Issue 207 March 2008

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

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

2 Editorial Maurice O’Riordan

2 Editorial Maurice O’Riordan

3 Andy Warhol in Brisbane WESLEY HILL 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 in Brisbane WESLEY HILL

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

5 Sigmund Freud’s Collection in Sydney DIANA SIMMONDS

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 in Adelaide RAY TYNDALE 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 in Adelaide RAY TYNDALE

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