The role of public galleries, commercial galleries and other art spaces.

1. The role of public galleries, commercial galleries and other art spaces.

2. Public Art Galleries

3. Public art galleries: Galleries, cultural institutions funded, owned and established by the government. The aim of a public gallery is to educate and/or inform the general public along with schools and universities, and to collect and promote art. Public galleries are not operated to generate a profit and are therefore devoted to collecting, conserving and presenting to the public an array of Australian and international artworks. These may include various art forms such as sculpture, painting, ceramics and new media. In order to be exhibited in a public art gallery an artist needs to be very well established with an excellent reputation in the art world and the public domain. For example: National Gallery of Victoria, International Ian Potter Centre, Fed Sq Heide Gallery of Modern Art Australian Centre of Contemporary Art (ACCA) Gertrude Contemporary Art Space Centre for Contemporary Photography (CCP)

4. Australian Centre of Contemporary Art (ACCA) www.accaonline.org.au Heide Gallery of Modern Art www.heide.com.au Ian Potter Centre, Fed Square National Gallery of Victoria, International www.ngv.vic.gov.au

5. Gertrude Contemporary Art Space www.gertrude.org.au Centre for Contemporary Photography (CCP) www.ccp.org.au

6. Funding Public art galleries are funded, owned and established by the government. They do not rely on the sale of artworks as they receive funding from state, federal and/or local government bodies as well as corporate and private sponsors. Public art galleries may also receive bequests and donations from individuals, couples, groups, businesses, philanthropists and other collectors. To receive tax deductions, artists may select works to donate to public gallery collections.

7. Marketing and promotion • Public art galleries use funding from large company sponsorship to promote exhibitions along with money from an allocated budget. The galleries also rely on monies raised through ‘friends’ of the gallery, whose purpose is to support the gallery through fundraising, social events and activities. • Marketing and promotional avenues include: • Print media – newspapers (eg the Age), specialist magazines and journals (egArt Australia, Art Almanac) and billboards. • Electronic media – gallery websites, television and radio • Direct marketing • A database is also used when establishing mailing lists to forward pamphlets and invitations to openings.

8. Education Public galleries run education programs for schools, universities and the public. They offer professional development programs for primary school, secondary school and university educators along with offering guided tours of exhibitions to the public. Most public galleries employ a full-time or part-time educational officer.

9. Conservation and preservation of artworks The preservation and conservation of artworks is a high priority for public art galleries as they house valuable artworks that are either on loan from another gallery or form part of a gallery’s permanent collection. A permanent collection contributes to the cultural wealth of the state and country and the collection may develop an international reputation. The Rokeby Venus is one of the finest nudes ever created. This painting held at the National Gallery in London, is a life-sized painting of a nude woman of the Baroque period. Mary Richardson, who said she didn't like the way men looked at the Venus, took an axe to the painting, as described in The Times of Wednesday, March 11, 1914: "The famous Rokeby Velasquez, commonly known as the "Venus with the Mirror," which was presented to the National Gallery in 1906, was mutilated yesterday morning by the prominent militant woman suffragist Mary Richardson. She attacked the picture with a small chopper with a long narrow blade, similar to the instruments used by butchers, and in a few seconds inflicted upon it severe if not irreparable damage. In consequence of the outrage the National Gallery will remain closed to the public until further notice."The painting was carefully restored, but the slash marks are still faintly visible.

10. The Night Watch was first hung in the regimental HQ of the militia company it depicts. In 1715 it was moved to the Amsterdam town hall, where it did not fit on the designated wall, so it was cut down on all four sides. Luckily, the Rijksmuseum holds a smaller reproduction of the original work, so at least we know what it used to look like. On the eve of the German invasion in WW2 the great painting was removed from its frame and rolled into a cylinder. It was then buried in sand dunes but later hidden, with the bulk of the Rijksmuseum’s treasures, in a mine. It survived the rigours of war with no damage, only to be attacked in 1975 by an unemployed school teacher, who fought off a museum guard and told bystanders that he "did it for the Lord." The painting suffered a large zigzag of slashes. It was successfully restored but some evidence of the damage is still observable close-up. In 1990, a man sprayed acid onto the painting with a concealed pump bottle. Security guards intervened and water was quickly sprayed onto the canvas. Luckily, the acid had only penetrated the varnish layer of the painting and the painting was fully restored. Rembrandt The Night Watch, 1642 Oil on canvas 363 x 437 cm Rijksmuseum, Amsterdam

