher. It considered how British filmmakers responded to the social and political life of this era, its nostalgia for the past and the legacy of these films to the present.

David Bailey performs live accompaniment to Milford Thomas’s Claire 2001 on the GOMA Cinema’s Wurlitzer organ | March 2014 | Photograph: Brodie Standen

A screening of Lotte Reiniger’s The Adventures of Prince Achmed 1926 was accompanied by live music from Oscar and Marigold (Kim Cunio and Heather Lee) | March 2014 | Photograph: Brodie Standen

Production still from Orson Welles’s Too Much Johnson 1938 | Image courtesy: Cineteca del Friuli

Production still from Derek Jarman’s Caravaggio 1986 | Image courtesy: British Film Institute

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AUSTRALIAN CINÉMATHÈQUE DIVIDED SELVES

4 JULY – 30 AUGUST 2014Curator: Ellie Buttrose, Associate Curator, International Art, QAGOMA

Charisma often relies on a merging of truth and fictions, and on a reflection of constructed mythologies. ‘Divided Selves’ drew on representations of the charismatic to explore the illusory elements of the documentary genre, and the truth found in fiction.

YOUR NOSTALGIA IS KILLING ME!26 NOVEMBER – 1 DECEMBER 2014Curator: José Da Silva, Senior Curator and Head of Australian Cinématheque, QAGOMA

Three decades of artistic responses to HIV/AIDS highlighted the intersection of art and activism in film and video relating to the epidemic, illustrating the critical positions linked with AIDS cultural activism and the present-day experience of living with HIV.

FORBIDDEN HOLLYWOOD THE WILD DAYS OF PRE-CODE CINEMA26 SEPTEMBER – 2 NOVEMBER 2015Curator: Amanda Slack-Smith, Associate Curator, Australian Cinématheque, QAGOMA

‘Forbidden Hollywood’ screened two dozen highlights from a brief golden era of creative freedom in the early 1930s when tinsel town wooed crowds with sexuality and crime, social criticism and strong women – before the introduction of the Motion Picture Production Code in 1934.

LIVE MUSIC AND FILMOur series of classic and rare silent films with live music included: • Dante-inspired visions of hell in the first ever Italian feature-length

Inferno 1911• The Last Days of Pompeii 1926, accompanied by renowned Italian

improvisational pianist Maurio Colombis• Prix de Beauté 1930, accompanied by David Bailey on the Gallery’s

1929 Wurlitzer organ• Verduns, visions d’Histoire, accompanied by acclaimed composer

and pianist Hakim Bentchouala-Golobitch, who travelled from Paris.

See page 28 for 'Harvest: Food on Film'

Publicity still from Josef von Sternberg’s Blonde Venus 1932 | Image courtesy: Universal Pictures/British Film Institute

David Bailey on the Gallery’s Wurlitzer organ | March 2014 | Photograph: Brodie Standen

Production still from The Last Days of Pompeii (detail) 1926 | Director: Carmine Gallone, Amleto Palermi | Image courtesy: Centro Sperimentale di Cinematografia-Cineteca Nazionale

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TOTAL YOUNG PATTERN BANDITS AT GOMA: 84 638, INCLUDING 17 871 STUDENTS | 43 745 MANDALAS & 33 364 BANDANAS CREATED

CHILDREN’S ART CENTRE

CAI GUO-QIANG KIDS LET’S CREATE AN EXHIBITION WITH A BOY NAMED CAI23 NOVEMBER 2013 – 11 MAY 2014

Cai Guo-Qiang’s interactive project brought the artist’s working methods to life by inviting kids to create their own exhibition, making objects for display in miniature gallery spaces and creating spectacular multimedia gunpowder drawings and explosion events. The artist’s story was presented as a short animated film and published in an award-winning picture book.

JEMIMA WYMAN PATTERN BANDITS5 APRIL – 2 NOVEMBER 2014

Los Angeles-based Jemima Wyman was the sixth Australian artist to occupy the Children’s Art Centre, with an immersive and sometimes subversive look at patterns as markers of identity with psychological, political and historical implications. In an explosion of kaleidoscopes, tessellations, camouflage and harlequin, these hands-on and multimedia activities encouraged young visitors to think about the relationships between pattern, people and architecture.

The QAGOMA Children’s Art Centre has a 16-year history of delivering innovative and dynamic contemporary art exhibitions for young visitors.

JOURNEY TO FANTASTIC LANDS8 NOVEMBER 2014 – 10 MAY 2015

Interactive artworks and playful animations from the Gallery’s Collection bring the Children’s Art Centre to life with adventure and mystery. A site-specific adaptation of Isobel Knowles and Van Sowerwine’s You Were In My Dream 2010 revisits the artists’ award-winning animation, which puts the viewer in the story.

YAYOI KUSAMA THE OBLITERATION ROOM6 DECEMBER 2014 – 19 APRIL 2015

Japanese artist Yayoi Kusama’s internationally adored installation work, in which visitors ‘obliterate’ a pristine white room with thousands of coloured dots, is inspired by the artist’s way of seeing the world and embraced by all ages wherever it is staged. Developed by Kusama and the Children’s Art Centre in 2002 for the fourth Asia Pacific Triennial of Contemporary Art, and donated to the Collection by Kusama in 2012, it has since become one of the Collection’s most loved works.

Young ‘pattern bandits’ activate the Spinning Wall Mandala Portal activity in the Children’s Art Centre, GOMA | April 2014 | Photograph: Joe Ruckli

Artist Jemima Wyman talks journalist Phil Brown through her Children’s Art Centre project ‘Pattern Bandits’ | April 2014 | Photograph: Mark Sherwood

QAGOMA Members preview the latest installation of Yayoi Kusama’s The obliteration room 2002–present | Collaboration between Yayoi Kusama and Queensland Art Gallery. Commissioned Queensland Art Gallery. Gift of the artist through the Queensland Art Gallery Foundation 2012 | December 2014 | Photograph: Brad Wagner

Visitors on a 'Journey to Fantastic Lands' | November 2014 | Photograph: Mark Sherwood

‘An amazing, magical journey very much enjoyed by myself and my 4-year-old granddaughter. An incredible exhibition which encourages young children to explore the way artists use their imagination to bring to life amazing worlds.’ TripAdvisor review for ‘Journey to Fantastic Lands’

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PUBLIC PROGRAMS

Through QAGOMA’s pervasive public programs, exhibitions and displays are given context and character, leading artists and curators share their practice and vision and every visitor to the Gallery is offered an experience that expands their knowledge of the work on display.

Programs for ‘Harvest’ included a mix of chef demonstrations, conversation tours, the Pineapple Artist Factory interactive designed by Los Angeles artist duo Fallen Fruit, and GOMA Talks — during which contemporary food ethics and sustainability were discussed with hosts from ABC Radio National. Accoutrements to ‘Future Beauty’ included a high-impact Up Late series, Future Fashion Sundays with talks on contemporary fashion, illustration workshops and a fabric and garment swap.

