Heritage_assignment_02_2016.pdfHeritage_assignment_02_2016.pdf

Looking inside the NGV Annual Report 2014Q2015 and the ?cultural assets? that are recognised and reported in it:

a)Present the categories of ?cultural assets? as identified by National Gallery of Victoria.

b.)Explain how these assets are measured and depreciated.

NGV ANNUAL REPORT 2014/15 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA i NGV ANNUAL REPORT 2014/15 CouncIl of Trustees of the NatIonal Gallery of VIctorIa, AustralIa ii Contents NGV International 180 St Kilda Road The Ian Potter Centre: NGV Australia Federation Square Overview Support About the NGV \b 3 Affiliated groups \b 131 President's foreword \b 4 2014/2015 Donors \b 133 Director's review \b 8 NGV Foundation Members \b 137 Strategic framework \b 12 Felton Society Members \b 143 National Gallery of Victoria PO Box 7259 Melbourne VIC 3004 Australia +61 3 8620 2222 Report against output targets \b 13 Life Members \b 144 Key initiatives and projects \b 13 Emeritus Trustees and Foundation Board Members \b 145 Partners \b 146 www.ngv.vic.gov.au Bringing artworks to life \b 15 Governance Connecting audiences \b 20 Council of Trustees \b 151 Realising our potential \b 24 Council Committees and working groups \b 153 Building for the future \b 26 Organisational structure \b 154 Sharing our vision \b 27 Staff statistics \b 155 Exhibitions \b 30 Other corporate reports \b 157 Acquisitions \b 34 Additional information available on request \b 163 Publications \b 78 Disclosure index \b 164 Accountable Officer's Declaration In accordance with the Financial Management Act 1994, I am pleased to present the Council of Trustees of the National Gallery of Victoria's Annual Report for the year ending 30 June 2015. Bruce Parncutt President, Council of Trustees 28 August 2015 2014/15 Performance Report 2014/15 Financial Report Five-year financial summary \b 83 Independent audit report \b 86 Financial statements \b 88 Notes to the financial statements \b 93 (front cover) Emily Floyd, The dawn, 2014 Emily Floyd courtesy of Anna Schwartz Gallery, Melbourne 1 About the National Gallery of Victoria Overview Origins State collection Founded in 1861, the National Gallery of Victoria (NGV) is Australia's oldest public art gallery. The State Collection comprises approximately 70,000 works illustrating the history and development of Australian, Indigenous and international art, design and architecture in all media. Governance The National Gallery of Victoria Act 1966 established the NGV as a statutory authority which currently sits within the Department of Economic Development, Jobs, Transport and Resources. The Act provides for a Council of Trustees with overall responsibility for the Gallery. The Council reports to the Minister for Creative Industries. Council of Trustees functions Section 13 (1) of the National Gallery of Victoria Act provides that the functions of the Council shall be to: control, manage, operate, promote, develop and maintain the National Gallery land Principal locations The NGV's St Kilda Road Gallery, designed by Sir Roy Grounds, opened in 1968. Since December 2003 the NGV has operated across two sites - NGV International on St Kilda Road, redesigned by Mario Bellini; and The Ian Potter Centre: NGV Australia at Federation Square, designed by LAB Architecture Studio. Admission Admission to the State Collection is free. Entry fees are charged for some exhibitions. maintain, conserve, develop and promote the State Collection of works of art Opening hours make material within the State Collection available to persons, departments and institutions in such manner and subject to such conditions as the Council determines, with a view to the most advantageous use of the State Collection NGV International 180 St Kilda Road Open 10am-5pm Closed Tuesdays conduct public programs and exhibitions of material within the State Collection carry out and make available such other services, including computers and other technologies, and the printing, publication and sale of books, information and reproductions in relation to pictures, works of art and art exhibits as the Council thinks fit The Ian Potter Centre: NGV Australia Federation Square Open 10am-5pm Closed Mondays assist the promotion, organisation and supervision of art galleries and any body or association established for the promotion of art within Victoria advise the Minister and these organisations on matters of general policy relating to art galleries provide leadership in the provision of art gallery services in Victoria carry out other functions as the Minister from time to time approves carry out any other functions conferred on the Council under this Act. (opposite) Crowds at White Night 2015 enjoy Carsten Hller's Golden Mirror Carousel, 2014 Carsten Hller 2 3 President's foreword Today's NGV is the product of generous and committed contributions by successive generations of supporters. We are extremely grateful to the NGV's many volunteer groups: the NGV Foundation Board chaired by Leigh Clifford AO; the NGV Women's Association, chaired by Caroline Daniell; the Voluntary Guides, chaired by Ramona Chua; the Friends of the Gallery Library, chaired by the Reverand Ian Brown; and NGV Members volunteers who collectively provided more than 33,000 hours to the Gallery this year. The NGV Voluntary Guides also completed their five-yearly recruitment drive, and I extend a warm welcome to all of our new Guides. As we look back on what has been another year of outstanding achievement for the National Gallery of Victoria, it is interesting to reflect on how much this great institution has evolved throughout its celebrated history. Since its foundation 154 years ago, the approach of successive directors has evolved to include a focus not only on the collection and the display of great art, but also on the visitor. Audiences today are encouraged to come to the Gallery to meet, to experience and to learn. While the NGV remains renowned for its wonderful collections and scholarship, it is also now a place for popular debate, interactive multimedia experiences and joyful discovery for the families, students, and people of all ages who visit. In an age where the role of museums around the world is changing rapidly, the NGV has become, in the words of Nicolas Serota, Director, Tate Galleries, London, 'a forum as much as a treasure box'. To the delight of our audiences from Melbourne, regional Victoria, interstate, and overseas this evolution has accelerated in recent years. Almost 2.3 million people visited the NGV during 2014/15 placing it comfortably amongst the top twenty-five most visited art museums in the world and reinforcing the Gallery's contribution to Melbourne's status as one of the world's great cultural cities. On behalf of the Council of Trustees, I applaud the leadership of Director, Tony Ellwood; Deputy Director, Andrew Clark; and Assistant Director, Curatorial and Collection Management, Isobel Crombie, who along with the entire staff, have presented a truly engaging program for our diverse and record-breaking number of visitors. In 2014/15 the NGV held a total of forty-six exhibitions that showcased the richness of the State Collection, as well as magnificent works of art from other national and international art collections. The Gallery also held more than 9,500 education and public programs. These exhibitions and public programs were not only exciting, innovative and stimulating but, most importantly, also allowed our visitors to interact, to learn and to delight in the world of art. The success of these programs is a tribute to the energy, creativity and inspiration of Tony Ellwood and his leadership team. While delivering an outstanding program for the year, the executive team and the Council of Trustees continued to work towards the ambitious longer term goals articulated in our Strategic Direction 2013 - 2016. A key focus during the year has been the continuation of preliminary planning for a major new gallery building that would enable the NGV to display its growing contemporary art collection and bring