11. The Mona Lisa was stolen on August 22, 1911 and wasn’t recovered until 2 years later by an employee VincenzoPeruggia of the Musee du Lourve who had entered the building during regular hours, hiding in a broom closet and walking out with it hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed Leonard’s painting should be returned to Italy for display in an Italian museum. He may have also been motivated by a friend who sold copies of the painting, which would skyrocket in value after the theft of the original. After having kept the painting in his apartment for two years, Peruggia grew impatient and was finally caught when he attempted to sell it to the directors of the Uffizi Gallery in Florence; it was exhibited all over Italy and returned to the Louvre in 1913. Peruggia was hailed for his patriotism in Italy and only served six months in jail for the crime. During World War II, the painting was removed from the Louvre and taken safely, to a number of galleries, then finally to the Ingres Museum in Montauban, southern France. In 1956, the lower part of the painting was severely damaged when a vandal doused the painting with acid.On December 30 of that same year, a young Bolivian named UgoUngaza Villegas damaged the painting by throwing a rock at it. This resulted in the loss of a speck of pigment near the left elbow, which was later painted over. Leonardo da Vinci Mona Lisa, 1503-1519 Oil on poplar 77x 53cm Musee du Louvre, Paris The use of bulletproof glass has shielded the Mona Lisa from more recent attacks. In April 1974, a handicapped woman, upset by the museum's policy for the disabled, sprayed red paint at the painting while it was on display at the Tokyo National Museum. On August 2, 2009, a Russian woman, distraught over being denied French citizenship, threw a terracotta mug or teacup, purchased at the museum, at the painting in the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.

12. Public art galleries The aim of public art galleries is to educate the public and promote art. Non-profit based. Public art galleries are funded, owned and established by the government. They do not rely on the sale of artworks to finance the gallery as they receive funding from state, federal and/or local governments and corporate and private sponsors. They are devoted to collecting, conserving and presenting to the public an array of Australian and international works of art.

13. Commercial Art Galleries

14. Commercial art galleries Aim The aim of a commercial art gallery is to make money through selling and/or lending contemporary and historical artworks to art collectors and/or the public. Commercial art galleries operate as businesses to make a profit for the owners of the business. For example: Anna Schwartz Gallery Sutton Gallery Darren Knight Gallery

15. Anne Ferran Elizabeth Gower Helga Groves Sara Hughes Ruth Hutchinson RaafatIshak Helen Johnson David Jolly Lindy Lee Nick Mangan John Meade Deborah Paauwe Rosslynd Piggott Peter Robinson David Rosetzky Nick Selenitsch Jackson Slattery Simon Terrill Jane Trengove Sutton Gallery www.suttongallery.com.au Catherine Bell Gordon Bennett Kate Beynon Vivienne Binns Stephen Bush Eugene Carchesio Jon Cattapan John Citizen Brett Colquhoun AleksDanko

16. ANTHONY HOPKINS ANDREW HURLE DANIUS KESMINAS HORST KIECHLE SASKIA LEEK EUAN MACDONALD ROB MCHAFFIE NOEL MCKENNA JENNIFER MILLS JAMES MORRISON MICHELLE NIKOU KENZEE PATTERSON PUNKASILA ROBERT ROONEY SLAVE PIANOS CHARLIE SOFO MICHAEL STEVENSON RICKY SWALLOW THE HISTRIONICS RONNIE VAN HOUT ANNE WALLACE LOUISE WEAVER Darren Knight Gallery www.darrenknightgallery.com LAURENCE ABERHART JOANNA BRAITHWAITE JON CAMPBELL BEN CAUCHI ETSUKO FUKAYA JASON GREIG MICHAEL HARRISON PATRICK HARTIGAN DON HERON MARK HILTON