Specific visitor groups deepened their relationship with the Gallery. Through hands-on workshops, Teens learnt directly from professionals like artist Jemima Wyman and QAGOMA Executive Chef Josue Lopez, while Emerging Creatives took advantage of a special networking event as part of Trace Live and an artist in-conversation program with 2014 Melville Haysom Memorial Art Scholars Clark Beaumont (Sarah Clark and Nicole Beaumont). The Gallery’s 50+ program, which is dedicated to lifelong learning, invited curators, artists and academics to delve into the ideas, materials and techniques behind exhibitions. 

A QAGOMA Teens tour of ‘Harvest’ | GOMA | September 2014 | Photograph: Brad Wagner

Former National Gallery of Australia director Betty Churcher in conversation at GOMA | April 2014 | Photograph: Joe Ruckli

Associate Curator of Australian Art, Michael Hawker, talks about the ANZAC commemorative display for the Gallery’s 50+ program | December 2014 | Photograph: Mark Sherwood

The QAGOMA Cinema team mix a GOMA Talks session for live webcast | GOMA | July 2014 | Photograph: Mark Sherwood

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INTERNATIONAL TOURING

Artist Vernon Ah Kee speaks at the opening weekend of ‘My Country’ in Auckland | Image courtesy: Auckland Art Gallery Toi o Tāmaki

Installation views of Yayoi Kusama’s The obliteration room 2002–present at Museum Tinguely, Basel, Switzerland (Photograph: Daniel Spehr) and Instituto Tomie Ohtake, São Paulo, Brazil | 2014 | Images courtesy of the participating museums

Curator Bruce McLean, speaks during the opening weekend of ‘My Country’ in Auckland | Image courtesy: Auckland Art Gallery Toi o Tāmak

Installation view of ‘My Country’ in Auckland | Image courtesy: Auckland Art Gallery Toi o Tāmaki i

YAYOI KUSAMA THE OBLITERATION ROOM Asia, Latin America and Europe

Developed in 2002 by senior Japanese artist Yayoi Kusama in collaboration with the Gallery’s Children’s Art Centre, The obliteration room has been an international sensation in 2014 and has appeared in exhibitions in Brazil, Mexico, South Korea, China, Taiwan and Switzerland that have been seen by more than two million people.

MY COUNTRY CONTEMPORARY ART FROM BLACK AUSTRALIAAuckland Art Gallery Toi o Tāmaki, New Zealand | 28 March – 17 August 2014Curator: Bruce McLean, Curator, Indigenous Australian Art, QAGOMA

Drawn from the exhibition presented at GOMA in 2013, nearly 100 works by over 40 artists from the Gallery’s Collection toured to New Zealand, representing the largest and most significant exhibition of contemporary Indigenous Australian art ever shown in that country. The exhibition showcased the breadth of recent work by Aboriginal and Torres Strait Islander artists, and the connections the artists have with their land and nation. It was accompanied by the QAGOMA Children’s Art Centre installation ‘Gordon Hookey: Kangaroo Crew’.

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Students in Capella take part in a Glencore Regional Workshop Program | October 2014 | Photograph: Sue Loveday

Backstage Pass regional intern Samantha Faulkner in Collection storage at GOMA | November 2014 | Photograph: Mark Sherwood

Kids on Tour: Cai Guo-Qiang at Gladstone Regional Art Gallery and Museum | April 2014 | Image courtesy: Gladstone Regional Art Gallery and Museum

‘Ah Xian: Metaphysica’ on display at Artspace Mackay | January 2014 | Image courtesy: Artspace Mackay

REGIONAL TOURING

QAGOMA’s programs and services to regional Queensland includes Collection-based touring exhibitions, regular workshop programs, ‘On Tour’ activities for regional, rural and remote children and families. It also provides development opportunities for emerging museum professionals from the regions through the Backstage Pass program.

Touring exhibitions:• ‘Lloyd Rees: Life and Light’: Attendance of 8764 across three venues • ‘Ever Present: Photographs from the Queensland Art Gallery Collection

1850–1975’: Attendance of more than 18 000 across five venues • ‘Ah Xian: Metaphysica’: Attendance of more than 9000 across six venues• ‘Transparent: Watercolour in Queensland 1850s–1980s’ commenced its

12-venue regional tour at the Gold Coast City Art Gallery in October 2014.

Touring programs: • Over 110 students from schools in Springsure, Clermont, Capella,

Glenden, Bowen, Merinda, Collinsville and Wandoan participated in the 2014 Glencore Regional Workshop Program

• Over 11 000 children and families participated in Kids on Tour: Cai Guo-Qiang at more than 60 regional and remote venues with the support of the Tim Fairfax Family Foundation.

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RESEARCH LIBRARY AND ACAPA ARCHIVES

• KIROKU, A 24-VOLUME PHOTOGRAPHIC JOURNAL BY JAPANESE ARTIST DAIDO MORIYAMA WAS ACQUIRED BY THE GALLERY’S RESEARCH LIBRARY WITH FUNDS DONATED BY DR CAROLINE TURNER THROUGH THE QAGOMA FOUNDATION.

• PHOTOGRAPHS AND EPHEMERA FROM THE AUSTRALIAN CENTRE OF ASIA PACIFIC ART (ACAPA) ARCHIVES WERE DISPLAYED DURING ‘CAI GUO-QIANG: FALLING BACK TO EARTH’.

• VINYL COVER ART AND MUSIC-RELATED EPHEMERA DONATED TO THE GALLERY’S RESEARCH LIBRARY BY ARTIST SCOTT REDFORD FEATURED IN THE EXHIBITION ‘SEEN + HEARD’.

THE MEMBERS BOOK CLUB MET 32 TIMES. THE READING LIST, INSPIRED BY ‘FALLING BACK TO EARTH’, ‘HARVEST’ AND MORE, INCLUDED:

• TONY BIRCH THE PROMISE – WITH A VISIT BY THE AUTHOR

• MARK KURLANSKY SALT: A WORLD HISTORY

• BRUCE PASCOE DARK EMU: BLACK SEEDS: AGRICULTURE OR ACCIDENT

• DAI SAJIE BALZAC AND THE LITTLE CHINESE SEAMSTRESS

• JIANG RONG WOLF TOTEM

QAGOMA publishes books based on its Collection, exhibitions and research. In 2014 we published Cai Guo-Qiang: Falling Back to Earth and We can make another future: Japanese art after 1989 under the auspices of the Gallery’s Australian Centre of Asia Pacific Art, and in an innovative twist on the traditional exhibition catalogue, the standalone title Harvest: Art, Film and Food celebrated works from the Gallery’s Collection through essays and artist interviews, as well as featuring beautifully illustrated and annotated recipes from Australian and international chefs.

