Art Monthly Australasia-Issue 163 September 2003

September 2003 Issue 163

1 The labyrinthine effect at the Australian Centre for Contemporary Art: John Mateer 2 Anne von Bertouch: Nick Mitzevich 3 Between grit and belief: The Stedelijk Museum's Colin McCahon retrospective in Melbourne: Mary Eagle 4 Celebrating the sixties… — **1 The labyrinthine effect at the Australian Centre for Contemporary Art: John Mateer**
**2 Anne von Bertouch: Nick Mitzevich**
**3 Between grit and belief: The Stedelijk Museum's Colin McCahon retrospective in Melbourne: Mary Eagle**
**4 Celebrating the sixties - then and now:** **Nick Waterlow**
**5 Dear Hilary**
**6 Part 2 - The art of darkness: *Reflections on an encounter with Albert Speer:* Philippe Mora**
**7 Recent political art exhibitions in Australia:** **Adam Geczy**
**8 Team New Zealand: New Zealand at Venice: Louise Tegart**
**9 The sculpture of David Jensz: Kim Mahood**
**10 Vandalising objects, destroying art: Andrew Benjamin**
**11 War, what is it good for? 'Requiem: By the photographers who died in Vietnam and Indochina': Alison Kubler**

Art Monthly Australasia

Art Monthly Australasia is Australasia’s flagship visual arts publication, providing a critical platform for its artists. Published since 1987 under six full-time editors (Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and, from 2014, Michael Fitzgerald), it is Australasia’s only monthly visual arts magazine placing visual arts in a contemporary, historical and regional context.

Based at the ANU School of Art in Canberra since 1992, Art Monthly Australasia is a non-profit charitable organisation whose income is derived from sales of the magazine, advertising, sponsorship and government funding. Its board comprises leaders in their fields of visual arts scholarship, practice and curating, along with business and finance.

Since 2015, Art Monthly has also fostered critical discourse across the Asia-Pacific region with a new International Council, which, along with increased participation at international art fairs and biennales, is helping to provide a meaningful new context for its artists.

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