Issue 186 Summer 2005

1 We live in Interesting times: Focus on contemporary Australian art in Sydney by MICHAEL DESMOND Shaun Kirby, cousin beast, 2005, timber, paint, etherfoam, plaster. Courtesy and © the artist. (below)

1 We live in Interesting times: Focus on contemporary Australian art in Sydney by MICHAEL DESMOND

Shaun Kirby, cousin beast, 2005, timber, paint, etherfoam, plaster. Courtesy and © the artist. (below)

2 A walk with Fairweather to Anak Bayan Street by TONY TWIGG Ian Fairweather, Anak Bayan, 1957, gouache on cardboard on hardboard (3 sheets). Art Gallery of New South Wales, bequest of Lucy Swanton.

2 A walk with Fairweather to Anak Bayan Street by TONY TWIGG

Ian Fairweather, Anak Bayan, 1957, gouache on cardboard on hardboard (3 sheets). Art Gallery of New South Wales, bequest of Lucy Swanton.

3 No direction home: New Zealand expatriates byJOHN HURRELL Billy Apple, Billy Apple bleaching with Lady Clairol Instant Crème Whip, November 1962, 1962, black and white photograph. Courtesy of Hamish McKay Gallery, Wellington.

3 No direction home: New Zealand expatriates byJOHN HURRELL

Billy Apple, Billy Apple bleaching with Lady Clairol Instant Crème Whip, November 1962, 1962, black and white photograph. Courtesy of Hamish McKay Gallery, Wellington.

4 Photography in Brisbane by TIMOTHY MORRELL Maurice Ortega, from the Billboard series, 2004, Lambda print. Courtesy of the artist.

4 Photography in Brisbane by TIMOTHY MORRELL

Maurice Ortega, from the Billboard series, 2004, Lambda print. Courtesy of the artist.

5 Hanging at Yale by ANGUS TRUMBLE View of the fourth floor, and the upper portion of the east side of the Entry Court, of the British Art Center, with (left to right)The fishery by Richard Wright, Hadleigh Castle by John Constable, and Harlech Castle by J M W Turner. In the distance may be seen portraits by Allan Ramsay and Thomas Gainsborough. Architecture by Louis I Kahn. Courtesy Yale Center for British Art. Photo Richard Caspole.

5 Hanging at Yale by ANGUS TRUMBLE

View of the fourth floor, and the upper portion of the east side of the Entry Court, of the British Art Center, with (left to right)The fishery by Richard Wright, Hadleigh Castle by John Constable, and Harlech Castle by J M W Turner. In the distance may be seen portraits by Allan Ramsay and Thomas Gainsborough. Architecture by Louis I Kahn. Courtesy Yale Center for British Art. Photo Richard Caspole.

6 In time of war: Charles Meere’s Australian beach pattern by JOY EADIE Charles Meere, Australian beach pattern, 1939-40, oil on canvas. Courtesy of the Art Gallery of New South Wales, Sydney.

6 In time of war: Charles Meere’s Australian beach pattern by JOY EADIE

Charles Meere, Australian beach pattern, 1939-40, oil on canvas. Courtesy of the Art Gallery of New South Wales, Sydney.

7 Kaltjiti Arts and Crafts by CAROLYN WILSON Inawinytji Williamson, Iwana Ken, Fairy Stevens, and Kathy Maringka with products from Kaltjiti Arts, Fregon, South Australia. Photo Andra Archer, Archer Concept Group, USA.

7 Kaltjiti Arts and Crafts by CAROLYN WILSON

Inawinytji Williamson, Iwana Ken, Fairy Stevens, and Kathy Maringka with products from Kaltjiti Arts, Fregon, South Australia. Photo Andra Archer, Archer Concept Group, USA.

8 Artists as model workers by ROSS WOODROW Mike Parr, Sitting member, performance on 3 October 2005 (8 hours), Boiler Shop, Honeysuckle Workshops, Newcastle (documentation of performance). Courtesy of the artist. Photo Ross Woodrow.

8 Artists as model workers by ROSS WOODROW

Mike Parr, Sitting member, performance on 3 October 2005 (8 hours), Boiler Shop, Honeysuckle Workshops, Newcastle (documentation of performance). Courtesy of the artist. Photo Ross Woodrow.

9 Nothing sits outside of the gaze of contemporary art: Interview with Nicholas Tsoutas by ADAM GECZY Paul Adair, Untitled, 2002, C-type print, from the series A perfect crime, in the article Photography in Brisbane by Tim Morrell. Courtesy of the artist.

9 Nothing sits outside of the gaze of contemporary art: Interview with Nicholas Tsoutas by ADAM GECZY

Paul Adair, Untitled, 2002, C-type print, from the series A perfect crime, in the article Photography in Brisbane by Tim Morrell. Courtesy of the artist.

10 Indigenous Australian art in Europe: Positioning the Aboriginal Art Museum, Utrecht by GEORGES PETITJEAN Interior view of the Aboriginal Art Museum, Utrecht, the Netherlands.

10 Indigenous Australian art in Europe: Positioning the Aboriginal Art Museum, Utrecht by GEORGES PETITJEAN

Interior view of the Aboriginal Art Museum, Utrecht, the Netherlands.