Issue 215 November 2008

1 The re-ward in jellyfish town: the NATSIAA 25 years on SUZANNE SPUNNER Dinni Kunoth Kemarre, Harts Range Rodeo Rider, synthetic polymer paint on Erythrina vespertilioh (Batswing coral tree). Courtesy the artist.

1 The re-ward in jellyfish town: the NATSIAA 25 years on SUZANNE SPUNNER

Dinni Kunoth Kemarre, Harts Range Rodeo Rider, synthetic polymer paint on Erythrina vespertilioh (Batswing coral tree). Courtesy the artist.

2 Et in Arcadia Ego: Lost and Found at TarraWarra GERALDINE BARLOW Francis Upritchard, Flock, 2008, glass and modeling material. Installation view, Lost & Found, TarraWarra Museum of Art. Courtesy the artist, Ivan Anthony Gallery, Auckland, New Zealand, and Kate MacGarry, London, United Kingdom. This project has been supported by visiting artist residencies at Artspace, Sydney, and the Glass and Ceramics Studios at Sydney College of the Arts, University of Sydney. Photograph by John Brash. 

2 Et in Arcadia Ego: Lost and Found at TarraWarra GERALDINE BARLOW

Francis Upritchard, Flock, 2008, glass and modeling material. Installation view, Lost & Found, TarraWarra Museum of Art. Courtesy the artist, Ivan Anthony Gallery, Auckland, New Zealand, and Kate MacGarry, London, United Kingdom. This project has been supported by visiting artist residencies at Artspace, Sydney, and the Glass and Ceramics Studios at Sydney College of the Arts, University of Sydney. Photograph by John Brash. 

3 International promotion of Australian Art RUPERT MYER Nola Campbell, Holden bonnet, 2007, synthetic polymer paint on metal. Purchased 2008 through the Queensland Government’s Gallery of Modern Art Acquisitions Fund. Collection of Queensland Art Gallery. © Nola Campbell, 2007. Licensed by Viscopy, Sydney 2007. These works will be shown as part of this month’s Contemporary Australia: Optimismexhibition at Queensland’s Gallery of Modern Art, 15 November 2008 to 22 February 2009. Optimism represents over 60 emerging, mid-career and senior artists Australia-wide, and is the first in the gallery’s triennial series of thematic Australian exhibitions.

3 International promotion of Australian Art RUPERT MYER

Nola Campbell, Holden bonnet, 2007, synthetic polymer paint on metal. Purchased 2008 through the Queensland Government’s Gallery of Modern Art Acquisitions Fund. Collection of Queensland Art Gallery. © Nola Campbell, 2007. Licensed by Viscopy, Sydney 2007. These works will be shown as part of this month’s Contemporary Australia: Optimismexhibition at Queensland’s Gallery of Modern Art, 15 November 2008 to 22 February 2009. Optimism represents over 60 emerging, mid-career and senior artists Australia-wide, and is the first in the gallery’s triennial series of thematic Australian exhibitions.

4 First past the Post-Colonial JOHN KELLY John Kelly, Probe II, 2008, plastic, cardboard, wood, glass, easel, IKEA product (wooden coat hook), TV, photo display, security cameras, Chinese calligraphy brushes.

4 First past the Post-Colonial JOHN KELLY

John Kelly, Probe II, 2008, plastic, cardboard, wood, glass, easel, IKEA product (wooden coat hook), TV, photo display, security cameras, Chinese calligraphy brushes.

5 FAREWELL? A Review of the Shanghai Bienniale, Guangzhou Triennial and the Taipei Biennial SOPHIE McINTYRE Maria Magdalena Compos-Pons and Neil Leonard,Porcelana de China/My Mother Told Me I am Chinese, 2008, multimedia installation. Image courtesy the artist and Guangzhou Triennial. All images in this article are photographed by Sophie McIntyre.

5 FAREWELL? A Review of the Shanghai Bienniale, Guangzhou Triennial and the Taipei Biennial SOPHIE McINTYRE

Maria Magdalena Compos-Pons and Neil Leonard,Porcelana de China/My Mother Told Me I am Chinese, 2008, multimedia installation. Image courtesy the artist and Guangzhou Triennial. All images in this article are photographed by Sophie McIntyre.

