May 2013 Issue 259

  1 Drawn to a Flame: Rekindling Local Treasures at AIATSIS: RITA METZENRATH   Jim Williams and Matthew Harding,  Bogong moths , 2001, cast metal; an ArtsACT commissioned public art work, located between the National Museum of Australia and AIATSIS; image courtesy the artists

1 Drawn to a Flame: Rekindling Local Treasures at AIATSIS: RITA METZENRATH

Jim Williams and Matthew Harding, Bogong moths, 2001, cast metal; an ArtsACT commissioned public art work, located between the National Museum of Australia and AIATSIS; image courtesy the artists

  2 Kungkarangkalpa: the Seven Sisters Songline under a Canberra Sky: TONY COLLINS    Kungkarangkalpa  ceremony, 2012, Anangu dancers at Cave Hill, west of Ernabella; photo: Tessa Keenan

2 Kungkarangkalpa: the Seven Sisters Songline under a Canberra Sky: TONY COLLINS

Kungkarangkalpa ceremony, 2012, Anangu dancers at Cave Hill, west of Ernabella; photo: Tessa Keenan

  3 2113: A Canberra Odyssey A new model for the Griffins' city of the future: DALE MIDDLEBy   Competition box for the ‘Design of the Federal Capital of Australia’, 1911; Collection: Canberra Museum and Gallery; photo: Rob Little Digital Images, Canberra

3 2113: A Canberra Odyssey A new model for the Griffins' city of the future: DALE MIDDLEBy

Competition box for the ‘Design of the Federal Capital of Australia’, 1911; Collection: Canberra Museum and Gallery; photo: Rob Little Digital Images, Canberra

  4 Capithetical   Brit Andresen & Mara Francis, Architecture + Urban Innovations Collaborative (A+UIC), Sedimentary City; winner 2nd prize, Capithetical, 2013

4 Capithetical

Brit Andresen & Mara Francis, Architecture + Urban Innovations Collaborative (A+UIC), Sedimentary City; winner 2nd prize, Capithetical, 2013

  5 FLIPSIDE: Canberra's underbelly: MERRYN GATES   Elizabeth Kelly,  The Posting , 2013, recycled steel, recycled timber, silicone and 3M mask; 250 x 70 x 70cm; image courtesy the artist

5 FLIPSIDE: Canberra's underbelly: MERRYN GATES

Elizabeth Kelly, The Posting, 2013, recycled steel, recycled timber, silicone and 3M mask; 250 x 70 x 70cm; image courtesy the artist

  6 More than a Captain Cookaburra Show: highlights from The Australiana Fund's collection of decorative arts: ANDREW MONTANA   Sir Bertram Mackennal’s  Truth , 1894. Image courtesy Canberra Museum and Gallery

6 More than a Captain Cookaburra Show: highlights from The Australiana Fund's collection of decorative arts: ANDREW MONTANA

Sir Bertram Mackennal’s Truth, 1894. Image courtesy Canberra Museum and Gallery

  7 Canberra's visual arts landscape: an art critic's view: SASHA GRISHIN   Rosalie Gascoigne,  Step through ,1980, linoleum and wood, overall 28 x 93 x 370cm; Collection: National Gallery of Australia, Canberra; image courtesy and © Rosalie Gascoigne estate

7 Canberra's visual arts landscape: an art critic's view: SASHA GRISHIN

Rosalie Gascoigne, Step through,1980, linoleum and wood, overall 28 x 93 x 370cm; Collection: National Gallery of Australia, Canberra; image courtesy and © Rosalie Gascoigne estate

  8 Public art @ the ANU, 1953–2013: DAVID WILLIAMS   Norma Redpath,  Extended Column , 1972-76, bronze and column of spun cement, ANU School of Music; image courtesy the artist’s estate and Charles Nodrum Gallery, Richmond

8 Public art @ the ANU, 1953–2013: DAVID WILLIAMS

Norma Redpath, Extended Column, 1972-76, bronze and column of spun cement, ANU School of Music; image courtesy the artist’s estate and Charles Nodrum Gallery, Richmond

  9 'the age of individual alienation is withering...' Canberra's Bitumen River Gallery: ANNI DOYLE WAWRZYNCZAK   David Morrow (designer/printer), ‘ Well I've never heard of you either ’; invitation image for Bill Posters Appreciated, inaugural exhibition, Bitumen River Gallery, 4 April 1981; printed at Megalo Print Studio Canberra; photo: Dean Butters; image courtesy Megalo Print Studio

