March 2009 Issue 217

1 Parallel: TERRY WHITEBEACHEugenia Raskopoulos, Untitled 99/00 (detail), 1999/2000, six Type C photographs, 110 x 160cm each. Image courtesy the artist — **1 Parallel: TERRY WHITEBEACH**
Eugenia Raskopoulos, *Untitled 99/00* (detail), 1999/2000, six Type C photographs, 110 x 160cm each. Image courtesy the artist

2 Someone’s Universe: the Art of Eugene Carchesio: DAVID PESTORIUSEugene Carchesio, 187 works for the People’s Republic of Spiritual Revolution (detail), 1975-90, watercolour, pencil, collage, ink and pressed leaves on paper. 168 sheets ranging from… — **2 Someone’s Universe: the Art of Eugene Carchesio: DAVID PESTORIUS**
Eugene Carchesio, *187 works for the People’s Republic of Spiritual Revolution* (detail), 1975-90, watercolour, pencil, collage, ink and pressed leaves on paper. 168 sheets ranging from 15 x 9cm to 22.6 x 17cm. Purchased 2002. Collection: Queensland Art Gallery

3 Why Orson Welles Matters: JOHN CONOMOSCover image for Jonathan Rosenbaum’s Discovering Orson Welles, University of California Press, Berkeley, 2007, 336pp — **3 Why Orson Welles Matters: JOHN CONOMOS**
Cover image for Jonathan Rosenbaum’s *Discovering Orson Welles*, University of California Press, Berkeley, 2007, 336pp

4 Festivals, Folk and contemporary art: PAT HOFFIECassandra Schultz, Wombach after Bewick, Thomas, c. 1807, from the installation Pouch, the Antipodean Series, 2008, incense figurine (cinnamon wood paste), bell jar, rosewood base, rosewood and glass… — **4 Festivals, Folk and contemporary art: PAT HOFFIE**
Cassandra Schultz, *Wombach after Bewick, Thomas*, c. 1807, from the installation *Pouch, the Antipodean Series*, 2008, incense figurine (cinnamon wood paste), bell jar, rosewood base, rosewood and glass case. Exhibited in *Carnal Carnivale*. Image courtesy the artist. Photograph by Bruce Molloy

5 ReCoil: a Celebration of Fibre Art in Australia: CHRISTIANE KELLERKantjupayi Benson, Truck and Driver, 2007, grass, raffia, string, wool, wire, mesh, wheels, 112 x 190 x 75cm. Courtesy the artist and Tjanpi Desert Weavers — **5 ReCoil: a Celebration of Fibre Art in Australia: CHRISTIANE KELLER**
Kantjupayi Benson, *Truck and Driver,* 2007, grass, raffia, string, wool, wire, mesh, wheels, 112 x 190 x 75cm. Courtesy the artist and Tjanpi Desert Weavers

6 Danny Eastwood: a pretty potency: KERRIE KENTONDanny Eastwood, My Reconciliation, 2008, pen, ink and watercolour on paper, 69 x 90cm. Image courtesy the artist. Photograph by Silversalt Photography7 Letter: Contemplations at the end of time — **6 Danny Eastwood: a pretty potency: KERRIE KENTON**
Danny Eastwood, *My Reconciliation*, 2008, pen, ink and watercolour on paper, 69 x 90cm. Image courtesy the artist. Photograph by Silversalt Photography
**7 Letter: Contemplations at the end of time**

8 From Fragonard to Kennard: René Gimpel - art dealer: DIANA KOSTYRKORené Albert and Florence in the grounds of rue Spontini, Paris, ca 1916 (Gimpel family archives) — **8 From Fragonard to Kennard: René Gimpel - art dealer: DIANA KOSTYRKO**
René Albert and Florence in the grounds of rue Spontini, Paris, ca 1916 (Gimpel family archives)

9 Shapes of purity & reality: an interview with Bert Flugelman: JAN JONESBert Flugelman, Cones, 1982, stainless steel, 450 x 2050 x 450cm. Installation view, National Gallery of Australia Sculpture Garden. Collection: National Gallery of Austral… — **9 Shapes of purity & reality: an interview with Bert Flugelman: JAN JONES**
Bert Flugelman, *Cones*, 1982, stainless steel, 450 x 2050 x 450cm. Installation view, National Gallery of Australia Sculpture Garden. Collection: National Gallery of Australia, Canberra. Commissioned 1976, purchased 1982. © Bert Flugelman

10 Monet and the Impressionists: ADAM GECZYPierre Auguste Renoir, Woman with a parasol and a small child on a sunlit hillside, c. 1874-76, oil on canvas, 47 x 56.2cm. Collection: Museum of Fine Arts, Boston, bequest of John T. Spaulding. Copyright M… — **10 Monet and the Impressionists: ADAM GECZY**
Pierre Auguste Renoir, *Woman with a parasol and a small child on a sunlit hillside*, c. 1874-76, oil on canvas, 47 x 56.2cm. Collection: Museum of Fine Arts, Boston, bequest of John T. Spaulding. Copyright Museum of Fine Arts, Boston

11 Freestylin’: artists’ books afloaT: LOUISE WAREHAM LEONARD, BrisbaneTim Mosely, Mixed carton 1: critical theory in a box, 2006, artist’s book in slipcase: recycled cardboard, metal eyelets and plastic tape, 17 x 18 x 8cm. Collection: Australian L… — 11 Freestylin’: artists’ books afloaT: LOUISE WAREHAM LEONARD, *Brisbane*
Tim Mosely, *Mixed carton 1: critical theory in a box*, 2006, artist’s book in slipcase: recycled cardboard, metal eyelets and plastic tape, 17 x 18 x 8cm. Collection: Australian Library of Art, State Library of Queensland. Image courtesy State Library of Queensland

12 AuctionNotes: TERRY INGRAMAt a sale of books and documents held by Australian Book Auctions at its rooms in Armadale on 1 December, this miniature portrait on ivory of Governor Thomas Brisbane (estimate $5000 to $10,000) sold at $65,000 or $75,72… — **12 AuctionNotes: TERRY INGRAM**
At a sale of books and documents held by Australian Book Auctions at its rooms in Armadale on 1 December, this miniature portrait on ivory of Governor Thomas Brisbane (estimate $5000 to $10,000) sold at $65,000 or $75,725 with premium. The work was attributed to the British miniaturist Nathaniel Plimer (1757-1822) but the value was clearly in the sitter.
The Australian art market at the end of 2008 deflated as the financial world went into a tailspin. This, however, was not a problem for object and document makers – and their collector(s) – as museums and libraries replaced merchant bankers and hedge fund operators as the saleroom’s pro-activists. Read more in #217
Terry Ingram has written for the Australian Financial Review on the art market for forty years and still contributes to its Thursday Saleroom section

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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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