Dr Leonie Gray
Chair, Rockhampton Museum of Art Philanthropy
Rockhampton Museum of Art (RMOA) is a twenty-first-century hallmark of a city with a proud history of philanthropy and cultural investment. Our enviable art collection could not have been developed without the generosity of our loyal donors and avid supporters, and I am delighted we have a new home to honour their legacy. Situated on the banks of Tunuba (Fitzroy River) and alongside the iconic Customs House, this new state-of-the-art museum places our collection physically and symbolically at the heart of Rockhampton. Here we can also recognise a contemporary culture of collaborative benefaction, locals who are investing in our collection today so that the next generation can discover and experience this impressive body of works. My deepest thanks go out to all those donors who have contributed to and thereby continue to nourish the growth of RMOA’s collection.
Philanthropic pursuits and advocacy of the arts have always been the primary focus for RMOA Philanthropy (formerly the Rockhampton Art Gallery Trust). I took on the role of Chair in 2016, and I recognise the dedicated service of former Board Members and Trustees, which, as a voluntary body, has been chaired by Fred Berry (1990–94), Pamela Green (1995–96), Charles Ware (1997–2007), and Merilyn Luck OAM (2007–16). We hold this position with humility, being representatives of the broader Rockhampton community that have collectively shown time and again that an investment in the arts and a public collection is a commitment to building a cultural spirit for our region.
The earliest art donation to the City of Rockhampton was in 1931, a bequest from the estate of local resident Edward Cureton Tomkins. The painting gifted in this bequest was once thought to be by artist Sir Joshua Reynolds but was later re-attributed to another English portrait painter Lemuel Francis Abbott. Several decades after this initial donation, the Rockhampton Art Gallery was founded in 1967 as a dedicated exhibition space at Rockhampton Town Hall. In 1979, the Gallery was provided with a purpose-built home at 62 Victoria Parade. The impetus for this new building was motivated by the dramatic and sizeable acquisitions that occurred from 1976.
The story of former Mayor of Rockhampton Rex Pilbeam going on an acquisition bender for the fledgling Gallery has become the stuff of legend.1 Together with Bishop John Bayton, architect Neil McKendry, and Gallery director Don Taylor, he sought the advice of state gallery directors, before flying to Melbourne and Sydney to scoop the pick of contemporary paintings from commercial galleries. Through the financial backing of local philanthropists and an unsuspecting Australia Council, Pilbeam and his cohort assembled some 400 paintings, sculptures, ceramics and works on paper. It has formed the nucleus of a collection that has always been rich in artistic merit, but now financially as well—being valued to the tune of $15 million in 2021.
Since the 1970s, the collection has continued to grow through the support of Rockhampton Regional Council, Friends of the Gallery, through the Australian Government’s Cultural Gifts Program, private donors—of funds, but also artworks—and targeted fundraising campaigns. The Moya Gold bequest in 2010 that led to the development of the Gold Award 2021 is another significant vehicle in growing our Contemporary Australian painting collection.
These initiatives have enabled directors and curators to continue the Pilbeam legacy and to build a regional collection that could easily find a home in a state gallery. Directors indelibly leave their mark on an institution, and it is a credit to former employees that the RMOA can boast collection strengths in modern and contemporary Australian painting, ceramics, and Japanese art spanning some three centuries. The first full-time Gallery curator was Glen Webb (1970–74), followed by directors/managers Don Taylor (1975–89), Dianne Heenan (1990–95), Lawrence Bendle (1995–2000), Lisa Loader (acting in 2001), Sue Smith (2001–11), Tracy Cooper-Lavery (2011–16), and Bianca Acimovic (2016–21).
The essays enclosed in the pages of Forever Now delve into the RMOA Collection. Accompanied by a suite of images, this publication allows readers to re-kindle with old favourites and discover new treasures. I acknowledge the insights each writer has generously uncovered for this publication, and I thank them for their support and commitment to RMOA. The Gordon Darling Foundation has kindly assisted in the production of this publication. I extend my gratitude for the continued support and vision the Foundation has shown towards Rockhampton’s new museum. I extend my thanks to the museum’s dedicated team, who have toiled with great care to create this fine publication.
I undertake my role as Chair of the Philanthropy Board with great honour and with a love of Central Queensland and its fine collection of art. Value and investment are so often misconstrued as having merit only in a monetary sense, but this collection and its place in our community demonstrate soundly that this new museum is a place for nurturing creativity, sharing stories and inviting learning. This publication honours our past but also places our engagement with our collection firmly in the present. I sincerely thank our loyal benefactors who continue to show their commitment to Rockhampton by supporting a
collection that grows in interpretation and relevance. This support singles out our exceptional city as a place that values civic pride and public conviction in the arts.
February 2022
1 Diana Warnes, ‘Nothing Like It in the Country’, in Cream: Four Decades of Australian Art (Rockhampton: Rockhampton Art Gallery, 2014), 5–9.