2017-18 CASTLEMAINE ART MUSEUM
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CASTLEMAINE ART MUSEUM ANNUAL REPORT 2017–18
Castlemaine Art Museum 14 Lyttleton Street (PO Box 248) Castlemaine, Victoria 3450 (03) 5472 2292 e: frontofhouse@castlemainegallery.com w: www.castlemainegallery.com Front cover image: Ethel Carrick Fox, French Beach Scene (c.1910), oil on wood panel. Gift of Maj. Basil R.F. MacNay 1978. AN858. Copyright: The Estate of the late Mrs Ethel Carrick Fox. Back cover image: Facade and entry to the Castlemaine Art Museum. ACN: 613 667 664 ABN: 21 613 667 664 Acknowledgement of Country The Castlemaine Art Museum acknowledges that we are on Jaara country, and that the members and elders of the Dja Dja Warrung community and their forebears have been custodians of this land for many centuries, performing age-old ceremonies of celebration, initiation and renewal. We acknowledge their living culture and their unique role in the life of this nation. We pay respect to the elders’ past, present and emerging of the Dja Dja Warrung nation and extend that respect to other Aboriginal and Torres Strait Islander people.
CONTENTS SECTION 1 A B O U T CA S T L EM A I N E A R T M US EU M 3 Our History 3 Our Present and Our Future – Chairperson’s Report 3 Our Board of Directors 6 Our People 8 Our Fundraising 9 Our Members 10 Our Gallery 12 Our Museum 13 SECTION 2 OUR GOVERNANCE 15 Governance Structure 15 Trustee’s Report 15 Our Objectives 16 Our Activities 16 Acquisitions, Loans & Collection Management 17 SECTION 3 OUR FINANCES 19 Treasurer’s Report 19 Financial Statements 23 SECTION 4 OUR SUPPORTERS 37 Friends of Castlemaine Art Museum Report 37 Mount Alexander Shire Council 38 Funders, Sponsors & Donors 38 Members and Subscribers 39 SECTION 5 MOVING FORWARD 43 How You Can Help 43 Audience Engagement 43 Contact Us 44
The Year at a Glance
As at 30 June 2018
TOTAL NET OPERATING SURPLUS YEARS CAM HAS BEEN OPERATIONAL EXHIBITIONS
$433,078 105 YEARS 2 MEET GRAEME & GIFTED: THE KOHANE
AND MOORE DONATIONS OF AUSTRALIAN
STUDIO CERAMICS
TOTAL DONATIONS 2017/18 FINANCIAL YEAR BOARD DIRECTORS
$228,324 6 DIRECTORS LOANS
1 ART GALLERY OF BALLARAT – INTO LIGHT
NO. OF INDIVIDUAL DONORS CAGHM TRUSTEES EXHIBITION – ETHEL CARRICK FOX (1972 -
92 DONORS 2
1952), FRENCH BEACH SCENE, OIL ON WOOD
PANEL, 22 x 33 cm.
MEMBERS CAGHM FOUNDATION CONTRIBUTION FOCAM SUPPORTERS
689 MEMBERS $160,000 118 PEOPLE
NEW MEMBERSHIPS TAKEN OUT IN 2017/18 STAFF CAM CONVERSATIONS
154 MEMBERSHIPS 2 PEOPLE 6 EVENTS
VISITORS VOLUNTEERS FACEBOOK FOLLOWERS
7,083 PEOPLE 27 PEOPLE 5,998 PEOPLE
PRIVATE TOUR VISITORS AVERAGE NUMBER OF HOURS SPENT AT CAM INSTAGRAM FOLLOWERS
90 PEOPLE BY GALLERY GUIDES PER MONTH
2,019 PEOPLE
91 HOURS
2 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8
SECTION
ABOU T CASTLEMAINE ART MUSEUM
Our History artefacts from the Mount Alexander goldfields lightly by the Board. This decision was a necessary
FOUNDED IN 1913, the Castlemaine Art Museum district. The Gallery and Museum is fully accredited step to preserve the future of the organisation.
(CAM) has a unique permanent collection of by Museums Australia. It is governed by a Board This however meant we lost our wonderful staff
Australian art and fascinating historical artefacts made up of elected and appointed Board Members. members, our gallery’s displays became static and
reflecting the early history of the district. State and Local Government support is provided we all suffered through much uncertainty. I wish to
The beautiful art deco building, designed by and the Gallery has a strong tradition of support thank our staff members and volunteers who worked
Percy Meldrum, dating from 1931 with several from benefactors, the Victorian and Castlemaine tirelessly through a difficult and uncertain period.
extensions since then, is a work of art itself, with communities, along with artists and patrons. These challenging times also demonstrated
purpose-built galleries. It is one of the finest examples the immense support that CAM has in the local,
of Art Deco, neo-classical modern architecture Our Present and Our Future – artistic and philanthropic communities, resulting in
in regional Victoria. The National Trust refers to Rescue, Recovery & Revitalisation the development of wonderful opportunities and a
the Castlemaine Art Museum, in its Statement of renewed engagement and enthusiasm for the gallery.
Chairperson’s Report
Significance as an exceptional building in its intent Craig Mutton, Acting Chairperson However, in the despair and disappointment,
and execution and is historically important as one of we saw some wonderful opportunities develop. Our
the earliest examples of the ‘modern movement’ in WHAT A YEAR the 2017/18 anonymous benefactor, who came to us via Sotheby’s
provincial Victoria. Financial Year has proven Australia, enabled us to keep the gallery open during
Castlemaine Art Museum has one of the most to be for CAM, perhaps the year, and have agreed to support us in the current
important collections of art in regional Victoria. one of the most difficult this 2018/19 financial year. In November 2017 Sotheby’s
The permanent collection has a strong emphasis great institution has ever Australia also organised an important fundraiser for
on traditional landscape painting and includes experienced. However, at the our Collection Management project and the support
major and significant works from the 19th and 20th conclusion of this year, I feel from Geoffrey Smith and Gary Singer of Sotheby’s
Centuries, particularly the Edwardian era. Modern and optimistic and am excited by Australia has been extraordinary. We also thank
contemporary artists are also well represented, along the prospects and opportunities that lie ahead, and a the Albert and Barbara Tucker Foundation for their
with a significant number of Central Victorian artists. new, revitalised and sustainable future is progressing. financial support for the Collection Management
The Museum holds historical items including The decision to close the gallery at the beginning Project. The MacFarlane Foundation generously
photographs, costumes, decorative arts and of the financial year was a difficult one, not taken gave to assist in audience engagement over a
3
2-year period, Melissa and her mother Helen, have open in the 2017/18 financial year and new vision for work to map out a future for CAM. We have been
also ensured CAM remained visible in the arts CAM emerge. fortunate to have the assistance of our Board Advisor,
community during the year and made many valuable In addition to financial support, CAM has been Glenn Sedgwick whose keen commercial skills have
introductions. Audience engagement is a crucial supported during the year by a number of Industry been of incredible value. In addition, Consultant to
component of our work in the coming year. Partners; Regional Arts Victoria, Public Galleries the Board, Peter Matthews has led the Board through
These generous donations not only enabled Association of Victoria, Bendigo Art Gallery, Latrobe the Business and Operational Planning activities to
us to keep the doors open, but also to employ our Art Institute and the Geelong Art Gallery. On behalf ensure we have both a short and long-term plan for
wonderful Front of House team of Elizabeth Retallick of the Members and Board of CAM, I thank them for CAM.