major international contemporary exhibitions to Melbourne. Today's NGV is the product of generous and committed contributions by successive generations of supporters who recognise its importance as a much-loved Melbourne icon. The Gallery could not have achieved all it has again this year without the high level of support from our many friends, volunteers, donors and corporate partners. Philanthropy and sponsorship remain critical to ensuring that visitors continue to enjoy the NGV Collection, and the NGV Foundation plays a crucial role in the Gallery's fundraising activities. The 2014 NGV Foundation Annual Dinner and Annual Appeal raised funds towards the acquisition of William Larkin's Mary, Lady Vere, c.1612-15, while the 2015 NGV Foundation Annual Dinner supported the NGV Digitisation Project. The 2015 Annual Appeal continues to raise funds to acquire Howard Arkley's Actual fractual, 1994. I thank everyone who has supported these appeals. There were many other significant donations made during the past twelve months in support of the NGV Collection and specific Gallery projects; a full list of 2014/15 donors can be found on page 133. In June 2015, the Gallery received a generous donation from John Downer AM and Mrs Rose Downer towards the acquisition of Erich Heckel's Large dancing couple, 1923, with Landscape on the fjord, 1939, on the verso. We also gratefully acknowledge the generous gifts from Marc Besen AC and Eva Besen AO of six major modernist works by key twentieth-century international artists Alexander Calder, Marc Chagall and Henry Moore. The development of the NGV Collection will also be greatly enhanced by the legacy of bequests received during the period including a significant bequest from the Estate of Suzanne Dawbarn. Generous support for audience engagement activities was received from Tim Fairfax AC and Gina Fairfax for the NGV Kids program over the 2014/15 summer. We are, as always, grateful for the ongoing support of the Felton Bequest which made several important gifts in 2014/15, including Mark Hilton's dontworry, 2013, and Takahiro Iwasaki's Reflection model (Itsukushima), 2013-14. In an exciting development, the newly established Contemporary Design and Architecture curatorial department, generously supported by a multi-year grant from The Hugh D. T. Williamson Foundation, will extend the Gallery's capacity to showcase important current national and international design and architecture practices. Concurrently, the NGV also launched a new Contemporary Design and Architecture Supporters Group, of which NGV Foundation Board member Krystyna Campbell-Pretty became the first official patron. We are indebted to the many sponsors and partners who support the NGV's exhibitions and programs. During this reporting period, the NGV commenced a landmark three-year partnership with Telstra that will utilise new technology to enable our visitors to access and experience the NGV Collection in innovative and interactive ways. It is through the visionary support of our corporate partners such as Telstra that the Gallery is able to deliver such a broad array of visitor experiences. A full list of 2014/15 NGV Corporate Partners can be found on page 146. In a further addition to the diversity of visitor experiences offered, the Gallery unveiled the rebranded NGV design store in 2014/15 with a strong focus on advocating contemporary Australian design. An updated NGV website, including an online design store, was also launched this year. The NGV's strong publishing program continued with fifteen major publications and twelve digital publications released during the period. It was very pleasing to see NGV publications and children's books distributed internationally and receiving distinguished publishing awards. I thank our important Tourism and Media Partners, especially the Victorian Major Events Company and Tourism Victoria, for their efforts in supporting the Gallery. I also sincerely thank the Victorian Government for the funding received to facilitate an interstate marketing campaign for A Golden Age of China: Qianlong Emperor 1736-1795, which contributed to the NGV's ongoing strategy to engage Chinese audiences. The Gallery also appreciated support received this year from the Federal Ministry for the Arts for Follow the Flag: Australian Artists and War, 1914-45, as well as the Australian Government's support for the Melbourne Winter Masterpieces exhibitions through the Australian Government International Exhibitions Insurance Program, as well as support for collection development through the Australian Government's Cultural Gifts Program. (above) Guests at the NGV Foundation Annual Dinner admire the installation Jamie North: Rock melt, 2015 Jamie North, courtesy of Sarah Cottier Gallery, Sydney 4 5 President's foreword (Cont'd) The Council of Trustees of the National Gallery of Victoria brings together a diversity of skills and experience that provides an exceptional standard of governance for this great institution. I thank my fellow Trustees, Professor Su Baker, Dr Susan Cohn, Leigh Clifford AO, Peter Edwards, Corbett Lyon, Vicki Pearce, Andrew Sisson and Michael Ullmer, and I particularly pay tribute to the Honourable Linda Dessau AM, who retired from the Board in March 2015 to take up the distinguished position of Governor of Victoria. Audiences today are encouraged to come to the Gallery to meet, to experience and to learn. Similarly, the Council Committees are critical to the success of the Gallery and I particularly thank those external members who volunteer their expertise and advice to the NGV: Jane Harvey, Stephen Ridgeway and Tam Vu on the Audit, Risk and Compliance Committee; Chris Pidcock on the Investment Committee; John Cunningham and Ian Tully on the Victorian Foundation for Living Australian Artists Committee; and on the NGV Foundation Board: President Hugh Morgan AC, Bill Bowness, Krystyna Campbell-Pretty, Paula Fox AO, Morry Fraid, John Higgins, Joanna Horgan, Craig Kimberley OAM, Sarah Morgan, Dr Geoff Raby and Kee Wong. Finally, the Council of Trustees and the NGV's executive management team recognise that we cannot achieve our successes without the support of the Victorian Premier, the Honourable Daniel Andrew MP; the Minister for Creative Industries, Martin Foley MP; the Secretary of the Department of Economic Development, Jobs, Transport and Resources, Richard Bolt and the Deputy Secretary, Creative Victoria, Andrew Abbott. We thank them for their advocacy and exceptional support during the year. I also acknowledge the support of the former Premier, the Honourable Dr Denis Napthine MP and former Minister for the Arts, the Honourable Heidi Victoria, MP. Everyone involved at the NGV is proud of the Gallery's achievements in 2014/15 and we remain dedicated to enriching the lives of our many visitors. I thank everyone who has made a contribution to the wonderful year we have just had. With the support of Government and the community, the National Gallery of Victoria will continue to evolve. It will continue to provide an engaging and interactive visitor experience, remaining at the cultural heart of the marvellous city of Melbourne and the proud state of Victoria. Bruce Parncutt President, Council of Trustees August 2015 The Gallery held more than 9,500 education and public programs, allowing visitors to interact, to learn and to delight in the world of art. (opposite) Crowds enjoy Summer Sundays in the Grollo Equiset Garden, NGV International 6 7 DIRECTOR'S REVIEW The breadth and richness of the NGV Collection was showcased in a number of exhibitions during the period, including Outer Circle: The Boyds and the Murrumbeena Artists; The Kaleidoscopic Turn: From the NGV Collection; Exquisite Threads: English Embroidery 1600s-1900s; and Gods, Heroes and Clowns: Performance and Narrative in South and Southeast Asian Art. Key works from the Gallery's important Indigenous art collection were included in the exhibition Indigenous Art: Moving Backwards into the Future in an expanded display space at The Ian Potter Centre NGV Australia. The exhibition was accompanied by