May 2005 Issue 179

1 Cultural malling in Manila: The new Ayala Museum bridges culture and consumerism: GINA FAIRLEYAyala Museum at night. Courtesy of the Ayala Museum, Manila

1 Cultural malling in Manila: The new Ayala Museum bridges culture and consumerism: GINA FAIRLEY

Ayala Museum at night. Courtesy of the Ayala Museum, Manila

2 Recollections on the art and life of Margaret Preston, Thea Proctor and Grace Cossington Smith: A personal memoir: MARY TURNERThea Proctor, Lady with fan, 1913, pencil, watercolour wash on cream wove paper. Purchased 1919. Collection of the Art Ga…

2 Recollections on the art and life of Margaret Preston, Thea Proctor and Grace Cossington Smith: A personal memoir: MARY TURNER

Thea Proctor, Lady with fan, 1913, pencil, watercolour wash on cream wove paper. Purchased 1919. Collection of the Art Gallery of NSW. is on at the National Portrait Gallery, Old Parliament House, Parkes until 19 June

3 Videoperformance: Tony Schwensen in Sydney: CHRISTOPHER CHAPMANTony Schwensen, High school shuffle (stills from video), 2003, video transferred to DVD, c 62 minutes, exhibited as projection. Courtesy of the artist and Performance Space, Sydney.

3 Videoperformance: Tony Schwensen in Sydney: CHRISTOPHER CHAPMAN

Tony Schwensen, High school shuffle (stills from video), 2003, video transferred to DVD, c 62 minutes, exhibited as projection. Courtesy of the artist and Performance Space, Sydney.

4 Terry Smith’s dilemma: Modern or Contemporary?: BERNARD SMITHExterior view of MoMA, designed by Yoshio Taniguchi. Photo Timothy Hursley, 2005. Courtesy of MoMA5 Geoglyphs: An ancient art form reinvented: KEN SCARLETTAndrew Rogers, Ancient language…

4 Terry Smith’s dilemma: Modern or Contemporary?: BERNARD SMITH

Exterior view of MoMA, designed by Yoshio Taniguchi. Photo Timothy Hursley, 2005. Courtesy of MoMA

5 Geoglyphs: An ancient art form reinvented: KEN SCARLETT

Andrew Rogers, Ancient language, 2003, volcanic rock, clay and bird droppings, 2.8 x 80 x 36 metres, Atacama Desert, Chile

6 The art of Fiona Hall in Brisbane: TIMOTHY MORRELLFiona Hall, Tender (detail), 2003-05, US dollars. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. Photo Clayton Glen

6 The art of Fiona Hall in Brisbane: TIMOTHY MORRELL

Fiona Hall, Tender (detail), 2003-05, US dollars. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. Photo Clayton Glen

7 Fire and fear in the Australian landscape: Fireworks in Mackay: SALLY BUTLER, QueenslandEugène von Guérard, Bushfire between Mount Elephant and Timboon, 1857, 1859, oil on canvas mounted on board. Collection of the Ballarat Fine Art Gallery, gift …

7 Fire and fear in the Australian landscape: Fireworks in Mackay: SALLY BUTLER, Queensland

Eugène von Guérard, Bushfire between Mount Elephant and Timboon, 1857, 1859, oil on canvas mounted on board. Collection of the Ballarat Fine Art Gallery, gift of Lady Currie in memory of her husband the late Sir Alan Currie, 1948

8 Ten Days on the Island 2005: The exhibition round-up: DANIEL THOMASLucia Usmiani, Clatter (detail), 2005, installation of plastic bottles and bamboo stakes on Goldie Street, Wynyard. In the exhibition HWY1 #2, at various locations on the Bass High…

8 Ten Days on the Island 2005: The exhibition round-up: DANIEL THOMAS

Lucia Usmiani, Clatter (detail), 2005, installation of plastic bottles and bamboo stakes on Goldie Street, Wynyard. In the exhibition HWY1 #2, at various locations on the Bass Highway, Tasmania, from 1 to 10 April. Photo Richard Muir-Wilson

9 Death, desire and dolls in Darwin: SUZANNE SPUINNER Topsy, courtesy of Brenda Croft. ‘Topsy was given to me by my mother when I was a little girl. It was her dolly when she was a little girl and she handed it on to me. Although my mother’s heritag…

9 Death, desire and dolls in Darwin: SUZANNE SPUINNER

Topsy, courtesy of Brenda Croft. ‘Topsy was given to me by my mother when I was a little girl. It was her dolly when she was a little girl and she handed it on to me. Although my mother’s heritage is Anglo-Australian of Irish, German, English background, being married to an Aboriginal man she wanted to make sure I had a strong sense of cultural identity and so I had black dolls when I was a child even though they were ‘mammy dolls’ based on African-American doll.’