August 2004 Issue 172

  1 COMPETITIONS GALORE!    Adversing Competition  Hurry, only one more month to enter our Advertising Competition. Contact Erica Seccombe today to book an ad with  Art Monthly Australia . For more details, check out our July and August issues!   Winter Reading Special  August is the last month of our Winter Reading Special. Subscribe today and receive a free back issue.   Art Monthly @ Home Competition   We have a copy of Peter Conrad's  At Home in Australia  (RRP $49) to give away to one of our lucky subscribers. To enter, simply send or email us a photo of  Art Monthly  'at home. Submissions could include you or a friend or famous face reading  Art Monthly  in your house or on an exotic location. All entries must be accompanied by a completed subscription form. Entries close ! October. See the August issue for more detials.   The "NO BULL"  Art Monthly Australia's  Readers Competiton   We hope you enjoyed this 'meaty' issue. You may have noticed a recurring, quite unintentional, theme; so let's see how observant you are! We have a Tony Coleing  Japanese Scientific Experiment , 1993 print (edition of 50) valued at $150 to five to one of our readers who can correctly identify the numbers of images in both articles and advertisements that refer to meat, livestock or dead flesh appearing in the August issue. Entries close 3 September. See the August issue for more details.     2 Zero to one thousand to nothing: ROBERT COOK   I have nothing to say about craft and have been saying it for ten years. I say nothing and it takes 750 words, 5000 words, for me to finisth. Here, its' 1000. That means I've got 964 to go.....Read more in the August issue!   3 Manifesta 5, 2004 in Donostia-San Sebastian, Spain: MARCO MARCON   Huseyin Alptekin,  Hostal Pasaia (Capacity/Capacities &: hospitality) , 2004. Photo Marco Marcon. For Manifesta 5, Alptekin used hotel name signs he had acquired in his travels, and hung them along what is referred to as 'Rape Alley' in Pasaia, the port area of Donosita-San Sebastian.     4 Books: MARY EAGLE  ‘What's Wrong with Contemporary Art?’ : Peter Timms   Interesting people have moved purposefully away from the art scene before today.

1 COMPETITIONS GALORE!

Adversing Competition
Hurry, only one more month to enter our Advertising Competition. Contact Erica Seccombe today to book an ad with Art Monthly Australia. For more details, check out our July and August issues!

Winter Reading Special
August is the last month of our Winter Reading Special. Subscribe today and receive a free back issue.

Art Monthly @ Home Competition
We have a copy of Peter Conrad's At Home in Australia (RRP $49) to give away to one of our lucky subscribers. To enter, simply send or email us a photo of Art Monthly 'at home. Submissions could include you or a friend or famous face reading Art Monthly in your house or on an exotic location. All entries must be accompanied by a completed subscription form. Entries close ! October. See the August issue for more detials.

The "NO BULL" Art Monthly Australia's Readers Competiton

We hope you enjoyed this 'meaty' issue. You may have noticed a recurring, quite unintentional, theme; so let's see how observant you are! We have a Tony Coleing Japanese Scientific Experiment, 1993 print (edition of 50) valued at $150 to five to one of our readers who can correctly identify the numbers of images in both articles and advertisements that refer to meat, livestock or dead flesh appearing in the August issue. Entries close 3 September. See the August issue for more details.

2 Zero to one thousand to nothing: ROBERT COOK

I have nothing to say about craft and have been saying it for ten years. I say nothing and it takes 750 words, 5000 words, for me to finisth. Here, its' 1000. That means I've got 964 to go.....Read more in the August issue!

3 Manifesta 5, 2004 in Donostia-San Sebastian, Spain: MARCO MARCON

Huseyin Alptekin, Hostal Pasaia (Capacity/Capacities &: hospitality), 2004. Photo Marco Marcon. For Manifesta 5, Alptekin used hotel name signs he had acquired in his travels, and hung them along what is referred to as 'Rape Alley' in Pasaia, the port area of Donosita-San Sebastian.

4 Books: MARY EAGLE ‘What's Wrong with Contemporary Art?’: Peter Timms

Interesting people have moved purposefully away from the art scene before today.

  5 Caricature finally triumphs at the Archibald Prize: ROSS WOODROW   Craig Ruddy,  David Gulpilil, two worlds,  2004. Charcoal and graphite on wallpaper (detail). Photo Ben Rushton/tairfaxphotos.  The news that a Sydney artist backed by a substantial fighting fund is to challenge the award of this year's Archibald Prize to Craig Ruddy for his portrait  David Gulpilil, two worlds  must have heartened many.   6 Art, politics and ideology: TAMARA WINIKOFF   It being election time, arts policies are busily being pulled out of drawers and dusted off, replenished and presented to the public, in particular to those of us with a vested interest.