a substantial publication. The Gallery was pleased to feature the work of important local artists in several exhibitions held this year such as Inge King: Constellation, Emily Floyd: The Dawn and John Wolseley - Heartlands and Headwaters. It is with great sadness that we acknowledge the loss of Robert Jacks who passed away only months before a retrospective of his work opened at The Ian Potter Centre: NGV Australia. Robert Jacks: Order and Variation was a testament to Jacks's distinguished career and major contribution to Australian art. Our strategic focus this year has been to build on remaining a dynamic, vibrant and innovative community asset. We received strong support for our exhibitions and displays that highlighted the richness of the State Collection, showcased recent acquisitions and new commissions, and presented outstanding international works of art and collections on loan. These exhibitions were accompanied by a wide variety of programs, events and interactive experiences that offered audiences new ways to engage with art, and contributed to the cultural, educational and social wellbeing of Victorians and all visitors to the Gallery. The NGV's eleventh Melbourne Winter Masterpieces exhibition Italian Masterpieces from Spain's Royal Court, Museo del Prado was on display when the 2014/15 financial year began, and ran until 31 August 2014. This important exhibition featuring major works by more than seventy Italian masters including Raphael, Correggio, Titian and Tiepolo, attracted in excess of 152,000 visitors. The second in the NGV Summer series of contemporary art exhibitions The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, on display from October 2014 until February 2015, greatly exceeded attendance forecasts with more than 226,000 visitors. Together with several other exhibitions, Collection displays and programs on offer, it contributed to one of the best attended summer seasons in the Gallery's history. The NGV further developed its focus on modern and contemporary design and architecture during the year. Opening in February 2015, Nordic Cool: Modernist Design featured examples of twentiethcentury Scandinavian design from the NGV Collection and Shifting Gear: Design, Innovation and the Australian Car, which opened in March 2015, celebrated the proud history of automobile design and production in this country. Over the past three years, through the support of the Loti and Victor Smorgon Fund, a series of contemporary commissions and displays has activated Federation Court at NGV International. In 2014 Carsten Hller's spectacular and interactive Golden Mirror Carousel was presented in collaboration with the Melbourne Festival, and in 2015 the NGV featured the site-specific work Rock melt by Sydney artist Jamie North. Towards the end of the period, A Golden Age of China: Qianlong Emperor, 1736-1795 offered a rare opportunity for Australian audiences to see exquisite works from Beijing's Palace Museum, and I acknowledge the significant support and advocacy for this exhibition received from the Victorian Government. Presenting exhibitions that directly engage children and families continues to be a priority and, through the generous multi-year support of the Truby and Florence Williams Charitable Trust, five interactive NGV Kids exhibitions and commissions were held throughout 2014/15. Highlights included Express Yourself: Romance Was Born for Kids featuring vibrant displays of works of art and fashion, made possible through the support of Tim Fairfax AC and Gina Fairfax; and Open House: Tromarama for Kids, which opened in May 2015 and featured stop-motion animations, interactive objects and multimedia interfaces on which young visitors could create their own animated short films. I gratefully acknowledge the Dewhurst Family's support of this exhibition. Presenting exhibitions that directly engage children and families continues to be a priority. The NGV's Friday Nights events, supported by Higgins Coatings and presented in conjunction with The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, provided audiences with an opportunity to engage with the Gallery outside of normal business hours. A new art, conversation and music series named Unplugged Live: Portrait of an Artist was launched in July 2014, and a program showcasing local musicians set in the Grollo Equiset Garden at NGV International was presented in partnership with Melbourne's Mushroom Group over four Sundays as part of the NGV Summer season. Other audience engagement initiatives included a live restoration project of John Herbert's Moses bringing down the Tables of the Law, c.1872-78, supported by the Copland Foundation, at which visitors could watch NGV conservators work in the public gallery alongside external conservation professionals and post-graduate students to clean this large painting. The inaugural Melbourne Art Book Fair, supported by the Trust Company Australia Foundation showcased emerging and established publishers, artists, writers and designers, providing visitors with access to artists' books, catalogues and monographs, periodicals, independent publications and new types of art publishing. A ten-day children's festival in January 2015 featured workshops and activities, which extended to nineteen regional Victorian galleries and venues, and hands-on activities delivered at seven outer-metropolitan shopping centres with the aim of encouraging first-time visitation to the Gallery. The NGV Collection was expanded in 2014/15 by a total of 2,184 acquisitions. I acknowledge the generosity of the many artists, donors and supporters of the Gallery who have gifted works of art or donated funds that enabled strategic acquisitions. The strength of the NGV Collection owes a great deal to the incredible legacy of past and present benefactors. Highlights from the acquisition program are detailed on page 15 and a full list of works of art acquired during 2014/15 can be found on page 34. A new initiative supported by the Ullmer Family Foundation was the NGV Teens program which delivered workshops during school holidays, and the inaugural under-18s after-hours event Art Party was supported by the Betsy and Ollie Polasek Endowment. The NGV has seen outstanding growth in membership numbers with more than 42,000 individual Members now part of the NGV family, and I take this opportunity to acknowledge the important role Members play in the continued vibrancy of the NGV. Installation photograph of the Skin Deep gallery in The Fashion World of Jean Paul Gaultier at NGV International 8 9 Director's Review (Cont'd) The NGV further developed its focus on modern and contemporary design and architecture during the year. More than 105,000 students participated in education programs during 2014/15. The Schools Access Program for Italian Masterpieces from Spain's Royal Court, Museo del Prado and A Golden Age of China: Qianlong Emperor 1736-1795, funded by Krystyna Campbell-Pretty and the Campbell-Pretty family, provided students from remote and regional Victorian schools with their first visit to the NGV. Rio Tinto supported free admission for pre-booked students attending A Golden Age of China. The NGV also received strong support from the corporate sector through partnerships, the NGV Business Council and Corporate Members. Our Corporate Partners provide outstanding advocacy within the business community and in particular I wish to acknowledge support received for exhibitions and programs from the Gallery's Principal Partners Macquarie Group, Mazda, MercedesBenz, RACV, Rio Tinto, and Singapore Airlines; Major Partners Bank of Melbourne, EY, Higgins Coatings, Qantas, Telstra and Westfield; Learning Partners La Trobe University, and The University of Melbourne; and Design Partner RMIT University. This year also saw a focus on actively engaging key stakeholders to progress aspirations for NGV Contemporary - a proposed new contemporary art and design gallery which would allow the NGV to expand its capacity to present work by leading local, national and international artists and designers. With the support of our many