and Lauren Matthews, who have worked tirelessly their support. Our Gallery has a long history, 105 years in fact,
throughout the year. Lauren has also been revitalising At the gallery during the year, we’ve enjoyed and respecting our past, whilst looking to the future
our communications approach – with regular Social Graham from the TAC, a Patricia Piccinini exhibit and is a renewed focus at the Board table. We have much
Media posts, as well as a seasonal Newsletter being the wonderful Australia Studio ceramics exhibition to be proud of, and also much opportunity to be a
produced. With the gallery open, our highly skilled ‘Gifted’, which included the major gifts from the great gallery for our community. Our Trustees, George
and knowledgeable volunteer guides were also Kohane and Moore families to the Castlemaine Art Milford and Bill Maltby, have had a long association
kept very busy, and of course our other wonderful Museum Collection, through the Australian Cultural with the gallery, and have continued to support the
volunteer staff who give of their time to keep the Gifts Fund. Gallery-goers also had the opportunity to operations of the gallery. Together the Board and our
gallery operating. see our fantastic and treasured permanent collection Trustees are working to modernise the Trust structure,
We have also been generously supported by on display. to ensure it will support the gallery for the next 105
our governmental partners, Creative Victoria, who In addition, we’ve held a number of events at years.
continue to support our gallery annually as part the gallery over the past financial year including Looking forward to the 2018/19 financial year,
of the Regional Partnerships Program. In addition, the successful Sotheby’s fundraising evening in CAM is very excited to be entering a phase of
CAM was awarded a Full House grant, along with November 2017, our Member’s Q&A sessions, our Recovery. This will involve the modest re-activation
financial support to develop a Strategic Business very successful June fundraiser, and of course the of our gallery and hiring of a Gallery Manager to
Plan, enabling us to work with our members, industry wonderful events, including the very successful CAM run our organisation is currently underway. We have
partners, and community groups to ensure a bright Conversations put on by the Friends of Castlemaine announced that we will host 3 great exhibitions as
future for CAM. Mount Alexander Shire Council have Art Museum (FOCAM) during the year. We very much part of the Castlemaine State Festival, as well as
also been supportive of CAM during the year, both value our wonderful and vibrant FOCAM group and host the winner of the Eucalypt Commission on our
with our annual grant as well as support and in-kind are looking forward to their continued success. forecourt. In the coming year we will also be calling
services. I’d also like to thank our many individual The year has seen the Board focus on the Rescue for entries for the Len Fox prize, as well as arranging
donors, along with our corporate supporters. This plan to ensure the gallery raised enough funds to a rehang of our permanent collection to revitalise our
generosity and commitment have seen the doors stay complete the important strategic business planning member and visitor experience.
4 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8
I must also acknowledge the tireless work of
our Board of Directors. In particular I would like to
acknowledge Jan Savage who has been our Chair
since Incorporation until she retired from the Board
in March, Deborah Ratliff a board member since 2014
who resigned in May and Bryon Cunningham who
was Chair following Jan’s resignation. Bryon remains
a Board Member however has had to step back from
his role as Chair for personal reasons. It has been an
honour to step into the Acting Chair role during this
time. It’s also been wonderful to welcome Associate
Professor Dr Jacqueline Millner to our Board during
the year.
Castlemaine Art Museum has been part of the
artistic landscape for over a century, and respecting
our past, whilst looking to the future, is a renewed
focus for the Board and our members. We have
much to be proud of, and also an opportunity to be
a thriving gallery for our community. Thank you to
each and every one of our members who continue
to engage and support our wonderful gallery and
museum. We need and rely on your generous support
as we move from Rescue to Recovery and soon to the ABOVE Board members: L–R Seated: Bryon Cunningham, Liz Tromans
& Andrew Pickles. Standing: Craig Mutton and Dr Jacqueline Millner
Revitalisation of this wonderful institution. (Absent: Dr Chris McAuliffe). PHOTOGRAPHY: FRED KROH
S E C T I O N 1 A B O U T C A S T L E M A I N E A R T M U S E U M 5
Castlemaine Art Museum Board Of Directors
As at 30 June 2018
Mr Craig MUTTON (Acting Chair) Mr Bryon CUNNINGHAM (Chair until June 2018) Mr Andrew PICKLES (Hon. Secretary)
Qualifications BComp (Monash), Master of Project Qualifications Dip Industrial Design (Deakin) Qualifications BA.(Monash) LLB (Monash)
Management (RMIT), MBA (MBS) Experience Museum Exhibition Designer and Creative LLM (Monash)
Experience Extensive executive management career, Director: for redevelopment of the WW1, WW2 and Post Experience Head of litigation team, Robertson Hyetts
with deep skills in strategy, transformation leadership, 1945 Conflicts at the Australian War Memorial, Treasures Solicitors. Admitted to practice in 1982. Involvement
and stakeholder engagement. Director on the Board of Gallery at the National Library, Canberra, Immigration in corporate governance in non-profit organisations
the Hepburn Health Service, and Chair of its Audit & Risk Museum Melbourne, National Museum, Canberra and including advising the Bendigo Art Gallery and
Committee. regional museums around Australia and internationally in Foundation and Trustees. A former president of the
Board member since 2016. both Asia and Europe. Forty years’ experience in running Bendigo Law Association. Mediation accreditation
a commercial design practice in Victoria. from Bond University, and an arbiter under the Local
Board member since 2016. Previously member of Government Act. Also on a local football committee, and a
Castlemaine Art Gallery and Historical Museum board member of Sun RFCS, a rural financial counselling
Committee of Management prior to incorporation, elected service based in Mildura and Bendigo.
