Issue 42 - Art Collector

October-December 2007
RRP $19.95 - In Stock

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Cover artist: Peta Clancy
Skin doesn’t have roots, it peels away easy as paper Peta Clancy uses unusual materials, her own skin and pathogenic bacteria on Petri dishes, to produce a body of work that references feminist art of the 1970s and is partly about vulnerability and aging. Story by Ingrid Periz. Portrait by Kirstin Gollings.

Matthew Griffin: Punk’d
Matthew Griffin’s art updates Dada, writes Edward Colless, with a DIY style fuelled by the artist’s allegiance to punk and grunge subcultures. Portrait by Kirstin Gollings.

Jonathan Jones: Afraid of the dark
Light is the formal element that binds all of Jonathan Jones’s works. With it he creates subtle and beautiful metaphors writes Andrew Frost. Portraits by Kirstin Gollings.

Dennis Nona : 2007 NATSIAA winner
Dennis Nona tells Ashley Crawford the story behind his NATSIA award winning work, Ubirikubiri, a giant bronze crocodile. Portrait by Hari Ho.

Laurie Nilsen: Birds on a wire
Having seen more than 30 emus dying slow, agonising deaths trapped in barbed wire, Laurie Nilsen was moved to produce his NATSIA award winning work. He spoke to Ashley Crawford. Portrait by Hari Ho.

Amanda Marburg: Plasticine friends
Amanda Marburg was a highly valued assistant to a high profile Melbourne painter until a year ago when she announced she was going it alone. Her first show was an enormous success. Story by Ashley Crawford. Portrait by Kirstin Gollings.

Thornton Walker’s mood painting
Thornton Walker is one of Australia’s most successful and highly collected figurative tonal painters. Sasha Grishin charts his art life over the last three decades. Portrait by
Kirstin Gollings.

News & Analysis

Whither goes the contemporary art market?
The current contemporary art market has many unique features distinguishing it from other art markets and influencing its speed and direction. Terry Ingram takes stock.

Who’s right is it anyway?
Some influential gallerists are taking on the auction houses over the way their artists’ work is positioned for resale. They’re using the withholding of copyright permission to buy a seat at the table for discussions over setting estimates. Terry Ingram explains how it works.

Art for art’s sake. Not anymore
Carmel Dwyer wants to be the first to announce that a line has been crossed. She’s been gathering the evidence to support the notion that no longer is it infra dig to buy art for the purposes of status and investment. To begin with there are just so many openly doing it and willingly talking about it.

Australian artists on the world stage
Australia’s non-indigenous artists are enjoying something their leading Aboriginal peers have taken for granted for a very long time, reports Terry Ingram. That is, a very real market overseas.

Darwin’s first art fair
Timed to coincide with this year’s NATSIAAs, Darwin’s first art fair was a big success. Susan McCulloch reports on what is set to become an important annual event for serious collectors of emerging art.


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.