benefactors, partners, volunteers and friends, the NGV has achieved exceptional outcomes this year. I acknowledge the enormous contribution made by the Council of Trustees under our President Bruce Parncutt and I offer my warmest congratulations to the Honourable Linda Dessau AM who left her position on the Board to commence her new role as Governor of Victoria. My thanks also extend to the NGV Foundation Board, led by Chair Leigh Clifford AO, and our other Council Committees. I am grateful to the NGV staff for their professionalism and enthusiasm, and I applaud them for their dedication to delivering benefits to all those who visit the NGV and enjoy its collection, exhibitions and programs. I acknowledge our greatest partner, the Victorian Government, and particularly thank the Honourable Daniel Andrews MP, Premier of Victoria; Martin Foley MP, Minister for Creative Industries; Richard Bolt, Secretary of the Department of Economic Development, Jobs, Transport and Resources and Andrew Abbott, Deputy Secretary, Creative Victoria and their respective teams for their invaluable support. I also extend my thanks to the Federal Government and Federal Minister for the Arts, Senator George Brandis QC, for their ongoing support. 2014/15 has been a year of record-breaking attendances and it is with great enthusiasm that I look forward to continuing to share the NGV's vision with our partners, supporters, artists and audiences. Tony Ellwood Director August 2015 Almost 2.3 million people visited the NGV during 2014/15. (opposite) Cibo Matto perform for Friday Nights at The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk. 10 11 Strategic framework REPORT AGAINST OUTPUT TARGETS Our mission Portfolio agencies output - 2013/14 state budget paper no. 3 targets The National Gallery of Victoria was founded in 1861 to collect, conserve, develop and promote the state's works of art and bring art to the people of Victoria. Building on this 154-year history, today the NGV is a dynamic, vibrant and essential community asset that contributes to the cultural, educational, social and economic wellbeing of Victorians. Creating an inspiring future: enriching our understanding of art and life. Goals and Strategies Bringing art works to life Realising our potential Tell more relevant and diverse stories by broadening our holdings of contemporary art while continuing to acquire key works of historical art. Maintain a focus on serving the community. Present artworks at their best through dynamic, innovative displays. Harness digital technologies to take more artworks to broader audiences. Apply the highest level of conservation to artworks in our care for future generations. Acknowledge and develop talent. Foster a culture of innovation, excellence and collaboration. Recognise everyone's role in achieving best-practice operating efficiency and sustainability. Recognise our responsibility to adapt to the changing needs of the community. Value, acknowledge and support our volunteers to be ambassadors. Building for the future Protect current and future investment in our key assets by ensuring appropriate collection management and storage. Advocate and plan for a destination building to house, display and ensure the community's access to the best of Australian and international contemporary art. Connecting audiences Sharing our vision Connect audiences with knowledge and ideas. Celebrate a strong history of philanthropy and actively seek future giving. Facilitate content-rich and socially rewarding experiences. Create inspiring opportunities for children and families to explore and engage with art and artists. Partner with government to exceed community expectations. Respect the vital role of artists. Motivate membership to actively participate and advocate on behalf of the NGV. Reflect and engage Victoria's diverse community. 2014/15 2014/15 Actual Target Actual Quantity Our vision Provide a deeper understanding of artworks through research and enquiry. 2013/14 Build rewarding partnerships with the corporate sector. Access - visitors/users number 2,031,577 1,600,000 2,273,907 Access - online visitors to website (user sessions) using browser-based web analytics tool number 2,327,052 1,400,000 2,815,835 Members and friends number 23,499 24,000 26,547 Volunteer hours number 29,587 26,000 33,969 Students participating in education programs number 100,272 88,000 105,464 Agency collections storage meeting industry standard per cent 74 77 74 Visitors satisfied with visit overall per cent 97 95 98 Quality Key initiatives and projects Continuing its multi-year support, the Victorian Government allocated $9 million over two years in 2015/16 and 2016/17 for NGV Summer - a suite of exhibitions and programs during the summer period focused on contemporary art. The 2014/15 season saw record attendances across both NGV sites. Beginning in 2017 and returning every three years, the NGV Triennial will showcase contemporary art and design practice in a truly global context. Taking a distinctive cross-disciplinary approach, this event will showcase new shifts in contemporary art and design practice with work by major figures in art, architecture and design, film and performance. Preparation for the inaugural NGV Triennial is now well underway and curatorial research, concept development and planning will continue over the next two years in readiness for 2017. Recognise regional Victorians as valued audiences by providing greater outreach opportunities. Use innovative technology in everything we do. 12 13 BRINGING ARTWORKS TO LIFE 2014/15 PERFORMANCE REPORT Acquisition highlights In 2014/15 the NGV's historical and contemporary collections continued to grow, with 2,184 works of art acquired within the financial year. The acquisition program is guided by the Collections Strategy 2013-16. The full 2014/15 list of acquisitions can be found on page 34. The acquisition of contemporary art continued to be a major strategic priority during the period. Significant contemporary Australian works to enter the NGV Collection included Lucy McRae's video work Make your maker, 2012, acquired with funds from the Victorian Foundation for Living Australian Artists (VFLAA); Mark Hilton's large, multi-part relief sculpture dontworry, 2013, gifted to the NGV by the Felton Bequest; Robert Jacks's 1984 abstract work Metropolis 6, purchased through the NGV Foundation; and Christopher Langton's Double agents, 2013, a gift from Corbett Lyon through the Australian Government's Cultural Gifts Program. Exciting new acquisitions continued to augment the international contemporary art collection. Through the Loti and Victor Smorgon Fund the Gallery was able to acquire major works, including Carsten Hller's spectacular public-scale sculptural installation Golden Mirror Carousel, 2013; Tracey Emin's neon work The passion of your smile, 2013; Ernesto Neto's interactive installation The island bird, 2012; and Lizzie Fitch and Ryan Trecartin's Available Sync, 2011. Other important international acquisitions included Martin Boyce's Against the night, 2013, and Atul Dodiya's The hero (for Sumitra), 2012-13, both purchased through the NGV Foundation; and a group of works on paper by David Shrigley purchased with the assistance of the Supporters of Contemporary Art. The Gallery's seventeenth-century paintings collection was considerably strengthened by the purchase of William Larkin's portrait Mary, Lady Vere, c. 1612-15. The painting was acquired with the substantial support of Leigh Clifford AO and Sue Clifford, Alan and Mavourneen Cowen, the Fox Family Foundation, donors to the Larkin Appeal and the proceeds of the National Gallery of Victoria Annual Dinner 2014. (opposite) A visitor interacts with recent acquisition The Island Bird, 2012, by Ernesto Neto Loti & Victor Smorgon Fund, 2015 Ernesto Neto, courtesy Tanya Bonakdar Gallery, New York (above) Visitors admire a Ford Falcon XA in Shifting Gear: Design, Innovation and the Australian Car 14 15 BRINGING ARTWORKS TO LIFE (CONT'D) In June 2015 the NGV was thrilled to receive the gift from Marc Besen AC and Eva Besen AO of six