2014, re-elected 2017. Board member since 2016. Previously member of
Castlemaine Art Gallery and Historical Museum
Committee of Management prior to incorporation, elected
2014.
6 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8
Ms Liz TROMANS (Treasurer) Dr Chris McAULIFFE Dr Jacqueline MILNER
Qualifications GAICD, Masters of Commercial Law (Uni Qualifications BA Hons (U of Melb), MA (U of Melb), Qualifications PhD, MA, BVA, BA, LLB + member
of Melbourne); Grad Dip of Legal Practice – Admitted to PhD (Harvard) of AICA (International Art Critics Association), CAA
practice in the Supreme Court of Victoria, Juris Doctor Experience Currently Professor of Art (Practice-led (College Arts Association) and AAANZ (Art Association of
(Uni of Melbourne); Grad Dip in Applied Finance (FINSIA); research), School of Art & Design, ANU; consultant Australia and NZ)
Bachelor of Economics (Uni of Adelaide) Professional to Te Papa Museum, New Zealand; freelance curator. Experience Currently Associate Professor, Visual Arts,
memberships: Australian Society of CPAs; Law Institute Director, Ian Potter Museum of Art, the University of School of Humanities & Social Sciences, La Trobe
of Victoria, Taxation Institute, CTA, Australian Corporate Melbourne, 2000–13; Lecturer in Contemporary Art, Art, University; Associate Professor, Art History and Theory,
Counsel the University of Melbourne, 1991–2000. Visiting Professor Faculty of Sydney College of the Arts, University of
Board Experience Camcare Incorporated (Nov 2012– of Australian Studies, Harvard University, 2011–12. A Sydney, 2010-2017; Associate Dean of Research and
current) (Board Secretary); Chair, Governance Committee; member of management committees and boards at Arts Learning and Teaching, Faculty of Sydney College of
Former Chair, Social Enterprise Working Group; Former Project Australia, Linden Contemporary Art space, City of the Arts, University of Sydney, 2012-2016; freelance
member of the Finance, Audit and Risk Management Port Phillip, National Gallery of Victoria, Samstag Museum art writer; member of art journal editorial committees
Committee; HICAPS Pty Ltd (2004–2010) Director and University of South Australia. including AAANZ Journal of Art, eyeline magazine,
Chairman; Victorian State Council, Taxation Institute Board member since 2016. RealTime, Broadsheet, 1994–2018; member of boards
(1999–2009), Member; Australian Taxation Office Large of arts organisations Artspace and Australian Centre for
Business Advisory Group (2010); Relationship Services Photography, 1993-2000.
Pty Ltd (2004–2010), Director. Board member since 2018
Experience A trusted governance professional with local
and international blue-chip company experience and Not-
for-Profit director experience. Senior management roles
in Australia Post and NAB (Head of Taxation, Australia);
professional practice experience at Corrs Chambers
Westgarth and Coopers & Lybrand; ATO.
Board member since 2017
S E C T I O N 1 A B O U T C A S T L E M A I N E A R T M U S E U M 7
Our People Meet the Staff
Staff
Elizabeth Retallick (Front of House)
Lauren Matthews (Front of House & Special Projects)
Consultants/Contractors
Loralee Luckett (Financial Services)
Peter Matthews (Consultant to the Board)
Laura Steadman (Curatorial Services) Elizabeth Retallick Lauren Matthews
MY NAME IS Elizabeth Retallick, and I work Front HI, MY NAME is Lauren Matthews and I work Front
of House at Castlemaine Art Museum on Thursday, of House every second Sunday, along with special
VOLUNTEERS
Friday, Saturday and every second Sunday. projects and events, at CAM. I can honestly say
Board of Directors Support I have worked at CAM for the past 5 years. It that it is the best job I have ever had. After a long
Glenn Sedgewick Kaye Swanton is a wonderful place to work, surrounded by the career in the not-for-profit sector, running charitable
best collection of Australian artworks. To have organisations, my husband and I had a ‘treechange’
discussions with visitors regarding the collection, and we moved to Daylesford. I also started my
Volunteer Guides
not only locals but from interstate and overseas, you Bachelor of Fine Arts, majoring in ceramics, at
Winifred Belmont Phillip Siggins get the opportunity to broaden your knowledge and Federation University.
Elizabeth English Colleen Smith meet some very interesting and talented people. When this role at CAM came up it was a dream
Karen Holland Judith Staudte People often ask me what my favourite painting come true – as it combines my love of art with my
is. This is a really hard question, as I’m quite spoiled background in not-for-profit organisations, plus
Margaret McCready Jennifer Taylor
for choice. It probably changes from time to time, who wouldn’t want to work in such a fine art deco
Sarah Norris Barbara Wayn but at the moment I adore John Perceval’s Double masterpiece! At CAM I am also lucky enough to
Patricia Pilley Chris Wheat Sunset. work on the newsletter, events and other projects,
Robyn Ralton I was so grateful to have the opportunity to as well as reinvigorating our social media presence. I
return to my position after the near closure of the am passionate about regional cultural organisations
gallery in August 2017. Thank you to the generosity and the role I can play as part of their long-term
Museum of the anonymous donor. sustainability.
Diane Frape-Linton Working on the front desk is lots of fun as I
get to connect with so many members and lots of
interesting visitors. I love talking to people about the
Events
collection and finding out what their favourite works
Jenny Taylor Sue Picot are. It is such a joy to get to do this for a job.
Trish Pilley Ashley Nicholls
Liz Matthews
8 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8Our Fundraising
THIS YEAR CAM has received support from a range
of sources including: the Victorian Government,
Mount Alexander Shire, the anonymous donors
through Sotheby’s Australia, Sotheby’s Australia;
the MacFarlane Fund; the Albert and Barbara
Tucker Foundation and a large number of generous
individual donors.
