May 2013 Issue 259

1 Drawn to a Flame: Rekindling Local Treasures at AIATSIS: RITA METZENRATHJim Williams and Matthew Harding, Bogong moths, 2001, cast metal; an ArtsACT commissioned public art work, located between the National Museum of Australia and AIATSIS; image … — **1 Drawn to a Flame: Rekindling Local Treasures at AIATSIS: RITA METZENRATH**
Jim Williams and Matthew Harding, *Bogong moths*, 2001, cast metal; an ArtsACT commissioned public art work, located between the National Museum of Australia and AIATSIS; image courtesy the artists

2 Kungkarangkalpa: the Seven Sisters Songline under a Canberra Sky: TONY COLLINSKungkarangkalpa ceremony, 2012, Anangu dancers at Cave Hill, west of Ernabella; photo: Tessa Keenan — **2 Kungkarangkalpa: the Seven Sisters Songline under a Canberra Sky: TONY COLLINS**
*Kungkarangkalpa* ceremony, 2012, Anangu dancers at Cave Hill, west of Ernabella; photo: Tessa Keenan

3 2113: A Canberra Odyssey A new model for the Griffins' city of the future: DALE MIDDLEByCompetition box for the ‘Design of the Federal Capital of Australia’, 1911; Collection: Canberra Museum and Gallery; photo: Rob Little Digital Images, Canberra — **3 2113: A Canberra Odyssey A new model for the Griffins' city of the future: DALE MIDDLEBy**
Competition box for the ‘Design of the Federal Capital of Australia’, 1911; Collection: Canberra Museum and Gallery; photo: Rob Little Digital Images, Canberra

4 CapitheticalBrit Andresen & Mara Francis, Architecture + Urban Innovations Collaborative (A+UIC), Sedimentary City; winner 2nd prize, Capithetical, 2013 — **4 Capithetical**
Brit Andresen & Mara Francis, Architecture + Urban Innovations Collaborative (A+UIC), Sedimentary City; winner 2nd prize, Capithetical, 2013

5 FLIPSIDE: Canberra's underbelly: MERRYN GATESElizabeth Kelly, The Posting, 2013, recycled steel, recycled timber, silicone and 3M mask; 250 x 70 x 70cm; image courtesy the artist — **5 FLIPSIDE: Canberra's underbelly: MERRYN GATES**
Elizabeth Kelly, *The Posting*, 2013, recycled steel, recycled timber, silicone and 3M mask; 250 x 70 x 70cm; image courtesy the artist

6 More than a Captain Cookaburra Show: highlights from The Australiana Fund's collection of decorative arts: ANDREW MONTANASir Bertram Mackennal’s Truth, 1894. Image courtesy Canberra Museum and Gallery — **6 More than a Captain Cookaburra Show: highlights from The Australiana Fund's collection of decorative arts: ANDREW MONTANA**
Sir Bertram Mackennal’s *Truth*, 1894. Image courtesy Canberra Museum and Gallery

7 Canberra's visual arts landscape: an art critic's view: SASHA GRISHINRosalie Gascoigne, Step through,1980, linoleum and wood, overall 28 x 93 x 370cm; Collection: National Gallery of Australia, Canberra; image courtesy and © Rosalie Gascoigne esta… — **7 Canberra's visual arts landscape: an art critic's view: SASHA GRISHIN**
Rosalie Gascoigne, *Step through*,1980, linoleum and wood, overall 28 x 93 x 370cm; Collection: National Gallery of Australia, Canberra; image courtesy and © Rosalie Gascoigne estate

8 Public art @ the ANU, 1953–2013: DAVID WILLIAMSNorma Redpath, Extended Column, 1972-76, bronze and column of spun cement, ANU School of Music; image courtesy the artist’s estate and Charles Nodrum Gallery, Richmond — **8 Public art @ the ANU, 1953–2013: DAVID WILLIAMS**
Norma Redpath, *Extended Column*, 1972-76, bronze and column of spun cement, ANU School of Music; image courtesy the artist’s estate and Charles Nodrum Gallery, Richmond

