April 2005 Issue 178

  1 Making Manhattan modern, but not contemporary, again: The Museum of Modern Art, New York, reopens: 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: 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:  CONFORM: FoToFolk no.1  Saskia Folk, REVIEWED by RACHEL JESSIE-RAE O’CONNOR   Palgrave Macmillan, 2004, 144 pp $39.95 RRp

2 BOOK REVIEW: CONFORM: FoToFolk no.1 Saskia Folk, REVIEWED 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: WENDY WALKER   Anne Wallace,  Sang-froid , 2004, oil on canvas. Private collection

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

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

  4 Painted abundance in the Anangu Pitjantjatjara and Yankunytjatjara Lands, South Australia: TRACEY 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: TRACEY 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: 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: 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: 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: 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: 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: 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: 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: 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