RIGHT Dr Chris McAuliffe addressing guests at our June 2018
fundraising cocktail reception. PHOTO: ADRIAN THIA
A Commitment to the Castlemaine professionals and galleries, drawing comments Castlemaine Art Museum contains works of
Art Museum – Sotheby’s Australia which ranged from expressions of dismay and national significance and a priority for all museums
CASTLEMAINE ART MUSEUM has faced disappointment to anger and disillusionment, the is to have this material documented and accessible.
numerous challenges in the recent past. These moment also provided an opportunity for inspired In November 2017 Sotheby’s Australia raised funds
challenges culminated in July 2017 with the acts of philanthropy and support, great and small. to be dedicated for the sole purpose of publishing
announcement that the Museum was no longer Sotheby’s Australia was immediately contacted the CAM’s collection online. This task is in process
financially viable and would be forced to close its by concerned friends who quietly asked us to and the first stage is nearing completion.
doors to the public, effective almost immediately. ascertain what resources were required to keep We remain committed to supporting
This chilling disclosure not only highlighted the Castlemaine Art Museum open to the public for a Castlemaine Art Museum in securing a sustainable
complex and numerous internal and external issues period of 12 months. We made our enquiries and and meaningful future in which it can acknowledge
that had beleaguered the Museum for many years, provided the answer. The second question was and celebrate its history and future.
but openly declared to the broader public that the what additional funds were needed to ensure that
institution had reached a crisis that threatened its admission was free. Our friends and benefactors Geoffrey Smith
future survival. offered to provide these essential resources for two Chairman, Sotheby’s Australia
Whilst such an admission was traumatic and years, during which time the Museum could reflect,
caused great concern amongst Australian museum recover and rebuild.
S E C T I O N 1 A B O U T C A S T L E M A I N E A R T M U S E U M 9Investing in the future The evening launched the 2019 Fundraising Our Members
THE CASTLEMAINE ART Museum held an exciting Calendar, with a lively auction, conducted by
Michael DeVincentis and Tom Shaw from Biggin & As of 30 June 2018 CAM had 689 members
fundraising mid-year briefing and cocktail reception
for Life Members, Supporters and Key Stakeholders Scott Daylesford, who not only donated their time
on Saturday 9 June to mark the commencement of to support the event but made a generous donation
the 2019 Fundraising calendar. Guests were greeted on the night. Throughout the auction the audience Honorary Life Members: 11
by the Dja Dja Wurrung with a smoking ceremony ‘bid’ to be part of the future of the Castlemaine Art Life Members: 99
by Uncle Ricky that welcomed the guests on a chilly Museum, starting with a generous ‘vendor’ bid from
Individual Members: 122
winter’s evening. This special event gathered long the Board itself of $25,000.
There followed enthusiastic bidding, which was Family Members: 104 equating to over 208 members.
standing supporters of the Gallery, including Former
Governor of Victoria John Landy, AC, and his wife pleasing given the great cause being supported. The
Lynne, as well as past board members Jan Savage, hammer finally fell with over $60,000 being raised. Concession Members: 209
Deborah Ratliff, Rosemary James and Graham This kind of result has not been seen in many a year
Complimentary Members: 33
Seldon. The Board were also delighted that The and provides real momentum to the Castlemaine
Art Museum to kickstart the 2018/19 fundraising Education & Community Members: 1
Honorable Dr Craig Emerson was able to join the
evening’s proceedings as well. year, as well as putting the Gallery on a far better Corporate Members: 6
footing as it enters the new year, when compared to
Highlights of the evening’s programme were: the difficulties of the last 12 months.
A briefing from Director, Prof. Chris McAuliffe, The Board would like to thank our generous
sponsors, without whom the event would not have
including an update on Castlemaine Art
been such an unqualified success: LOST Magazine;
Museum’s emerging vision for a revitalised
ShedShaker Brewing; Harcourt Valley Wines;
Gallery; Daylesford Hepburn Springs Mineral Water; Biggin
A special presentation by Jason Smith, Director Life Member Profile: Glenn Sedgwick
& Scott Daylesford; and, the Farmers Arms Art
of the Geelong Art Gallery, on the future of RECENTLY LAUREN MATTHEWS sent me a note
Motel Daylesford.
asking 2 very good questions, which she followed
Regional Galleries; and, The Board would like to thank everyone for their
up by saying she would like to share my answers
A special viewing of the Gallery’s permanent support, generosity and their demonstration of just
with CAM’s members via the annual report. I
collection. how valued the Gallery is.
assume that will only occur if the answers to her
questions are correct! So here goes.
Why do you love CAM?
WELL THERE’S A couple of dimensions to this.
First there are reasons to love CAM which have
less to do with CAM, than with the function
CAM, and things like CAM do. In CAM’s case I
love it because of its status as a Civic Asset for
the people of Mt. Alexander Shire, for the public
purpose and role it has in education, for young
10 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8and old, in healthcare and rehabilitation for the prompted by that visit. I can introduce my family to To put it another way, if we believe CAM
aged, infirm or even those on the wrong side of the some Art for its own sake, and for what it provokes. contributes to our lives – or those of our children
law, as a place for stories to be told – some bad, Do I need to go on? Probably not. via, say, educational experiences, then we have an
some good, but a pictorial history of life. These are obligation to contribute to its future. We cannot be
hallmarks of a Civic Institution, and I love that CAM Why was becoming a life member/donor so freeloaders, it is our civic responsibility to underwrite
exists to provide this for the people of the district important to you and your family? this institution. Again, I could go on, but I hope this
and visitors to it. Because a visit to CAM allows BECOMING A LIFE Member was for me and for is sufficient.
us all a chance to reflect and wonder, and ponder us all a bit of a no-brainer. Civic Institutions exist In closing I would say that the chance to help
what was, is and could be by the force of what we for everyone, and hopefully for all time – but that CAM over the early part of 2018 was one of the most
look at on the walls. doesn’t come for free. As we saw not so long ago exciting challenges I have had in recent times – but
Second are the personal reasons, the fact that in CAM’s case. Therefore I think we all have an knowing that CAM is in a better place than in recent
I can call CAM ‘my own’ in some way, that I can obligation to support – in whatever way we can – times was the greatest reward we could have.