The art of Queensland was the subject of Madonna Staunton: Out of a Clear Blue Sky, Sam Fullbrook: Delicate Beauty and Transparent: Watercolour in Queensland 1950s–1980s, the latter generously supported by Des and Sharon Whybird through the QAGOMA Foundation. A catalogue for internationally renowned Brisbane-born artist Tracey Moffatt accompanied the exhibition ‘Spirited’ and an activity book was inspired by Jemima Wyman’s Children’s Art Centre exhibition ‘Pattern Bandits’.

My Country, I Still Call Australia Home: Contemporary Art from Black Australia, the publication accompanying the 2013 exhibition of that name, won Best Large Exhibition Catalogue in the 2014 Art Association of Australia and New Zealand (AAANZ) prizes.

‘Hanga’ printmaking workshop for Members | October 2014 | Photograph: Joe Ruckli

A Father’s Day Craft Beer Tasting for Members at the GOMA Cafe Bistro saw beers from the Stone & Wood brewery matched with dishes concocted from local, sustainable ingredients | September 2014 | Photograph: Joe Ruckli

PUBLICATIONS

QAGOMA Members experience the very best of the Gallery with exclusive programs, lectures, tours, workshops, after-hours access and social events, along with great discounts at the stores, cafes and the award-winning GOMA Restaurant. The new Premium Membership program continued to grow following its launch in 2013, with these members enjoying additional benefits such as unlimited entry to ticketed exhibitions, free passes to Up Late and cinema launch nights, and an annual private access tour. Highlights on the Members calendar included the monthly lunch and lecture with exclusive menu by Executive Chef Josue Lopez, an Australian native bush foods talk and taste and a craft beer event on Father’s Day, not to mention the much-anticipated Christmas Party. Also popular were workshops for Young Members; screenings of Member-selected films; artist-run workshops and guest lectures.

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• 2213 GUIDED TOURS FOR 13 108 VISITORS

• 38 TOURS FOR PEOPLE WITH DISABILITY

• 28 101 STUDENTS FROM PRIMARY AND SECONDARY SCHOOLS VISITED QAGOMA

• 32 363 HOURS CONTRIBUTED TO QAGOMA BY GUIDES AND OTHER VOLUNTEERS

• ‘CAI GUO-QIANG: FALLING BACK TO EARTH’ ATTRACTED 12 921 STUDENTS

• OVER 1900 SECONDARY STUDENTS ATTENDED ILLUSTRATED PRESENTATIONS TO LEARN MORE ABOUT ‘FALLING BACK TO EARTH’

• 113 TEACHERS ATTENDED LOOK OUT PROFESSIONAL DEVELOPMENT PROGRAMS.

AN INITIATIVE OF THE DEPARTMENT OF EDUCATION, TRAINING AND EMPLOYMENT, THE ANNUAL ‘CREATIVE GENERATION EXCELLENCE AWARDS IN VISUAL ART’ EXHIBITION (GOMA | 5 APRIL – 22 JUNE) RECOGNISED THE OUTSTANDING ACHIEVEMENTS OF ART STUDENTS FROM SECONDARY SCHOOLS THROUGHOUT QUEENSLAND AND WAS SEEN BY 5754 STUDENTS DURING CLASS VISITS.

A school group discusses Indigenous Australian art displayed in ‘Harvest’ | GOMA | August 2014 | Photograph: Mark Sherwood

QAGOMA Director Chris Saines, Education Minister the Hon. John-Paul Langbroek MP, and students whose works were featured in the 2014 ‘Creative Generation Excellence Awards in Visual Art’ exhibition | GOMA | April 2014 | Photograph: Brad Wagner

A volunteer-guided tour of the Collection for people living with dementia looks at William Dobell’s The Cypriot 1940 | Gift of the Godfrey Rivers Trust through Miss Daphne Mayo 1943 | QAG | June 2014 | Photograph: Mark Sherwood

QAGOMA education resources harness the Gallery’s Collection and exhibitions to create meaningful learning experiences and encourage critical thinking. This year, resources for school students of all ages were designed to accompany ‘Cai Guo-Qiang: Falling Back to Earth’, ‘Sublime: Works from the Collection’ and ‘We can make another future: Japanese art after 1989’.

The online QAGOMA Collection Education Resource was expanded to provide detailed information on 65 selected works from our Australian and Indigenous Australian art holdings, and to allow students to customise their worksheets for use during a Gallery visit.

The Gallery’s passionate Volunteer Guides create a personal connection to the collections and exhibitions through tours for the general public, special interest groups and people with disability. Following a pilot program this year in collaboration with Alzheimer’s Australia, the Gallery now regularly hosts tours for people living with dementia.

EDUCATION & ACCESS

‘Relevant, interesting varied information and easily integrated into art room practice.’Participant feedback from a Look Out teacher development program, February 2014

‘Thank you so much for the service that you have provided schools like ours. These experiences have informed students’ making and appraising activities very positively.’ Teacher, Warwick QLD - feedback received October 2014

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QAGOMA STORE BOOK LAUNCHES, SIGNINGS AND SPECIAL EVENTS:

• FORMER NGA DIRECTOR BETTY CHURCHER LECTURE AND LAUNCH FOR AUSTRALIAN NOTEBOOKS

• CATALAN CHEF FERRAN ADRIA LAUNCHED EL BULLI 2005–2011 AS PART OF GOOD FOOD MONTH

• BRITISH–CUBAN BALLET STAR CARLOS ACOSTA’S PIG’S FOOT BOOK LAUNCH AND SIGNING WITH QUEENSLAND BALLET ARTISTIC DIRECTOR LI CUNXIN

• FORMER NGV DIRECTOR PATRICK MCCAUGHEY LECTURE AND SIGNING FOR STRANGE COUNTRY: WHY AUSTRALIAN PAINTING MATTERS

• HELLO KITTY! DESIGNER YUKO YAMAGUCHI BOOK SIGNING, CELEBRATING HELLO KITTY’S 40TH ANNIVERSARY

Peter Beiers, Manager, Retail Sales, and Izabella Chabrowska, Manager, Retail Store Operations, at the ‘Future Beauty’ Comme des Garçons Pocket | November 2014 | Photograph: Mark Sherwood

Architecture in the South Pacific book launch | GOMA Store | September 2014 | Photograph: Brodie Standen

Queensland Ballet artistic director Li Cunxin in conversation with author and ballet dancer Carlos Acosta | July 2014 | Photograph: Mark Sherwood

GOMA Store | June 2014 | Photograph: Joe Ruckli

All QAGOMA’s retail spaces are operated by the Gallery, with proceeds supporting its programming. The permanent QAGOMA Stores have been augmented by the new QAG pop-up shop — a fixture in QAG’s Gibson entrance, riffing on exhibitions such as ‘California Design’ and ‘Transparent’; while a dedicated pop-up shop at GOMA for ‘Future Beauty’ complemented Brisbane’s first Comme des Garçons Pocket store — and the Japanese designer’s first in an art museum.

The annual winter and Christmas design markets involved a bevy of local designers selling their unique and handcrafted wares on the GOMA forecourt.