6 Shanghai High & Higher MAURICE O'RIORDAN Effie Wu, Super Smile, 2007, still from one channel video, mini DV Pal. One of the standout works from ShContemporary 08: Best of Discovery exhibition. Image courtesy artist and Connoisseur Contemporary Gallery, Hong Kong.

6 Shanghai High & Higher MAURICE O'RIORDAN

Effie Wu, Super Smile, 2007, still from one channel video, mini DV Pal. One of the standout works from ShContemporary 08: Best of Discovery exhibition. Image courtesy artist and Connoisseur Contemporary Gallery, Hong Kong.

7 The strange tale of the Lucky Country, the cultural cringe and the flight of the Tall Poppies JOHN MONTGOMERY John Olsen, Iceberg, 2008, etching on paper. Courtesy the artist and Tim Olsen Gallery, Sydney.

7 The strange tale of the Lucky Country, the cultural cringe and the flight of the Tall Poppies JOHN MONTGOMERY

John Olsen, Iceberg, 2008, etching on paper. Courtesy the artist and Tim Olsen Gallery, Sydney.

8 Contemplating Inertia and Change in Politics: the Art of Jamin MICHAEL DENHOLM Jamin, Change #2, 2008, spray enamel on coated steel. Images courtesy the artist.

8 Contemplating Inertia and Change in Politics: the Art of Jamin MICHAEL DENHOLM

Jamin, Change #2, 2008, spray enamel on coated steel. Images courtesy the artist.

9 The Lost Buddhas of Qingzhou JEREMY ECCLES The Lost Buddhas: Chinese Buddhist Sculpture from Qingzhou, 2008, installation view (detail) of exhibition, Art Gallery of NSW. 

9 The Lost Buddhas of Qingzhou JEREMY ECCLES

The Lost Buddhas: Chinese Buddhist Sculpture from Qingzhou, 2008, installation view (detail) of exhibition, Art Gallery of NSW. 

10 Investigating the nature of our ever expanding universe HOLLY-MAE EMERSON Lara Merrett, Still vast reserves, 2008, acrylic and ink on linen (two panels). Collection of the artist, Melbourne. Image courtesy the artist and PICA.

10 Investigating the nature of our ever expanding universe HOLLY-MAE EMERSON

Lara Merrett, Still vast reserves, 2008, acrylic and ink on linen (two panels). Collection of the artist, Melbourne. Image courtesy the artist and PICA.

11 An irregular order: (im)materialising Micky Allan JENNY McFARLANE Micky Allan, Winter, 2008, graphite, acrylic, ink, gold leaf, collage on drafting film and paper. Images courtesy the artist. Photographs by Derek Ross.

11 An irregular order: (im)materialising Micky Allan JENNY McFARLANE

Micky Allan, Winter, 2008, graphite, acrylic, ink, gold leaf, collage on drafting film and paper. Images courtesy the artist. Photographs by Derek Ross.

12 Letter I need to raise concerns about Jeremy Eccles’s article, Telstra Imbroglio: the 25th NATSIAA, in your October 2008 issue. It concerns me that Mr Eccles has included a number of confused statements in his article which are demonstrably false, and he might have researched the matter more thoroughly if he had contacted Desart and others to verify the facts. In fact, Mr Eccles’s article throws no new light on the issues surrounding the 25th NATSIAA and is nothing more than a provocative stirring of the pot – adding imbroglio to imbroglio, if you like.   [READ MORE #215]

12 Letter

I need to raise concerns about Jeremy Eccles’s article, Telstra Imbroglio: the 25th NATSIAA, in your October 2008 issue. It concerns me that Mr Eccles has included a number of confused statements in his article which are demonstrably false, and he might have researched the matter more thoroughly if he had contacted Desart and others to verify the facts. In fact, Mr Eccles’s article throws no new light on the issues surrounding the 25th NATSIAA and is nothing more than a provocative stirring of the pot – adding imbroglio to imbroglio, if you like.  
[READ MORE #215]