Issue 216 Summer 2008

1 Darby Jampijinpa Ross: Make it good for the people LOUISE MARTIN-CHEW Karlanjirrinpirri (Swallow Dreaming), 1994, acrylic on canvas. Collection of Roslyn Premont, Sydney. Courtesy Gallery Gondwana, Sydney and Alice Springs.

1 Darby Jampijinpa Ross: Make it good for the people LOUISE MARTIN-CHEW

Karlanjirrinpirri (Swallow Dreaming), 1994, acrylic on canvas. Collection of Roslyn Premont, Sydney. Courtesy Gallery Gondwana, Sydney and Alice Springs.

2 Art on the rebound LISA SLADE Louise Weaver, Sacred Kingfisher, 2007-2008, hand crocheted lamb’s wool over taxidermied Sacred Kingfisher, (Alcidinidae) bonsai tree, marine plywood, sequins and cotton thread. Images courtesy the artist and Darren Knight Gallery, Sydney.

2 Art on the rebound LISA SLADE

Louise Weaver, Sacred Kingfisher, 2007-2008, hand crocheted lamb’s wool over taxidermied Sacred Kingfisher, (Alcidinidae) bonsai tree, marine plywood, sequins and cotton thread. Images courtesy the artist and Darren Knight Gallery, Sydney.

3 Lines In the Sand: Botany Bay Stories From 1770 ANNA LAWRENSON Adam Hill, Heads Will Roll, 2008, acrylic on canvas. Courtesy the artist and Arc One Gallery, Melbourne.

3 Lines In the Sand: Botany Bay Stories From 1770 ANNA LAWRENSON

Adam Hill, Heads Will Roll, 2008, acrylic on canvas. Courtesy the artist and Arc One Gallery, Melbourne.

4 Down South: A Stark View of the Sutherland Shire DIANA SIMMONDS Andrew Stark, Cronulla Park, 2008

4 Down South: A Stark View of the Sutherland Shire DIANA SIMMONDS

Andrew Stark, Cronulla Park, 2008

5 Adam Cullen: Let's get lost ALAN DODGE Adam Cullen, Let's Get Lost, 1999, acrylic, ink and enamel on board. Collection: Art Gallery of New South Wales, Contemporary Collection Benefactors, 1999.

5 Adam Cullen: Let's get lost ALAN DODGE

Adam Cullen, Let's Get Lost, 1999, acrylic, ink and enamel on board. Collection: Art Gallery of New South Wales, Contemporary Collection Benefactors, 1999.

6 The Bon Scott Project ROBERT COOK Rennie Ellis, AC/DC, Atlanta, Georgia, 1978, silver gelatin print. Courtesy the artist and Fremantle Arts Centre.

6 The Bon Scott Project ROBERT COOK

Rennie Ellis, AC/DC, Atlanta, Georgia, 1978, silver gelatin print. Courtesy the artist and Fremantle Arts Centre.

7 Beyond frame: Philippine photomedia PRUE GIBSON Steve Tirona, Imelda Collection Plate #1, 2006, digital print. Courtesy the artist.

7 Beyond frame: Philippine photomedia PRUE GIBSON

Steve Tirona, Imelda Collection Plate #1, 2006, digital print. Courtesy the artist.

8 Fluorescent Facade: Arkley in Action ODETTE KELADA Patrick McCarthy in character(s), scene from Fluorescent Facade, with a projection of Howard Arkley's Mod Style, 1992. Photograph by Mary Evans.

8 Fluorescent Facade: Arkley in Action ODETTE KELADA

Patrick McCarthy in character(s), scene from Fluorescent Facade, with a projection of Howard Arkley's Mod Style, 1992. Photograph by Mary Evans.

9 James Gleeson 1915 to 2008 CHRISTOPHER CHAPMAN James Gleeson, Portrait of the artist as an evolving landscape, 1993, oil on canvas. Private collection. Courtesy of Tim Olsen Gallery, Sydney. Image courtesy National Portrait Gallery, Canberra. Currently on show in the new National Portrait Gallery debut exhibition Open Air, Portraits and Landscape, 4 December 2008 to 1 March 2009.

9 James Gleeson 1915 to 2008 CHRISTOPHER CHAPMAN

James Gleeson, Portrait of the artist as an evolving landscape, 1993, oil on canvas. Private collection. Courtesy of Tim Olsen Gallery, Sydney. Image courtesy National Portrait Gallery, Canberra. Currently on show in the new National Portrait Gallery debut exhibition Open Air, Portraits and Landscape, 4 December 2008 to 1 March 2009.

10 Grahame King 1915 to 2008 SASHA GRISHIN Grahame King in his Studio (detail). Photography by Richard Beck.

10 Grahame King 1915 to 2008 SASHA GRISHIN

Grahame King in his Studio (detail). Photography by Richard Beck.

