July 2005 Issue 181

1 Mixed-up Child or Messed-up adulthood in Auckland: JOHN HURRELLGrayson Perry, Interior conflict, 2004, glazed ceramic. Collection of Jay Ecklund, Fort Lauderdale, Florida — **1 *Mixed-up Child* or Messed-up adulthood in Auckland: JOHN HURRELL**
Grayson Perry, *Interior conflict*, 2004, glazed ceramic. Collection of Jay Ecklund, Fort Lauderdale, Florida

2 The legacy of Eduardo Palozzi 1924 - 2005: byRYAN JOHNSTONEduardo Paolozzi, Evadne in green dimension, 1972, screenprint,lithograph and mixed media on paper, fromBrunk!{screenprint version or original collage]. Collection Tate Britain, London. Cou… — **2 The legacy of Eduardo Palozzi 1924 - 2005: byRYAN JOHNSTON**
Eduardo Paolozzi, *Evadne in green dimension*, 1972, screenprint,lithograph and mixed media on paper, fromBrunk!{screenprint version or original collage]. Collection Tate Britain, London. Courtesy of DACS

3 Robert Boynes: True Fictions: DEBORAH HART, CanberraRobert Boynes, The Great Divide/ in place and time, 1997, synthetic polymer paint on canvas. Courtesy the artist and Canberra Museum and Gallery — 3 *Robert Boynes: True Fictions*: DEBORAH HART, *Canberra*
Robert Boynes, *The Great Divide/ in place and time*, 1997, synthetic polymer paint on canvas. Courtesy the artist and Canberra Museum and Gallery

4 Under cover of flowers: MARY EAGLE Margaret Preston, Banksia, 1927, oil on canvas. National Gallery of Australia, Canberra. Licenced by VISCOPY — **4 Under cover of flowers: MARY EAGLE**
Margaret Preston, *Banksia*, 1927, oil on canvas. National Gallery of Australia, Canberra. Licenced by VISCOPY

5 In memoriam: (Rita) Joan Brassil 1919 - 2005: bySUSAN BESTSandy Edwards, Joan Brassil with her wind harp, A tether of time, 2001, in the sculpture garden at Campbelltown Arts Centre, Western Sydney in 2002 — **5 In memoriam: (Rita) Joan Brassil 1919 - 2005: bySUSAN BEST**
Sandy Edwards, Joan Brassil with her wind harp, *A tether of time*, 2001, in the sculpture garden at Campbelltown Arts Centre, Western Sydney in 2002

6 The allure of Albion in Adelaide: Island to Empire: 300 years of British art 1550 - 1850: ALISON INGLISCornelius Ketel, Richard Goodricke of Ribston, Yorkshire,c 1578, oil on oak panel. Art Gallery of South Australia, Roy & Majory Edwards Bequ… — **6 The allure of Albion in Adelaide: *Island to Empire: 300 years of British art 1550 - 1850*: ALISON INGLIS**
Cornelius Ketel, *Richard Goodricke of Ribston, Yorkshire*,c 1578, oil on oak panel. Art Gallery of South Australia, Roy & Majory Edwards Bequest Fund 2004

7 New forgetfulness and new media art: World without end: JOHN MATEERChristian Boustani, A viagem, , 1998, 35mm, 2D and 3D computer animation/DVD, colour stereo sound, 10 mins. Courtesy of the artist and Heure Exquisite!, Paris8 Is arts criticism re… — **7 New forgetfulness and new media art: *World without end*: JOHN MATEER**
Christian Boustani, *A viagem,* , 1998, 35mm, 2D and 3D computer animation/DVD, colour stereo sound, 10 mins. Courtesy of the artist and Heure Exquisite!, Paris
**8 Is arts criticism relevant? Some thoughts for Sydney: PRUE GIBSON**
Prue Gibson is a freelance visual arts writer based in Sydney.
**9 'Dangerous ground' for resale royalties: KATRINA GUNN**
Katrina Gunn is a lawyer who is currently a researcher in the Law Faculty of the Australian National University, Canberra

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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.

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