Vew from the chair: Speeches of Richard WL Austin

The Exhibitions Development Fund is another example of this. To establish it, we targeted Japanese companies with large financial interests in Queensland and, as a result, we now have a nucleus of some $400 000 on which to build additional support. This will enable us to implement further one of the most important components of the Government's arts policy, namely to bring the arts to the people of Queensland. This will be achieved by using-for those living in or in proximity to Brisbane-this great Gallery, so far removed from the world centres of art, yet so superbly designed to show that art to optimum advantage; and by touring exhibitions, to ensure that those living in more remote areas are not disadvantaged by geography in their access to the arts. Such regional access has long been high on the Gallery's list of priorities and its Extension Services Program is unique in Australia. Another plank of Mr Goss's arts policy is the maintenance of the industry's economic viability. We are all by now aware of the statistics showing the contribution of the arts to the Australian economy. Surprising as it may seem, art is more popular than football. It helps to encourage tourism and to generate employment. And finally, and especially in the context of this exhibition, there is the policy of encouraging participation by the Aboriginal people of Queensland in the arts and the State's cultural ventures. It places great emphasis on the recognition of the fundamental importance, on the one hand, of preserving traditional Aboriginal art and culture and, on the other, of developing contemporary Aboriginal art. The Gallery is very conscious of its responsibility in this regard and of the artistic debt we all owe to the first Australians who, in the evocative words of Bill Neidjie of the Gagudju people, 'like turtles came ashore and in the featureless land left their tracks'. We must never allow ourselves to forget these gentle tracks from the past and this exhibition will help us to remember them, because it fuses all time together in the way that T.S. Eliot meant when he wrote in his Four Quartets: Time present and time past Are both perhaps present in time future And time future contained in time past. It is fitting that this great exhibition should be opened by the Premier of Queensland. And now, ladies and gentlemen, it gives me great pleasure to call upon Mr Goss to address us. 8 Speech to thank Boral Limited for their support of 'Into Space: The Language of Sculpture', 18 July 1990 NOTE: THIS LANDMARK QUEENSLAND ART GALLERY EXHIBITION GAVE COUNTRY AUDIENCES ACCESS TO A SCULPTURE EXHIBITION OF A SIZE, QUALITY AND DIVERSITY NOT SEEN BEFORE IN REGIONAL QUEENSLAND. 'INTO SPACE', THE GALLERY'S FIRST MAJOR EXHIBITION TO TOUR SCULPTURE, WAS SPONSORED BY BORAL LIMITED AND COMPRISED ·TWENTY-ONE WORKS. THE PREMIER, THE HON. WAYNE .GOSS, MLA, LAUNCHED THE SIXTEEN-VENUE REGIONAL TOUR OF THE EXHIBITION, WHICH TRAVELLED MORE THAN 69