visit, or not, at my leisure and simply stroll around CAM, and make sure that it remains alive, vibrant
unwinding, but often also to find that there is and sustainable, well beyond the time I might walk
something I have seen or thought which has been into its galleries. ABOVE Guests and Life Members enjoying the June
fundraising cocktail reception. PHOTO: ADRIAN THIA
S E C T I O N 1 A B O U T C A S T L E M A I N E A R T M U S E U M 11Our Gallery Gallery Guide: Judith Staudte Thoughts on a work at CAM: It is a matter of
Perspective
A GUIDE’S PERSPECTIVE
Gallery Visitors CLAYTON TREMLETT
Enjoyment of others’ creativity has been a focus for
FOLLOWING THE CLOSURE and subsequent me since growing up outside the NYC metropolitan Every time I walk into the Castlemaine Art Museum, I
reopening of the Castlemaine Art Museum in August area, then living in Melbourne, and now culturally find a different work appeals to me. In order to allow
2017 the opening hours were significantly reduced diverse Castlemaine. At times I have been privileged your mind to ‘see’ the works it is important to slow
to teach Secondary Art History; once retired, I trained down your thoughts and internal chatter and engage
from 31 hours per week, to CAM currently being open
as a guide first at Bendigo Art Gallery and then CAM. with the works on display to gain new personal
20 hours per week. Despite the reduced hours 7,083 Subsequently I have been able to train other guides at perspectives; and so, it was recently.
people from across Victoria, interstate and around the both galleries. My focus now is solely on CAM. As a VCE art teacher at Castlemaine Secondary
world visited CAM. A trained guide is available at CAM every Saturday College, I dropped in recently to consider which
afternoon—to greet visitors and engage with them in works we might pay close attention to for our
We have also taken over 90 people on private
conversations about our works on display as well as analysis tasks next year. An impression of Collins
group tours of CAM from organisations as diverse their art appreciation/ experiences elsewhere. Often Street (1910) by Edward Shearsby immediately struck
as Hepburn Shire Visitor Information Centres and our visitors have a high level of knowledge about art me because of its focus on the use of perspective to
Castlemaine Health to the AMA. This number does and are eager to share their perspectives. This keeps create the impression of space.
us on our toes: we too need to be up to date about This work prompted me to think of the story
not include the multitude of personalised tours that
current exhibitions elsewhere. We provide formal that the NGV once purchased a painting from
our Volunteer Guides take visitors on every Saturday. tours when CAM visitors prefer the more structured a young relatively unknown artist with a similar
CAM thanks Judith Staudte, Guide Coordinator, approach. use of perspective titled Boulevard Montmartre,
and the team of Volunteer Guides for their We continue to have a generally small, but morning, cloudy weather (1897). The artist was of
steady stream of visitors on Saturdays. Some have course Camille Pissarro, who today is considered
outstanding commitment and contribution to CAM,
never visited us before and may be stopping on their an Impressionist master, however when the gallery
they are one of the reasons that CAM is such a way between other towns, while others have arrived purchased the work they gambled on this their first
wonderful drawcard and welcoming experience. purposely to confirm that we continue to function as a ‘Impressionist’ work paying the princely sum of one
gallery/ museum while our restructuring is occurring. pound.
All express their delight in our collection, in the many Back to Collins Street as an Australian theme, I
prominent artists who are represented and give their am reminded of the iconic Collins St., 5pm by John
very best wishes for our long-term future. Brack. Who can forget those solemn figures with
As guides we meet monthly to refresh our their brown hats and coats marching home in lines
knowledge of our own collection or to consider work after work? Brack’s choice of perspective becomes
in other galleries (especially those by artists whose important here too because the whole picture plane
work CAM holds). The latter may well involve a half is flattened out.... He is deliberately conscious in
or full day excursion, which itself strengthens our his use of perspective by placing the viewer right
camaraderie and common knowledge, thus each guide there, front and centre, nestled amongst the cropped
spends 4–10 hours per month: learning, discussion and figures in the foreground.
presenting to the public.
12 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8Our Museum
OUR MUSEUM HOLDS significant historical items
including photographs, costumes, decorative arts
and artefacts from the Mount Alexander goldfields
district. The Gallery and Museum is fully accredited
by Museums Australia.
The Historical Museum provides a fascinating
look at the history of Castlemaine and the surrounding
regions. From the Dja Dja Wurrung people, through
to the Gold Rush and beyond, the museum has
something for everyone. There is a treasure-trove of
objects and delights adults and children alike.
Our Museum Volunteer
Diane Frape-Linton
‘I HAVE BEEN volunteering in local museums since
1984 and came to CAGHM in 1991 after finishing
cataloguing the textile collection at Buda. Born in
Wales, all my life I have been passionate about history
and its preservation and read History at university.
CAGHM’s museum was always starved of funds,
so it was a challenge to work harder to take care
of the Collection. I worked under two curators –
Lauretta Zilles and Kirsten McKay. In the mid-1990s
I set up the computer database files for the Gallery
collections and those of other organisations in the
… I encourage you to have a look and listen ABOVE Edward Shearsby, An Impression of Collins Street (c.1910)
to the work, then compare your thoughts of the Oil on Board. Estate of Barbara J Gordon 1999. AN1037 area – computers were a rarity at that time. I dealt
romantic views of Montmartre and Collins Street with with the cataloguing backlog and the data entry for
this contemporary view of the ordinary. the museum. For my work I was honoured with a Life
Membership.’
S E C T I O N 1 A B O U T C A S T L E M A I N E A R T M U S E U M 13‘In 2001 I took a break and returned to Buda for
a few years, being called back on occasions by Peter
Perry to assist with one-off matters. Beth Sinclair
made a significant donation of items during those
years on condition that I catalogue them – it was
gratifying to receive such approval. In 2011 I was back
catching up on cataloguing backlogs again.’
‘When Kirsten resigned in 2013, I was the only
museum volunteer familiar with the collection from
my cataloguing activities so managing the collection
was left to me. I organised new displays, dealt with
historical enquiries, liaised with other local historical
organisations, reorganised the storage area and with
assistance made lists of items in various locations to
facilitate retrieval.’
‘Since the beginning of 2018 I have been
cleaning the storage areas, checking the collection
for signs of insect activity, preparing the museum
database for transfer to the Vernon System, handling
enquiries from the public and organising new
displays. Outsiders rarely have any idea of what is
required to manage a collection, so my contribution
is not understood by many, but I get a great deal of
satisfaction from the work I do knowing that I am ABOVE Castlemaine Historical Museum
playing a significant role in preserving local heritage.’
CAM thanks Diane for her longstanding commitment
and invaluable contribution to the Museum, without
her it would not be the drawcard, or valuable
historical resource, that it is.
