Queensland Art Gallery Annual Report 1991-92

CURATORIAL & SUPPORT SERVICES PROGRAM SHEAD, Garry Arnhem Land were formally accessioned. A Queensland art 1890-1980, especially exhibition Australia b. 1942 Portrait of Richard Neville position paper was prepared, and research into reviews, notes on artworks and artists, and 1964-65 the tradition and stories represented in the works illustrations of paintings, exhibitions, artists and Enamel on canvas on composition board was consolidated onto the computer data base. art patrons. 156 x 107cm Presented to the Gallery in 1956 by the Australian Ace. 1991.254 Purchased 191 Government on behalf of the Expedition's PRINTS, DRAWINGS & founder, Charles Mountford, they are the PHOTOGRAPHS Collection's earliest Aboriginal works and are The extensive holdings of traditional Japanese used extensively for display on a rotational basis. woodblock prints (ukiyo-e), which have been Karel Kupka, a keen European collector and enhanced over the years through gifts from the enthusiastic recorder of Aboriginal art, noted in late Emeritus Professor Joyce Ackroyd, OBE, the a journal article in the late 1950s that these works Queensland A r t Gallery Society and other were perhaps the only ones in an Australian sources, were augmented by contemporary Gallery to be displayed in an art/culture context, images purchased as a result of the Curator's visit rather than as anthropological or ethnological to Japan in May 1991. Seventeen separate prints curiosities, and a portfolio by the artist Tadanori Yokoo Exhibitions and displays focused on the (Shambajo 1974)were acquired. The international - permanent Collection, providing opportunities collection was also enhanced by the acquisition of for the public, students and scholars to have Breath-graph no. 21 1988, a large black and white access to a wide range of works, supported by photograph by Tokihiro Sato; an impression of interpretive material. Recent pre-1970 Australian Max Beckmann's Landschaft mit ba/Ion (plate 14 acquisitions were included in 'Reference from the 'Gesichter' portfolio) 1918; and Pablo Points . . . ' , whilst 'Art and War' presented Picasso's well known drypoint Les Sa/timbanques thematic display groupings to reflect the many 1905. roles played by artists in wartime (including The Gallery again demonstrated its commissioned war artists, serving personnel commitment to pursuing images reflecting ( . and recorders of the homefront during war), in current trends both in Queensland and interstate. the exploration of the issues of war and in the Drawings by Giuseppe Romeo, Ruark Lewis making of monuments and memorials.A tribute and James Davis were acquired from cc the 100th anniversary of Ian Fairweather's 'Correspondences . . . ' , whilst works by Aida birth was also presented. Tomescu and Noel McKenna extended the A major rehang of Gallery I took place which nature of the term 'drawing'. Major photographic emphasised new acquisitions from the 1960s and images by Julie Brown-Rrap, such as Puberty (from 1970s, with special consideration given to the 'Persona and shadow' series) 1984, and Milan abstraction and the use of the figure. Four- Milojevic, Arrival 1991, were acquired. The monthly rotations of Galleries 12 and 13 included portfolio of fourteen aquatints by Brent Harris, watercolours, pastels and oils, providing an The Stations 1989, and a large composite opportunity of broadening the display base of the computer-generated print by Csaba Szamosy, Collection and introducing unfamiliar works. Antecedere 1991, were highlights among the In collaboration with the Library, a volunteer acquisitions. Dennis del Favero generously program was instituted of classifying and donated a group of eleven photographic panels computer indexing a data base on cuttings and four lecterns from his major installation collected during the Curator's research into Diana per una vita nuova 1990. 34