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: 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, 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.