Art Monthly Australasia-Issue 288 April 2016

1 Soft power: Dani Marti and Bharti Kher at the 2016 Perth International Arts Festival: Christopher Barrett-Lennard, PerthDani Marti: Black Sun, exhibition view, Fremantle Arts Centre (FAC), 2016; image courtesy FAC; photo: Rhianna Nelson — 1 Soft power: Dani Marti and Bharti Kher at the 2016 Perth International Arts Festival: Christopher Barrett-Lennard, *Perth*
*Dani Marti: Black Sun, exhibition view, Fremantle Arts Centre (FAC), 2016; image courtesy FAC; photo: Rhianna Nelson*

2 Elizabeth Durack’s Mid West landscapes: Ted Snell, PerthElizabeth Durack, Greenough, 1960, pencil on paper, commissioned by the Municipality of Geraldton, 1960; © with kind permission of the trustees, the estate of Elizabeth Durack — 2 Elizabeth Durack’s Mid West landscapes: Ted Snell, *Perth*
Elizabeth Durack, *Greenough*, 1960, pencil on paper, commissioned by the Municipality of Geraldton, 1960; © with kind permission of the trustees, the estate of Elizabeth Durack

3 Ngarra and the Ngarrangkarni: Darren Jorgensen, PerthNgarra drawing the work From Barrgululu to Gularrt, c. 1997–98; photo: Kevin Shaw — 3 Ngarra and the Ngarrangkarni: Darren Jorgensen, *Perth*
Ngarra drawing the work *From Barrgululu to Gularrt*, c. 1997–98; photo: Kevin Shaw

4 Alistair Rowe: Holding things together: Robert Cook, PerthAlistair Rowe, Support Acts, 2015, installation view, Lawrence Wilson Art Gallery, Perth, 2015 (wall works by Shannon Lyons); image courtesy the artist — 4 Alistair Rowe: Holding things together: Robert Cook, *Perth*
Alistair Rowe, *Support Acts*, 2015, installation view, Lawrence Wilson Art Gallery, Perth, 2015 (wall works by Shannon Lyons); image courtesy the artist

5 Ruination: Geoffrey Batchen, SydneyBen Cauchi, That which can be seen is not all there is, 2013, ambrotype, 36 x 28cm; image courtesy the artist and Darren Knight Gallery, Sydney; Brett McDowell Gallery, Dunedin; Peter McLeavey Gallery, Wellington… — 5 Ruination: Geoffrey Batchen, *Sydney*
Ben Cauchi, *That which can be seen is not all there is*, 2013, ambrotype, 36 x 28cm; image courtesy the artist and Darren Knight Gallery, Sydney; Brett McDowell Gallery, Dunedin; Peter McLeavey Gallery, Wellington; and McNamara Gallery, Wanganui

6 Apperception: Justine Varga, SydneyJustine Varga, Edge, from the series ‘Accumulate’, 2014–15, type-C hand print, 123.5 x 98.5cm, edition of 5; image courtesy the artist, Hugo Michell Gallery, Adelaide, and Stills Gallery, Sydney; photo: Stephen O… — 6 Apperception: Justine Varga, *Sydney*
Justine Varga, *Edge,* from the series ‘Accumulate’, 2014–15, type-C hand print, 123.5 x 98.5cm, edition of 5; image courtesy the artist, Hugo Michell Gallery, Adelaide, and Stills Gallery, Sydney; photo: Stephen Oxenbury

7 Beautiful collision: ‘Borland + Borland’ at Canberra Glassworks: Anna Madeleine, CanberraBorland + Borland, exhibition view of Emma Borland’s glass panels, Canberra Glassworks, 2015–16; image courtesy Canberra Glassworks; photo: Adam McGrath — 7 Beautiful collision: ‘Borland + Borland’ at Canberra Glassworks: Anna Madeleine, *Canberra*
*Borland + Borland*, exhibition view of Emma Borland’s glass panels, Canberra Glassworks, 2015–16; image courtesy Canberra Glassworks; photo: Adam McGrath

