March 2005 Issue 177

  1 Book Review,  Patrick Hall , Grace Cochrane, REVIEWED BY ANNE BRENNAN     Tall stories from the art world , 1993, cabinet, MDF, enamel paints, block-printing ink. Tasmanian Museum and Art Gallery. Photo Peter Whyte.  Craftsman House, an imprint of Thames &Hudson, Australia, 2004 64 pp $39.95 RRP   2 Book Review:  Cindy Sherman: Retrospective , Cruz, Smith and Jones, REVIEWED by KATHRYN WEIR   Thames & Hudson, 1997, preprinted 2003.  219 pp $79.00 RRP

1 Book Review, Patrick Hall, Grace Cochrane, REVIEWED BY ANNE BRENNAN

Tall stories from the art world, 1993, cabinet, MDF, enamel paints, block-printing ink. Tasmanian Museum and Art Gallery. Photo Peter Whyte.

Craftsman House, an imprint of Thames &Hudson, Australia, 2004
64 pp $39.95 RRP

2 Book Review: Cindy Sherman: Retrospective, Cruz, Smith and Jones, REVIEWED by KATHRYN WEIR

Thames & Hudson, 1997, preprinted 2003.
219 pp $79.00 RRP

  3 Book Review:  The Art of Bill Viola , Chris Townsend (ed, REVIEWED by KATE DAVIDSON   Thames & Hudson, 2004 224 pp $40.00 RRP   4 Arte Moris: Free Art School in Dili, East Timor: ADAM GARTRELL & CHRISTIAN TANCRED   A group of junior Arte Moris students painting, 2004. Photo Adam Gartrell

3 Book Review: The Art of Bill Viola, Chris Townsend (ed, REVIEWED by KATE DAVIDSON

Thames & Hudson, 2004 224 pp $40.00 RRP

4 Arte Moris: Free Art School in Dili, East Timor: ADAM GARTRELL & CHRISTIAN TANCRED

A group of junior Arte Moris students painting, 2004. Photo Adam Gartrell

  5 Anonymity and memory: The public art of Christopher Trotter: STEPHEN WRIGHT   Christopher Trotter,  Sparky , 1996, recycled steel

5 Anonymity and memory: The public art of Christopher Trotter: STEPHEN WRIGHT

Christopher Trotter, Sparky, 1996, recycled steel

  6 Countering the Egyptian effect: The Melbourne International Arts Festival Visual Arts Program: JOHN MATEER    Illustration by Erica Jane

6 Countering the Egyptian effect: The Melbourne International Arts Festival Visual Arts Program: JOHN MATEER

Illustration by Erica Jane

  7 'My, sir does know what he wants': REX BUTLER   Destiny Deacon,  Oz games - under the spell of the tall poppies , 1998/2003, light jet print from Polaroid. Courtesy of the artist and Roslyn Oxley9 Gallery  A survey exhibition  Destiny Deacon: Walk & don't look blak was at the Museum of Contemporary Art, Sydney, from 26 November last year to 30 January this year   8 Scoping our SCAPE: Assessing the Third Biennial in Christchurch: JOHN HURRELL   Reuben Paterson,  Whakatata mai: Do you see what I see? , 2004, installation at Riccarton House & Bush, Putaringamotu, shown in  SCAPE: From a different angle . Courtesy of the artist

7 'My, sir does know what he wants': REX BUTLER

Destiny Deacon, Oz games - under the spell of the tall poppies, 1998/2003, light jet print from Polaroid. Courtesy of the artist and Roslyn Oxley9 Gallery

A survey exhibition Destiny Deacon: Walk & don't look blakwas at the Museum of Contemporary Art, Sydney, from 26 November last year to 30 January this year

8 Scoping our SCAPE: Assessing the Third Biennial in Christchurch: JOHN HURRELL

Reuben Paterson, Whakatata mai: Do you see what I see?, 2004, installation at Riccarton House & Bush, Putaringamotu, shown in SCAPE: From a different angle. Courtesy of the artist

  9  James Gleeson: Beyond the screen of sight  at the National Gallery of Victoria: CHRISTOPHER HEATHCOTE   James Gleeson,  We inhabit the corrosive littoral of habit , 1940, oil on canvas. National Gallery of Victoria, Melbourne, anonymous gift, 1941

9 James Gleeson: Beyond the screen of sight at the National Gallery of Victoria: CHRISTOPHER HEATHCOTE

James Gleeson, We inhabit the corrosive littoral of habit, 1940, oil on canvas. National Gallery of Victoria, Melbourne, anonymous gift, 1941

  10 Emma Minnie Boyd: The invisible artist at the Mornington Peninsula Regional Gallery: BRENDA NIALL    Emma Minnie Boyd,  An afternoon nap , 1874, watercolour on paper. Private collection

10 Emma Minnie Boyd: The invisible artist at the Mornington Peninsula Regional Gallery: BRENDA NIALL

Emma Minnie Boyd, An afternoon nap, 1874, watercolour on paper. Private collection

  11 Kayimwagakimi: The painting of Raelene Kerinauia and Pedro Wonaeamirri: MARIELLE SCHWERIN    Pedro Wonaeamirri,  Pwoja - Pukamani body paint design , 2004, natural ochres on linen. Courtesy of Jilamara Arts & Craft and the artist. Photo Peter Eve

11 Kayimwagakimi: The painting of Raelene Kerinauia and Pedro Wonaeamirri: MARIELLE SCHWERIN

Pedro Wonaeamirri, Pwoja - Pukamani body paint design, 2004, natural ochres on linen. Courtesy of Jilamara Arts & Craft and the artist. Photo Peter Eve

  12  Finola Jones: Artificially reconstructed habitats at the Canberra Contemporary Art Space: EVE SULLIVAN    Installation photograph of  Finola Jones: Artificially reconstructed habitats , 2004, at the Canberra Contemporary Art Space

12 Finola Jones: Artificially reconstructed habitatsat the Canberra Contemporary Art Space: EVE SULLIVAN

Installation photograph of Finola Jones: Artificially reconstructed habitats, 2004, at the Canberra Contemporary Art Space

  13 Book Review:  A Brief History of the Smile,  Angus Trumble, REVIEWED by GEOFFREY HEITHERSAY    Allen & Unwin, 2004, 226 pp $35RRP   14 Natural disasters in São Paolo, ADAM GECZY    David Haines & Joyce Hinterding,  Purple rain , still from digital video, 2004. Courtesy of the artists   15 Book Review:  Material Thinking: The Theory and Practice of Creative Research,  Paul Carter, REVIEWED by PENNY CRASWELL    Melbourne University Press, 2004, 264 pp $49.95 RRP (paperback)

13 Book Review: A Brief History of the Smile, Angus Trumble, REVIEWED by GEOFFREY HEITHERSAY

Allen & Unwin, 2004, 226 pp $35RRP

14 Natural disasters in São Paolo, ADAM GECZY

David Haines & Joyce Hinterding, Purple rain, still from digital video, 2004. Courtesy of the artists

15 Book Review: Material Thinking: The Theory and Practice of Creative Research, Paul Carter, REVIEWED by PENNY CRASWELL

Melbourne University Press, 2004, 264 pp $49.95 RRP (paperback)