March 2010 Issue 227

  1 Has the APT lost its way?: SASHA GRISHIN   Kibong Rhee,  There is no place –Shallow cuts , 2008, glass, fog machine, artificial leaves, wood, steel, sand, motor, timer. Image courtesy the artist and Kukje Gallery

1 Has the APT lost its way?: SASHA GRISHIN

Kibong Rhee, There is no place –Shallow cuts, 2008, glass, fog machine, artificial leaves, wood, steel, sand, motor, timer. Image courtesy the artist and Kukje Gallery

  2 The Masks of Merlam & the Shining Swords of Australian Art Awards: DARREN JORGENSON   Ricardo Idagi,  Malo Mask , 2008, turtle shell, cowrie shells, mussel shells, feathers, raffia grass, wicker cane, saimi saimi seeds, natural earth pigment, 157 x 120 x 70cm. Image courtesy the artist and Vivien Anderson Gallery, Melbourne

2 The Masks of Merlam & the Shining Swords of Australian Art Awards: DARREN JORGENSON

Ricardo Idagi, Malo Mask, 2008, turtle shell, cowrie shells, mussel shells, feathers, raffia grass, wicker cane, saimi saimi seeds, natural earth pigment, 157 x 120 x 70cm. Image courtesy the artist and Vivien Anderson Gallery, Melbourne

  3 Making it New: ADAM GECZY   Bob Jenyns,  Suit… dedicated to my dad who waited for forty years for me to buy a suit and then he died so that I might have somewhere to wear it , 1995, polychromed wood, 60 x 240 x 23cm. Installation view, Museum of Contemporary Art, Sydney. Collection the artist. Image courtesy and © the artist

3 Making it New: ADAM GECZY

Bob Jenyns, Suit… dedicated to my dad who waited for forty years for me to buy a suit and then he died so that I might have somewhere to wear it, 1995, polychromed wood, 60 x 240 x 23cm. Installation view, Museum of Contemporary Art, Sydney. Collection the artist. Image courtesy and © the artist

  4 Dark Days – closure, not completion: STEPHENIE CAHALAN   John Cale,  Dyddiau Du (Dark Days) , 2009, still images from 5-channel video installation. Image courtesy the artist and MONA FOMA 2010, Hobart

4 Dark Days – closure, not completion: STEPHENIE CAHALAN

John Cale, Dyddiau Du (Dark Days), 2009, still images from 5-channel video installation. Image courtesy the artist and MONA FOMA 2010, Hobart

  5 Bravura: 21st Century Australian Craft: MARGOT OSBORNE   Stephen Benwell,  Large flared vase , 2008, earthenware, 40 x 48 x 48.5cm. Maude Vizard-Wholohan Art Purchase Award 2009, Art Gallery of South Australia, Adelaide. Image courtesy and © the artist, and Niagara Galleries, Melbourne

5 Bravura: 21st Century Australian Craft: MARGOT OSBORNE

Stephen Benwell, Large flared vase, 2008, earthenware, 40 x 48 x 48.5cm. Maude Vizard-Wholohan Art Purchase Award 2009, Art Gallery of South Australia, Adelaide. Image courtesy and © the artist, and Niagara Galleries, Melbourne

  6 Educating for Art & Society: Rupert Myer   Eleanor Orchard,  Jackson , 2009, pencil, 29.7 x 21cm (image and sheet). School: Warrnambool College, Warrnambool. Image courtesy the artist and Top Arts, Victoria

6 Educating for Art & Society: Rupert Myer

Eleanor Orchard, Jackson, 2009, pencil, 29.7 x 21cm (image and sheet). School: Warrnambool College, Warrnambool. Image courtesy the artist and Top Arts, Victoria