major modernist works by key twentieth-century international artists: Alexander Calder's Petit Chteau fort, 1970; Marc Chagall's Mother and child (Mre et enfant), 1948-53; the Henry Moore bronze sculpture Mother and child, 1976-80; and three further bronze maquettes by Moore. A priority in 2014/15 was the strategic acquisition of contemporary art from the Pacific region, and a number of works entered the NGV Collection through the VFLAA during the period, including Greg Semu's Self-portrait with p'ea triptych, 2012, and James Tylor's Voyage of the Waka and the origin of the Dreaming series, 2013. Lisa Reihana's In pursuit of Venus, 2015, was also purchased through the NGV Foundation. The representation of Japanese Negoro lacquer-ware has been greatly enhanced by two donations gifted through the Australian Government's Cultural Gifts Program; a group of Momoyama period Sake cups and bowl donated by the Yulgilbar Foundation, and a further group of nine Negoro objects donated by Sir Roderick Carnegie AC. The NGV's modern Asian art collection was also enhanced by the acquisition of the colour woodblock print Freshly-washed hair, (Arai Gami) 1936, by Itu Shinsui, purchased with funds donated by Allan Myers AO QC and Maria Myers AO. The NGV's collection of twentieth-century Australian art was strengthened by the acquisition of Dorrit Black's Gum trees, 1933-35, purchased with funds donated by George and Patricia Kline and family. Exhibition highlights The NGV held forty-six exhibitions across its two venues, NGV International and the Ian Potter Centre: NGV Australia, and toured an additional exhibition to Warrnambool Art Gallery during the financial year. The 2014/15 exhibition program continued to tell relevant and varied stories through a broad and dynamic range of exhibitions and associated programs. The following is a selection of exhibition highlights: Italian Masterpieces from Spain's Royal Court, Museo del Prado The eleventh exhibition in the Melbourne Winter Masterpieces series, Italian Masterpieces from Spain's Royal Court, Museo del Prado presented a rich selection of paintings and drawings spanning 300 years of Italian art, from the early sixteenth to the eighteenth century. Robert Jacks: Order and Variation This exhibition represented the first large-scale retrospective of paintings, sculpture and works on paper by Robert Jacks, one of Australia's most significant and accomplished abstract artists. 16 The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk Exclusive to the NGV, this exhibition of the couture of Jean Paul Gaultier featured more than 140 superbly crafted garments in addition to photographs, sketches, stage costumes and excerpts from the designer's runway shows, work for film and television, concerts and dance performances. Transmission: Legacies of the Television Age This exhibition explored Australian and international artists' engagement with television, visual broadcasting and the transmission of information from the 1950s to the present day. Drawn largely from the NGV's strong holdings of video art, the exhibition also included prints, photographs, fashion, sculpture and collage. David Shrigley: Life and Life Drawing This first major survey in Australia of the internationally renowned British artist David Shrigley included his darkly humourous drawings, paintings, sculpture, animated videos, artist's books and a new commission titled General Store. Open House: Tromarama for Kids Indonesian art collective Tromarama created an interactive exhibition that invited children to transform everyday domestic experiences into artworks by using technology. Inspired by the interior of a typical Indonesian home, Open House featured panoramic screenings of the artists' stop-motion films, and enabled visitors to create their own stop-motion animations via a multimedia app. Emily Floyd: The Dawn This survey exhibition of the work of Melbourne-based artist Emily Floyd featured key works dating from 2001 to 2014, including major installations, as well as two newly commissioned interactive spaces for children and families. The Gallery's ongoing series of Federation Court Commissions also continued with Carsten Hller's Golden Mirror Carousel, 2014, and Sydney artist Jamie North's installation Rock Melt, 2015. Shifting Gear: Design, Innovation and the Australian Car Celebrating Australia's important and proud history of automobile design and engineering, Shifting Gear: Design, Innovation and the Australian Car presented twenty-three of Australia's most iconic vehicles alongside ephemera; including design sketches, illustrations, photographs, car engines and racing trophies. A Golden Age of China: Qianlong Emperor, 1736-1795 Presenting more than 120 works from Beijing's Palace Museum, this exhibition told the story of China's foremost art collector, Qianlong Emperor, fourth emperor of the Qing dynasty and one of China's most successful rulers. The display included a lavish presentation of paintings on silk and paper, silk court robes, objets d'art and portraits of the Qianlong court. Medieval Moderns: The Pre-Raphaelite Brotherhood In a comprehensive display of the NGV's holdings of works by the Pre-Raphaelite Brotherhood and their close associates, Medieval Moderns presented luminous works by artists including Dante Gabriel Rossetti and John Everett Millais. It included paintings, sculpture, textiles, works on paper, stained glass and decorative arts, showcasing the richness of the NGV Collection. Follow the Flag: Australian Artists and War 1914-45 As part of the diverse cultural offerings to mark the centenary of the landing at Gallipoli Cove, this major exhibition presented work by Australian artists influenced by experiences of war between 1914 and 1945. Conservation and collection research The NGV Conservation department provides expertise in the preparation of collection displays and exhibitions and the examination and treatment of works of art. It also undertakes extensive collection research to ensure the State Collection is maintained to the highest possible standard. Through research, the Gallery provides new insights into technical art history and conservation practice and shares this information via social media, lectures, floor talks and public programs. In a first for the NGV, a three-month long Live Conservation Project offered twenty-seven conservation professionals and postgraduate students the opportunity to work with NGV staff on the cleaning and restoration of John Rogers Herbert's monumental Moses bringing down the Tables of the Law, c. 1872-8, which has not been on display in more than seventy years. The treatment took place in the 19th Century paintings gallery, allowing the public to view the conservation work in progress. The ongoing support of Bank of America Merrill Lynch has seen Frederick McCubbin's The North wind, 1891, reach its final stages of treatment. The accompanying technical research will be documented in an online publication and on a wall text within the Gallery when the work returns to display. The NGV Fashion and Textiles conservation studio continued its work on the examination and documentation of new acquisitions and the preparation of textiles and costumes for integrated display in permanent collection galleries and exhibitions. The complex technical analysis of three seventeenth-century raised needlework embroideries was undertaken for the exhibition Exquisite Threads: English Embroidery 1600s-1900s. Key treatment projects from the painting conservation studio included Adriaen Hanneman's Mary Lucas, 1636; Luca Giordano's Saint Sebastian being cured by Irene, 1653; Pompeo Batoni's Sir Sampson Gideon and an unidentified companion, 1767; Tom Roberts's Mary, c. 1886; and two works by J. M. W. Turner. In September the NGV hosted tours of the conservation laboratories for more than sixty delegates attending the 17th Triennial Conference of the International Council of Museums Committee for Conservation. With the support of the Friends of the Gallery Library, the NGV's Shaw Research Library made a number of strategic purchases during the period