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THIS YEAR, GOMA RESTAURANT WAS AWARDED:

• 2014 BRISBANE TIMES GOOD FOOD GUIDE CHEF’S HAT

• 2014 AUSTRALIAN GOURMET TRAVELLER  STAR

• 2014 SAVOUR AUSTRALIA RESTAURANT AND CATERING HOSTPLUS AWARDS FOR EXCELLENCE: WINNER (SOUTH-EAST QUEENSLAND) – CONTEMPORARY AUSTRALIAN RESTAURANT – FORMAL

EVENTS AND CATERING AWARDS

• 2014 SAVOUR AUSTRALIA RESTAURANT AND CATERING HOSTPLUS AWARDS FOR EXCELLENCE: WINNER (SOUTH-EAST QUEENSLAND) – BEST VENUE CATERER

QAGOMA Sous Chef Ryan Ward, Ferran Adria, QAGOMA Head Chef Aaron Holt and Executive Chef Josue Lopez at the launch of Adria’s el Bulli 2005–2011 on the GOMA Roof Terrace during Good Food Month | April 2014 | Photograph: Mark Sherwood

Yarrabank bubbles courtesy of QAGOMA’s wine and sparkling partner Yering Station | May 2014 | Photograph: Brad Wagner

Kangaroo Beetroot created by chef Shannon Bennett for the Harvest publication | Photograph: Mark Roper

A private event during ‘Harvest’ | August 2014 | Photograph: Joe Ruckli

Valentine’s Day Eton Mess | Photograph: Mark Sherwood

Every meal at QAGOMA’s self-managed restaurant and cafes — GOMA Restaurant, GOMA Cafe Bistro and QAG Cafe — is conceived and crafted to add another dimension to the visitor experience, and every purchase supports the Gallery.

Our menus are inspired by what’s happening around the Gallery, and this year the ‘Harvest’ exhibition and programs created a natural opportunity to pair food with art. The official opening for ‘Harvest’ showcased local produce and suppliers on its themed menu. QAGOMA Executive Chef Josue Lopez coordinated the involvement of local, national and international chefs for the lavish Harvest publication, delivered wine tastings and degustation dinners, and contributed to public programs such as GOMA Talks.

The Gallery offers 11 of its unique spaces across QAG and GOMA for hire, specialising in fully-catered weddings, special celebrations and corporate events. The ultimate recognition of the quality of the Gallery’s spaces and service was the staging of events for the G20 Leaders’ Summit in November. See over for more.

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QAGOMA kitchen and floor team prepare to cater to world leaders during the G20 Summit | November 2014 | Photograph: Mark Sherwood

QAGOMA kitchen staff plate up for the Leaders’ Working Dinner during G20 | November 2014 | Photograph: Simon Wright

Mrs Margie Abbott, Prime Minister Tony Abbott, and US President Barack Obama during the Cocktail Reception at GOMA | November 2014 | Photograph: G20 Australia / The Commonwealth of Australia

G20 MENU HIGHLIGHTS BY JOSUE LOPEZ, EXECUTIVE CHEF

• COCKTAIL RECEPTION CANAPES JUNIPER GRIMAUD DUCK, QUINCE AND TOASTED GRAINS; VICTORIAN ALMOND GAZPACHO, RAISIN, SWEET ONION; WOOMBYE BRIE AND SAFFRON ARANCINI

• LEADERS’ SPOUSES DINNER ROASTED HOLMBRAE CHICKEN, TEXTURES  OF CORN, SORREL, CRISP LEAVES

• FINANCE MINISTERS’ ENTREE CONFIT OF OCEAN TROUT, GREEN PEAS, SHAVED FENNEL AND CHIVE

• LEADERS’ WORKING DINNER KENILWORTH VIP WAGYU FILLET, KALBAR CARROT TEXTURES, ORGANIC BLACK GARLIC, SYMPHONY HILL SHIRAZ JUS

• DESSERT FOR ALL DINNERS QAGOMA’S SIGNATURE WATTLE SEED CUSTARD, DAINTREE CHOCOLATE AND VANILLA CURD

In November, QAGOMA was honoured to be host venue for world leaders and distinguished guests at functions across QAG and GOMA during the G20 Leaders’ Summit in Brisbane. The Gallery catered the full suite of these ambitious and elaborate simultaneous functions.

At GOMA, a cocktail reception for 350 guests was staged upstairs amid a specially selected group of contemporary works depicting Australian landscapes, a dinner for the attending leaders’ spouses overlooked the Brisbane River, and a dinner for 160 finance ministers and their guests filled the Long Gallery.

QAG’s Watermall hosted the working dinner for the 34 world leaders who attended the summit. Three majestic panoramic paintings by women from Bentinck Island in the Gulf of Carpentaria were displayed along the Watermall, providing an exquisite backdrop to the event. The Gallery’s Food and Beverage Services and Events team provided exemplary service and culinary wonders for the leaders, as well as producing a thousand meals for G20 support staff over the weekend.

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The Hon. Ian Walker, MP, Minister for the Arts, and QAGOMA Director Chris Saines, go dotty in Yayoi Kusama’s The obliteration room | GOMA | December 2014 | Photograph: Mark Sherwood

Associate Curator of Asian Art Tarun Nagesh takes Arts Minister Ian Walker, MP behind the scenes during the installation of ‘Future Beauty’ | GOMA | October 2014 | Photograph: Mark Sherwood

Curator of Indigenous Australian Art Bruce McLean with incoming QAGOMA Foundation patron, the Governor of Queensland, His Excellency the Hon. Paul de Jersey, AC | QAG | November 2014 | Photograph: Natasha Harth

The Gallery’s principal supporter is the Queensland Government. We extend our thanks to Campbell Newman, MP, Premier of Queensland; Minister for Science, Information Technology, Innovation and the Arts, Ian Walker, MP; and Minister for Tourism, Major Events, Small Business and the Commonwealth Games, Jann Stuckey, MP, for their sustained support in 2014.

The Gallery’s daily operations are made possible with the backing of the Department of Science, Information Technology, Innovation and the Arts, and Arts Queensland, through Sue Rickerby, Director-General of the Department; Kirsten Herring, Deputy Director-General, Arts Queensland; and the dedicated Executive and staff of Arts Queensland.

Tourism and Events Queensland provide invaluable assistance with maximising the Gallery’s cultural tourism potential by supporting exclusive-to-Queensland exhibitions that draw visitors to the state. We thank Stephen Gregg, Chairman; Leanne Coddington, Chief Executive Officer; and the team at Tourism and Events Queensland.

