July 2006 Issue 191

    1 Editorial: DEBORAH CLARK   It’s good to be back in the  Art Monthly  clocktower. I had almost – but not quite – forgotten the pace of the magazine and its relentless deadlines, but it keeps us honest and on our toes. I am very grateful to Eve Sullivan, Guest Editor of the first four issues of the magazine this year, for stepping in and keeping the  Art Monthly  flag flying. She has done a terrific job (and it has been wonderful for me reading the issues quite distanced from the circumstances of their production)

1 Editorial: DEBORAH CLARK

It’s good to be back in the Art Monthly clocktower. I had almost – but not quite – forgotten the pace of the magazine and its relentless deadlines, but it keeps us honest and on our toes. I am very grateful to Eve Sullivan, Guest Editor of the first four issues of the magazine this year, for stepping in and keeping the Art Monthly flag flying. She has done a terrific job (and it has been wonderful for me reading the issues quite distanced from the circumstances of their production)

  2 Letter from Paris: ADRIAN MARTIN   Johan van der Keuken,  Le 14 juillet , Ile Saint-Louis,  de la série Paris mortel  [14th July, Ile Saint Louis,  from the series  Mortal Paris], 1956-58. Collection Maison Européenne de la Photographie, Paris

2 Letter from Paris: ADRIAN MARTIN

Johan van der Keuken, Le 14 juillet, Ile Saint-Louis, de la série Paris mortel [14th July, Ile Saint Louis, from the series Mortal Paris], 1956-58. Collection Maison Européenne de la Photographie, Paris

  3 Red pills: Jon Cattapan's neo-urbanism: DAVID HANSEN   Jon Cattapan,  Church alight (East Melbourne) , 1988, oil on canvas, 10 parts. Courtesy the artist and Sutton Gallery, Melbourne

3 Red pills: Jon Cattapan's neo-urbanism: DAVID HANSEN

Jon Cattapan, Church alight (East Melbourne), 1988, oil on canvas, 10 parts. Courtesy the artist and Sutton Gallery, Melbourne

  4 Two quiet men: Micky Garrawurra c 1940–2006 and Tom Djumburpur 1920–2006: DJON MUNDINE   Micky Garrawurra painting. © Bula’bula Arts 2006

4 Two quiet men: Micky Garrawurra c 1940–2006 and Tom Djumburpur 1920–2006: DJON MUNDINE

Micky Garrawurra painting. © Bula’bula Arts 2006

  5  Stencil Graffiti Capital,  Jake Smallman and Carl Nyman: CHRISTOPHER CHAPMAN,  Melbourne    Book cover

5 Stencil Graffiti Capital, Jake Smallman and Carl Nyman: CHRISTOPHER CHAPMAN, Melbourne

Book cover

  6  Tramjatra: Imagining Melbourne and Kolkata  by tramways, Mick Douglas (ed): MARIE SIERRA

6 Tramjatra: Imagining Melbourne and Kolkata by tramways, Mick Douglas (ed): MARIE SIERRA

  7 Dear Hilary   The Art Monthly summer issue for 2004-05 ( #176), mentioned emerging artist Megan Seres. I was wondering a) whether this is the artist whose work appeared on the Foxtel drama Love My Way and, b) where her work might currently be viewed. R, SYDNEY  Read Hilary's answer, and lots more, in this months  Art Monthly   Troubled by professional or personal issues in the art world? askhilary@yahoo.com.au

7 Dear Hilary

The Art Monthly summer issue for 2004-05 ( #176), mentioned emerging artist Megan Seres. I was wondering a) whether this is the artist whose work appeared on the Foxtel drama Love My Way and, b) where her work might currently be viewed.
R, SYDNEY

Read Hilary's answer, and lots more, in this months Art Monthly

Troubled by professional or personal issues in the art world? askhilary@yahoo.com.au

  8 Max Angus: A lifetime of watercolour at the Tasmanian Museum and Art GalleryA; PETER TIMMS   Max Angus,  Constitution Dock , c 1949, watercolour, carbon pencil and gouache. Private collection

8 Max Angus: A lifetime of watercolour at the Tasmanian Museum and Art GalleryA; PETER TIMMS

Max Angus, Constitution Dock, c 1949, watercolour, carbon pencil and gouache. Private collection

  9 New York to New Plymouth: Where eye becomes ear in What sound does a color make?: JOHN HURRELL   Granular-Synthesis [Kurt Hentschläger and Ulf Langheinrich],  LUX , 2003, single-channel projection with sound, 20 mins. Installation at the Govett-Brewster Art Gallery, New Plymouth, New Zealand. Courtesy the artists and Govett-Brewster Art Gallery

9 New York to New Plymouth: Where eye becomes ear in What sound does a color make?: JOHN HURRELL

Granular-Synthesis [Kurt Hentschläger and Ulf Langheinrich], LUX, 2003, single-channel projection with sound, 20 mins. Installation at the Govett-Brewster Art Gallery, New Plymouth, New Zealand. Courtesy the artists and Govett-Brewster Art Gallery

  10 The disquieting impact of The unquiet world: JULIE ROBERTS   Jenny Holzer,  For the centre , 2006, light projection. © Jenny Holzer 2006. Courtesy Artists Rights Society (ARS), New York. Photo John Brash

10 The disquieting impact of The unquiet world: JULIE ROBERTS

Jenny Holzer, For the centre, 2006, light projection. © Jenny Holzer 2006. Courtesy Artists Rights Society (ARS), New York. Photo John Brash

  11 Money makes the art world go around: TAMARA WINIKOFF   It’s worth paying attention to the last Federal Budget because buried in it was a very significant decision for Australian artists. At first glance it was an odd place for it, but political logic being more about what lies below the surface than mere appearances, it starts to make sense when you look at the context and circumstances. ... Read the rest in this months  Art Monthly

11 Money makes the art world go around: TAMARA WINIKOFF

It’s worth paying attention to the last Federal Budget because buried in it was a very significant decision for Australian artists. At first glance it was an odd place for it, but political logic being more about what lies below the surface than mere appearances, it starts to make sense when you look at the context and circumstances. ... Read the rest in this months Art Monthly

  13 STOP PRESS   Surely we’re dreaming Gary Lee’s exhibition Nice coloured boys, which we reported last month as being exhibited as part of the The Dreaming – Australia’s International Indigenous Festival at Woodford, Queensland, was withdrawn before the opening on the Queen’s Birthday long weekend following complaints from four young (white) volunteers...  Read more news from the Australian art world in this months  Art Monthly

13 STOP PRESS

Surely we’re dreaming
Gary Lee’s exhibition Nice coloured boys, which we reported last month as being exhibited as part of the The Dreaming – Australia’s International Indigenous Festival at Woodford, Queensland, was withdrawn before the opening on the Queen’s Birthday long weekend following complaints from four young (white) volunteers...

Read more news from the Australian art world in this months Art Monthly