to support curatorial and academic research in the area of Surrealism, including two French Surrealist reviews, a full set of the rare Minotaure, published between 1933 and 1939, and La Rvolution surraliste, published between 1924 and 1929. Furthermore, the Max Ernst collage novel Reve d'une petite fille qui voulut entrer au carmel (The dream of a little girl who wished to enter the carmelite order), published in 1930, was also acquired. In June 2015 the NGV launched the Frame and Frame Maker's Database, a searchable and fully illustrated resource connecting conservators, academics and curators worldwide. Senior Research Fellow for the Australian Research Council Dr Vivien Gaston has undertaken a fellowship at the NGV researching British and Australian eighteenth-twentieth century portraiture in the NGV Collection. Working with a team of specialist historians, Gaston has revealed previously unknown portrait sitters and provenance information. Collection display Throughout the 2014/15 period, a schedule of artwork changeovers designed to interpret the NGV Collection in new and engaging ways involved the careful installation and de-installation of approximately 2,700 works of art. Major refurbishments were undertaken in the 13th-14th Century and 17th-18th Century galleries at NGV International. At the Ian Potter Centre: NGV Australia, the Joseph Brown Collection galleries also underwent refurbishment, the NGV's dedicated Indigenous Collection displays were relocated to newly refurbished spaces on Level 3 and the Ground Level galleries were transformed into a space for temporary exhibitions. The NGV Collection Focus series continued this year with four exhibitions highlighting the strength and breadth of the NGV Collection, including a celebration of the Gallery's rich decorative arts collection in Nordic Cool: Modernist Design. This display examined examples of twentieth-century Scandinavian design. 17 BRINGING ARTWORKS TO LIFE (CONT'D) Loan highlights Works of art in the NGV Collection were shared with audiences through loans to art galleries within Australia and overseas. In 2014/15 a total of 291 works were loaned to regional, national and international galleries for exhibitions. Some significant loans during the period included: Seventeen works to the Art Gallery of Ballarat for the exhibition For Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation Ten works to the Art Gallery of New South Wales, Sydney, for the exhibition Pop to Popism Rembrandt van Rijn's Portrait of a white-haired man, 1667, to the National Gallery, London, for the exhibition Rembrandt: The Late Works; and subsequently to the Rijksmuseum, Amsterdam Ren Magritte's In praise of dialectics (L'loge de la dialectique), 1937, to the National Art Center, Tokyo, for the exhibition Ren Magritte: The Search for the Absolute Paul Signac's Gasometers at Clichy (Les Gazomtres. Clichy), 1886, to the Tokyo Metropolitan Art Museum's exhibition Neo-Impressionism, from Light to Colour. NGV Online and digital technology Ensuring the NGV collection and exhibition content are accessible to the widest possible audience has been a central concern of the NGV's digital strategy during 2014/15. Through an initiative supported by the Gordon Darling Foundation, the Vizard Foundation, Daryl and Anne Whinney, Hugh Morgan AC and Elizabeth Morgan, the Bowness Family, SEEK and Culture Victoria, the Gallery is continuing to enrich the Collection Online database with images of works of art and further cataloguing details. A major redesign of the NGV website was launched in December 2014. The new, fully responsive website provides increased access to content across all device displays to support mobile device usage. The redesign has also significantly improved accessibility features of the website, including additional support for screen readers, video transcripts, and large-print exhibition labels. Developing a range of rich digital content is now a central part of sharing the Gallery's Collection and exhibitions with audiences. Film, documentary, moving image displays and other multimedia content added depth to the presentation of the majority of exhibitions held during 2014/15, including the following interactive elements: a samurai armour education tool in Bushido: Way of the Samurai; an interactive artist book in Medieval Moderns: The Pre-Raphaelite Brotherhood; a purpose-built drawing app in Express Yourself: Romance Was Born for Kids; a stop-motion animation app in Open House: Tromarama for Kids; and a touchscreen to view additional content in the Asian art galleries. 18 Live events, such as lectures, Points of View programs and music performance programs were filmed and published online to increase access to a broad audience, and live audiovisual displays and concert sound systems supported events and public programs. The NGV ebook publishing program continued this year with both Alex Prager and Transmission: Legacies of the Television Age digital publications available to download from the NGV website. Nine short-form essays to accompany exhibitions also appeared on the website during the period. The digitised archive of Art Journal of the National Gallery of Victoria, launched in 2013/14, was expanded with the release of edition 54. Annual updates are planned for this searchable online repository of more than 100 individual editions. Victorian Foundation for Living Australian Artists The Victorian Foundation for Living Australian Artists (VFLAA) was established in 2002 with a grant of $5 million from the State Government of Victoria, matched by an equal contribution from the National Gallery of Victoria's Council of Trustees. The VFLAA has the following objectives: to increase support for living Australian artists by purchasing and exhibiting Australian art, with an emphasis on contemporary Australian visual art to enable public galleries throughout Victoria to exhibit high-quality examples of contemporary Australian visual art to expand the NGV's purchasing capacity for contemporary Australian visual art and enhance the State Collection's holdings of such to grow the VFLAA Fund in real terms over time. VFLAA statistics financial performance Indicator Annual growth in capital of the VFLAA Endowed Fund We thank the regional representatives on the VFLAA Committee, John Cunningham, Director, Warrnambool Art Gallery and Ian Tully, Director, Swan Hill Regional Art Gallery, for their contribution to the VFLAA during this period. The table opposite provides an overview of the performance of the VFLAA in 2014/15. 11.3% Annual value of acquisitions $412,839 Market value of fund at year end $13,592,873 Artistic performance Indicator 2013/14 2014/15 Target Result Number of VFLAA works acquired 39 - 96 Number of artists whose art was acquired 15 - 51 Number of Victorian artists whose art was acquired 12 - 24 80% 50% 47.1% 3 2 26 100% 80% 100% Victorian artists as a percentage of total artists acquired Number of Indigenous artists whose art was acquired % income spent in primary market VFLAA/State Collection Access Performance Indicator 2013/14 2014/15 Target Result 35 45 48 95% 80% 99% 1 (Victoria) 4 (interstate) Total 5 4 1 (Victoria) 1 (interstate) Total 2 VFLAA works loaned to regional/outer metropolitan galleries 2 9 4 Total number of VFLAA works loaned 2 - 4 VFLAA works displayed at the NGV VFLAA works displayed on NGV website The VFLAA Committee convened four times this financial year: in September and November 2014, and in February and June 2015. The VFLAA acquired a total of ninety-six works across a range of disciplines. 