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Santos GLNG Family Fun Day at GOMA during ‘Cai Guo-Qiang: Falling Back to Earth’ | March 2014 | Photograph: Brad Wagner

Audi Australia provided two ‘Future Beauty’ branded vehicles for VIP transport during the exhibition | November 2014 | Photograph: Mark Sherwood

Mark Cunliffe, Brand Manager, Rathbone Wine Group, offered tastings of Yering Station wines at the ‘Harvest’ opening |  GOMA  |June 2014 | Photograph: Brad Wagner

Gary Stafford, former Managing Director of PanAust, sits down with media for a meal as part of Rirkrit Tiravanija’s social sculpture Untitled (lunch box) 1998 | Gift of the artist through the Queensland Art Gallery Foundation 2009 |  GOMA  | September 2009 | Photograph: Mark Sherwood

Staff from IKEA Logan inspect Yayoi Kusama’s The obliteration room | GOMA | December 2014 | Photograph: Mark Sherwood

The Gallery’s dedicated family of sponsors, supporters and partners contributes to the realisation of ambitious exhibitions and events, helping maintain our record of leadership and innovation in programming for audiences from all around Queensland.

This year, we were supported by Audi Australia’s highly visible creative campaign implemented during ‘Future Beauty’. We welcomed sponsorship from Gadens for ‘Future Beauty’, returning sponsor PanAust for ‘Harvest’, and were delighted that Santos GLNG sponsored Yayoi Kusama’s The obliteration room. Glencore continued its commitment to the Queensland Artists’ Gallery program at QAG and our regional programs.

Throughout the year, Virgin Australia and Yering Station assisted the Gallery with generous donations of travel and wine respectively. Outstanding promotional support came from the Gallery’s tourism and media partners: Brisbane Marketing, Southern Cross Austereo through B105, Channel 7, Brisbane Airport Corporation, ABC Radio National and Accor Hotels.

A full listing of all our sponsors, supporters and partners is included in the exhibition listing on pages 96–101.

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The Chairman’s Circle is a group of companies committed to supporting our development of innovative programs and exhibitions. Each year, funds through the Chairman’s Circle membership contribute to the sponsorship of a major exhibition.

We extend our thanks to all members and welcome new member companies in 2014.

CHAIRMAN’S CIRCLE PROGRAMMING PARTNERS

QAGOMA continued to partner with leading national and international institutions to augment its program of locally curated exhibitions. The Kyoto Costume Institute was the source for summer’s ‘Future Beauty: 30 Years of Japanese Fashion’, and the Art Gallery of New South Wales curated ‘Yirrkala Drawings’, in conjunction with the Buku-Larrnggay Mulka Art Centre at Yirrkala and the Berndt Museum at the University of Western Australia.

ABC Radio National provided hosts for the GOMA Talks panel discussions as part of ‘Harvest’, and presenters Sarah Kanowski, Paul Barclay and Antony Funnell contributed to the Gallery’s Artlines magazine.

QAGOMA undertakes programming and logistical partnerships with the other institutions in the South Bank Cultural Precinct — the State Library of Queensland, Queensland Museum and Queensland Performing Arts Centre, and with leading local organisations including the Brisbane Writers Festival, Asia Pacific Screen Awards and the Brisbane Asia Pacific Film Festival.

Chairman’s Circle members and guests explore Shigeo Toya’s Woods III 1991–92, installed in ‘We can make another future: Japanese art after 1989’ | The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 1994 with funds from The Myer Foundation and Michael Sidney Myer through the Queensland Art Gallery Foundation and with the assistance of the International Exhibitions Program | GOMA | December 2014 | Photograph: Mark Sherwood

Kyoto Costume Institute Director and Chief Curator Akiko Fukai speaks at the opening of ‘Future Beauty: 30 Years of Japanese Fashion’ | GOMA | November 2014 | Photograph: Brad Wagner

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The Queensland Art Gallery | Gallery of Modern Art Foundation has raised $100 million in its 35 years of operation, facilitating the acquisition of more than 6800 artworks — more than a third of the Gallery’s Collection. In the financial year 2013–14, $7.28 million was raised and 460 works acquired through the Foundation.

The Gallery received outstanding support in 2014 from Foundation President Tim Fairfax, AC, and the Henry and Amanda Bartlett Fund. Significant gifts were received from Dr Michael and Eva Slancar, members of the Gascoigne and Eagle families, Dr Paul Eliadis, James C Sourris, AM, Tim Storrier, James Mollison, AO, Thomas Bradley, QC, and Sara Kelly.

The Foundation’s social highlight, its Annual Dinner, attracted more than 150 members and guests, with live and silent auctions staged to raise funds for the conservation of Charles Blackman’s The bouquet 1961 and five of the artist’s charcoal drawings ahead of an exhibition next year.

An initiative to foster the next generation of Gallery supporters was launched in late 2014 with the QAGOMA Future Collective, a platform for young professionals to share their passion for art and culture through philanthropic support of QAGOMA.

The Foundation also farewelled outgoing Governor Penelope Wensley, AC, as patron, and welcomed the patronage of incoming Governor of Queensland, His Excellency the Honourable Paul de Jersey, AC.

2014 Foundation Appeal – see page 50.

QAGOMA FOUNDATION

QAGOMA Head of Business Development Zoe Graham (right) with guests at the launch of the QAGOMA Future Collective | November 2014 | Photograph: Mark Sherwood

Guests mingle on GOMA’s Pavilion Balcony at the Foundation Annual Dinner | October 2014 | Photograph: Mark Sherwood

Foundation members preview ‘Harvest’ at GOMA | June 2014 | Photograph: Brad Wagner

Gallery Director Chris Saines is joined in conversation by philanthropist Rupert Myer, AM, at the Foundation Annual Dinner | October 2014 | Photograph: Mark Sherwood

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EXHIBITION PROGRAM

VOICE AND REASON18 MAY 2013 – 21 APRIL 2014 | GOMA

EARTH AND ELSEWHERE: CONTEMPORARY WORKS FROM THE COLLECTION 25 MAY 2013 – 27 JANUARY 2014 | GOMA

GLASS FROM THE QUEENSLAND ART GALLERY COLLECTION 22 JUNE 2013 – 24 AUGUST 2014 | QAG

EVERYDAY MAGIC7 SEPTEMBER 2013 – 16 MARCH 2014 | GOMA

KATHY TEMIN MY MONUMENT: WHITE FOREST 200828 SEPTEMBER 2013 – 16 FEBRUARY 2014 | GOMA

SCOTT REDFORD AND ED RUSCHA: GOLD COAST MEETS WEST COAST18 OCTOBER 2013 – 23 MARCH 2014 | QAG

PLEASURE OF PLACE: PHOTOGRAPHS BY RICHARD STRINGER26 OCTOBER 2013 – 16 MARCH 2014 | QAG

BEA MADDOCK2 NOVEMBER 2013 – 16 FEBRUARY 2014 | GOMA

FRED WILLIAMS: PAINTER, PRINTMAKER2 NOVEMBER 2013 – 16 MARCH 2014 | QAG

SEEN + HEARD: WORKS AND MULTIPLES FROM THE COLLECTION15 MARCH – 3 AUGUST 2014 | GOMA

AH XIAN: HEAVY WOUNDS29 MARCH – 3 AUGUST 2014 | QAG

TRANSPARENT: WATERCOLOUR IN QUEENSLAND 1850S–1980S22 MARCH – 20 JULY 2014 | QAG

CREATIVE GENERATION EXCELLENCE AWARDS IN VISUAL ART 20145 APRIL – 22 JUNE 2014 | GOMA

SAM FULLBROOK: DELICATE BEAUTY5 APRIL – 10 AUGUST 2014 | QAG

HIRAKI SAWA: O19 JULY 2014 – 15 MARCH 2015 | GOMA

HANGA: MODERN JAPANESE PRINTS16 AUGUST 2014 – 26 APRIL 2015 | QAG

PRINCIPAL SPONSOR

PRESENTING SPONSORPRESENTED BY

SUPPORTING SPONSORS

CREATIVE PARTNER AIRLINE PARTNER

TOURISM AND MEDIA PARTNERS

PRINCIPAL BENEFACTOR

WINE AND SPARKLING PARTNER

SUPPORTING SPONSOR

EXHIBITION ORGANISED BY LOS ANGELES COUNTY MUSEUM OF ART (LACMA)