14 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8SECTION
OUR GOVERNANCE
Governance Structure transition of its functions to a company limited by Castlemaine Art Gallery &
THE CASTLEMAINE ART Museum is a company guarantee. Historical Museum Trustees
limited by guarantee and a permanent establishment Following its incorporation, CAM became the Report
administered in the public interest whose primary sole member of CAGHM. The 5 elected members of
Mr George A Milford (Chairman of Trustees)
function is to collect, preserve, and display works of the CAM Board are also members of the CAGHM and Mr Bill I Maltby
art and to present their history and background for Committee.
the pleasure and education of the public. The Castlemaine Art Gallery and Historical THE TRUSTEES HAVE been pleased to work
CAM was registered as a company limited by Museum Foundation (the Foundation) is a trust collaboratively with representatives of CAM
guarantee under the Corporations Act 2001 on 14 created in 1929 under a Deed of Trust. There are Board towards the revitalization and longer-term
July 2016. It is also registered as a not-for-profit currently two individual trustees, George Milford and sustainability of the Gallery and have been keen
association under the Australian Charities and Not- William Maltby (Trustees), who hold the assets of the participants in the ongoing Business and Operational
for-Profits Commission Act 2012. Foundation on trust for the Gallery. Planning. It is clear from these talks that the success
CAM has a Board of Directors comprising up to 5 The Trustees hold land, buildings, collections of the institution, the maintenance of its (relative)
elected directors and up to 4 appointed directors. and intellectual property in trust for the purposes of independence, the accessibility of its outstanding
CAM’s incorporation occurred following the CAGHM for the benefit of the members of the Gallery. collections and the potential for near-term resumption
recommendations of a review in 2015 funded by The Trustees also administer particular funds for the of arts events are matters of vital concern to the
Creative Victoria. This review found that to develop same purposes in relation to the same land, buildings, entire range of ‘stakeholders’.
a sustainable future, engage better with audiences, collections and museum. The terms of the trust place The Trustees have been informed that firm plans
and have greater positive impact in the community, the Trustees at the direction and control of CAGHM’s are now in place for the 2019 Len Fox Award. This
the Committee of the Castlemaine Art Gallery and Committee. event will raise the profile of CAM, engage with
Historic Museum (CAGHM), an unincorporated many contemporary artists and be supported by
association that operated the Castlemaine Art Gallery educational programs. This will be principally funded
and Museum (Gallery) at the time, needed to develop from Trust moneys.
its governance, strategic direction, and operations. The Trustees acknowledge the backroom work
At a Special General Meeting on 17 November undertaken by CAM during the period of scaled-
2015, the members of CAGHM endorsed the down operation; this work included some ‘heavy
15lifting’ in terms of data capture in a new collection Foster and promote the arts through the Provide an appropriate level of ancillary services,
management system. operation of the Museum; such as a retail outlet, catering facilities and
It has been gratifying to see the enduring Stimulate interest in, support and promote public programs;
interest, by visitors, in both the historical museum the significant cultural, educational and civic Encourage and support the active development
and the 2017/2018 display, which includes some contributions made by the Museum; of staff skills and professional expertise;
of the Gallery’s representative holdings of ‘tonalist’ Further continuing community awareness, access Market the Museum’s activities and foster
works together with other paintings drawn from and engagement with the arts and arts related membership to increase attendance numbers;
the permanent collection. Of course, the works on activities offered by the gallery; Provide research facilities and services to
display are but a fraction of what is an outstanding Adopt, interpret, amend, formulate and issue document art works and to provide source
art collection. policies that support the fostering and promotion material primarily for educational programs and
The Trustees, along with all stakeholders, are of the arts; publications;
looking forward to the near future when both the Promote the arts and creativity for public, Raise funds for Museum purposes;
collection and premises again become the focus and government and commercial recognition and Foster and build positive relationships with
venue of lively and engaging visual arts activities benefits whilst ensuring integrity of makers; individuals and organizations both public and
within Mount Alexander Shire and beyond. Manage, present and promote art events, private, which are relevant to the Museum; and,
competitions and exhibition launches; Undertake other actions or activities necessary,
Our Objectives Have regard to the public interest in its incidental or conducive to advance these Objects.
AS DETAILED IN the Castlemaine Art Museum’s operations;
(the Museum) Constitution, CAM is a company Acquire appropriate works for the enhancement Our Activities
limited by guarantee and a permanent establishment of the Museum’s collections; THE 2017/18 YEAR provided visitors the opportunity
administered in the public interest whose primary Ensure that the works for which the Museum is to see part of Castlemaine Art Museum’s treasured
function is to collect, preserve and display works of responsible are adequately housed, documented permanent collection on display. There was also a
art and to present their history and background for and cared for; host of changing displays in the Historical Museum
the pleasure and education of the public. Display the collections to their fullest advantage; across the year.
Advancing the following objectives is at the core Supplement Museum owned material with Despite not having a revolving exhibition
of the work of Board throughout the 2017/18 financial exhibitions and loans from other sources; program as such at CAM during the year, we’ve
year and as we move forward into 2018/19 and Ensure that the Museum’s premises are enjoyed two exhibitions, the installation of Graham, a
beyond. accessible to the public and are safe and Patricia Piccinini work, from the Transport Accident
The Objects for which the Company is attractively maintained; Commission (TAC), and the Australia Studio ceramics
established are to: exhibition ‘Gifted’, which included the major gifts from
the Kohane and Moore families to the Castlemaine
16 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8Art Museum Collection, through the Australian the mid-20th century to today, significantly augment
Cultural Gifts Fund. CAM’s collection of Australian studio pottery.
Graham Castlemaine Art Museum thanks the Kohane and
Evolutionary science and human vulnerability are at Moore families for their extraordinary generosity.
the centre of Graham, which opened at CAM on the
8 July 2017. Graham is a sculptural work by Patricia The Collection – Acquisitions,
Piccinini that explores what we might look like if we Loans & Collection Management
were built to survive on our roads.
Created in collaboration with Royal Melbourne Acquisitions
Hospital trauma surgeon Christian Kenfield and There were no new acquisitions during the 2017/18 ABOVE Ethel Carrick Fox, French Beach Scene (c.1910), oil
on wood panel. Gift of Maj. Basil R.F. MacNay 1978. AN858.
