Issue 26 - Art Collector

October-December 2003
RRP $14.95 - In Stock

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Artists

Artist: The many faces of Lindy Lee
Edward Colless looks back on Lindy Lee’s significant body of work.

Collector’s Dossier:
Peter Booth: human/nature
John McPhee discovers a menacing quality in Peter Booth’s work.

Smart art
Australian Art Collector writers have searched the country to present to you 19 artists producing work available for purchase for under $2,000:
Pat Larter, Simon Murray, Raquel Ormella, Jay Ryves, Paddy Fordham Wainburranga, Mandy Groves, Paul Adair, Natalya Hughes, Lilla Watson, Michelle Nikou, James Strickland, Stephanie Tabram, James Dodd, Prudence Flint, Sharon Goodwin, Selina Ou, Jon Denaro, Eric Schneider, Lisa Wolfgamm.




News & Analysis

Deal me in
Gene Sherman: A dialogue with Asia Michael Hutak talks to leading gallerist Gene Sherman about her increasing international focus.

My first time
Jenna Price visits South Australia and discovers first timer, Amanda Blair.

Richard Bell 2003 winner NATSIAA
Maurice O’Riordan reports from Darwin.

Telstra National Aboriginal and Torres Strait Islander Art Award
NATSIAA has been responsible for kick starting many indigenous artists’ careers. Maurice O’Riordan reports on the history of this prestigious award.

The risk factor
Maria Bilske surveys the different stages of the artist’s career and how they affect your investment.

Debt, divorce, death and beyond
Terry Ingram reveals how the auction houses source works for sale.

Leasing your art back to yourself
Elizabeth Sarks may have found a way around superfund sole purpose test.

Essay: Cutting out the middleman
Should you buy direct from the artist’s studio? Carrie Lumby examines the consequences.




Features

Dealer: Michael Carr - Destined to deal
An opportunistic encounter with an Old Master confirmed Michael Carr’s decision to switch from law to art. Carmel Dwyer charts the course of this successful Woollahra art dealer.

Collector: Steve Vizard - A collection that clashes
Steve Vizard’s collection is a reflection of the haphazardness of the 90s, writes Ashley Crawford.