TOURISM AND MEDIA PARTNERS

FURNITURE PARTNER

CAI GUO-QIANG: FALLING BACK TO EARTH23 NOVEMBER 2013 – 11 MAY 2014 | GOMA

SPONSORED BY

SPONSORED BY

SPONSORED BY

MAJOR SPONSOR

AIRLINE PARTNER MEDIA PARTNERWINE AND SPARKLING PARTNER

WINE AND SPARKLING PARTNER

HOTEL PARTNER

MADONNA STAUNTON: OUT OF A CLEAR BLUE SKY30 AUGUST 2014 – 1 MARCH 2015 | QAG

CALIFORNIA DESIGN 1930–1965: LIVING IN A MODERN WAY 2 NOVEMBER 2013 – 9 FEBRUARY 2014 | QAG

RICHARD LONG: RING OF STONES22 FEBRUARY – 20 JULY 2014 | QAG

TRACE: PERFORMANCE AND ITS DOCUMENTS22 FEBRUARY – 27 JULY 2014 | GOMA

YIRRKALA DRAWINGS12 APRIL – 13 JULY 2014 | QAG

An Art Gallery of New South Wales exhibition in partnership with

TERRAIN: INDIGENOUS AUSTRALIAN OBJECTS AND REPRESENTATIONS 10 MAY 2014 – 6 SEPTEMBER 2015 | GOMA

HARVEST28 JUNE – 21 SEPTEMBER 2014 | GOMA

SUPPORTING SPONSOR

SUBLIME: CONTEMPORARY WORKS FROM THE COLLECTION30 AUGUST 2014 – 24 MAY 2015 | QAG

WE CAN MAKE ANOTHER FUTURE: JAPANESE ART AFTER 19896 SEPTEMBER 2014 – 20 SEPTEMBER 2015 | GOMA

ISLAND CURRENTS: ART FROM BENTINCK ISLAND AND THE TORRES STRAIT4 OCTOBER 2014 – 1 NOVEMBER 2015 | QAG

EVERYWHEN, EVERYWHEREFROM 18 OCTOBER 2014 | QAG

TRACEY MOFFATT: SPIRITED25 OCTOBER 2014 – 8 FEBRUARY 2015 | GOMA

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

FUTURE BEAUTY: 30 YEARS OF JAPANESE FASHION1 NOVEMBER 2014 – 15 FEBRUARY 2015 | GOMA

SUPPORTING SPONSOR

PRINCIPAL PARTNER

AIRLINE PARTNER TOURISM AND MEDIA PARTNERS

PRINCIPAL SPONSOR

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GORDON HOOKEY: KANGAROO CREW1 JUNE 2013 – 27 JANUARY 2014 | GOMA

CAI GUO-QIANG KIDS: LET’S CREATE AN EXHIBITION WITH A BOY NAMED CAI23 NOVEMBER 2013 – 11 MAY 2014 | GOMA

CHILDREN’S ART CENTRE EXHIBITIONS AND PROJECTS

CHILDREN’S ART CENTRE SPONSORED BY

THE SACRED HILL PUBLICATION SUPPORTED BY

SPONSORED BY

CAI GUO-QIANG KIDS PROUDLY SUPPORTED BY

FAIRYTALES AND FABLES10 JANUARY – 30 MARCH 2014

BROUGHT TO LIGHT: MANILA IN THE CLAWS OF LIGHT15 FEBRUARY 2014

THE LAST OF ENGLAND: THATCHERISM AND BRITISH CINEMA4 APRIL – 25 JUNE 2014

ORSON WELLES: A RETROSPECTIVE5 APRIL – 28 MAY 2014

LIVE MUSIC AND FILM: THE LAST DAYS OF POMPEII1 JUNE 2014

BROUGHT TO LIGHT: INFERNO 1 JUNE 2014

HARVEST: FOOD ON FILM28 JUNE – 21 SEPTEMBER 2014

DIVIDED SELVES4 JULY – 30 AUGUST 2014

AUSTRALIAN CINÉMATHÈQUE PROGRAMS

RAUMLICHTKUNST AND OPTICAL POETRY: OSKAR FISCHINGER RETROSPECTIVE30 AUGUST 2014

LIVE MUSIC AND FILM: PRIX DE BEAUTÉ 193031 AUGUST 2014

BROUGHT TO LIGHT: TENDER ARE THE FEET14 & 17 SEPTEMBER 2014

FORBIDDEN HOLLYWOOD: THE WILD DAYS OF PRE-CODE CINEMA26 SEPTEMBER – 2 NOVEMBER 2014

TRACEY MOFFATT: SPIRITED2 & 22 NOVEMBER 2014

LIVE MUSIC AND FILM: VERDUN, VISIONS D’HISTOIRE23 NOVEMBER 2014

YOUR NOSTALGIA IS KILLING ME!26 NOVEMBER – 1 DECEMBER 2014

JEMIMA WYMAN: PATTERN BANDITS 5 APRIL – 2 NOVEMBER 2014 | GOMA

JOURNEY TO FANTASTIC LANDS8 NOVEMBER 2014 – 10 MAY 2015 | GOMA

JEMIMA WYMAN: PATTERN BANDITS SUPPORTED BY

SUPPORTED BYMAJOR SPONSOR

YAYOI KUSAMA THE OBLITERATION ROOM6 DECEMBER 2014 – 19 APRIL 2015 | GOMA

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EXHIBITIONS PRESENTED INTERNATIONALLY

YAYOI KUSAMA THE OBLITERATION ROOMAs part of the exhibition ‘Yayoi Kusama: Infinite Obsession’: Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil12 OCTOBER 2013 – 26 JANUARY 2014Attendance: over 754 000

Centro Cultural Banco do Brasil, Brasília, Brazil17 FEBRUARY – 27 APRIL 2014Attendance: 470 230

Instituto Tomie Ohtake, São Paulo, Brazil21 MAY – 27 JULY 2014Attendance: 522 136