Monash University Accident Research Centre road financial year Copyright: The Estate of the late Mrs Ethel Carrick Fox.
safety engineer Dr David Logan, Graham is a sober
reminder of just how vulnerable our bodies really are. Loan – Into Light Exhibition – Art Gallery of Collection Management
Commissioned by the Transport Accident Ballarat The engine-room of museum operations is its
Commission, the work merges art, medical science From the 23 June 2018 the Art Gallery of Ballarat collection management system (CMS). Invisible to
and road safety and also includes a unique hosted Into Light, an exhibition highlighting French the museum visitor, a CMS is a database—a ‘live’
augmented reality experience – the first of its kind in Masterworks from the Musée de la Chartreuse, the inventory of the collection—that drives all essential
Australia – that allows you to get under Graham‘s skin regional gallery for Douai in northern France. operations: asset management, significance
and discover why he looks the way he does. This exhibition explored not only French assessment, conservation planning, exhibition
Impressionism but also showcased key paintings development, education programs, and digital
Gifted: The Kohane and Moore donations of by Australian artists either working in France or in content. CAM’s current antiquated system must
Australian Studio Ceramics Australian in the Impressionist style. CAM was thrilled be replaced. Along with securing the resources
This exhibition opened on 15 July 2017 and to have one of our works on loan to the Art Gallery to keep our doors open, the Board has made the
showcases two recent major gifts to the Castlemaine of Ballarat for the exhibition – Ethel Carrick Fox improvement of collection management a key
Art Museum collection. (1972–1952), French Beach Scene, oil on wood panel, fundraising target. Over 2017/18 key fundraising
Generously donated through the Australian 22 x 33 cm. projects were undertaken to focus on raising funds
Government’s Cultural Gifts Program, these gifts This is an incredibly significant work in the to support the acquisition of the industry-standard
highlight the vital role that private donors have in Australian artistic canon and CAM was delighted Vernon collection management system. Thanks to
supporting and building a significant collection. that so many people could see this beautiful and the generous support of the Sotheby’s Australia
These works, spanning ceramic art in Australia from important work. fundraising evening, and the Albert and Barbara
S E C T I O N 2 G O V E R N A N C E 17ABOVE Castlemaine Art Museum 2018, featuring Zoe Amor, Dusk
(2009), black patina sculptural work. Commissioned by Cherry Tennant
in Honour of Frank Mau 1925–2007. PHOTOGRAPHY: FRED KROH
Tucker Foundation, this project has been able to This project sees the transfer of existing data to Importantly, the second stage of this exercise
become a reality. an up-to-date system used in major Australian would offer online access to the collection database,
The key activity areas of the Vernon project are: museums. Supported by an audit of CAM’s along with images of works in the collection. CAM
Continuing essential collection management collections and a general clean-up of data, this lags behind many of its peers in this respect and
services; upgrade will allow CAM to improve its confidence needs to open up its collections online to visitors,
Collection management system; to undertake fundamental asset management tasks students, scholars and art fans. However, now that
Digital photography and online access; and, (What do we have? Where is it? What is its value and this project is underway the future is looking bright for
An audit of the collection. significance? What are the conservation needs?). CAM’s collection and how it is managed.
18 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8SECTION
OUR FINANCES
Treasurer’s Report With further financial assistance from Creative which includes the completion of the implementation
Victoria, the Board commenced its important work to of the Vernon Collection Management System, the
Liz Tromans, Treasurer.
develop a detailed Plan for the future sustainability funding of a modest exhibition program to coincide
2017/18 PRESENTED of the Gallery. We developed our relationships with with the Castlemaine State Festival in March 2019, a
CAM’S Board with some our key funders and prospective philanthropists. rehang of the permanent collection and a program of
very difficult financial We were able to commence work to plan and install audience engagement activities.
challenges. In July 2017, the Vernon Collection Management System with Finally, I’d like to express a special thanks to
having realised there additional funds received from hosting a special our Bookkeeper, Loralee Luckett of RSD Chartered
was insufficient cash to fundraising event sponsored by Sotheby’s in Accountants for her patience and support, in assisting
enable CAM to continue to November 2017 and grant funds received from the me in my first year as CAM’s Honorary Treasurer.
operate the Gallery on the Tucker Foundation.
same basis as it had during 2016/17, and having In June 2018, with the objective of ensuring that Finance & Audit Report
exhausted all avenues immediately available to CAM had enough funds to continue as a going Castlemaine Art Museum
obtain further funds, the Board made the very concern, we held a very successful fundraising event ABN: 21 613 667 664
difficult decision to shut the doors and to focus on at the Gallery. Financial Statements
developing a plan to ensure the future sustainability I’m pleased to be able to report that our operating For the year ended 30 June 2018
of the organisation. surplus for the 2017/18 year was $443,078 and as
In August 2017, in response to the public at 30 June 2018 our net assets were $277,806. The Castlemaine Art Museum
announcement of the decision to close the Gallery, strong operational result provides the Board with Director’s Report
CAM received $125,000 from our Anonymous Donor enough certainty about its cash flow over the next 18
via Sotheby’s. This generous donation has enabled months, to enable us to continue with our strategic Directors
us to open the Gallery to the public, free of charge, and business planning work and to ensure the The names of each person who has been a director
on four days each week. We also received a further ongoing maintenance of the collection. during the year and to the date of this report are:
donation of $50,000 from the Macfarlane Fund to With the assistance of Peter Matthews, engaged Bryon Willis Cunningham (Chair)
assist CAM to pursue its work in engaging with its by the Board on a short-term consulting basis, the Craig Anthony Mutton (Acting Chair)
audiences and the community at large. Board has approved a robust Budget for 2018/19 Elizabeth Tromans (Hon. Treasurer)
19Andrew Richard Pickles (Hon. Secretary) Operating Result the liability arises out of conduct involving the lack of
Deborah Valmai Ratliff Resigned May 2018
The net result of the Castlemaine Art Museum is: good faith.
Christopher McAuliffe
30 June 2018 30 June 2017 Disclosure of the nature of the liability and
Jacqueline Millner Appointed April 2018
Janet Clare Savage Resigned March 2018 $ $ the amount of the premium is prohibited by the
Graham Seldon Resigned August 2017 443,078 (165,272) confidentiality clause of the contract of insurance.
