March 2008 Issue 207

  1 From The Chair; New year, New editor: David Williams    2 Editorial: Maurice O’Riordan

1 From The Chair; New year, New editor: David Williams

2 Editorial: Maurice O’Riordan

  3 Andy Warhol: WESLEY HILL,  BRISBANE    Andy Warhol,  Skull,  1976, Acrylic and silkscreen ink on linen, The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution Dia Center for the Arts © The Andy Warhol Foundation for the Visual Arts, Inc

3 Andy Warhol: WESLEY HILL, BRISBANE

Andy Warhol, Skull, 1976, Acrylic and silkscreen ink on linen, The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution Dia Center for the Arts © The Andy Warhol Foundation for the Visual Arts, Inc

 4  Political Kunst - Postcard from Germany, JENNY FRASER   Beds at concentration camp, Dachau, 2008. Photograph by Jenny Fraser

4 Political Kunst - Postcard from Germany, JENNY FRASER

Beds at concentration camp, Dachau, 2008. Photograph by Jenny Fraser

  5 Sigmund Freud’s Collection: DIANA SIMMONDS,  Sydney    Edmund Engelman, View of the writing desk in the study (detail), 1938, silver gelatin print. Courtesy Thomas Engelman

5 Sigmund Freud’s Collection: DIANA SIMMONDS, Sydney

Edmund Engelman, View of the writing desk in the study (detail), 1938, silver gelatin print. Courtesy Thomas Engelman

  6 Rarrk – London: JEREMY ECCLES   Ground view of the Level 3 room at the Bargehouse Gallery with barks by John Mawurndjul (front left) and Timothy Wulanjbirr. Courtesy Maningrida Arts and Culture and Josh Lilley Fine Art. Photograph by Sam Green

6 Rarrk – London: JEREMY ECCLES

Ground view of the Level 3 room at the Bargehouse Gallery with barks by John Mawurndjul (front left) and Timothy Wulanjbirr. Courtesy Maningrida Arts and Culture and Josh Lilley Fine Art. Photograph by Sam Green

  7 Andrea Stretton (1952 – 2007): BILL WRIGHT

7 Andrea Stretton (1952 – 2007): BILL WRIGHT

  8 ‘We mean business’: John Stringer (1937 – 2007): FRANCES LINDSAY   John Stringer, at the opening of  Australian Impressionism  at the National Gallery of Victoria (NGV), March 2007. Courtesy NGV

8 ‘We mean business’: John Stringer (1937 – 2007): FRANCES LINDSAY

John Stringer, at the opening of Australian Impressionism at the National Gallery of Victoria (NGV), March 2007. Courtesy NGV

  9 Peep — TarraWarra Museum of Art: ANDREW GAYNOR   Cecile Williams,  Peep  (detail), 2001, paper, cardboard, cellophane, string, glue and adhesive tape (dioramas), flattened heavy cardboard, pine stud panels, halogen lights, transformers, electric fan, electric cable, insulation tape, construction adhesive, heavy grade staples. Kerry Stokes Collection, Perth, © Cecile Williams, 2001. Courtesy the artist. Photograph by Adrian Lambert, Acorn Photo Agency, Perth

9 Peep — TarraWarra Museum of Art: ANDREW GAYNOR

Cecile Williams, Peep (detail), 2001, paper, cardboard, cellophane, string, glue and adhesive tape (dioramas), flattened heavy cardboard, pine stud panels, halogen lights, transformers, electric fan, electric cable, insulation tape, construction adhesive, heavy grade staples. Kerry Stokes Collection, Perth, © Cecile Williams, 2001. Courtesy the artist. Photograph by Adrian Lambert, Acorn Photo Agency, Perth

  10 Letter: Masters of the Dancing Brush: Peter Upward 1932 – 1983: PENELOPE UPWARD   Peter Upward in his Brougham St studio, Woolloomooloo, Sydney, 1961, before his painting  New Reality  (now in the Art Gallery of NSW). An old friend, Howard Smith, owned this place

10 Letter: Masters of the Dancing Brush: Peter Upward 1932 – 1983: PENELOPE UPWARD

Peter Upward in his Brougham St studio, Woolloomooloo, Sydney, 1961, before his painting New Reality (now in the Art Gallery of NSW). An old friend, Howard Smith, owned this place

  11 South Korea, democracy and art, EN YOUNG AHN   Kim Joon,  tattooress-stitch , 2005, C print. Courtesy and collection of the artist

11 South Korea, democracy and art, EN YOUNG AHN

Kim Joon, tattooress-stitch, 2005, C print. Courtesy and collection of the artist

  12 To see or not to see: is that the question? John Hayward at the South Australian Museum: RAY TYNDALE,  Adelaide    John Hayward,  Mouse cutter,  2007, computer mouse, kangaroo bone (scapula). Photograph by Michal Kluvanek

12 To see or not to see: is that the question? John Hayward at the South Australian Museum: RAY TYNDALE, Adelaide

John Hayward, Mouse cutter, 2007, computer mouse, kangaroo bone (scapula). Photograph by Michal Kluvanek

  13 South light: JUDE RAE   Jude Rae,  Victoria Chambers,  installation view, Silvershot, Melbourne, 2006. Courtesy of the artist and Helen Maxwell Gallery, Canberra

13 South light: JUDE RAE

Jude Rae, Victoria Chambers, installation view, Silvershot, Melbourne, 2006. Courtesy of the artist and Helen Maxwell Gallery, Canberra

  14 Diary of a Fortunate Man: Ray Cook photographs: ANNE KIRKER   Diary of a Fortunate Man: Ray Cook photographs, Queensland Centre for Photography, Brisbane, 2007, 72 pages, $55 rrp

14 Diary of a Fortunate Man: Ray Cook photographs: ANNE KIRKER

Diary of a Fortunate Man: Ray Cook photographs, Queensland Centre for Photography, Brisbane, 2007, 72 pages, $55 rrp