Issue 224 October 2009

1 Whose Art Counts? MELISSA MILES In the act of installing Annette Bezor’s Blush, 2002, oil on linen, 270 x 480cm, at the Institute of Modern Art, Brisbane. Image courtesy the artist.

1 Whose Art Counts? MELISSA MILES

In the act of installing Annette Bezor’s Blush, 2002, oil on linen, 270 x 480cm, at the Institute of Modern Art, Brisbane. Image courtesy the artist.

2 Kathy Temin: Forest of memories NATALIE KING My House, 2005, mixed media and DVD; 3 parts: 163 x 170 x 130cm; (house) 250 x 120 x 120cm; (trees) 210 x 120 x 120cm. Commissioned by the Australian Centre for Contemporary Art for New 05. Installation view, Heide Museum of Modern Art, Melbourne 2009.

2 Kathy Temin: Forest of memories NATALIE KING

My House, 2005, mixed media and DVD; 3 parts: 163 x 170 x 130cm; (house) 250 x 120 x 120cm; (trees) 210 x 120 x 120cm. Commissioned by the Australian Centre for Contemporary Art for New 05. Installation view, Heide Museum of Modern Art, Melbourne 2009.

3 Joan Kerr: Stirring the possum in Australian art history SUSAN STEGGALL Fiona MacDonald, Heritage No. 2, 2004, woven photographs, 60 x 40cm. © the artist and the Cruthers Collection of Women’s Art at the University of Western Australia. Photograph by Jenni Carter. Heritage No. 2 is woven from a press portrait of Joan by Sandy Edwards and a self-portrait by Mary Edwards (1897-1988), a mid-century Australian painter for whom Joan held a ‘curious fascination’ (MacDonald’s words). Mary Edwards was a key complainant in the famous trial against William Dobell’s 1943 Archibald Prize-winning portrait of Joshua Smith. This work appears on the cover of the forthcoming publication Joan Kerr: A Singular Voice, Essays on Art and Architecture, edited by Candice Bruce, Jo Holder and Dinah Dysart, Power Publications, The University of Sydney, October 2009.

3 Joan Kerr: Stirring the possum in Australian art history SUSAN STEGGALL

Fiona MacDonald, Heritage No. 2, 2004, woven photographs, 60 x 40cm. © the artist and the Cruthers Collection of Women’s Art at the University of Western Australia. Photograph by Jenni Carter. Heritage No. 2 is woven from a press portrait of Joan by Sandy Edwards and a self-portrait by Mary Edwards (1897-1988), a mid-century Australian painter for whom Joan held a ‘curious fascination’ (MacDonald’s words). Mary Edwards was a key complainant in the famous trial against William Dobell’s 1943 Archibald Prize-winning portrait of Joshua Smith. This work appears on the cover of the forthcoming publication Joan Kerr: A Singular Voice, Essays on Art and Architecture, edited by Candice Bruce, Jo Holder and Dinah Dysart, Power Publications, The University of Sydney, October 2009.

4 Wollongong Looks at Itself JO HOLDER Installation view of Derek Kreckler’s Façade, 2009, digital proof 1 and 2 (14 images in total); installed at front of WCG. Photographs by Derek Kreckler. The frieze placement of the figures echoes the formation of Bert Flugleman’s Spiral and wave sculpture at the front of WCG. Proposals to show work in WCG’s 27 façade display panels are welcome via gallery@wollongong.nsw.gov.au

4 Wollongong Looks at Itself JO HOLDER

Installation view of Derek Kreckler’s Façade, 2009, digital proof 1 and 2 (14 images in total); installed at front of WCG. Photographs by Derek Kreckler. The frieze placement of the figures echoes the formation of Bert Flugleman’s Spiral and wave sculpture at the front of WCG. Proposals to show work in WCG’s 27 façade display panels are welcome via gallery@wollongong.nsw.gov.au

5 West is When is West: A Trip Report JOHN VON STURMER Tom Polo, cover image for exhibition catalogue, I’m Worse At What I do Best; also the image for the (scrunched-up) exhibition invitation.

