In an eventful year for the arts, Canberra's crowning achievement has to have been the opening of the new National Portrait Gallery.
Under the stewardship of director Andrew Sayers, the gallery cemented its role as an important repository for art and a destination for visitors curious about Australia's identity.
It also added an appealingly gentle aspect to the lifeless area surrounding the grim High Court and National Gallery of Australia buildings. Judging by the number of visitors already traipsing through its light- and life-filled portals, there is bound to be a welcome new energy in that part of the Parliamentary Triangle.
The $87-million building was not the only significant construction that will enhance art lovers' experiences in Canberra. Next door, the National Gallery of Australia has shown world-class exhibitions while juggling the mayhem of a building site.
The first phase of the gallery's $92.9 million renovation, which includes finally building a worthy entrance, new galleries and visitor facilities, began this year and is due for completion late in 2009.
Director Ron Radford pulled off two blockbuster exhibitions in one year: Turner to Monet - The triumph of landscape and the impressive Degas - master of French art.
But the renovations can't come too soon. The provincial drabness of the building was embarrassingly apparent during the launch of Degas. One can only wonder what Guy Cogeval, president of one of the world's most prestigious art museums, the Musee d'Orsay, who lent some of the most important works for the exhibition, thought of the shuddering escalators and grimy windows.
There were structural changes at two other institutions. The National Film and Sound Archive finally became an independent statutory authority in July, after years of half-witted political decisions.
The first was the unexplained name change to ScreenSound Australia in 1999, a decision reversed five years later after sustained campaigning. The second was the archive's subordination to the Australian Film Commission in 2003, whose consequences came close to threatening the archive's survival as an institution.
A commitment by the Labor Party in its 2007 election campaign led to the National Film and Sound Archive Act in March 2008, allowing Arts Minister Peter Garrett to claim kudos in an otherwise lacklustre performance in his portfolio.
Controversial director Paolo Cherchi-Usai made a low-key departure after his replacement, Darryl McIntyre, was announced. DrCherchi-Usai was reprimanded and forced to pay back nearly $30,000 to the archive last year for abusing its resources on a private film project. Dr McIntyre, who took up his position as chief executive last month, had been the group director of public programs at the Museum of London in the United Kingdom.
The ANU School of Music was thrown into upheaval after vice-chancellor Ian Chubb told staff the school, which was running at a $1.5million loss amid declining student numbers, would no longer be subsidised by other university departments.
A six-week review resulted in a $1million endowment fund, streamlining of teaching operations, the phasing out of unpopular instruments and the resignation of several staff. Despite a campaign by some diehards who resisted change at all costs, staff who had only one or two students were forced to accept a new regime.
Professor Adrian Walter replaced embattled head Professor John Luxton, who steered the school through the turbulent time.
Concerns that changes to the school would have a deleterious impact on the Canberra Symphony Orchestra were erased as the orchestra went from strength to strength under the fiery baton of conductor Nicholas Milton.
The chronically underfunded orchestra held its own against other state orchestras with an exciting program that included the hugely successful performance of Carmina Burana in the revamped Llewellyn Hall and a tantalising taste of the Australian Ballet in its Tea and Symphony concert.
Perhaps there will be some movement on composing legend Peter Sculthorpe's call for the CSO to become a national orchestra in 2009.
After a $10 million repair and refurbishment, the ANU's Llewellyn Hall reopened in May, just 15 months after being extensively damaged in a hailstorm. Extensive visual and acoustic changes were made, with adjustable stage backings, new seating, and beautiful wood side walls and floors introduced. Despite its remarkable transformation, rumblings remain about the inadequate foyer space, removal of the central aisle and the decision to contract Ticketek as the exclusive booking agent.
The National Multicultural Festival lost its artistic director when Domenic Mico took a sabbatical and opted to caretake the Tuggeranong Arts Centre for six months. It seems next year's festival won't have the big-ticket items such as Opera by the Lake, the focus seeming to be on the Food and Dance Spectacular, which will be extended from Garema Place to Glebe Park.
The renamed 2008 Canberra International Music Festival broke new ground and solidified its reputation as a presenter of exemplary performers and pieces of music. It ended director Nicole Canham's three-year directorship on a high note, with 80 events in venues across Canberra featuring some of Australia's finest performers and internationally renowned artists. Next year's festival may be hard-pressed to match its success without the generous sponsorship of Barbara Blackman.
The protracted demise of Canberra Arts Marketing finally ended when it wrapped up two weeks ago. A combination of lack of funding and direction led to Canberra Arts Marketing being squeezed out of the local arts scene after 15 years. It remains to be seen how artsACT will assist the smaller arts organisations.
The debate over public art reached a crescendo during the ACT local government elections, with every politician having an opinion but very little arts policy. However, the huge $350,000 art installation at Reconciliation Place based on a painting by Aboriginal artist Paddy Japaljarri Stewart elicited little comment. The 39mx7m work, commissioned by the National Capital Authority, was opened by Jenny Macklin in a muted media event.
This contrast again highlights Canberra's contradictory status as Australia's national capital and an unremarkable, medium-sized city.