5 Caricature finally triumphs at the Archibald Prize: ROSS WOODROW

Craig Ruddy, David Gulpilil, two worlds, 2004. Charcoal and graphite on wallpaper (detail). Photo Ben Rushton/tairfaxphotos.

The news that a Sydney artist backed by a substantial fighting fund is to challenge the award of this year's Archibald Prize to Craig Ruddy for his portrait David Gulpilil, two worlds must have heartened many.

6 Art, politics and ideology: TAMARA WINIKOFF

It being election time, arts policies are busily being pulled out of drawers and dusted off, replenished and presented to the public, in particular to those of us with a vested interest.

  7 On reason and emotion: Biennale of Sydney 2004: MICHAEL DESMOND   Helena Almeida,  Sem titulo (Untitled) , 1994 -95, black and white photographs, one with red acrylic paint (detail: single photograph). Collection of the Serralves Foundation, Museum of Contemporary Art, Porto, Portugal. Photo Arthur Rosa.  First impressions shouldn't count, but I suspect that the works encountered at the doors of the Sydney Biennale, both at the MCA and at the AGNSW jaundiced my view of the entire show.

7 On reason and emotion: Biennale of Sydney 2004: MICHAEL DESMOND

Helena Almeida, Sem titulo (Untitled), 1994 -95, black and white photographs, one with red acrylic paint (detail: single photograph). Collection of the Serralves Foundation, Museum of Contemporary Art, Porto, Portugal. Photo Arthur Rosa.

First impressions shouldn't count, but I suspect that the works encountered at the doors of the Sydney Biennale, both at the MCA and at the AGNSW jaundiced my view of the entire show.

  8 2004: Australian culture now In Melbourne: LINDA MICHAEL   Monica Tichacek,  The shadowers, , 2004, still from digital video. Courtesy of the artist and Karen Woodbury Gallery.  I keep thinking of  2004: Australian culture now  as the caption for an image of a child in detention or an American flag and ponder its malleable meaning.

8 2004: Australian culture now In Melbourne: LINDA MICHAEL

Monica Tichacek, The shadowers,, 2004, still from digital video. Courtesy of the artist and Karen Woodbury Gallery.

I keep thinking of 2004: Australian culture now as the caption for an image of a child in detention or an American flag and ponder its malleable meaning.

  9 FLeshly moralities: Ivan Durant in Melbourne: DANIEL THOMAS   Ivan Durrant,  The window , 1970, acrylic on board. Courtesy of the artist.  He proposed his meat-themed exhibition  Paddock to plate: Ivan Durant 1968 - 2004  to the Monash Gallery of Art because of the gallery site, at Jells Road, Wheelers HIll, had once been a paddock where Ivan Durrant rented land for fattending beef.

9 FLeshly moralities: Ivan Durant in Melbourne: DANIEL THOMAS

Ivan Durrant, The window, 1970, acrylic on board. Courtesy of the artist.

He proposed his meat-themed exhibition Paddock to plate: Ivan Durant 1968 - 2004 to the Monash Gallery of Art because of the gallery site, at Jells Road, Wheelers HIll, had once been a paddock where Ivan Durrant rented land for fattending beef.

  10 A gatekeeper in every paradise: Paradise now? Contemporary art in the Pacific in New York: TREVOR SMITH   Lisa Reihana,  Native portraits , n. 19897, 1977, mulit-media installation. Courtesy of the artist and the Museum of New Zealand Te Papa Tongarewa.  In mythology and religion, every paradise has its gatekeeper and each has rules of entry. Some are entered through acts of grace and others through acts of exclusion and violence; but all are entered through some form of sacrifice or conformation to a set of rules or tasks.

10 A gatekeeper in every paradise: Paradise now? Contemporary art in the Pacific in New York: TREVOR SMITH

Lisa Reihana, Native portraits, n. 19897, 1977, mulit-media installation. Courtesy of the artist and the Museum of New Zealand Te Papa Tongarewa.

In mythology and religion, every paradise has its gatekeeper and each has rules of entry. Some are entered through acts of grace and others through acts of exclusion and violence; but all are entered through some form of sacrifice or conformation to a set of rules or tasks.