The company has not provided any insurance for an
Directors have been in office since the start of the After Balance Date Events auditor of the company or a related body corporate.
period to the date of this report unless otherwise No matters or circumstances have arisen since
stated. the end of the financial year which affected or may Proceedings on Behalf of the Entity
significantly affect the operations of the company, the No person has applied for leave of Court to bring
Company Secretary results of those operations or the state of affairs of the proceedings on behalf of the entity or intervene in
The company secretary is Andrew Richard Pickles, company, in future years. any proceedings to which the entity is a party for the
who was appointed to the position 14 July 2016. purpose of taking responsibility on behalf of the entity
Andrew is currently the Head of Litigation at Future Developments for all or any part of those proceedings.
Robertson Hyetts Solicitors. He has experience No matters or circumstances are expected to The company was not a party to any such
in corporate governance in other non-profit develop in the future which may significantly affect proceedings during the year.
organisations. the operations of the company, the results of those
operations or the state of affairs of the company, in Information on Directors
Principal Activities future years.
The principal activity of the company during the Bryon Willis CUNNINGHAM
Qualifications Exhibition Designer specialising in the
course of the period was operating the Castlemaine Environmental Issues
concept design, interpretation of content and realisation
Art Gallery and Historical Museum. The entity’s operations are not regulated by any of public and private exhibitions in museums and galleries
significant environmental regulation under a law of Experience 30+ years in making and building of
Significant Changes the Commonwealth or of a state or territory. new museum exhibitions in major public institutions
No significant changes in the company’s state of in Australia and Overseas. Creative Director for the
development of new museums and galleries from concept
activities occurred during the period ended 30 June Indemnification and Insurance of Directors and through developed design to contract administration,
2018. Officers installation and commissioning.
The company has indemnified all Directors in respect Special Responsibilities Chair of Project Control Group
of liabilities to other persons (other than the company for the Regional Development Victoria CAM Business
Case Development project
or related body corporate) that may arise from their
position as Directors of the company except where
20 C A S T L E M A I N E A N N U A L R E P O R T 2 0 1 7 – 1 8Craig Anthony MUTTON Andrew Richard PICKLES Christopher McAULIFFE
Qualifications BComp (CompSci), Master of Project Qualifications B.A. (Monash) LL.B (Monash) LL.M Qualifications BA Hons (U of Melb), MA (U of Melb),
Management, MBA. (Monash). PhD (Harvard).
Experience Extensive executive management career, Experience Head of litigation team, Robertson Hyetts Experience Currently Professor of Art (Practice-led
with deep skills in strategy, transformation leadership, Solicitors. Admitted to practice in 1982. Involvement research), School of Art & Design, ANU; consultant
and stakeholder engagement. Also a Board member, and in corporate governance in non-profit organisations to Te Papa Museum, New Zealand; freelance curator.
Chair of the Audit & Risk Committee at Hepburn Health including advising the Bendigo Art Gallery and Director, Ian Potter Museum of Art, the University of
Service. Foundation and Trustees. A former president of the Melbourne, 2000–13; Lecturer in Contemporary Art, Art,
Special Responsibilities Member of Finance and Risk Bendigo Law Association. Mediation accreditation the University of Melbourne, 1991–2000. Visiting Professor
subcommittee. from Bond University, and an arbiter under the Local of Australian Studies, Harvard University, 2011–12. A
Government Act. Also on a local football committee, and a member of management committees and boards at Arts
board member of Sun RFCS, a rural financial counselling Project Australia, Linden Contemporary Art space, City of
Elizabeth TROMANS service based in Mildura and Bendigo. Previously member Port Phillip, National Gallery of Victoria, Samstag Museum
Qualifications GAICD, Masters of Commercial Law (Uni of Castlemaine Art Gallery and Historical Museum University of South Australia.
of Melbourne); Grad Dip of Legal Practice - Admitted to Committee of Management prior to incorporation, elected Special Responsibilities Member, Collections and
practice in the Supreme Court of Victoria, Juris Doctor 2014. Acquisitions subcommittee
(Uni of Melbourne); Grad Dip in Applied Finance (FINSIA); Special Responsibilities Company Secretary
Bachelor of Economics (Uni of Adelaide). Professional
memberships: Australian Society of CPAs; Law Institute Jacqueline MILLNER
of Victoria, Taxation Institute, CTA, Australian Corporate Qualifications PhD (University of Sydney); MA
Counsel. Deborah Valmai RATLIFF (University of Sydney); Bachelor of Visual Arts (University
Experience Board Experience: Camcare Incorporated Qualifications BA Secondary Arts Education. of Sydney); Bachelor of Laws/Bachelor of Arts,University
(Nov 2012–current) (Board Secretary); Chair, Governance of NSW; Professional Memberships: Australia and New
Experience Co-coordinator National Gallery of Victoria
Committee; Former Chair, Social Enterprise Working Zealand Art Association; College Arts Association (USA);
Studio 2010–13; Program coordinator NGV 2013–15;
Group; Former member of the Finance, Audit and Risk AICA, international Art Critic Association (France).
Coordinator Visual Arts Biennial, Castlemaine State
Management Committee; HICAPS Pty Ltd (2004–2010) Festival, 2013 and 2015; Associate Curator, Punctum’s Experience Currently Associate Professor of Visual Arts
Director and Chairman; Victorian State Council, Migratory Complex Mons 2015 Capital for Culture and Deputy Head of School of Humanities and Social
Taxation Institute (1999–2009), Relationship Services program, Belgium. Currently serves on Boards of the Sciences, La Trobe University. Previously Associate
Pty Ltd (2004–2010), Director. Experience: A trusted Macfarlane Fund and Punctum. Previously member Professor of Art History and Theory and Associate Dean
governance professional with local and international of Castlemaine Art Gallery and Historical Museum Faculty of Sydney College of te Arts, University of Sydney.
blue-chip company experience and Not-for-Profit director Committee of Management prior to incorporation, elected Extensive academic management experience and arts
experience. Senior management roles in Australia Post 2014. boards memberships, including of the Australian Centre
(current employer) and NAB (formerly Head of Taxation, for Photography, Sydney and Artspace Contemporary
Special Responsibilities Member of the Collections and
Australia); professional practice experience at Corrs Visual Arts Centre, Sydney.
Acquisitions subcommittee.
Chambers Westgarth and Coopers & Lybrand; ATO Special Responsibilities Member of the Collections and
(various positions). Acquisitions subcommittee.
Special Responsibilities Honorary Treasurer, Chair of
Finance and Risk subcommittee
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