5 West is When is West: A Trip Report JOHN VON STURMER

Tom Polo, cover image for exhibition catalogue, I’m Worse At What I do Best; also the image for the (scrunched-up) exhibition invitation.

6 Growing Pains – A journey through BEN QUILTY LIVE! LAINI BURTON Torana no. 5, 2003, oil on canvas, 120 x 140cm. Private collection.

6 Growing Pains – A journey through BEN QUILTY LIVE! LAINI BURTON

Torana no. 5, 2003, oil on canvas, 120 x 140cm. Private collection.

7 Art in Country: Garma 2009 JANE HEALY Dancers from Galiwinku (Elcho Island) at Garma, with Daisy Burarrwanga in the front. Photograph by Francine Chinn.

7 Art in Country: Garma 2009 JANE HEALY

Dancers from Galiwinku (Elcho Island) at Garma, with Daisy Burarrwanga in the front. Photograph by Francine Chinn.

8 Telstra Blues MAURICE O’RIORDAN Danie Mellor, From Rite to Ritual, 2007, mixed media on paper, 207 x 154cm.

8 Telstra Blues MAURICE O’RIORDAN

Danie Mellor, From Rite to Ritual, 2007, mixed media on paper, 207 x 154cm.

9 New York Yankees in Queensland’s Court ALAN DODGE John Singer Sargent, Mr and Mrs I N Phelps Stokes, 1897, oil on canvas, 214 x 101cm. Bequest of Edith Minturn Phelps Stokes (Mrs IN) 1938 (38.104). Collection: The Metropolitan Museum of Art. Image © The Metropolitan Museum of Art, New York.

9 New York Yankees in Queensland’s Court ALAN DODGE

John Singer Sargent, Mr and Mrs I N Phelps Stokes, 1897, oil on canvas, 214 x 101cm. Bequest of Edith Minturn Phelps Stokes (Mrs IN) 1938 (38.104). Collection: The Metropolitan Museum of Art. Image © The Metropolitan Museum of Art, New York.

10 Dali in Melbourne, or, Pearls before Swine JOHN CONOMOS Eric Schaal, Preparatory photograph for the collage What Dalí thinks about, created for Click magazine, 1941, gelatin silver photograph, 25.5 x 20.5cm. Fundació Gala-Salvador Dalí, Figueres. © Eric Schaal, Fundació Gala-Salvador Dalí, VISCOPY, 2009.

10 Dali in Melbourne, or, Pearls before Swine JOHN CONOMOS

Eric Schaal, Preparatory photograph for the collage What Dalí thinks about, created for Click magazine, 1941, gelatin silver photograph, 25.5 x 20.5cm. Fundació Gala-Salvador Dalí, Figueres. © Eric Schaal, Fundació Gala-Salvador Dalí, VISCOPY, 2009.

11 Just Is: SALA festival 2009 NERINA DUNT Edward James, The Fuse #3, 2009, UltraChrome digital print, 50 x 40cm.

11 Just Is: SALA festival 2009 NERINA DUNT

Edward James, The Fuse #3, 2009, UltraChrome digital print, 50 x 40cm.

12 Fully Exploited Labour: Pat Hoffie ANNI DOYLE Cover for publication Fully Exploited Labour: Pat Hoffie, edited by Sally Butler, University of Queensland Art Museum, Brisbane, 2008. ISBN 186499908X, 128 pages, full-colour, hardback. Cover features work from Hoffie’s Madame Illuminata Crack’s Pictorial Guide to the Universe series, 1999.

12 Fully Exploited Labour: Pat Hoffie ANNI DOYLE

Cover for publication Fully Exploited Labour: Pat Hoffie, edited by Sally Butler, University of Queensland Art Museum, Brisbane, 2008. ISBN 186499908X, 128 pages, full-colour, hardback. Cover features work from Hoffie’s Madame Illuminata Crack’s Pictorial Guide to the Universe series, 1999.