9 'the age of individual alienation is withering...' Canberra's Bitumen River Gallery: ANNI DOYLE WAWRZYNCZAK

David Morrow (designer/printer), ‘Well I've never heard of you either’; invitation image for Bill Posters Appreciated, inaugural exhibition, Bitumen River Gallery, 4 April 1981; printed at Megalo Print Studio Canberra; photo: Dean Butters; image courtesy Megalo Print Studio

  10 Look Again: the work of Janet Dawson in the collection of the National Gallery of Australia: JENNY BELL   Janet Dawson,  Oval rough drawing  [1], 1972, conté crayon, part 1 of 7-part series; image size: 14.2 x 20.4cm; paper size: 21 x 30cm; Bell writes: ‘We see close-up, just a jumble of craggy, seemingly non-committal lines. The drawing has the shape of an ellipse, the title suggests a sporting arena but it could be an egg. This does not matter. Give the work some distance, just a few paces, and watch those lines take hold of space and, with precision, twitch.’ From the collection of the National Gallery of Australia, Canberra; images courtesy the artist and the NGA

10 Look Again: the work of Janet Dawson in the collection of the National Gallery of Australia: JENNY BELL

Janet Dawson, Oval rough drawing [1], 1972, conté crayon, part 1 of 7-part series; image size: 14.2 x 20.4cm; paper size: 21 x 30cm; Bell writes: ‘We see close-up, just a jumble of craggy, seemingly non-committal lines. The drawing has the shape of an ellipse, the title suggests a sporting arena but it could be an egg. This does not matter. Give the work some distance,
just a few paces, and watch those lines take hold of space and, with precision, twitch.’ From the collection of the National Gallery of Australia, Canberra; images courtesy the artist and the NGA

  11 The elusive art of citizen Kenne: GABRIELLA COSLOVICH   Ingvar Kenne , # 39, Lee Lin Chin , 2003; TV presenter. C-type prints, 100 x 100cm,or (in  Citizen  publication) 20.5 x 20.5cm; image courtesy the artist

11 The elusive art of citizen Kenne: GABRIELLA COSLOVICH

Ingvar Kenne, # 39, Lee Lin Chin, 2003; TV presenter. C-type prints, 100 x 100cm,or (in Citizen publication) 20.5 x 20.5cm; image courtesy the artist

  12 Lost Art: JULIAN DAVIES   Loo Benham, scene on the shore at Aberystwyth, Wales, date unknown, watercolour on paper, 37 x 27cm

12 Lost Art: JULIAN DAVIES

Loo Benham, scene on the shore at Aberystwyth, Wales, date unknown, watercolour on paper, 37 x 27cm

  13 ACT 1,2 & 3 Canberra's national performance art festivals: ANNE SANDERS   Stelarc,  Prepared Tree Suspension: Event for Obsolete Body No. 6  , ACT 3 – Black Mountain, Canberra, 10 October 1982; photo: Hanh Tran; image courtesy the artist and Scott Livesey Galleries, Melbourne

13 ACT 1,2 & 3 Canberra's national performance art festivals: ANNE SANDERS

Stelarc, Prepared Tree Suspension: Event for Obsolete Body No. 6 , ACT 3 – Black Mountain, Canberra,
10 October 1982; photo: Hanh Tran; image courtesy the artist and Scott Livesey Galleries, Melbourne

  14 Intensity of purpose: 21 years of ANCA: ALLISON BELL   Vivienne Binns,  String lines , 2012, synthetic polymer paint on canvas, 72 x 100cm; photo: Rob Little Digital Images, Canberra

14 Intensity of purpose: 21 years of ANCA: ALLISON BELL

Vivienne Binns, String lines, 2012, synthetic polymer paint on canvas, 72 x 100cm; photo: Rob Little Digital Images, Canberra

  15 Art School Anecdote: MARTYN JOLLY   Tableau vivant of ‘Liberty Leading the People’, from  Art School Anecdote , 2013, ANU School of Art; photo: Sarah Nathan-Truesdale

15 Art School Anecdote: MARTYN JOLLY

Tableau vivant of ‘Liberty Leading the People’, from Art School Anecdote, 2013, ANU School of Art; photo: Sarah Nathan-Truesdale

  16 Man sights an object in space: Norma Redpath's approach to public art: JANE ECKETT   Norma Redpath,  Treasury Fountain , Canberra, 1965-69; bronze, 3.7 x 2.6 x 4.0m; photo: David Wilson