9 'the age of individual alienation is withering...' Canberra's Bitumen River Gallery: ANNI DOYLE WAWRZYNCZAKDavid Morrow (designer/printer), ‘Well I've never heard of you either’; invitation image for Bill Posters Appreciated, inaugural exhibition,… — **9 'the age of individual alienation is withering...' Canberra's Bitumen River Gallery: ANNI DOYLE WAWRZYNCZAK**
David Morrow (designer/printer), ‘*Well I've never heard of you either*’; invitation image for Bill Posters Appreciated, inaugural exhibition, Bitumen River Gallery, 4 April 1981; printed at Megalo Print Studio Canberra; photo: Dean Butters; image courtesy Megalo Print Studio

10 Look Again: the work of Janet Dawson in the collection of the National Gallery of Australia: JENNY BELLJanet Dawson, Oval rough drawing [1], 1972, conté crayon, part 1 of 7-part series; image size: 14.2 x 20.4cm; paper size: 21 x 30cm; Bell write… — **10 Look Again: the work of Janet Dawson in the collection of the National Gallery of Australia: JENNY BELL**
Janet Dawson, *Oval rough drawing* [1], 1972, conté crayon, part 1 of 7-part series; image size: 14.2 x 20.4cm; paper size: 21 x 30cm; Bell writes: ‘We see close-up, just a jumble of craggy, seemingly non-committal lines. The drawing has the shape of an ellipse, the title suggests a sporting arena but it could be an egg. This does not matter. Give the work some distance,
just a few paces, and watch those lines take hold of space and, with precision, twitch.’ From the collection of the National Gallery of Australia, Canberra; images courtesy the artist and the NGA

11 The elusive art of citizen Kenne: GABRIELLA COSLOVICHIngvar Kenne, # 39, Lee Lin Chin, 2003; TV presenter. C-type prints, 100 x 100cm,or (in Citizen publication) 20.5 x 20.5cm; image courtesy the artist — **11 The elusive art of citizen Kenne: GABRIELLA COSLOVICH**
Ingvar Kenne, # 39, Lee Lin Chin, 2003; TV presenter. C-type prints, 100 x 100cm,or (in *Citizen* publication) 20.5 x 20.5cm; image courtesy the artist

12 Lost Art: JULIAN DAVIESLoo Benham, scene on the shore at Aberystwyth, Wales, date unknown, watercolour on paper, 37 x 27cm — **12 Lost Art: JULIAN DAVIES**
Loo Benham, scene on the shore at Aberystwyth, Wales, date unknown, watercolour on paper, 37 x 27cm

13 ACT 1,2 & 3 Canberra's national performance art festivals: ANNE SANDERSStelarc, Prepared Tree Suspension: Event for Obsolete Body No. 6 , ACT 3 – Black Mountain, Canberra, 10 October 1982; photo: Hanh Tran; image courtesy the artist and Scott… — **13 ACT 1,2 & 3 Canberra's national performance art festivals: ANNE SANDERS**
Stelarc, *Prepared Tree Suspension: Event for Obsolete Body No. 6* , ACT 3 – Black Mountain, Canberra,
10 October 1982; photo: Hanh Tran; image courtesy the artist and Scott Livesey Galleries, Melbourne

14 Intensity of purpose: 21 years of ANCA: ALLISON BELLVivienne Binns, String lines, 2012, synthetic polymer paint on canvas, 72 x 100cm; photo: Rob Little Digital Images, Canberra — **14 Intensity of purpose: 21 years of ANCA: ALLISON BELL**
Vivienne Binns, *String lines*, 2012, synthetic polymer paint on canvas, 72 x 100cm; photo: Rob Little Digital Images, Canberra

15 Art School Anecdote: MARTYN JOLLYTableau vivant of ‘Liberty Leading the People’, from Art School Anecdote, 2013, ANU School of Art; photo: Sarah Nathan-Truesdale — **15 Art School Anecdote: MARTYN JOLLY**
Tableau vivant of ‘Liberty Leading the People’, from *Art School Anecdote*, 2013, ANU School of Art; photo: Sarah Nathan-Truesdale

16 Man sights an object in space: Norma Redpath's approach to public art: JANE ECKETTNorma Redpath, Treasury Fountain, Canberra, 1965-69; bronze, 3.7 x 2.6 x 4.0m; photo: David Wilson — **16 Man sights an object in space: Norma Redpath's approach to public art: JANE ECKETT**
Norma Redpath, *Treasury Fountain*, Canberra, 1965-69; bronze, 3.7 x 2.6 x 4.0m; photo: David Wilson

