Nick Mitzevich

Nick Mitzevich was born in 1970.

He is the son of Chrisoula, of Greek heritage, whom he describes as "a beautiful, glamorous, sophisticated woman", and Macedonian father, Nick Mitzevich, who grew up in a very poor family who went to work at 15 after his father died.

Nick Jr is the eldest and only son, with three younger sisters, who all grew up on their parents' small farm at Abermain, outside Cessnock, in the Hunter Valley of New South Wales.

He says that his parents insisted that their children "do something for a worthy cause", but also "let us follow our passions".

He was a shy, introverted child, who had to counter bullying at his high school, Kurri Kurri High, because of being creative and gay.

He has said that his early years as a "farmer's apprentice" to his hardworking parents helped to shape his life.

His parents had no connection to art, but two things led the young Nick Mitzevich to his current occupation: his mother bought him a copy of Robert Hughes' book of his television series The Shock of the New when he was 15; and a few years later, a school excursion toook him to a large exhibition at the Art Gallery of New South Wales, called Gold of the Pharaohs, that made a big impression on him.

He first studied art practice, exhibiting some work at Newcastle Art Gallery in 1993, but switched to studying art history and education.

Watching and listening to Betty Churcher working as a tour guide at the National Gallery of Australia (NGA) when on a university excursion further inspired him.

He earned a Bachelor of Arts in Fine Art, and graduate diplomas in Education and Fine Art from the University of Newcastle in Newcastle, New South Wales.

Mitzevich began his career as a fine arts lecturer at the University of Newcastle.

In 1999, he was offered a job as curator on a short-term contract at the NGA, but decided to turn it down and returned to the university.

He ran the Newcastle Art Gallery for three years, before being appointed to manage the University of Queensland Art Museum in July 2007, a position he held for six years.

From 2010 until his appointment to the NGA in April 2018, he was director of the Art Gallery of South Australia in Adelaide.

Mitzevich was appointed as director of the Art Gallery of South Australia (AGSA), Adelaide in July 2010, when he was hardly known in South Australia.

He succeeded Christopher Menz, who had left at the end of a five-year contract because he believed that government funding to the gallery was inadequate.

Mitzevich had grand ambitions and made a big impression in the eight years he ran AGSA.

Annual visitor numbers increased from 480,000 in 2010 to 800,000 by the time of his departure.

He was the first gallery director in Australia to implement a provenance project, which investigates old objects which were acquired without historical checks.

During this time, he acquired and commissioned works that would make an impression on the public, such as projecting an AES+F video work onto the gallery's façade during the Adelaide Fringe in 2012, and buying an entire exhibition of 16 paintings by Ben Quilty on the 130th anniversary of AGSA.

He also hung We Are All Flesh, an epoxy resin sculpture of two headless horses by Belgian artist Berlinde De Bruyckere, from the ceiling of the gallery, which attracted much press coverage.

His overall approach was to display contemporary works in close proximity to classics.

Although he had a few detractors, the general opinion was that he had done a fine job at AGSA.

His achievements included curating the highly successful 2014 Adelaide Biennial, the purchase of Camille Pissarro's Prairie à Eragny, with its A$4.5 million price raised from donations only.

He also oversaw a major internal refurbishment of the gallery, introduced the Indigenous art festival Tarnanthi, hosted large-scale exhibitions, and greatly increased the collection of both contemporary Australian and international art.

Nick Mitzevich is the director of the National Gallery of Australia (NGA) in Canberra, Australia, a position he has occupied since July 2018.

Mitzevich departed from his position in April 2018, after being appointed as the NGA's sixth director from 2 July that year.

He had particularly wanted to secure funding for a new gallery, Adelaide Contemporary, before a state election, before departing, and had not put in an application before the closing date.

He was the unanimous choice of the selection panel.

Lindy Lee's 6 m sculpture "The Life of Stars", which was presented for the 2018 Biennial, Divided Worlds, was bought by the gallery as a permanent installation on its forecourt as a tribute and farewell "gift" for Mitzevich in April 2018.

He said "The work is symbolic of what I tried to do here, and that's why it's perfect".

His term at the NGA has encountered several challenges: in January 2020 the gallery had to be shut because of smoke from bushfires and then again after a hailstorm.

A couple of months later, the Covid pandemic struck, leading to a closure of over 70 days.

In the middle of the year, Mitzevich had a cycling accident, damaging his knee and requiring eight weeks on crutches.

However, in November 2020, the NGA finally opened its Know My Name exhibition, which is part of a large project to recognise Australian women artists from the 20th century to the present, with the aim of addressing historical gender bias.

In January 2021 he had plans to re-hang the permanent collection, swapping the location of international art with that of Australian art.

Mitzevich believes in the transformational power of art, based on his own experiences: "I wish I had challenged the bullying and challenged people's perceptions of me growing up. That's why I want to make sure that what I do develops an inclusive and tolerant Australia and give people the gift of seeing the world through an artist's eye."

On the National Gallery: "We're the first to admit the national collection needs to constantly evolve. It needs to constantly reflect what Australia is. It isn't limited by state borders, it's about harnessing the national psyche and taking the pulse of the world through the eyes of artists.

...People think it's about personal taste.

It's not.