16 Man sights an object in space: Norma Redpath's approach to public art: JANE ECKETT

Norma Redpath, Treasury Fountain, Canberra, 1965-69; bronze, 3.7 x 2.6 x 4.0m; photo: David Wilson

  17 I Do Have a Belief: Kevin Gilbert (1933–1993) Art Retrospective: SAMANTHA FAULKNER   Kevin Gilbert,  Colonising species , 1989, print; image courtesy the artist’s estate

17 I Do Have a Belief: Kevin Gilbert (1933–1993) Art Retrospective: SAMANTHA FAULKNER

Kevin Gilbert, Colonising species, 1989, print; image courtesy the artist’s estate

  18 Canberra Suite: IAN NORTH/SARAH RICE   from Ian North’s  Canberra Suite , 1980-1981, 24 type-C prints, printed by the artist from 6 x 7cm negatives in 1986; average dimension c. 37 x 45.7cm; courtesy the artist

18 Canberra Suite: IAN NORTH/SARAH RICE

from Ian North’s Canberra Suite, 1980-1981, 24 type-C prints, printed by the artist from 6 x 7cm negatives in 1986; average dimension c. 37 x 45.7cm; courtesy the artist

  19 Tony Ameneiro: head to head: JAN JONES   Tony Ameneiro,  Pentimenti Series – Flowering Heads , 2012, single-plate and multi-plate colour monotypes; 57 x 38cm; image courtesy the artist

19 Tony Ameneiro: head to head: JAN JONES

Tony Ameneiro, Pentimenti Series – Flowering Heads, 2012, single-plate and multi-plate colour monotypes; 57 x 38cm; image courtesy the artist

  20 Embodied visions: invisible force in the works of Bernard Hardy: ZSUZSI SOBOSLAY   Bernard Hardy, untitled/undated, mixed media; image courtesy the artist

20 Embodied visions: invisible force in the works of Bernard Hardy: ZSUZSI SOBOSLAY

Bernard Hardy, untitled/undated, mixed media; image courtesy the artist

  21 Dan Maginnity: byrd's eye-view: HANNA HOYNE   byrd’s graffiti alley-wall at the Front Cafe, Lyneham; image courtesy the artist and the Front Cafe, Lyneham

21 Dan Maginnity: byrd's eye-view: HANNA HOYNE

byrd’s graffiti alley-wall at the Front Cafe, Lyneham; image courtesy the artist and the Front Cafe, Lyneham

  22 Hong Kong, a tale of Art and Money: EN YOUNG AHN   Artist impression, bird’s eye-view of future West Kowloon Cultural District; image courtesy the West Kowloon Cultural District Authority

22 Hong Kong, a tale of Art and Money: EN YOUNG AHN

Artist impression, bird’s eye-view of future West Kowloon Cultural District; image courtesy the West Kowloon Cultural District Authority

  23 A Ballarat summer fling: MILLAN PINTOS-LOPEZ   Entrance and interior of boutique fashion outlet Miss Behavin, Ballarat, run by Carrie Mufatti; photo: Janet Ranken

23 A Ballarat summer fling: MILLAN PINTOS-LOPEZ

Entrance and interior of boutique fashion outlet Miss Behavin, Ballarat, run by Carrie Mufatti; photo: Janet Ranken

  24 em file: Vanessa Barbay: Painting our animal selves: MELINDA HINKSON   Vanessa Barbay,  Crucified (Winter Chough and Starling) , 2011-12, chough, starling, oil, delek and rabbit skin glue on canvas, 73 x 84.5cm

24 em file: Vanessa Barbay: Painting our animal selves: MELINDA HINKSON

Vanessa Barbay, Crucified (Winter Chough and Starling), 2011-12, chough, starling, oil, delek and rabbit skin glue on canvas, 73 x 84.5cm

  25 em file: The Photography Room: MAURICE O'RIORDAN/SEAN DAVEY   Vasili Vasileiadis,  Service #17 , from the series  Service , 1997, pigment print, 40 x 60cm, showing at Kaori Gallery, Canberra, 24 May to 9 June 2013

25 em file: The Photography Room: MAURICE O'RIORDAN/SEAN DAVEY

Vasili Vasileiadis, Service #17, from the series Service, 1997, pigment print, 40 x 60cm, showing at Kaori Gallery, Canberra, 24 May to 9 June 2013