Issue 28 - Art Collector
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|Artist: David Rosetzky - Trouble in paradise|
|The work of Melbourne artist David Rosetzky meticulously mimics the world that mirrors ours. His soundtrack commentaries disturb both, writes Andrew Frost.|
|Rod Moss: Royal portraits|
|Can a white artist paint Aboriginal people today? Rex Butler outlines Rod Moss’ ingenious solution.|
|Polixeni Papapetrou: Strike a pose|
|Glamour is Polixeni Papapetrou’s true subject, according to Adrian Martin.|
|Jane Burton: Shadowlands|
|Ashley Crawford shines light on photographer Jane Burton’s nudes and landscapes.|
Australian Art Collector’s art writers and critics reveal some of the country’s freshest talent:
Chantal Faust, Darma Yeomans, Anthony Duwan Lee, Ash Hempsell, Jane Naylor, Fatima Kileen, Kate McMillan, Michaela Gleave, Alasdair Macintyre, Vivienne Miller.
|News & Analysis|
|Deal me in|
Charles Nodrum: Appreciates abstraction How collectable is Australian abstract art? Michael Hutak interviews Melbourne dealer and abstract expert, Charles Nodrum.
Felicity Fenner reviews Yvonne Audette: Paintings and Drawings 1949-2003 by Christopher Heathcote, Bruce Adams, Gerard Vaughan and Kirsty Grant.
Travel: Art guide Paris
Edward Colless plugs you into Paris’s buzzing contemporary art scene.
Larger than life
Susan McCulloch traces the life and work of Clifford Possum Tjapaltjarri.
The next generation
Amongst our younger artists video art has takenoff. Andrew Frost finds out what it’s about and who’s producing it.
Who’s running the show?
Carmel Dwyer examines the acquisitions policies and procedures of Australia’s major public museums and asks how they impact on the art market.
Gallerists and their artists
Ashley Crawford examines the new guidelines for this central art world relationship.
Photography: The art market’s new painting
Terry Ingram charts the rise of photography in the art market.
The way we once made aesthetic judgments has been challenged on every front. Carrie Lumby explores how we respond to contemporary art.
The widening gap
Will dealer prices move up or salesroom prices move down? John Kavanagh reports.
|Gallery: Tim Olsen: Tim Olsen gets serious|
What’s in store at Tim Olsen’s new gallery space? He told Carmel Dwyer it is an opportunity to redefine himself and to be more cutting edge in terms of the art he shows. Painting, however, will continue to be the gallery’s strength. Photography by Nick Watt.
Art adviser: Alison Renwick
Rather than collecting and holding, the new breed of art collector is looking to trade. As a result, Alison Renwick’s business is increasingly about advice on both buying and selling contemporary Australian art. She spoke to Carmel Dwyer about the rise of the “hedge fund collector”. Portraits by Nick Watt.
Collector: Peter Keel: Innerscape
When Peter Keel talks about art he expresses both an unselfconscious enthusiasm and a keen intellectualism. He spoke to Carmel Dwyer about 20 years of collecting. Photography by Nick Watt.
Printmaker: Graham Fransella
The combination of the immediacy, vibrancy and rawness of toilet graffiti and the distilled sophistication of a beautifully resolved intaglio print is what, according to Sasha Grishin, gives Graham Fransella’s work its distinctive character.