8 Cultural currency: El Anatsui at Carriageworks: Pedro de Almeida, SydneyEl Anatsui, Devotees, 1987, installation view, Carriageworks, Sydney, 2016, commissioned and presented as a Schwartz Carriageworks project in association with Sydney Festival;… — 8 Cultural currency: El Anatsui at Carriageworks: Pedro de Almeida, *Sydney*
El Anatsui, *Devotees*, 1987, installation view, Carriageworks, Sydney, 2016, commissioned and presented as a Schwartz Carriageworks project in association with Sydney Festival; photo: Zan Wimberley

9 Resonant rooms: ‘When silence falls’ at the AGNSW: Margaret Farmer, SydneyRichard Bell and Emory Douglas, We Can Be Heroes, 2014, synthetic polymer paint on canvas, 180 x 240cm, Art Gallery of New South Wales, Sydney, purchased with funds from the… — 9 Resonant rooms: ‘When silence falls’ at the AGNSW: Margaret Farmer, *Sydney*
Richard Bell and Emory Douglas, *We Can Be Heroes*, 2014, synthetic polymer paint on canvas, 180 x 240cm, Art Gallery of New South Wales, Sydney, purchased with funds from the Wendy Barron Bequest Fund, 2015; image courtesy Milani Gallery, Brisbane; © Richard Bell and Emory Douglas

10 Getting away with it: Gilbert & George at MONA: Rachel Kent, HobartGilbert & George, ALL MY LIFE I GIVE YOU NOTHING AND STILL YOU ASK FOR MORE, 1970, mixed media, 193 x 75cm (each), private collection — 10 Getting away with it: Gilbert & George at MONA: Rachel Kent, *Hobart*
Gilbert & George, *ALL MY LIFE I GIVE YOU NOTHING AND STILL YOU ASK FOR MORE*, 1970, mixed media, 193 x 75cm (each), private collection

11 National art and the National Gallery: The new collection display and ‘Tom Roberts’: Daniel Thomas, CanberraTom Roberts, exhibition view, National Gallery of Australia (NGA), Canberra, 2015–16, with (from left): Tom Roberts, Madame Hartl, 1909–10… — 11 National art and the National Gallery: The new collection display and ‘Tom Roberts’: Daniel Thomas, *Canberra*
Tom Roberts, exhibition view, National Gallery of Australia (NGA), Canberra, 2015–16, with (from left): Tom Roberts, *Madame Hartl*, 1909–10, oil on canvas, 114.5 x 76.6cm, NGA, Canberra, purchased 1969; Derwent Wood, *Tom Roberts*, 1910, patinated plaster, 55.9 x 34 x 26cm, Art Gallery of New South Wales, Sydney, gift of Tom Roberts, 1929; Tom Roberts, *Mrs Tom Roberts, c.* 1906, oil on canvas, 76.8 x 54cm, Art Gallery of Western Australia, Perth, purchased with funds from the Hackett Bequest Fund, 1949; image courtesy the NGA, Canberra

Art Monthly Australasia

Art Monthly Australasia is Australasia’s flagship visual arts publication, providing a critical platform for its artists. Published since 1987 under six full-time editors (Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and, from 2014, Michael Fitzgerald), it is Australasia’s only monthly visual arts magazine placing visual arts in a contemporary, historical and regional context.

Based at the ANU School of Art in Canberra since 1992, Art Monthly Australasia is a non-profit charitable organisation whose income is derived from sales of the magazine, advertising, sponsorship and government funding. Its board comprises leaders in their fields of visual arts scholarship, practice and curating, along with business and finance.

Since 2015, Art Monthly has also fostered critical discourse across the Asia-Pacific region with a new International Council, which, along with increased participation at international art fairs and biennales, is helping to provide a meaningful new context for its artists.