Issue 178 April 2005

1. Making Manhattan modern, but not contemporary, again: The Museum of Modern Art, New York, reopens by TERRY SMITH Exterior view of the David and Peggy Rockefeller Building, MoMA, designed by Yoshio Taniguchi, from West 54th Street. Photo Timothy Hursley 2005. Courtesy of MoMA.  

1. Making Manhattan modern, but not contemporary, again: The Museum of Modern Art, New York, reopens by TERRY SMITH

Exterior view of the David and Peggy Rockefeller Building, MoMA, designed by Yoshio Taniguchi, from West 54th Street. Photo Timothy Hursley 2005. Courtesy of MoMA.
 

2. BOOK REVIEW: Saskia Folk CONFORM: FoToFolk no.1 by RACHEL JESSIE-RAE O’CONNOR Palgrave Macmillan, 2004 144 pp $39.95 RRp

2. BOOK REVIEW: Saskia Folk CONFORM: FoToFolk no.1 by RACHEL JESSIE-RAE O’CONNOR

Palgrave Macmillan, 2004
144 pp $39.95 RRp

3. The Samstag legacy: The man, the program and the art by WENDY WALKER Anne Wallace, Sang-froid, 2004, oil on canvas. Private collection.

3. The Samstag legacy: The man, the program and the art by WENDY WALKER

Anne Wallace, Sang-froid, 2004, oil on canvas. Private collection.

4. Painted abundance in the Anangu Pitjantjatjara and Yankunytjatjara Lands, South Australia byTRACEY LOCK-WEIR Tali Tali Pompey, Fregon, South Australia, Untitled, 2004, synthetic polymer paint on canvas. Art Gallery of South Australia, Adelaide, Public Donations Fund 2005.

4. Painted abundance in the Anangu Pitjantjatjara and Yankunytjatjara Lands, South Australia byTRACEY LOCK-WEIR

Tali Tali Pompey, Fregon, South Australia, Untitled, 2004, synthetic polymer paint on canvas. Art Gallery of South Australia, Adelaide, Public Donations Fund 2005.

5. New frontiers for Indigenous art: Jirrawun Arts, East Kimberley by JEREMY ECCLES Goody Barrett, Lirnkirrel, 2004, earth pigments and synthetic polymer on linen, eight panels. Courtesy of the artist and Sherman Galleries, Sydney.  

5. New frontiers for Indigenous art: Jirrawun Arts, East Kimberley by JEREMY ECCLES

Goody Barrett, Lirnkirrel, 2004, earth pigments and synthetic polymer on linen, eight panels. Courtesy of the artist and Sherman Galleries, Sydney.
 

6. Better late than never: Bridget Riley at the Museum of Contemporary Art, Sydney by ZARA STANHOPE Bridget Riley, Blaze 1, 1962, emulsion on hardboard. Private collection. © Bridget Riley 2004. Photo Robert Horner.  

6. Better late than never: Bridget Riley at the Museum of Contemporary Art, Sydney by ZARA STANHOPE

Bridget Riley, Blaze 1, 1962, emulsion on hardboard. Private collection. © Bridget Riley 2004. Photo Robert Horner.
 

7. Edvard Munch: The frieze of life at the National Gallery of Victoria by ADAM FREE Edvard Munch, Loneliness, 1906, oil on canvas. Bergen Kunstmuseum, Bergen, Norway. © Munch-Ellingsen Group.

7. Edvard Munch: The frieze of life at the National Gallery of Victoria by ADAM FREE

Edvard Munch, Loneliness, 1906, oil on canvas. Bergen Kunstmuseum, Bergen, Norway. © Munch-Ellingsen Group.

8. The naked truth: On receiving the Australia Council’s Visual Arts & Craft Emeritus Medal for 2004 by BERNARD SMITH Carmel O’Connor, Portrait of Emeritus Professor Bernard Smith, 2002, acrylic on linen. Exhibited in the Archibald Prize, Art Gallery of New South Wales, 2002. Courtesy of the artist.  

8. The naked truth: On receiving the Australia Council’s Visual Arts & Craft Emeritus Medal for 2004 by BERNARD SMITH

Carmel O’Connor, Portrait of Emeritus Professor Bernard Smith, 2002, acrylic on linen. Exhibited in the Archibald Prize, Art Gallery of New South Wales, 2002. Courtesy of the artist.