Issue 222 August 2009

1 CIAF in focus LOUISE MARTIN-CHEW & MICHAEL SNELLING Ron Yunkaporta, Thuuth Thaa’munth (Law Poles), 2006, ochres with acrylic binder on cottontree wood, bush string, ibis feathers, various dimensions. Image courtesy the artist and Wik and Kugu Art Centre, Aurukun, North Queensland; the Queensland Indigenous Arts Marketing and Export Agency (QIAMEA), Queensland, Australia. Collection: Aboriginal Art Museum Utrecht, The Netherlands.

1 CIAF in focus LOUISE MARTIN-CHEW & MICHAEL SNELLING

Ron Yunkaporta, Thuuth Thaa’munth (Law Poles), 2006, ochres with acrylic binder on cottontree wood, bush string, ibis feathers, various dimensions. Image courtesy the artist and Wik and Kugu Art Centre, Aurukun, North Queensland; the Queensland Indigenous Arts Marketing and Export Agency (QIAMEA), Queensland, Australia. Collection: Aboriginal Art Museum Utrecht, The Netherlands.

2 Histories repeating: recent work by r e a CHRISTINE NICHOLLS r e a, Head On, 2009, male/female plaster head c. 1950s, language added by r e a, 15 x 12 x 2cm. Image courtesy the artist, BREENSPACE, Sydney, and Manly Art Gallery and Museum, Sydney. Photography by Jamie North.  

2 Histories repeating: recent work by r e a CHRISTINE NICHOLLS

r e a, Head On, 2009, male/female plaster head c. 1950s, language added by r e a, 15 x 12 x 2cm. Image courtesy the artist, BREENSPACE, Sydney, and Manly Art Gallery and Museum, Sydney. Photography by Jamie North.  

3 Ricky Maynard: Portrait of a Distant Land LARISSA BEHRENDT Walker Evans, Allie Mae Burroughs, Wife of a Cotton Sharecropper, 1936, gelatin silver photograph, 34.3 x 27cm. South Australian Government Grant 1979, Collection: Art Gallery of South Australia, Adelaide;

3 Ricky Maynard: Portrait of a Distant Land LARISSA BEHRENDT

Walker Evans, Allie Mae Burroughs, Wife of a Cotton Sharecropper, 1936, gelatin silver photograph, 34.3 x 27cm. South Australian Government Grant 1979, Collection: Art Gallery of South Australia, Adelaide;

4 Tunnel Vision: 42/45, Darwin MAURICE O’RIORDAN East Point Number 2. An artillery observation point set into the cliffs at East Point at the mouth of Darwin Harbour

4 Tunnel Vision: 42/45, Darwin MAURICE O’RIORDAN

East Point Number 2. An artillery observation point set into the cliffs at East Point at the mouth of Darwin Harbour

5 From Bondi to Aarhus: Sculpture by the Sea KEN SCARLETT Phil Price (New Zealand), Morpheus, steel, lead, aluminium, bearings, carbon fibre, epoxy urethane paint, height: 670cm, diameter of movement: 640cm

5 From Bondi to Aarhus: Sculpture by the Sea KEN SCARLETT

Phil Price (New Zealand), Morpheus, steel, lead, aluminium, bearings, carbon fibre, epoxy urethane paint, height: 670cm, diameter of movement: 640cm

6 Jeff Koons in the Palace WES HILL Jeff Koons, Rabbit, 1986, stainless steel, 104.1 x 48.3 x 305.cm. Installed in Le Salon de l’Abondance (in the King’s Grand Apartment)

6 Jeff Koons in the Palace WES HILL

Jeff Koons, Rabbit, 1986, stainless steel, 104.1 x 48.3 x 305.cm. Installed in Le Salon de l’Abondance (in the King’s Grand Apartment)

7 When in Venice ... MARTYN JOLLY Krzysztof Wodiczko, Visitors, 2008/2009, video projection. Image courtesy the artist and Profile Foundation.

7 When in Venice ... MARTYN JOLLY

Krzysztof Wodiczko, Visitors, 2008/2009, video projection. Image courtesy the artist and Profile Foundation.

8 From Hard to Soft: Soft Sculpture at the NGA MATTHEW HOLT Knitta Please at the National Gallery, installation view, gallery exterior. To celebrate the final week of Soft Sculpture, the National Gallery of Australia held Knitta Please, a festival of events from 5 to 12 July, inspired by the Knitta Please group (founded in 2005), and resulting in a bright, warm and woolly gallery facelift.

8 From Hard to Soft: Soft Sculpture at the NGA MATTHEW HOLT

Knitta Please at the National Gallery, installation view, gallery exterior. To celebrate the final week of Soft Sculpture, the National Gallery of Australia held Knitta Please, a festival of events from 5 to 12 July, inspired by the Knitta Please group (founded in 2005), and resulting in a bright, warm and woolly gallery facelift.

9 Goulburn aGOG JAN JONES David Carta, Darren - TATTOO ART, from the exhibitions Tattoo Parlour/Body Art and Show us your Tatts by David Carta, part of GRAG’s biennial Easter 2009 Show which coincided with the Australian Street Nationals ‘hot rod’ event. Image courtesy Goulburn Regional Art Gallery and Wicked Ink Tattoo Studio

9 Goulburn aGOG JAN JONES

David Carta, Darren - TATTOO ART, from the exhibitions Tattoo Parlour/Body Art and Show us your Tatts by David Carta, part of GRAG’s biennial Easter 2009 Show which coincided with the Australian Street Nationals ‘hot rod’ event. Image courtesy Goulburn Regional Art Gallery and Wicked Ink Tattoo Studio

10 Korean Dreams ADAM GECZY Character ideographs: Ui (Justice), 17-1800s, colour on paper, 49 x30cm.

10 Korean Dreams ADAM GECZY

Character ideographs: Ui (Justice), 17-1800s, colour on paper, 49 x30cm.

11 Sucker-punch and soul: Gerry Wedd ceramics JULIA JONES Gerry Wedd, Thongs (detail), 2004, size 10, from Mementoes exhibition. Photography by Michal Kluvanek

11 Sucker-punch and soul: Gerry Wedd ceramics JULIA JONES

Gerry Wedd, Thongs (detail), 2004, size 10, from Mementoes exhibition. Photography by Michal Kluvanek

12 The Shaping of a Sculptor: John Dowie (1915 – 2008) DENNIS COLEMAN Dowie at work (possibly overseas)

12 The Shaping of a Sculptor: John Dowie (1915 – 2008) DENNIS COLEMAN

Dowie at work (possibly overseas)

13 book: Tales from Outer Suburbia & The Sacrifice CEFN RIDOUT Shaun Tan, Tales from Outer Suburbia Allen & Unwin, 2008, 96pp, $35 rrp Bruce Mutard, The Sacrifice Allen & Unwin, 2008,  252pp, $35 rrp IMAGE: Shaun Tan, cover image from Tales from Outer Suburbia.

13 book: Tales from Outer Suburbia & The Sacrifice CEFN RIDOUT

Shaun Tan, Tales from Outer Suburbia

Allen & Unwin, 2008, 96pp, $35 rrp

Bruce Mutard, The Sacrifice
Allen & Unwin, 2008,  252pp, $35 rrp
IMAGE: Shaun Tan, cover image from Tales from Outer Suburbia.