Issue 217 March 2009

1 Parallel TERRY WHITEBEACH Eugenia Raskopoulos, Untitled 99/00 (detail), 1999/2000, six Type C photographs, 110 x 160cm each. Image courtesy the artist.

1 Parallel TERRY WHITEBEACH

Eugenia Raskopoulos, Untitled 99/00 (detail), 1999/2000, six Type C photographs, 110 x 160cm each. Image courtesy the artist.

2 Someone’s Universe: the Art of Eugene Carchesio DAVID PESTORIUS Eugene Carchesio, 187 works for the People’s Republic of Spiritual Revolution (detail), 1975-90, watercolour, pencil, collage, ink and pressed leaves on paper. 168 sheets ranging from 15 x 9cm to 22.6 x 17cm. Purchased 2002. Collection: Queensland Art Gallery.

2 Someone’s Universe: the Art of Eugene Carchesio DAVID PESTORIUS

Eugene Carchesio, 187 works for the People’s Republic of Spiritual Revolution (detail), 1975-90, watercolour, pencil, collage, ink and pressed leaves on paper. 168 sheets ranging from 15 x 9cm to 22.6 x 17cm. Purchased 2002. Collection: Queensland Art Gallery.

3 Why Orson Welles Matters JOHN CONOMOS Cover image for Jonathan Rosenbaum’s Discovering Orson Welles, University of California Press, Berkeley, 2007, 336pp.

3 Why Orson Welles Matters JOHN CONOMOS

Cover image for Jonathan Rosenbaum’s Discovering Orson Welles, University of California Press, Berkeley, 2007, 336pp.

4 Festivals, Folk and contemporary art PAT HOFFIE Cassandra Schultz, Wombach after Bewick, Thomas, c. 1807, from the installation Pouch, the Antipodean Series, 2008, incense figurine (cinnamon wood paste), bell jar, rosewood base, rosewood and glass case. Exhibited in Carnal Carnivale. Image courtesy the artist. Photograph by Bruce Molloy.

4 Festivals, Folk and contemporary art PAT HOFFIE

Cassandra Schultz, Wombach after Bewick, Thomas, c. 1807, from the installation Pouch, the Antipodean Series, 2008, incense figurine (cinnamon wood paste), bell jar, rosewood base, rosewood and glass case. Exhibited in Carnal Carnivale. Image courtesy the artist. Photograph by Bruce Molloy.

5 ReCoil: a Celebration of Fibre Art in Australia CHRISTIANE KELLER Kantjupayi Benson, Truck and Driver, 2007, grass, raffia, string, wool, wire, mesh, wheels, 112 x 190 x 75cm. Courtesy the artist and Tjanpi Desert Weavers.

5 ReCoil: a Celebration of Fibre Art in Australia CHRISTIANE KELLER

Kantjupayi Benson, Truck and Driver, 2007, grass, raffia, string, wool, wire, mesh, wheels, 112 x 190 x 75cm. Courtesy the artist and Tjanpi Desert Weavers.

6 Danny Eastwood: a pretty potency KERRIE KENTON Danny Eastwood, My Reconciliation, 2008, pen, ink and watercolour on paper, 69 x 90cm. Image courtesy the artist. Photograph by Silversalt Photography.

6 Danny Eastwood: a pretty potency KERRIE KENTON

Danny Eastwood, My Reconciliation, 2008, pen, ink and watercolour on paper, 69 x 90cm. Image courtesy the artist. Photograph by Silversalt Photography.

7 Letter: Contemplations at the end of time

7 Letter: Contemplations at the end of time

8 From Fragonard to Kennard: René Gimpel - art dealer DIANA KOSTYRKO René Albert and Florence in the grounds of rue Spontini, Paris, ca 1916 (Gimpel family archives).

8 From Fragonard to Kennard: René Gimpel - art dealer DIANA KOSTYRKO

René Albert and Florence in the grounds of rue Spontini, Paris, ca 1916 (Gimpel family archives).

9 Shapes of purity & reality: an interview with Bert Flugelman JAN JONES Bert Flugelman, Cones, 1982, stainless steel, 450 x 2050 x 450cm. Installation view, National Gallery of Australia Sculpture Garden. Collection: National Gallery of Australia, Canberra. Commissioned 1976, purchased 1982. © Bert Flugelman.

9 Shapes of purity & reality: an interview with Bert Flugelman JAN JONES

Bert Flugelman, Cones, 1982, stainless steel, 450 x 2050 x 450cm. Installation view, National Gallery of Australia Sculpture Garden. Collection: National Gallery of Australia, Canberra. Commissioned 1976, purchased 1982. © Bert Flugelman.

10 Monet and the Impressionists ADAM GECZY Pierre Auguste Renoir, Woman with a parasol and a small child on a sunlit hillside, c. 1874-76, oil on canvas, 47 x 56.2cm. Collection: Museum of Fine Arts, Boston, bequest of John T. Spaulding. Copyright Museum of Fine Arts, Boston.

10 Monet and the Impressionists ADAM GECZY

Pierre Auguste Renoir, Woman with a parasol and a small child on a sunlit hillside, c. 1874-76, oil on canvas, 47 x 56.2cm. Collection: Museum of Fine Arts, Boston, bequest of John T. Spaulding. Copyright Museum of Fine Arts, Boston.

11 Freestylin’: artists’ books afloat in Brisbane LOUISE WAREHAM LEONARD Tim Mosely, Mixed carton 1: critical theory in a box, 2006, artist’s book in slipcase: recycled cardboard, metal eyelets and plastic tape, 17 x 18 x 8cm. Collection: Australian Library of Art, State Library of Queensland. Image courtesy State Library of Queensland.

11 Freestylin’: artists’ books afloat in Brisbane LOUISE WAREHAM LEONARD

Tim Mosely, Mixed carton 1: critical theory in a box, 2006, artist’s book in slipcase: recycled cardboard, metal eyelets and plastic tape, 17 x 18 x 8cm. Collection: Australian Library of Art, State Library of Queensland. Image courtesy State Library of Queensland.

12 AuctionNotes TERRY INGRAM   At a sale of books and documents held by Australian Book Auctions at its rooms in Armadale on 1 December, this miniature portrait on ivory of Governor Thomas Brisbane (estimate $5000 to $10,000) sold at $65,000 or $75,725 with premium. The work was attributed to the British miniaturist Nathaniel Plimer (1757-1822) but the value was clearly in the sitter. The Australian art market at the end of 2008 deflated as the financial world went into a tailspin. This, however, was not a problem for object and document makers – and their collector(s) – as museums and libraries replaced merchant bankers and hedge fund operators as the saleroom’s pro-activists. Read more in #217 Terry Ingram has written for the Australian Financial Review on the art market for forty years and still contributes to its Thursday Saleroom section.

12 AuctionNotes TERRY INGRAM

 

At a sale of books and documents held by Australian Book Auctions at its rooms in Armadale on 1 December, this miniature portrait on ivory of Governor Thomas Brisbane (estimate $5000 to $10,000) sold at $65,000 or $75,725 with premium. The work was attributed to the British miniaturist Nathaniel Plimer (1757-1822) but the value was clearly in the sitter.

The Australian art market at the end of 2008 deflated as the financial world went into a tailspin. This, however, was not a problem for object and document makers – and their collector(s) – as museums and libraries replaced merchant bankers and hedge fund operators as the saleroom’s pro-activists. Read more in #217

Terry Ingram has written for the Australian Financial Review on the art market for forty years and still contributes to its Thursday Saleroom section.