17. MARCO FUSINATO SHAUN GLADWELL ANTONY GORMLEY ROBERT HUNTER LYNDAL JONES ROBERT KLIPPEL JOSEPH KOSUTH SHELLEY LASICA AKIO MAKIGAWA GABRIELLA MANGANO & SILVANA MANGANO CLEMENT MEADMORE CALLUM MORTON JAN NELSON TOM NICHOLSON JOHN NIXON ROSE NOLAN MIKE PARR STIEG PERSSON KERRIE POLINESS STUART RINGHOLT VIVIENNE SHARK LeWITT YINKA SHONIBARE, MBE KATHY TEMIN PETER TYNDALL BRENDAN VAN HEK DANIEL VON STURMER JENNY WATSON JOHN YOUNG AES&F LIDA ABDUL PETER BOOTH CHRISTINE BORLAND STEPHEN BRAM PHILIP BROPHY LOUISA BUFARDECI JANET BURCHILL BURCHILL/MCCAMLEY IAN BURNS MUTLU ÇERKEZ SUSAN COHN SHANE COTTON PETER CRIPPS DANIEL CROOKS ANGELA DE LA CRUZ MIKALA DWYER EMILY FLOYD DALE FRANK Anna Schwartz Gallery www.annaschwartzgallery.com

18. Callum MortonHotel, 2008installation, EastLink commission

19. Emily Floyd Signature Work, 2004 an anthropomorphic toy rabbit Docklands Park, Melbourne

20. Emily FloydPublic Art Strategy, 2008fabricated steelinstallation, EastLink commission

21. Funding Funds are generated from commissions charged by the gallery on the sales of artworks. The commissions may range from fifteen to thirty per cent of the sale price, depending on the particular gallery. Funds are also generated by hiring out the gallery space and charging general exhibiting fees as commercial galleries require the artist to contribute to costs involved in an exhibition such as advertising, printing invitations and catering costs for the opening.

22. Marketing and promotion Commercial art galleries have a database of collectors who buy work from them on a regular basis. This database is also used to create a mailing list. As with public galleries, commercial galleries also use print media and electronic outlets to market and promote exhibitions. Through regular newsletters, the gallery’s website and advertising in specialist magazines such as Artlink and their website, the gallery is able to promote current exhibitions and acquisitions. Commercial galleries promote and market the artist. If an artist wishes to exhibit their work in a commercial art gallery, the artist needs to submit to the gallery a CV outlining previous exhibitions, qualifications and experience in making and exhibiting art. If successful, the artist will be asked to come into the gallery for a meeting with the directors (the owners) to discuss marketing strategies for the artist’s work. To sustain a viable business, the commercial gallery owner relies primarily on income from the sales of artworks. By necessity, directors must be very selective in their choices regarding the stable of artists they represent, as their artworks need to sell for the gallery to make money and stay in business.

23. Education Commercial galleries generally do not offer any education programs. The services that they offer include advice concerning framing and organisation of transport once a purchase has been made. Some commercial galleries may educate their clients about art and art collection to enhance their business. They may also opt to provide students with access to their exhibitions for educational purposes. Educational visits should always be pre-arranged for courtesy, security and occupational health and safety reasons.

24. Conservation and preservation Commercial galleries are generally responsible for more short-term aspects of conservation while the artwork is being exhibited and stored in the stockroom.

25. Commercial art galleries The aim of commercial art galleries is to sell and, at times, lend or lease contemporary and historical artworks to art collectors and the public. Profit based. Commercial art galleries operate as businesses to make a profit for the owners of the business. Money is generated from the commissions charged on sales of artworks and the exhibition hire fees charged by the gallery. Commercial art galleries promote and market a number of artists and offer ongoing support and promotion for artists whose artworks sell and make money for the gallery.