Issue 229 May 2010

1 Keeping It Visual: The Studio-based PhD PETER HILL Yvette Watt, Second Sight series, 2008/8, gicleé print on Hahnemuehle photo rag paper, 65 x 58cm; clockwise from top left: sheep, cow, chicken, pig.

1 Keeping It Visual: The Studio-based PhD PETER HILL

Yvette Watt, Second Sight series, 2008/8, gicleé print on Hahnemuehle photo rag paper, 65 x 58cm; clockwise from top left: sheep, cow, chicken, pig.

2 gone in no time KEN BOLTON   Nick Selenitsch in limbo. Photograph by Nick Selenitsch

2 gone in no time KEN BOLTON

 

Nick Selenitsch in limbo. Photograph by Nick Selenitsch

3 9 shots 5 stories IAN McLEAN     Imants Tillers, The nine shots, 1985, acrylic and oilstick on 91 canvasboards; overall 330 x 266cm. National Gallery of Australia, Canberra. Gift of the artist, 2008. This is the second part of an essay which began life in a conference paper at the 2nd Imagined Australia conference, Bari, Italy, in June 2009, and the Daphne Mayo lecture, University of Queensland, September 2009. The first part (including the first two stories, ‘From beginning to end’ and ‘The story’) is published in AMA #228, April 2010.

3 9 shots 5 stories IAN McLEAN

 

 

Imants Tillers, The nine shots, 1985, acrylic and oilstick on 91 canvasboards; overall 330 x 266cm. National Gallery of Australia, Canberra. Gift of the artist, 2008.

This is the second part of an essay which began life in a conference paper at the 2nd Imagined Australia conference, Bari, Italy, in June 2009, and the Daphne Mayo lecture, University of Queensland, September 2009. The first part (including the first two stories, ‘From beginning to end’ and ‘The story’) is published in AMA #228, April 2010.

4 The Quick and the Dead AMBER NAISMITH Araya Rasdjarmrearnsook, Conversation I, 2005, video installation, 5 videos, duration 12 minutes. Dimensions variable. Photograph by Eeakarach Prangchaikul. Courtesy the artist by arrangement with 100 Tonson Gallery, Bangkok.

4 The Quick and the Dead AMBER NAISMITH

Araya Rasdjarmrearnsook, Conversation I, 2005, video installation, 5 videos, duration 12 minutes. Dimensions variable. Photograph by Eeakarach Prangchaikul. Courtesy the artist by arrangement with 100 Tonson Gallery, Bangkok.

5 Beauty: nature and art MARK DOBER Julia Morison, Myriorama #6 Wayzgoose, Configuration #4, 2010, laser jet print, Indian ink wash, gesso, aluminium/polyurethane laminate: 6 panels, 60 x 80cm each. Image courtesy of the artist and Two Rooms Auckland, New Zealand. Julia Morison is one of several New Zealand artists who will be showing in the 17th Biennale of Sydney.

5 Beauty: nature and art MARK DOBER

Julia Morison, Myriorama #6 Wayzgoose, Configuration #4, 2010, laser jet print, Indian ink wash, gesso, aluminium/polyurethane laminate: 6 panels, 60 x 80cm each. Image courtesy of the artist and Two Rooms Auckland, New Zealand. Julia Morison is one of several New Zealand artists who will be showing in the 17th Biennale of Sydney.

6 Melbourne John Nixon, Portrait of Jenny Watson, c. 1980, Polaroid photograph. © Courtesy John Nixon.

6 Melbourne

John Nixon, Portrait of Jenny Watson, c. 1980, Polaroid photograph. © Courtesy John Nixon.

7 Hopper’s Imaginary Line MELISSA AMORE Dennis Hopper, Self-portrait (Within a Man of Light, there is only Light; Within a Man of Darkness, there is only Darkness), 1997, digital inkjet printing, transparency and lightbox. Image courtesy Linda and Jerry Janger. © Dennis Hopper.

7 Hopper’s Imaginary Line MELISSA AMORE

Dennis Hopper, Self-portrait (Within a Man of Light, there is only Light; Within a Man of Darkness, there is only Darkness), 1997, digital inkjet printing, transparency and lightbox. Image courtesy Linda and Jerry Janger. © Dennis Hopper.

8 Albert Tucker: The Intruder – The Perfect Allegory IVAN DURRANT Albert Tucker, Cannibal Pearce, 1968

8 Albert Tucker: The Intruder – The Perfect Allegory IVAN DURRANT

Albert Tucker, Cannibal Pearce, 1968

9 Weaving of country lost in translation: the problem of exhibiting environmental art TAMSIN KERR Jan Dunlop, wardrobe for and of the rainforest.