  7 Nicholas (Nick) Waterlow 1941-2009: MARGARET FARMEr   Nick Waterlow, 2008. Photograph by Olivia Martin-McGuire

7 Nicholas (Nick) Waterlow 1941-2009: MARGARET FARMEr

Nick Waterlow, 2008. Photograph by Olivia Martin-McGuire

  8 Sue Ford 1943–2009: HELEN ENNIS   1/  Self-Portrait,  1961. 2/  Self Portrait with camera , 2004, 120 x 190cm

8 Sue Ford 1943–2009: HELEN ENNIS

1/ Self-Portrait, 1961. 2/ Self Portrait with camera, 2004, 120 x 190cm

  9 Shane Pickett 1957–2010: HENRY SKERRITT   Shane Pickett at the opening of his exhibition Shane Pickett: Art and Healing, Mossenson Galleries, Collingwood, October 2008. Image courtesy Mossenson Galleries

9 Shane Pickett 1957–2010: HENRY SKERRITT

Shane Pickett at the opening of his exhibition Shane Pickett: Art and Healing, Mossenson
Galleries, Collingwood, October 2008. Image courtesy Mossenson Galleries

  10 Re-Thinking John Brack: CHRISTOPHER HEATHCOTE    Still-life with self-portrait , 1963, oil on canvas, 149.2 x 78.6cm. James & Diana Ramsay Fund 1999, Art Gallery of South Australia, Adelaide

10 Re-Thinking John Brack: CHRISTOPHER HEATHCOTE

Still-life with self-portrait, 1963, oil on canvas, 149.2 x 78.6cm. James & Diana Ramsay Fund 1999, Art Gallery of South Australia, Adelaide

  11 Art under Intervention: the radical ordinary of June Walkutjukurr Richards: JENNIFER BIDDLE   June Walkutjukurr Richards,  New Idea , 2006, acrylic on canvas, 45.9 x 61cm. Courtesy and © June Richards, and Warburton Collection

11 Art under Intervention: the radical ordinary of June Walkutjukurr Richards: JENNIFER BIDDLE

June Walkutjukurr Richards, New Idea, 2006, acrylic on canvas, 45.9 x 61cm. Courtesy and © June Richards, and Warburton Collection

  12 TS2: art intercepting waste: ADAM BROINOWSKI   Slow Art Collective,  Transfer Station 2,  2009, installation view, Incinerator Arts Complex, Melbourne. Image courtesy Slow Art Collective

12 TS2: art intercepting waste: ADAM BROINOWSKI

Slow Art Collective, Transfer Station 2, 2009, installation view, Incinerator Arts Complex, Melbourne. Image courtesy Slow Art Collective

  13 Braille, littorally: ANNE WALTON   Anne Walton,  Braille on Manly Beach , 2009, installation views, Manly Cove. Images courtesy the artist

13 Braille, littorally: ANNE WALTON

Anne Walton, Braille on Manly Beach, 2009, installation views, Manly Cove. Images courtesy the artist

  14 Bacon ‘n’ Eggs: JOHN KELLY   Photograph of Francis Bacon by John Deakin. Collection of Dublin City Gallery The Hugh Lane. © The Estate of Francis Bacon. All rights reserved/ DACS, London

14 Bacon ‘n’ Eggs: JOHN KELLY

Photograph of Francis Bacon by John Deakin. Collection of Dublin City Gallery The Hugh Lane. © The Estate of Francis Bacon. All rights reserved/ DACS, London

  15 A History: Joachim Froese: GORDON CRAIG    Archive #7 , 2008, 4 archival pigment inkjet prints, 144 x 66.5cm

15 A History: Joachim Froese: GORDON CRAIG

Archive #7, 2008, 4 archival pigment inkjet prints, 144 x 66.5cm

  16 Letter from Art Forum Berlin: WES HILL   Michael Sailstorfer,  1:43 - 48 , 2009, iron, aluminum, electronic units, popcorn. Courtesy the artist and Galerie Johann König, Berlin

16 Letter from Art Forum Berlin: WES HILL

Michael Sailstorfer, 1:43 - 48, 2009, iron, aluminum, electronic units, popcorn. Courtesy the artist and Galerie Johann König, Berlin