Museum of Contemporary Art Australia: John Mawurndjul: I am the old and the new

Developed and co-presented with the Art Gallery of South Australia, in association with Maningrida Arts & Culture, 2018. Photograph: Alex Torcutti

Australian Art Exhibitions: Opening Our Eyes
By Joanna Mendelssohn, Catherine De Lorenzo, Alison Inglis & Catherine Speck, published by Thames and Hudson, 2018

Cover: Community visit to view Songlines: Tracking the Seven Sisters exhibition. National Museum of Australia, 2017. Pantjiti Lewis, Rene Kulitja, Alison Carroll (left to right) in the Dome Travelling Kungkarangkalpa 2017 Artwork Experience showing the Tjanpi sculptures Kungkarrangkalnga-ya Parrpakanu (Seven Sisters Are Flying), 2015

Manly Art Gallery and Museum, Mosman Art Gallery, S.H. Ervin Gallery: Destination Sydney re-imagined

Produced by Beagle Press, 2018. Cover: Jeffrey Smart, Central Station II, 1974-75. Collection: Art Gallery of New South Wales, Sydney

Australian Museum: Transformations: Harriet and Helena Scott, colonial Sydney’s finest natural history painters

By Vanessa Finney, published by NewSouth, 2018. Cover: Hyalophora morsitans, by Helena Scott

Griffith University Art Museum: With Heart and Hand: Art Pottery in Queensland 1900-1950

Cover: J.F. Beaumont, Pierced plate, 1955 (detail). Collection: Griffith University

Queensland Art Gallery | Gallery of Modern Art: Women’s Wealth

APT9 opening weekend performance. Photograph: Marc Pricop

Salamanca Arts Centre: Irene Briant: A Survey

Cover: Animal vegetable mineral: Collectors’ Mantelpiece, 2013. Photograph: Jack Bett

Heide Museum of Modern Art: Design for Life: Grant & Mary Featherston

Cover: Grant Featherston and Mary Featherston, Numero IV Chairs 1974. Collection: Museum of Applied Arts and Sciences. Photograph: Sotha Bourn

Public Galleries Association of Victoria: Art for the Country: The Story of Victoria’s Regional Art Galleries

Cover design: Wayne Saunders. Images from top, details: Eugene Von Guérard, Old Ballarat as it was in the Summer of 1853-4, 1884, Art Gallery of Ballarat Collection; Jeffrey Smart, Hide and Seek III, 1969; Warrnambool Art Gallery (WAG) installation view. Courtesy of WAG; Arthur Streeton, Impression for Golden Fleece, 1888. Cover supplied courtesy of Australian Scholarly Publishing (ASP).

Fremantle Arts Centre: Bush Women

Edited by Darren Jorgensen, 2018. Cover: Queenie McKenzie (Gara-Gara), Garloomboomy, Ngamany the Borders of Gija Country (detail), c.1992. Artbank collection, purchased 1994.

Grant programs and COVID-19

Due to uncertainties caused by COVID-19, no international travel will be funded at this time.

The Foundation will also delay holding a Museum Leadership Program Masterclass.


The Gordon Darling Foundation is a perpetual public charitable trust, established in 1991 to "support Australia-wide, activities of importance in the Visual Arts."

It will give priority to exhibitions of Australian, Asian, Pacific or other international art, or those of significant local importance.

It will assist with the costs of research, travel, publication, and the dissemination of knowledge and the enjoyment of all aspects of the visual arts to the widest possible audience.

The Foundation is normally prepared to support well-conceived projects of all kinds in the Visual Arts (other than capital works).

The Foundation encourages applications from all over Australia.

Who can apply?

The Foundation can only provide funding to Public Institutions in Australia. Applicant organisations must have Deductible Gift Recipient (DGR) status.

Individuals wishing to apply for funding for projects must partner with a Public Institution which then takes on responsibility for the project.

The Trustees will normally award only one application per organisation in any twelve-month period. Darling Travel Grants are considered a separate funding stream and do not preclude an organisation from applying for or receiving a grant.

What we do

Funding may be provided for:

  • catalogues and publications:
    • that are scholarly, preferably with well-researched new information.
    • that provide a permanent record of an exhibition, collection, or work of an artist or movement.
  • marketing or promotional costs, if they aim to reach new audiences, especially young audiences.
  • professional education initiatives, including individual professional development.
  • collection management initiatives, including database development and conservation.
  • research projects leading to the recognition and publication of material of significance.
  • internationally known speakers for symposia.

Preference will be given to catalogue and publication projects which will tour a cluster of venues, sharing costs, staff and experience.

Due to uncertainties caused by COVID-19, no international travel will be funded at this time.

What we don't do

The Foundation usually does not fund:

  • capital works, acquisitions, prizes or commissions.
  • general or core operational activities.
  • retrospective funding.
  • recurrent funding of a project or exhibition.

Guidelines for publication funding applications

In assessing applications for publication funding, several key factors will be considered, in addition to well-planned, scholarly content:

  • pricing should be as accessible as possible and suited to anticipated audiences.
  • print runs should be appropriate to reasonable anticipated demand.
  • any plans for distribution beyond the applicant’s venue/s should be noted.
  • circulating a large proportion of a print run as complimentary copies is usually discouraged.

The Foundation usually does not fund:

  • publications to be given away.
  • major publications which largely replicate existing publications.
  • catalogues for commercial exhibitions.
  • "vanity publications", whether of the institution, author or subject of the application.
  • souvenir or promotional publications.

Other funding criteria

The Foundation will consider funding projects that provide new or increased audience access to the visual arts.

Projects will be expected to attract considerable public exposure (applications should include details).

The Foundation may be the sole grant provider, the lead donor, or a participant in a collaborative funding with other private and/or public donors.

The Foundation will not normally support projects that have been almost fully funded from other sources.

By publishing these guidelines, the Foundation aims to encourage a high standard of application.

Application procedures

General Grant Program

  1. Read these guidelines to ensure that your project is a good fit.
  2. Contact the Gordon Darling Foundation to request the current year's application form:
    Phone: 03 9820 3168
    Administrators: Sherrie Antonio / Alister Shew
  3. Applicants should phone the Foundation to discuss their proposed application prior to submission.
  4. Applications must be made using the current year's form and emailed to by the closing date. The main application form should be submitted in the original Microsoft Word format. Supporting material should be submitted in A4 PDF format.
  5. Receipt of applications will be acknowledged by email.
  6. Applicants will be advised of outcomes by phone, and then by post.

Submissions will be examined by the Trustees of the Foundation three times a year. Assessment meetings in 2022 will be held in late February, early July and late October.

The application closing dates for 2022 are 7 January, 31 May and 30 September.

Darling Travel Grants - Global

The aim of these grants is to provide visual arts professionals in Australian public institutions with the opportunity to undertake international travel. Travel must be for a specific purpose and deliver benefits for both the individual and the institution.

Due to uncertainties caused by COVID-19, this grant program is currently on hold.