2014/15 Regional/outer metropolitan galleries which received VFLAA loans NGV's management of VFLAA performance Indicator 2013/14 2014/15 Number of regional representatives on the VFLAA Committee 4 2 Number of VFLAA acquisition meetings 3 4 Publication of VFLAA report in NGV annual report 1 1 19 Connecting audiences Sydney-based fashion designers Anna Plunkett and Luke Sales of fashion label Romance Was Born created a vibrantly designed interactive space featuring spectacular displays of art, fashion and multimedia. More than 85,000 children visited NGV International during their exhibition Express Yourself: Romance Was Born for Kids. Melbourne artist Emily Floyd's The Dawn for Kids project invited visitors to experience two participatory works of art, Word Farm and Small Press, both 2014, that encouraged creativity using letters and words. Held over ten days in January the Express Yourself! Children's Summer Festival featured activities focused on fashion and creative expression. Artists were engaged to develop activities for the festival and to lead workshops for children. The NGV also collaborated with Indonesian artist group Tromarama to create the children's exhibition Open House: Tromarama for Kids. This immersive exhibition transformed familiar household interiors into creative spaces in which children could create their own stop-motion animations. A focus during 2014/15 has been strengthening online engagement with visitors via social media, the NGV blog and email campaigns by developing the digital and social arena as a space for extended audience engagement and public programming. Targeted advertising through social media was also undertaken to engage new audiences and increase exhibition and program awareness and attendance. 2014/15 has been the first full year of operation for the NGV's new department of Audience Engagement, which brings together the operations of the Front of House team, Public Programs and NGV Members. Public programs highlights The NGV Public Programs department developed and implemented a diverse array of programs and events that facilitated the strategic direction to connect audiences with knowledge and ideas. The department focused on cultivating a broad audience for historical and contemporary art practice, as well as on developing programs in new areas including design and architecture. From 1-3 May 2015, more than 16,000 visitors attended the inaugural Melbourne Art Book Fair and associated programming and events, such as the Friday Night preview, the international keynote address, discussions, launches and signings. As an annual event developed by the NGV for art publishers worldwide, the Melbourne Art Book Fair will provide vital links with well-established international fairs in New York, London, Tokyo and Paris. Drawing strong visitor numbers to The Ian Potter Centre: NGV Australia through a program combining music and art, Unplugged Live in July and August 2014 presented thematic talks focused on nineteenth and early twentieth-century Australian art, followed by musical performances by leading local and national musicians. The NGV's Friday Nights evening live-music events held in conjunction with major exhibitions were extremely successful, often reaching capacity audiences. During 2014/15, the Gallery presented twenty Friday Nights for Italian Masterpieces from Spain's Royal Court, Museo del Prado and The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk. Lecture series and symposia presented by local and national specialists and academics alongside expert NGV curators and staff explored themes from exhibitions, including Italian Masterpieces from Spain's Royal Court, Museo del Prado; The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk; William Blake; Medieval Moderns: The Pre-Raphaelite Brotherhood; and A Golden Age of China: Qianlong Emperor, 1736-1795. NGV Kids Engagement with children and families has been a crucial area of growth for the NGV in recent years. By collaborating with contemporary artists, the Gallery aims to engage children in art and with global cultures, facilitating interactive experiences and connecting children and their families to art and artists more directly. During the 2014/15 period, NGV Kids extended its strategic focus to include a tailored Teens program. The implementation of a number of pilot programs for young people aged 13-17 included the inaugural Art Party and Creative Encounters programs. Meet the Artists, a workshop-based program designed to introduce peer-led teen programming, offered young people a platform for creative projects and an opportunity to engage in dialogue with leading contemporary artists in a friendly and intimate setting. Education highlights NGV Education develops and manages learning programs and projects that inspire and connect learners of all ages with the NGV Collection and exhibitions. The overall increase in participation in NGV Education programs in 2014/15 reflects a successful marketing campaign inclusive of social media opportunities in the education sector, as well as targeted print advertising distribution extending to interstate schools. The annual exhibition of outstanding work by students of Victorian Certificate of Education Art and Studio Arts, StArt Up: Top Arts 2015, featured a range of education and public programs. Macquarie Bank supported four awards recognising students' creative accomplishments, including the inaugural Macquarie Group People's Choice Awards and Macquarie Group Collection Award. The NGV hosted several key education and learning events during 2014/15, including Education Week, with a Maths in Art focus; Children's Week; the Early Childhood Awards; NAIDOC Week; and Reconciliation Week. Collaborations with a range of education associations, in particular Art Education Victoria, History Teachers' Association of Victoria, Victorian Association for the Teaching of English, Modern Language Teachers' Association of Victoria, Design and Technology Teachers' Association and the School Library Association of Victoria provided tailored learning programs for teachers throughout the year which highlighted the NGV as a teaching resource across the curriculum. A study to measure outcomes of NGV Education programs was undertaken in partnership with academic researchers from La Trobe University to gain in-depth insights into program outcomes. The study focused on the impact of Gallery experiences on teacher practice and student learning. Tertiary sector highlights Engagement with the tertiary sector continued to be successful during the 2014/15 financial year. The second year of the Learning Partnership between La Trobe University and the NGV Summer School featured an accredited elective course, named Art Now, presented by NGV curators, academics, artists, conservators and educators. Themes from NGV exhibitions on display informed the course syllabus. A collaborative project between the NGV, Museum Victoria, La Trobe University and Charles Sturt University resulted in the presentation of Connected Learning, the inaugural accredited subject for presentservice teachers which focused on the opportunities and benefits of education in cultural organisations. The course commenced in May 2015 with sixty participants. A major new initiative was the introduction of the Autumn School for Lifelong Learners. Held on five Sundays throughout April and May 2015, the inaugural course on Indigenous Art featured eighteen speakers, including Indigenous artists, academics and curators, discussing works of art and themes of the NGV exhibition Indigenous Art: Moving Backwards into the Future. Programming collaborations A number of strategic programming collaborations were initiated during the period to strengthen existing visitor relationships and establish connections with new audiences. In 2014 the NGV collaborated with national broadcaster ABC Radio National (RN) on a range of public events aimed to share ideas connected with NGV exhibitions with a broad audience. Hosted by RN presenters, discussion focused on themes in the exhibitions Mid-Century Modern: Australian Furniture Design and Mambo: 30 Years of Shelf-Indulgence. A young visitor participates in Open House: Tromarama for Kids 20 21 Connecting audiences (CONT'D) Over four weeks in July 2014, the NGV and Wheeler Centre for Books, Writing and Ideas presented the Points of View: Australian Art Starting Conversations series of evening talks, in which NGV curators and special guests explored works of art by Tom Roberts, John Brack, Emily Kam Kngwarray and Ron Mueck from the perspectives of social history, technology and comedy. In February 