April 2005 Issue 178

1 Making Manhattan modern, but not contemporary, again: The Museum of Modern Art, New York, reopens: TERRY SMITHExterior view of the David and Peggy Rockefeller Building, MoMA, designed by Yoshio Taniguchi, from West 54th Street. Photo Timothy Hursl… — **1 Making Manhattan modern, but not contemporary, again: The Museum of Modern Art, New York, reopens: TERRY SMITH**
Exterior view of the David and Peggy Rockefeller Building, MoMA, designed by Yoshio Taniguchi, from West 54th Street. Photo Timothy Hursley 2005. Courtesy of MoMA

2 BOOK REVIEW: CONFORM: FoToFolk no.1 Saskia Folk, REVIEWED by RACHEL JESSIE-RAE O’CONNORPalgrave Macmillan, 2004, 144 pp $39.95 RRp — **2 BOOK REVIEW: *CONFORM: FoToFolk no.1* Saskia Folk, REVIEWED by RACHEL JESSIE-RAE O’CONNOR**
Palgrave Macmillan, 2004, 144 pp $39.95 RRp

3 The Samstag legacy: The man, the program and the art: WENDY WALKERAnne Wallace, Sang-froid, 2004, oil on canvas. Private collection — **3 The Samstag legacy: The man, the program and the art: WENDY WALKER**
Anne Wallace, *Sang-froid*, 2004, oil on canvas. Private collection

4 Painted abundance in the Anangu Pitjantjatjara and Yankunytjatjara Lands, South Australia: TRACEY LOCK-WEIRTali Tali Pompey, Fregon, South Australia, Untitled, 2004, synthetic polymer paint on canvas. Art Gallery of South Australia, Adelaide, Publ… — **4 Painted abundance in the Anangu Pitjantjatjara and Yankunytjatjara Lands, South Australia: TRACEY LOCK-WEIR**
Tali Tali Pompey, Fregon, South Australia, *Untitled*, 2004, synthetic polymer paint on canvas. Art Gallery of South Australia, Adelaide, Public Donations Fund 2005

5 New frontiers for Indigenous art: Jirrawun Arts, East Kimberley: JEREMY ECCLESGoody Barrett, Lirnkirrel, 2004, earth pigments and synthetic polymer on linen, eight panels. Courtesy of the artist and Sherman Galleries, Sydney — **5 New frontiers for Indigenous art: Jirrawun Arts, East Kimberley: JEREMY ECCLES**
Goody Barrett, *Lirnkirrel*, 2004, earth pigments and synthetic polymer on linen, eight panels. Courtesy of the artist and Sherman Galleries, Sydney

6 Better late than never: Bridget Riley at the Museum of Contemporary Art, Sydney: ZARA STANHOPEBridget Riley, Blaze 1, 1962, emulsion on hardboard. Private collection. © Bridget Riley 2004. Photo Robert Horner — **6 Better late than never: Bridget Riley at the Museum of Contemporary Art, Sydney: ZARA STANHOPE**
Bridget Riley, *Blaze 1*, 1962, emulsion on hardboard. Private collection. © Bridget Riley 2004. Photo Robert Horner

7 Edvard Munch: The frieze of life at the National Gallery of Victoria: ADAM FREEEdvard Munch, Loneliness, 1906, oil on canvas. Bergen Kunstmuseum, Bergen, Norway. © Munch-Ellingsen Group. — **7 Edvard Munch: The frieze of life at the National Gallery of Victoria: ADAM FREE**
Edvard Munch, *Loneliness*, 1906, oil on canvas. Bergen Kunstmuseum, Bergen, Norway. © Munch-Ellingsen Group.

8 The naked truth: On receiving the Australia Council’s Visual Arts & Craft Emeritus Medal for 2004: BERNARD SMITHCarmel O’Connor, Portrait of Emeritus Professor Bernard Smith, 2002, acrylic on linen. Exhibited in the Archibald Prize, Art Galler… — **8 The naked truth: On receiving the Australia Council’s Visual Arts & Craft Emeritus Medal for 2004: BERNARD SMITH**
Carmel O’Connor, *Portrait of Emeritus Professor Bernard Smith*, 2002, acrylic on linen. Exhibited in the Archibald Prize, Art Gallery of New South Wales, 2002. Courtesy of the artist

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.