Issue 227 March 2010

1. Has the APT lost its way? by 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? by 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, by 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, by 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 by 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 by 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. by 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. by 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, by 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, by 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, by 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, by 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, by MARGARET FARMEr Nick Waterlow, 2008. Photograph by Olivia Martin-McGuire.

7. Nicholas (Nick) Waterlow 1941-2009, by MARGARET FARMEr

Nick Waterlow, 2008. Photograph by Olivia Martin-McGuire.

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

8. Sue Ford 1943–2009, by HELEN ENNIS

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

9. Shane Pickett 1957–2010, by 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, by 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, by 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, by 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, by 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, by 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, by 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, by ADAM BROINOWSKI

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

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

13. Braille, littorally, by ANNE WALTON

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

14. Bacon ‘n’ Eggs, by 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, by 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, by GORDON CRAIG Archive #7, 2008, 4 archival pigment inkjet prints, 144 x 66.5cm.

15. A History: Joachim Froese, by GORDON CRAIG

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

16. Letter from Art Forum Berlin, by 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, by WES HILL

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