Queensland Art Gallery Annual report 1999-2000

Queensland Ait Gullciv The Gallery's commitment to Pacific art is also involved new gallery configurations a n d methods of apparent with the addition to the Collection of works display, allowing the liierclitit l i i i if o i L f n a I rcfi such as Michel Tuffery's Povi tau vaga (The challenge) a n d appealing wa y F o r f n O a i i c e , dc c a t Iery major 1999 a n d Michael Parekowhai's Ten guitars 4/10 1999. temporary exhibition space is n o w used at leant once It More recently, works were acquired from J o h n Siune year to highlight particular nicdf a. artfrtr or periocfn (New Guinea) a n d Robin White (New Zealand/Kiribati). drawn from the Collection White was part of the Pacific selection for the First Asia- The size and complexo> of the Third Asia-I'jetf ii Pacific Triennial of Contemporary Art in 1993. The Triennial of Contemporary Art meant a lengthr fnniiffn iii Assistant Curator (International Art) has a special period. During this time the priority was to kce1n It> nim h interest in the contemporary art of Pacific cultures a n d of the permanent Collection o n display as possible. 1 ftc instigated a staff exchange with the Centre Culturel rationalisation and compression of the Australian and Tjibaou in New Caledonia (funded b y the Australia International collections due to space demands resulted in Council). The Assistant Curator also successfully applied a highly successful re-hang of four gifIerie- for a Darling Foundation Travel Grant which enabled her Some installation aspects of the 1rieiiiiiaf, liicfLirfiiic to undertake research in the South Pacific region - several specially constructed rooms, were retained and Vanuatu, Tonga, Fiji, Tahiti. During this trip she n o w provide n e w display opportunities. Thus far, them acquired works for the Collection a n d identified artists displays have included a n examination of the works f whose works might be of interest as future acquisitions Dennis Oppenheim, a permanent space dedicated to a n d in connection with exhibition development, video art from the Collection, a focus o n early Eur 'pciii The Gallery continued to purchase significant religious works, a n d the Ellis Gift of decorative art works for the Indigenous Australian Art collection. Highlights within the Australian galleries included It Acquisition highlights included two paintings, Ground group of recently acquired Mimi figures, a n d the Ian lice 1990 a n d Ginger and my third wife approach the Burn / Robert Jacks Focus Wall. Recent acquisitionc of roundabout 1996, b y the late Lin Onus, whose contemporary photography were used to augment if ic combination of wit a n d serious political intent is Gallery's re-installation iF he fl ipnf:i r I in rf a c cdi dii ii ci commemorated in the Gallery-organised exhibition 'The Art of Inclusion Urban Dingo: The Art of Lin Onus 1948-1996'. This Sculpture from the Lolleetton, including niiii exhibition opened at the Sydney 2000 Olympic Arts works not displayed for a considerable time, war Festival. Further additions to the holdings of the included in 'Transformations: A Century of Sculpt nrc department included major paintings b y Queenie from the Queensland Art Gallery Collection'. The ircio McKenzie, Texas hills 1994, a n d Rosella Namok, Kaapay gallery format enabled the revelation of form a n d volume and Kuyan today 1999. Queenie McKenzie was an elder that characterises the works of Auguste Rodin, Mimmo in a n isolated Western Australian community, while Paladino a n d Australian artist Mike Parr. Parr's worfe Rosella Namok is a 21-year-old mother from the remote Radio daze was installed o n the floor, and the end ifsiiiiin Lockhart River in North Queensland. Though separated was furnished with wooden benches and -iccicfiinp b y a continent a n d b y several generations, their large easels which were used b y many students. paintings share the impact of having been produced b y The Australian Art department continued tin ncr cat wome n deeply immersed in their specific communities. practice of organising Focus Walls. These intimate, themed displays, accompanied hr rfidiniirn Itnd DISPLAYING THE COLLECTION education materials, are a m u c h appreciated imP The Gallery is actively engaged in the implementation of meaningful way of rotating works in the Collection if iii displays a n d activities that reflect Collection strengths may be rarely seen because of space constraints, or a n d developments, including tours throughout regional combining well-known works in ways that enliven inn Queensland. audience's enjoyment a n d understandinp. An innovative program of Collection-based During the year, the Gallery's first exhibition nfealinp displays was installed during the year. The program exclusively with video as a medfunc was 'The Iicfuirf