Site works, Hill House, Chapel Hill, Brisbane

Terracing of site in preparation for construction.

Aboriginal Art Collection: Highlights from Australia's Public Museums and Galleries

Contents: Introduction SUSAN COCHRANE National Gallery of Australia, Canberra WALLY CARUANA National Museum of Australia, Canberra DAVID KAUS Museum and Art Gallery of the Northern Territory, Darwin MARGIE WEST Art Gallery of New South Wales, Sydney HETTI PERKINS AND KEN WATSON Museum of Contemporary Art, Sydney BERNICE MURPHY Queensland Art Gallery, Brisbane MARCO NEALE Queensland Museum, Brisbane RICHARD ROBINS National Gallery of Victoria, Melbourne JUDITH RYAN Museum Victoria, Melbourne GAYE SCULTHORPE Tasmanian Museum and Art Gallery, Hobart KIM AKERMAN AND DAVID HANSEN Art Gallery of Western Australia, Perth MICHAEL O'FERRALL AND BRENDA L. CROFT Western Australian Museum, Perth ROSS CHADWICK AND MANCE LOFGREN Art Gallery of South Australia, Adelaide JANE HYLTON South Australian Museum, Adelaide PHILIP A. CLARKE List of Plates Bibliography Editor's Acknowledgments Contributors Index

(FAB01_091) Book reviews

Leon Battista Alberti, 'On the Art of Building in Ten Books' Translated by Joseph Rykwert, Neil Leach and Robert Tavemor L. A. Zhadova (ed.), 'Tatlin' (Budapest 1984). English translation Helen Ross, 'Just For Living, Aboriginal Perceptions of Housing in North West Australia' Tony Fry, 'Design History Australia: A Source Text in Methods and Resources' Phillip Cox and David Moore, 'The Australian Functional Tradition' Lenore Coltheart and Don Fraser (eds.), 'Lamdmarks in Public Works, Engineers and Their Works in New South Wales 1884-1914' Peter Bridges and Don MacDonald, 'James Barnet, Colonial Architect' Don Watson and Judith McKay, 'A Directory of Queensland Architects to 1940' Russell Walden, 'Voices of Silence: New Zealand's Chapel of Futuna' Jeremy Salmond, 'Old New Zealand Houses 1800-1940' Victoria Middleton, 'The Legend of Green Valley' Dyranda Prevost and Ann Rado, 'Living Places' Mark Jackson and Mark Stiles (directors), 'Universal Provider' Lars Lerup, 'Planned Assaults'

University of Queensland Working Papers in Linguistics

University of Queensland Working Papers in Linguistics is an opportunity to share and showcase ongoing research by staff, students, and associates of UQ’s Linguistics program, housed in the School of English, Media Studies, and Art History. This, the first volume, covers a number of topics ranging from formal syntactic theory to second language acquisition, and is representative of the broad spectrum of research that is carried out at The University of Queensland. While the papers herein represent works in progress, they have all been reviewed by two peer assessors, and revised in accordance with the assessors’ reports.

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.