Issue 189 May 2006

  1 Crescent moon: Islamic art and civilisation in Southeast Asia: JOHN CLARK   Kelantan, Malaysia,  Qur’an , c. 1900, European paper, pigment, gold leaf, ink. Collection of the Natural History Museum, Kuala Lumpur

1 Crescent moon: Islamic art and civilisation in Southeast Asia: JOHN CLARK

Kelantan, Malaysia, Qur’an, c. 1900, European paper, pigment, gold leaf, ink. Collection of the Natural History Museum, Kuala Lumpur

  2 A person of the plain surface  Joseph Lycett: Convict artist    Joseph Lycett,  View on the River Tamar, and part of the Asbestos Hills, Van Diemen’s Land , from  Views in Australia , 1825, etching and aquatint, printed in black from a copper plate, hand coloured. Petherick Collection, National Library of Australia, Canberra

2 A person of the plain surface Joseph Lycett: Convict artist

Joseph Lycett, View on the River Tamar, and part of the Asbestos Hills, Van Diemen’s Land, from Views in Australia, 1825, etching and aquatint, printed in black from a copper plate, hand coloured. Petherick Collection, National Library of Australia, Canberra

  3 Connectivity and the moving image Adelaide Bank Festival of Arts 2006: TERRI HOSKIN   Chico MacMurtrie & Amorphic Robot Works,  Inflatable bodies , 2006, installation view at the Experimental Art Foundation, Adelaide. Photo Duke Albada

3 Connectivity and the moving image Adelaide Bank Festival of Arts 2006: TERRI HOSKIN

Chico MacMurtrie & Amorphic Robot Works, Inflatable bodies, 2006, installation view at the Experimental Art Foundation, Adelaide. Photo Duke Albada

  4  Colliding worlds  at Tandanya  13 canoes  at the South Australian Museum: SUSAN JENKINS    Goose egg hunters poling themselves through the Arafura Swamp , April 1937. Photo DF Thomson. Courtesy of Mrs DM Thomson

4 Colliding worlds at Tandanya 13 canoes at the South Australian Museum: SUSAN JENKINS

Goose egg hunters poling themselves through the Arafura Swamp, April 1937. Photo DF Thomson. Courtesy of Mrs DM Thomson

  5 Just a feeling: BRENT HARRIS   Brent Harris,  He washed away my sins , 2004, oil on canvas. Collection of Robin Greer, Brisbane

5 Just a feeling: BRENT HARRIS

Brent Harris, He washed away my sins, 2004, oil on canvas. Collection of Robin Greer, Brisbane

  6 Shapes of inhabitation: Painting in the expanded field: MARK TITMARSH   Installation view of Richard Dunn’s  Shadowzone , Artspace, Sydney, 2005. Courtesy of Artspace   7 Art and psychoanalysis: Discourse, knowledge and praxis: ELIZABETH NEWMAN   A revised version of a paper presented at the Psychoanalysis and Creativity Workshop of the Australian Centre of Psychoalysis held in Adelaide in March 2006   8 Letters to the Editor   Pay artists and play the game  The artist, the academic, the flag and neo-liberalism  In response: On looking at looking: The art and politics of Ian Burn  In response: David Pestorius and the Paul Maenz ArchivE

6 Shapes of inhabitation: Painting in the expanded field: MARK TITMARSH

Installation view of Richard Dunn’s Shadowzone, Artspace, Sydney, 2005. Courtesy of Artspace

7 Art and psychoanalysis: Discourse, knowledge and praxis: ELIZABETH NEWMAN

A revised version of a paper presented at the Psychoanalysis and Creativity Workshop of the Australian Centre of Psychoalysis held in Adelaide in March 2006

8 Letters to the Editor

Pay artists and play the game

The artist, the academic, the flag and neo-liberalism

In response: On looking at looking: The art and politics of Ian Burn

In response: David Pestorius and the Paul Maenz ArchivE