Museo Tamayo Arte Contemporaneo Internacional, Ciudad de Mexico, Mexico 25 SEPTEMBER 2014 – 19 JANUARY 2015Attendance: 335 026

As part of the exhibition ‘A Dream I Dreamed’: MOCA (Museum of Contemporary Art), Shanghai, China15 DECEMBER 2013 – 30 MARCH 2014Attendance: 330 000

Seoul Arts Center, Seoul, South Korea4 MAY – 17 JUNE 2014Attendance: 144 896

As part of the exhibition ‘Play Objects – The Art of Possibilities’: Museum Tinguely, Basel, Switzerland19 FEBRUARY – 11 MAY 2014Attendance: 34 261

MY COUNTRY: CONTEMPORARY ART FROM BLACK AUSTRALIAAuckland Art Gallery Toi o Tāmaki, New Zealand28 MARCH – 17 AUGUST 2014

QAGOMA TOURING

EXHIBITIONS PRESENTED IN REGIONAL QUEENSLAND

LLOYD REES: LIFE AND LIGHTGladstone Regional Art Gallery & Museum14 DECEMBER 2013 – 25 JANUARY 2014

Redcliffe City Art Gallery8 FEBRUARY – 30 MARCH 2014

Toowoomba Regional Art Gallery5 APRIL – 18 MAY 2014

EVER PRESENT: PHOTOGRAPHS FROM THE QUEENSLAND ART GALLERY COLLECTION 1850–1975Rockhampton Art Gallery23 NOVEMBER 2013 – 2 FEBRUARY 2014

Logan Art Gallery2 APRIL – 10 MAY 2014

Toowoomba Regional Art Gallery21 JUNE – 17 AUGUST 2014

Gladstone Regional Art Gallery & Museum23 AUGUST – 18 OCTOBER 2014

Artspace Mackay25 OCTOBER – 14 DECEMBER 2014

Gympie Regional Gallery20 DECEMBER 2014 – 21 FEBRUARY 2015

TRANSPARENT: WATERCOLOUR IN QUEENSLAND 1850S–1890SGold Coast City Art Gallery25 OCTOBER – 7 DECEMBER 2014

Bundaberg Regional Art Gallery13 DECEMBER 2014 – 1 FEBRUARY 2015

AH XIAN: METAPHYSICAArtspace Mackay14 DECEMBER 2013 — 25 JANUARY 2014

Rockhampton Art Gallery7 FEBRUARY — 23 MARCH 2014

Toowoomba Regional Art Gallery29 MARCH — 11 MAY 2014

Mundubbera Regional Art Gallery17 MAY — 3 JULY 2014

Logan Art Gallery 8 AUGUST — 13 SEPTEMBER 2014

Noosa Regional Gallery 10 OCTOBER — 23 NOVEMBER 2014

Gympie Regional Gallery29 NOVEMBER 2014 — 1 FEBRUARY 2015

SPONSORED BY

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DAVID LYNCH BETWEEN TWO WORLDS

MICHAEL PAREKOWHAI THE PROMISED LAND

GOMA | 14 MARCH – 7 JUNE 2015Curator: José Da Silva, Senior Curator and Head of Australian Cinémathèque, QAGOMA

Exclusive to Brisbane, ‘David Lynch: Between Two Worlds’ is a rare opportunity to consider Lynch’s entire creative vision — 50 years of painting, drawing and photography, in addition to his acclaimed body of work in film and television.

Developed closely with the artist, the exhibition features more than 200 works organised around three ideas: ‘Man and machine’, ‘The extra-ordinary’ and ‘Psychic aches’. Moving between the body and the world it inhabits, the exhibition explores the subjects of industry and organic phenomena, representations of inner conflict, and the possibility of finding a deeper reality in our experience of the everyday. The film program is a retrospective of his feature films and short films.

Image: David Lynch in Los Angeles | August 2014 | Photograph: Just Loomis

GOMA | 28 MARCH – 21 JUNE 2015Curator: Maud Page, Deputy Director, Collection and Exhibitions, QAGOMA

New Zealand artist Michael Parekowhai’s unique practice is characterised by an engagement with the creation and role of culture in the contemporary world. Primarily a sculptural artist, his works play with scale and space, using humour to comment on the intersections between national narratives, colonial histories and popular culture.

The largest survey of the artist’s work to date, ‘The Promised Land’ will see the Gallery transformed into an immersive environment for viewing art: a ‘memory palace’ within which visitors can discover photography and sculpture from two decades of Parekowhai’s expansive practice, including works from the Gallery's Collection — the largest holding of the artist’s work outside New Zealand — as well as key loans and intriguing new commissions.

Michael Parekowhai | He Kōrero Pūrākau mo Te Awanui o Te Motu: story of a New Zealand river 2011 | Purchased 2011, with the assistance of the Friends of Te Papa | Collection: Museum of New Zealand Te Papa Tongarewa | Image courtesy: Museum of New Zealand Te Papa Tongarewa | Photograph: Michael Hall

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THE FOUNDING YEARS 1895–1915 A COLLECTION FOR QUEENSLAND ART ON THE WILD SIDE

QAG, QUEENSLAND ARTISTS’ GALLERY | 28 MARCH – 14 JUNE 2015Curators: David Burnett, Curator, International Art and Michael Hawker, Associate Curator, Australian Art, QAGOMA

In 2015, it will have been 120 years since the founding of the Queensland National Art Gallery, now QAGOMA. An exhibition of works acquired in the first two decades of the Gallery’s establishment offers a fascinating insight into our earliest art collections, and a glimpse into the evolution of local and national identity in the years preceding World War One. ‘The Founding Years’ includes some of the most loved and iconic pictures in the Collection: Blandford Fletcher’s Evicted 1887 (purchased 1896), Josephine Müntz-Adams’s Care c.1893 (purchased 1898) and Godfrey Rivers Under the jacaranda 1903 (purchased 1903).

Blandford Fletcher | England 1858–1936 | Evicted (detail) 1887 | Oil on canvas | 123.1 x 185.3cm | Purchased 1896

GOMA, CHILDREN’S ART CENTRE | 23 MAY – 25 OCTOBER 2015

Featuring multimedia activities, animation, photography and drawings from the Gallery’s Collection, this exhibition explores how contemporary artists use animal motifs to share their ideas and experiences. Young visitors can create zoomorphic images using the Farsi script in Parastou Forouhar’s Persian for kids 2012 and release animals back into their natural habitat in The call of the wild 2005. Pierre Bismuth presents a multilingual remix of a classic cartoon with The Jungle Book project 2002, and Paola Pivi assembles a playful monochromatic menagerie in her photograph One love 2007.

Paola Pivi | One love (detail) 2007 | Purchased 2010 with a special allocation from the Queensland Art Gallery Foundation

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GOMA Q CONTEMPORARY QUEENSLAND ART

ROBERT MACPHERSON THE PAINTER’S REACH

GOMA | 11 JULY – 11 OCTOBER 2015Curator: Chris Saines, Director, with Bruce McLean, Curator, Indigenous Australian Art and Peter McKay, Curator, Contemporary Australian Art, QAGOMA

‘GOMA Q’ will profile the innovations and achievements of more than 30 emerging, mid-career and senior artists from across the state and across media, including painting, ceramics, video, performance, installation and sculpture. The exhibition reflects and contextualises the dynamic character of Queensland art today.

