March 2011 Issue 237

2 Slow, wide and dangerous – The River Project, Campbelltown Arts Centre: FIONA DAVIESRingo Bunoan, Bridge, 2008, installation view, The River Project, Campbelltown Arts Centre, Sydney3 Art: the academic misfit: GEORGIANA ARCHERJoe Frost’s article, … — **2 Slow, wide and dangerous – The River Project, Campbelltown Arts Centre: FIONA DAVIES**
Ringo Bunoan, *Bridge*, 2008, installation view, *The River Project*, Campbelltown Arts Centre, Sydney
**3 Art: the academic misfit: GEORGIANA ARCHER**
Joe Frost’s article, ‘Joe Frost: Five Observations’, summarising his experience of teaching art in the university sector struck a chord with me. His points regarding the role of the teacher, the relationship between teacher and student, the difficulties faced as artists in a university environment, and the lack of philosophy in art schools have fuelled my following response
Art schools are losing, or have lost, their individuality. The homogenisation process is largely imposed by the structures of the universities that they are housed in. VCAM (formerly VCA, Victorian College of the Arts) has only just managed to escape having the Melbourne Model (Melbourne University’s 2008 curricula changes) imposed on their programs. However, they are now in a position where they are offering one degree with eight disciplines falling within its scope. As of 2009 they also lost their independent identity; they are now a school within The University of Melbourne. The RMIT School of Art is about to face what seems to be radical changes to their curriculum which will likely reduce the close mentoring of students by staff members which has been a vital ingredient in art education to date.
See full article in print edition

4 Resistance to change, DONALD BROOKMcLean Edwards, Art Student # 1, 2010, oil on canvas, 122 x 122cm. From the exhibition McLean Edwards: Bad Habits. Image courtesy the artist and Martin Browne Fine Art, Sydney — **4 Resistance to change, DONALD BROOK**
McLean Edwards, *Art Student # 1*, 2010, oil on canvas, 122 x 122cm. From the exhibition *McLean Edwards: Bad Habits*.
Image courtesy the artist and Martin Browne Fine Art, Sydney

5 Natural Digression: to see what we don’t yet know we’re seeing: KIRSTEN RANNRose Montebello, Night watch, 2010, paper, mountboard,, 41cm diameter. From the UTS Gallery exhibition Natural Digression. Image courtesy the artist — **5 Natural Digression: to see what we don’t yet know we’re seeing: KIRSTEN RANN**
Rose Montebello, *Night watch*, 2010, paper, mountboard,, 41cm diameter. From the UTS Gallery exhibition *Natural Digression*. Image courtesy the artist

6 Susan Sontag’s Legacy to the Visual Arts: JOHN CONOMOSPeter Hujar, Susan Sontag, 1975, vintage gelatin silver print, 10 x 8 inches. Collection: The National Portrait Gallery, Washington© 1987 The Peter Hujar Archive LLC — **6 Susan Sontag’s Legacy to the Visual Arts: JOHN CONOMOS**
Peter Hujar, *Susan Sontag*, 1975, vintage gelatin silver print, 10 x 8 inches. Collection: The National Portrait Gallery, Washington© 1987 The Peter Hujar Archive LLC

7 Annie Leibovitz: A Photographer’s Life 1990 – 2005: ANDREW QUILTYPatti Smith with her Children, Jackson and Jesse, St. Clair Sho res, Michigan, 1996. All photographs © Annie Leibovitz; from Annie Leibovitz: A Photographer’s Life, 1990 – 2005 — **7 Annie Leibovitz: A Photographer’s Life 1990 – 2005: ANDREW QUILTY**
Patti Smith with her Children, Jackson and Jesse, St. Clair Sho res, Michigan, 1996. All photographs © Annie Leibovitz; from Annie Leibovitz: A Photographer’s Life, 1990 – 2005

8 Head – Into the Black: McLean Edwards: ANDREW FROSTDisco Boat, 2010, oil on canvas, 153 x 153cm. All images of work by McLean Edwards, courtesy the artist and Martin Brown Fine Art, Sydney — **8 Head – Into the Black: McLean Edwards: ANDREW FROST**
*Disco Boat*, 2010, oil on canvas, 153 x 153cm. All images of work by McLean Edwards, courtesy the artist and Martin Brown Fine Art, Sydney