17 I Do Have a Belief: Kevin Gilbert (1933–1993) Art Retrospective: SAMANTHA FAULKNERKevin Gilbert, Colonising species, 1989, print; image courtesy the artist’s estate — **17 I Do Have a Belief: Kevin Gilbert (1933–1993) Art Retrospective: SAMANTHA FAULKNER**
Kevin Gilbert, *Colonising species*, 1989, print; image courtesy the artist’s estate

18 Canberra Suite: IAN NORTH/SARAH RICEfrom Ian North’s Canberra Suite, 1980-1981, 24 type-C prints, printed by the artist from 6 x 7cm negatives in 1986; average dimension c. 37 x 45.7cm; courtesy the artist — **18 Canberra Suite: IAN NORTH/SARAH RICE**
from Ian North’s *Canberra Suite*, 1980-1981, 24 type-C prints, printed by the artist from 6 x 7cm negatives in 1986; average dimension c. 37 x 45.7cm; courtesy the artist

19 Tony Ameneiro: head to head: JAN JONESTony Ameneiro, Pentimenti Series – Flowering Heads, 2012, single-plate and multi-plate colour monotypes; 57 x 38cm; image courtesy the artist — **19 Tony Ameneiro: head to head: JAN JONES**
Tony Ameneiro, *Pentimenti Series – Flowering Heads*, 2012, single-plate and multi-plate colour monotypes; 57 x 38cm; image courtesy the artist

20 Embodied visions: invisible force in the works of Bernard Hardy: ZSUZSI SOBOSLAYBernard Hardy, untitled/undated, mixed media; image courtesy the artist — **20 Embodied visions: invisible force in the works of Bernard Hardy: ZSUZSI SOBOSLAY**
Bernard Hardy, untitled/undated, mixed media; image courtesy the artist

21 Dan Maginnity: byrd's eye-view: HANNA HOYNEbyrd’s graffiti alley-wall at the Front Cafe, Lyneham; image courtesy the artist and the Front Cafe, Lyneham — **21 Dan Maginnity: byrd's eye-view: HANNA HOYNE**
byrd’s graffiti alley-wall at the Front Cafe, Lyneham; image courtesy the artist and the Front Cafe, Lyneham

22 Hong Kong, a tale of Art and Money: EN YOUNG AHNArtist impression, bird’s eye-view of future West Kowloon Cultural District; image courtesy the West Kowloon Cultural District Authority — **22 Hong Kong, a tale of Art and Money: EN YOUNG AHN**
Artist impression, bird’s eye-view of future West Kowloon Cultural District; image courtesy the West Kowloon Cultural District Authority

23 A Ballarat summer fling: MILLAN PINTOS-LOPEZEntrance and interior of boutique fashion outlet Miss Behavin, Ballarat, run by Carrie Mufatti; photo: Janet Ranken — **23 A Ballarat summer fling: MILLAN PINTOS-LOPEZ**
Entrance and interior of boutique fashion outlet Miss Behavin, Ballarat, run by Carrie Mufatti; photo: Janet Ranken

24 em file: Vanessa Barbay: Painting our animal selves: MELINDA HINKSONVanessa Barbay, Crucified (Winter Chough and Starling), 2011-12, chough, starling, oil, delek and rabbit skin glue on canvas, 73 x 84.5cm — **24 em file: Vanessa Barbay: Painting our animal selves: MELINDA HINKSON**
Vanessa Barbay, *Crucified (Winter Chough and Starling)*, 2011-12, chough, starling, oil, delek and rabbit skin glue on canvas, 73 x 84.5cm

25 em file: The Photography Room: MAURICE O'RIORDAN/SEAN DAVEYVasili Vasileiadis, Service #17, from the series Service, 1997, pigment print, 40 x 60cm, showing at Kaori Gallery, Canberra, 24 May to 9 June 2013 — **25 em file: The Photography Room: MAURICE O'RIORDAN/SEAN DAVEY**
Vasili Vasileiadis, *Service #17*, from the series *Service*, 1997, pigment print, 40 x 60cm, showing at Kaori Gallery, Canberra, 24 May to 9 June 2013

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