9 Weaving of country lost in translation: the problem of exhibiting environmental art TAMSIN KERR

Jan Dunlop, wardrobe for and of the rainforest.

10 Cecile Williams: Contained NALDA SEARLES Cecile Williams, Greta’s Garden (detail), 2010, found and recycled plastics.

10 Cecile Williams: Contained NALDA SEARLES

Cecile Williams, Greta’s Garden (detail), 2010, found and recycled plastics.

11 Controversy & acclaim: 60 years of the Mosman Art Prize JEREMY ECCLES Lucy Culliton, Still Life / White Ground, 2000, oil on board, 120 x 120cm From the Collection of Mosman Art Gallery Mosman Council. Images courtesy the artists.

11 Controversy & acclaim: 60 years of the Mosman Art Prize JEREMY ECCLES

Lucy Culliton, Still Life / White Ground, 2000, oil on board, 120 x 120cm

From the Collection of Mosman Art Gallery Mosman Council. Images courtesy the artists.

12 Quixotic Pursuit: Tim Miller’s Sundown PATTI MILLER Tim Miller, 19.2.09, pastel on paper, 12 x 17cm. Courtesy the artist and Charles Hewitt Gallery, Sydney.  

12 Quixotic Pursuit: Tim Miller’s Sundown PATTI MILLER

Tim Miller, 19.2.09, pastel on paper, 12 x 17cm. Courtesy the artist and Charles Hewitt Gallery, Sydney.  

13 Not the void exactly: Species of Spaces JOHANNES KLABBERS Melissa Laing, borderline, 2008, video loop on DVD.

13 Not the void exactly: Species of Spaces JOHANNES KLABBERS

Melissa Laing, borderline, 2008, video loop on DVD.

14 Madrid and the essential youthfulness of art MATTHIAS KRUG Crowds gather in front of the Picasso’s Guernica at the Reina Sofia museum.

14 Madrid and the essential youthfulness of art MATTHIAS KRUG

Crowds gather in front of the Picasso’s Guernica at the Reina Sofia museum.

15 Letter from London JOHN CONOMOS Richard Hamilton, Shock and Awe, 2007-08. Inkjet print on Hewlett-Packard Premium canvas 200 x 100cm. © 2010 Richard Hamilton.

15 Letter from London JOHN CONOMOS

Richard Hamilton, Shock and Awe, 2007-08. Inkjet print on Hewlett-Packard Premium canvas 200 x 100cm. © 2010 Richard Hamilton.

16 Letter from Auckland Triennial GENEVIEVE O’CALLAGHAN Michael Stevenson, On How Things Behave (video still), 2010, HD and 16mm transferred to DVD, 16:9 ratio, colour, sound, 15:43min, commissioned by Objectif exhibitions, Antwerp and the 4th Auckland Triennial. Image courtesy the artist and Hamish McKay Gallery, Wellington.  

16 Letter from Auckland Triennial GENEVIEVE O’CALLAGHAN

Michael Stevenson, On How Things Behave (video still), 2010, HD and 16mm transferred to DVD, 16:9 ratio, colour, sound, 15:43min, commissioned by Objectif exhibitions, Antwerp and the 4th Auckland Triennial. Image courtesy the artist and Hamish McKay Gallery, Wellington.

 

17 Letters to the Editor Re-thinking Literacy If there is something distinctly Aboriginal in NOT learning to write, in NOT working, in NOT attending school and in refusing to become ‘like whitefellas’ as Jennifer Biddle writes (‘Art under Intervention: the radical ordinary of June Walkutjukurr Richards’, AMA #227, March 2010, pp. 35-37), then these Australian Aboriginals are truly destined for ‘wretched extinction’ as Captain James Cook originally predicted. Ian Bernadt. March 2010 Read more: pp. 62-63 AMA #129

17 Letters to the Editor

Re-thinking Literacy

If there is something distinctly Aboriginal in NOT learning to write, in NOT working, in NOT attending school and in refusing to become ‘like whitefellas’ as Jennifer Biddle writes (‘Art under Intervention: the radical ordinary of June Walkutjukurr Richards’, AMA #227, March 2010, pp. 35-37), then these Australian Aboriginals are truly destined for ‘wretched extinction’ as Captain James Cook originally predicted.
Ian Bernadt. March 2010

Read more: pp. 62-63 AMA #129