2015, a music and art history lecture and performance series commenced in partnership with Musica Viva, consisting of discussion of music and art within various historical settings followed by performances in NGV gallery spaces. During Sundays in February 2015, the NGV and Melbourne's Mushroom Group presented live performances in the Grollo Equiset Garden at NGV International. The program highlighted local musicians and complemented the Gallery's contemporary summer exhibitions. Special events and festivals The NGV is committed to sharing Melbourne's cultural initiatives by co-developing events, presenting stand-alone programs and partnering with cultural events, including the Melbourne Food and Wine Festival; Melbourne Writers Festival; Melbourne Comedy Festival; Melbourne Music Week; and Virgin Australia Melbourne Fashion Festival, among others. Key events during the period included participation in Melbourne's third White Night in February 2015. During the 2015 Melbourne Food and Wine Festival, NGV Collection paintings The bar, 1954, by John Brack and The arbour, 1910, by E. Phillips Fox travelled to Bendigo Art Gallery and La Trobe Regional Gallery respectively, complemented by talks and dining experiences. The NGV also conducted behind-the-scenes tours of the Exhibition Design and Graphic Design Studios during Open House Melbourne. Publication highlights Fifteen major print publications were commissioned, developed and published in 2014/15. A full listing of NGV publications can be found on page 78. Many NGV print publications exceeded sales targets and were reprinted to satisfy audience demand, including The Fashion World of Jean Paul Gaultier: From the Catwalk to Australia; Shifting Gear: Design, Innovation and the Australian Car; John Wolseley - Heartlands and Headwaters; and A Golden Age of China: Qianlong Emperor, 1736-1795. The Gallery's publishing program also extended to titles not related to exhibitions. The book Aboriginal and Torres Strait Islander Art in the Collection of the National Gallery of Victoria was launched in April 2015 and is the first of a three-part series featuring highlight works in the NGV Collection. The children's publishing list was further extended with Express Yourself! An Activity Book for Kids by Romance Was Born, a drawing-activity book based on works in the associated exhibition. Outreach highlights The Campbell-Pretty family generously provided funding for students in remote, regional and outer-metropolitan schools to travel to the NGV to see the exhibitions Italian Masterpieces from Spain's Royal Court, Museo del Prado and A Golden Age of China: Qianlong Emperor, 1736-1795 and engage in related NGV Education programs. The majority of participating schools had never visited the NGV before. Through the support of Rio Tinto, Principal Partner, free admission was also provided to all pre-booked school groups visiting A Golden Age of China: Qianlong Emperor, 1736-1795. More than 8000 students visited the exhibition, exceeding projections and highlighting the benefit of supported education programs for schools. Building on the previous year's success, the regional outreach program NGV Kids on Tour provided seven additional regional communities with access to NGV activities, further strengthening the Gallery's relationship with regional galleries and community venues. Outreach and online education program delivery included regular web seminars for teachers focused on forthcoming exhibitions; a monthly Talk About Art chat room for educators; virtual excursions via video-conferencing; online student activities for Jean Paul Gaultier: From the Sidewalk to the Catwalk; a teachers' resource and art-making activities for Gods, Heroes and Clowns: Performance and Narrative in South and Southeast Asian Art; language activities related to Bushido: Way of the Samurai and A Golden Age of China: Qianlong Emperor, 1736-1795; and a collaboration with Regional Arts Victoria providing touring art programs. NGV Voluntary Guides delivered seventy-two Gallery Visits You programs to those unable to visit NGV locations, which included multimedia presentations on Collection highlights and selected exhibitions. The NGV touring exhibition The Sacred and the Profane: Challenges and Possibilities in Renaissance Art opened at Warrnambool Art Gallery in December 2014 and ran until March 2015. The Gallery presented a diverse array of programs and events that connected audiences with knowledge and ideas. (opposite) Visitors view Italian Masterpieces from Spain's Royal Court, Museo del Prado 22 23 Realising our potential Recognition The NGV was the winner of the 2015 International Book Awards children's non-fiction category for Master the Arts! A Kids' Activity Book about Italian Masterpieces, and the children's novelty and gift book category for Express Yourself! An Activity Book for Kids by Romance Was Born. The Gallery was awarded Best Small Exhibition Catalogue in the AAANZ Awards for Robin Rhode: The Call of Walls. Hotham Street Ladies: A Book for Kids and Master the Arts! A Kids' Activity Book about Italian Masterpieces were awarded joint first place in the Educational Activity Book category of the Moonbeam Awards. NGV Director Tony Ellwood was awarded the President's Prize in the 2014 Australian Institute of Architect's Awards in acknowledgement of the contribution Melbourne Now made to the architecture profession and built environment in Melbourne. The Gallery won the Event category of the 2015 Interior Design Excellence Awards for the exhibition design of Pastello - Draw Act. Senior appointments Volunteers play an important role in the NGV's ability to deliver a wide range of programs and events. The NGV acknowledges the significant contribution of many volunteers who dedicated more than 33,000 hours to the Gallery during this time. Volunteer contribution The NGV has ninety-eight Voluntary Guides and an additional forty-nine trainee guides who have directly and significantly contributed to improved audience engagement with the collection and exhibitions. Tours led by Voluntary Guides at both The Ian Potter Centre: NGV Australia and NGV International were conducted daily throughout the year, and Voluntary Guides shared their expertise at many corporate functions, tours by international delegates, special events, exhibitions and NGV Members events; including tours given in languages other than English. Large attendances at the major exhibitions Italian Masterpieces from Spain's Royal Court, Museo del Prado and The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk created high demand for guided tours, and during A Golden Age of China: Qianlong Emperor, 1736-1795 additional tours in Mandarin were conducted. There was also growth in participation in the NGV's Access programs including Art and Memory, Gallery Visits You, Auslan Interpreted and Audio Describing tours. Volunteers also provide significant support to NGV Members assisting with various aspects of the NGV Members program and events. This year volunteers have again been instrumental in assisting the NGV Library with a number of projects, including documenting the Gallery's historical exhibition program and assisting with cataloguing various collections and artist files. The following senior staff members were welcomed to their new roles: Isobel Crombie, Assistant Director, Curatorial and Collection Management; David Hurlston, Senior Curator, Australian Painting, Sculpture and Decorative Arts to 1980; Susan van Wyk, Senior Curator, Photography; Ewan McEoin, The Hugh Williamson Senior Curator of Contemporary Design and Architecture; Simone LeAmon, The Hugh Williamson Curator of Contemporary Design and Architecture; Kate Ryan, The Truby and Florence Williams Curator of Children's Programs; Marion Joseph, Senior Publicist; Matthew Lim, Manager Multimedia; Samantha Potts, Front of House Manager; Paula Nason, Coordinating Registrar, Exhibitions; and MaryJo Lelyveld, Coordinating Conservator. All members of the NGV Council of Trustees contribute their expertise and a significant amount of time to the Gallery on a voluntary basis