GOMA | 25 JULY – 18 OCTOBER 2015Curator: Ingrid Periz

Curated by New York-based curator and writer Ingrid Periz, ‘The Painter’s Reach’ explores the work of senior Australian artist Robert MacPherson, one of the country’s most important conceptualists. MacPherson’s practice combines musings on the act of painting with a reverence for the everyday. This exhibition includes paintings, installations, ephemera and works on paper, revealing his remarkable oeuvre. Significant works from the Gallery’s Collection appear alongside loans from public and private collections throughout Australia.

MacPherson’s self-taught practice and varied working life is reflected in his work, which has been shown in a wide range of contexts — from Minimalism and Abstraction to the archival impulse, and from aestheticism and conceptualism to humour and the everyday. With the new acquisition 1000 FROG POEMS: 1000 BOSS DROVERS (‘YELLOW LEAF FALLING’) FOR H.S. 1996–2014 as its centrepiece, ‘The Painter’s Reach’ combines major works from the various strands of MacPherson’s career, illustrating a capacious practice that is at once coherent and playful. Monica Rohan | Dense (detail) 2015 |

Oil on board | Collection: the artist | Image courtesy: Jan Murphy Gallery, Brisbane

Robert MacPherson in conversation with Ewen McDonald | September 2014 | Photograph: Mark Sherwood

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THE 8TH ASIA PACIFIC TRIENNIAL OF CONTEMPORARY ART (APT8)

GOMA & QAG | 21 NOVEMBER 2015 – 10 APRIL 2016Lead curators: Chris Saines, Director and Maud Page, Deputy Director, Collection and Exhibitions, QAGOMA

The next instalment of the Gallery’s flagship contemporary art event, APT8, features around 75 emerging and established artists, filmmakers and performers from more than 25 countries, reflecting the vigour of new and expanding creative centres throughout Asia and the Pacific.

APT8 will emphasise performance, with live actions, video and kinetic art, as well as figurative painting and sculpture. Many of the artists included explore how the human form is used to express cultural, social and political ideas at a time of enormous change.

For the first time, artists from Mongolia, Nepal and the Solomon Islands will be included in the Triennial. Among the special focuses in APT8 will be Australia’s first major display of indigenous Indian art; the co-curated performance project ‘Yumi Danis (We Dance)’, stemming from a creative exchange with Melanesian performers in Ambrym, Vanuatu, in late 2014; and the largest representation of Australian artists to date.

Baatarzorig Batjargal | Nomads (detail) 2014 | Purchased 2015. Queensland Art Gallery | Gallery of Modern Art Foundation Grant

Asim Waqif | Bordel Monstre 2012 | Site-specific installation, Palais de Tokyo, Paris | Trash from Palais de Tokyo, Miscanthus Giganteus, electronics, mics, sensors, speakers, motors | Realised with the generous support of SAM Art Projects | Photograph: Romain Meriaux Delbarre | Image courtesy: SAM Art Projects and the artist

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QUEENSLAND ART GALLERY | GALLERY OF MODERN ART Queensland Cultural Centre, Stanley Place, South Bank, Brisbane | qagoma.qld.gov.au | Tel: +61 (0) 7 3840 7303

OPENING HOURS Daily 10.00am – 5.00pm Closed Christmas Day and Good Friday Open Anzac Day 12 noon – 5.00pm Late opening hours apply for some public and cinema programs when scheduled. Check the website for details.

ADMISSION Free, except for special exhibitions and screenings.

DINING The Queensland Art Gallery | Gallery of Modern Art operates its hospitality outlets, and all profits support the Gallery.

GOMA Restaurant Elegant contemporary indoor and outdoor dining at GOMALunch: Wednesday to Sunday 12 noon – 3.00pm Dinner: Friday 5.30pm – late | Closed Public HolidaysBookings: +61 (0) 7 3842 9916 | Walk-in visitors welcome

GOMA Cafe Bistro Brisbane’s best riverfront cafe, under GOMA’s ‘verandah’ 10.00am – 4.45pm

QAG Cafe Our classic cafe adjacent to QAG’s signature Watermall 10.00am – 4.45pm

SHOPPING The QAG and GOMA stores operate 10.00am – 5.00pm daily or shop online at australianartbooks.com.au.

QAG Store The QAG Store features a broad selection of publications on art, art history and design and stocks jewellery by Australian and international designers. | Tel: +61 (0) 7 3840 7290

GOMA Store The GOMA Store specialises in quality books on contemporary artists and designers, as well as design objects, contemporary art merchandise and gifts. | Tel: +61 (0) 7 3842 9900

QUEENSLAND ART GALLERY BOARD OF TRUSTEES Professor Susan Street, AO | Chair Philip Bacon, AM | Deputy Chair Gina FairfaxAvril Quaill Ross PataneElizabeth PidgeonRick Wilkinson

EXECUTIVE MANAGEMENT Chris Saines, CNZM, Director Celestine Doyle, Deputy Director, Development and

Commercial Services (until 5 January 2015) Maud Page, Deputy Director, Collection and ExhibitionsAdam Lindsay, Assistant Director, Operations and GovernanceSimon Wright, Assistant Director, Learning and Public

Engagement

QUEENSLAND ART GALLERY | GALLERY OF MODERN ART FOUNDATION The Foundation is the primary fundraising body for the development of the Gallery’s Collection and exhibition programs. | Tel: +61 (0) 7 3840 7262

QAGOMA MEMBERS Members enjoy a range of programs and benefits. Tel: +61 (0) 7 3840 7278

PUBLISHER © Queensland Art Gallery 2015

This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced without prior written permission from the publisher. No illustration in this publication may be reproduced without the permission of the copyright owners. Requests and inquiries concerning reproduction and rights should be addressed to the publisher.

Unless otherwise stated, all artworks are from the Queensland Art Gallery Collection.

PHOTOGRAPHY All photography by QAGOMA unless otherwise credited.

Thanks for sharing! Instagram images pages 86-87 by: no_sweet_girl; wearephoenix; christineelizabeth; missjanetyang; middlelux; zachspassport; ng1336; karynlcameron; danielle_stolz; deegregoree; qagoma; deviousstudios; elizahumming; quintessataylor; lucyesque; hamjolou; qagoma; talulahtalulahtalulah; woonietan; qagoma; tania_darling; laureljr; lee_mylne; tania_darling; colsretrogarage01; bmaryd; agnesstreet; yourchocolateman

Inside front cover: Queensland Art Gallery, Melbourne Street entrance | December 2014

Inside back cover: Gallery of Modern Art from Kurilpa Point

Photographs: Mark Sherwood