9 Bardayal ‘Lofty’ Nadjamerrek AO: JEREMY ECCLESNgalyod The Rainbow Serpent, 1980, natural pigments on bark. Collection: Museum and Art Gallery Northern Territory. Image courtesy the Museum and Art Gallery of the Northern Territory, Darwin. IMAGES O… — **9 Bardayal ‘Lofty’ Nadjamerrek AO: JEREMY ECCLES**
*Ngalyod The Rainbow Serpent*, 1980, natural pigments on bark. Collection: Museum and Art Gallery Northern Territory. Image courtesy the Museum and Art Gallery of the Northern Territory, Darwin. IMAGES OF WORK BY BARDAYAL LOFTY NADJAMERREK AO, © THE NADJAMERREK ESTATE

10 Telling Secret Tales: The World of Linocut Artist Angela Cavalieri: SALLIE MUIRDENTell tales, 2010, hand-printed linocut and oil paint on canvas, 121 x 372 cm. Photograph by Tim Gresham — **10 Telling Secret Tales: The World of Linocut Artist Angela Cavalieri: SALLIE MUIRDEN**
*Tell tales*, 2010, hand-printed linocut and oil paint on canvas, 121 x 372 cm. Photograph by Tim Gresham

11 roundabout° at the City Gallery Wellington: BILLIE LYTHBERGLonnie Hutchinson, Monumental Black Comb Form, 2009, stainless steel and two-pot paint, 98 x 134cm. Images courtesy the artists and roundabout˚ — **11 roundabout° at the City Gallery Wellington: BILLIE LYTHBERG**
Lonnie Hutchinson, *Monumental Black Comb Form*, 2009, stainless steel and two-pot paint, 98 x 134cm. Images courtesy the artists and *roundabout˚*

12 John Kelly – Probe: LAURA GASCOIGNEHalo, 2007, mixed media, installation view, Agnew’s Gallery, London. Photographs by Todd White & Associates — **12 John Kelly – Probe: LAURA GASCOIGNE**
*Halo*, 2007, mixed media, installation view, Agnew’s Gallery, London. Photographs by Todd White & Associates

13 Sam Leach’s Platonia: PAVEL S. PYSWalrus Configuration 1, 2010, oil and resin on linen on wood, 26 x 36cm. Images courtesy the artist Sam Leach, Sullivan + Strumpf Fine Art, Sydney, and COMODAA, London — **13 Sam Leach’s Platonia: PAVEL S. PYS**
*Walrus Configuration 1*, 2010, oil and resin on linen on wood, 26 x 36cm. Images courtesy the artist Sam Leach, Sullivan + Strumpf Fine Art, Sydney, and COMODAA, London

14 Tom Moore’s glass-roots vision: DENNIS COLEMANShelf, 2008, blown glass, wooden shelves, steel fittings, below right glass object 50 x 35 x 25cm; installation view, Moore is More, 2009, Jam Factory Contemporary Craft & Design, Adelaide, and Ra… — **14 Tom Moore’s glass-roots vision: DENNIS COLEMAN**
*Shelf*, 2008, blown glass, wooden shelves, steel fittings, below right glass object 50 x 35
x 25cm; installation view, *Moore is More*, 2009, Jam Factory Contemporary Craft & Design,
Adelaide, and Ray Hughes Gallery, Sydney. Images courtesy the artist, Tom Moore, Ray Hughes Gallery, Sydney, and Helen Gory Galerie, Melbourne. Photographs by Grant Hancock

15 In search of the Gellibrands: DANIELLE WOODArtist unknown (possibly Augustus Earle), Four Children of Joseph Tice Gellibrand, c.1828, oil on canvas, 63.5 x 75.3cm. Collection: Tasmanian Museum and Art Gallery, Hobart. Presented by John Gellibrand… — **15 In search of the Gellibrands: DANIELLE WOOD**
Artist unknown (possibly Augustus Earle), *Four Children of Joseph Tice Gellibrand*, c.1828,
oil on canvas, 63.5 x 75.3cm. Collection: Tasmanian Museum and Art Gallery, Hobart. Presented by
John Gellibrand under the Cultural Gifts Program, 2004
**16 Letters to the editor**
1. Accessible Dobell FROM Elizabeth Donaldson
2. Impressions of ‘Impressions of Japan’ from Dr Anne Kirker

17 A Tale of Two Biennales: Gwangju and Busan: EN YOUNG AHNAn unidentified Prisoner, S-21 Prison, Phnom Penh, Cambodia, from Tuol Sleng Prison Photographs, 1975-1979. © Doug Niven and Tuol Sleng Museum of Genocide, Cambodia. Image courtesy Doug Niven — **17 A Tale of Two Biennales: Gwangju and Busan: EN YOUNG AHN**
*An unidentified Prisoner, S-21 Prison*, Phnom Penh, Cambodia, from Tuol Sleng Prison Photographs, 1975-1979. © Doug Niven and Tuol Sleng Museum of Genocide, Cambodia. Image courtesy Doug Niven

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