11 Ngarra, Andinyin/Kitja Artist, c.1920 to 2008 HENRY F. SKERRITT Ngarra at home in Derby, 2002. This photograph was taken by Ngarra's long-time friend and facilitator Kevin Shaw, and appears in Shaw's publication Mates: Images and Stories from the Kimberley, Australian Scholarly Publishing, Melbourne 2002. Ngarra approved of his photographic image being used after his death.

11 Ngarra, Andinyin/Kitja Artist, c.1920 to 2008 HENRY F. SKERRITT

Ngarra at home in Derby, 2002. This photograph was taken by Ngarra's long-time friend and facilitator Kevin Shaw, and appears in Shaw's publication Mates: Images and Stories from the Kimberley, Australian Scholarly Publishing, Melbourne 2002. Ngarra approved of his photographic image being used after his death.

12 Gothic candour: 'I am the coffin that will not be silent' ASHLEY CRAWFORD Jazmina Cininas, Rima knows the curse of being born on Christmas Eve, 2006,reduction linocut, woodblock. Courtesy the artist and Port Jackson Press Australia (Melbourne).

12 Gothic candour: 'I am the coffin that will not be silent' ASHLEY CRAWFORD

Jazmina Cininas, Rima knows the curse of being born on Christmas Eve, 2006,reduction linocut, woodblock. Courtesy the artist and Port Jackson Press Australia (Melbourne).

13 Without Borders: Outsider Art in an Antipodean Context MONICA SYRETTE Alvaro Alvarez, Untitled (Two figures), 2003, pencil on canvas. Collection Arts Project Australia. 

13 Without Borders: Outsider Art in an Antipodean Context MONICA SYRETTE

Alvaro Alvarez, Untitled (Two figures), 2003, pencil on canvas. Collection Arts Project Australia. 

14 Songs of Innocence and Experience NEWELL HARRY & MAX LIEBERMAN Max Lieberman, Catharsis, 2006-2008, oil on canvas. Image courtesy the artist and Flinders St Gallery, Sydney.

14 Songs of Innocence and Experience NEWELL HARRY & MAX LIEBERMAN

Max Lieberman, Catharsis, 2006-2008, oil on canvas. Image courtesy the artist and Flinders St Gallery, Sydney.

15 Making here an everywhere: Jade Pegler's The Demonstrables PETER FAY Jade Pegler, The Demonstrables (detail), 2008, paper, textiles and mixed media. Courtesy the artist and Wollongong City Gallery.

15 Making here an everywhere: Jade Pegler's The Demonstrables PETER FAY

Jade Pegler, The Demonstrables (detail), 2008, paper, textiles and mixed media. Courtesy the artist and Wollongong City Gallery.

16 Book: So Far: The Art of Dale Frank 1980-2005 DAVID BROKER so Far: The Art of Dale Frank 1980-2005 Schwartz City, Melbourne 2008,  432 pp, $199 rrp DAVID BROKER

16 Book: So Far: The Art of Dale Frank 1980-2005 DAVID BROKER

so Far: The Art of Dale Frank 1980-2005
Schwartz City, Melbourne 2008,  432 pp, $199 rrp
DAVID BROKER

17 Book: Rita Angus: an artist's life ANNE KIRKER Jill Trevelyan Rita Angus: an artist's life Te Papa Press, Museum of New Zealand, Wellington 2008, 420 pp, NZ$69.99 rrp ANNE KIRKER

17 Book: Rita Angus: an artist's life ANNE KIRKER

Jill Trevelyan Rita Angus: an artist's life
Te Papa Press, Museum of New Zealand, Wellington 2008, 420 pp, NZ$69.99 rrp
ANNE KIRKER

18 LETTER Jeremy Eccles John Oster, Executive Officer/Director of Desart, complains that I brought "no new light" in my October 2008 AMA article on the issues surrounding the boycott of the 25th NATSIAA by artists and art centres that are members of Desart. I admit it was hard to shine light on a situation that has never been adequately explained by Desart "as official spokes-organisation for the boycotters. In fact, about the only thing that the many shades of opinion that I did speak to which was agreed on, was the dismal job done by Desart of justifying the action by artists and art centre coordinators" actions which appeared to be an attempt to bring pressure against the artists, the art centre board and management of a former Desart member (Irrunytju Arts at Wingellina) beside whom they'D been selected to hang in Darwin. Read more #216

18 LETTER Jeremy Eccles

John Oster, Executive Officer/Director of Desart, complains that I brought "no new light" in my October 2008 AMA article on the issues surrounding the boycott of the 25th NATSIAA by artists and art centres that are members of Desart.

I admit it was hard to shine light on a situation that has never been adequately explained by Desart "as official spokes-organisation for the boycotters. In fact, about the only thing that the many shades of opinion that I did speak to which was agreed on, was the dismal job done by Desart of justifying the action by artists and art centre coordinators" actions which appeared to be an attempt to bring pressure against the artists, the art centre board and management of a former Desart member (Irrunytju Arts at Wingellina) beside whom they'D been selected to hang in Darwin.

Read more #216