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Summer 2018/19 Issue 313

  1 Dispatches: andrew stephens   Kiria Asike with noni-dyed pandanus, ‘Women’s Wealth’ workshop, Nazareth Rehabilitation Centre, Chabai, 2017; photo: Taloi Havini

1 Dispatches: andrew stephens

Kiria Asike with noni-dyed pandanus, ‘Women’s Wealth’ workshop, Nazareth Rehabilitation Centre, Chabai, 2017; photo: Taloi Havini

  2 Notes from the field: Chloé Wolifson   Richard Bell,  For the many , 2018, acrylic on linen, 180 x 240cm; image courtesy the artist and Milani Gallery, Brisbane

2 Notes from the field: Chloé Wolifson

Richard Bell, For the many, 2018, acrylic on linen, 180 x 240cm; image courtesy the artist and Milani Gallery, Brisbane

  3 curating atp9: staying with the questions: zara stanhope,  brisbane    Aisha Khalid,  Your way begins on the other side , 2014, detail; gold-plated steel pins and fabric; Aga Khan Museum, Toronto; image courtesy the artist and Aga Khan Museum, Toronto

3 curating atp9: staying with the questions: zara stanhope, brisbane

Aisha Khalid, Your way begins on the other side, 2014, detail; gold-plated steel pins and fabric; Aga Khan Museum, Toronto; image courtesy the artist and Aga Khan Museum, Toronto

  4 painting the streets of kabul: artlord’s omaid sharifi: Ally roche,  Canberra    ArtLords,  I See You , 2015, installation view, National Directorate of Security Building, Kabul; acrylic on concrete; image courtesy Omaid Sharifi

4 painting the streets of kabul: artlord’s omaid sharifi: Ally roche, Canberra

ArtLords, I See You, 2015, installation view, National Directorate of Security Building, Kabul; acrylic on concrete; image courtesy Omaid Sharifi

  5 revelations: ‘oceania’ at the royal academy: jenny harper,  london     Oceania , exhibition installation view, Royal Academy of Arts, London, featuring: Mata Aho Collective,  Kiko Moana , 2017, polyethene tarpaulin and cotton thread, 11 x 4cm; photo: © David Parry/Royal Academy of Arts

5 revelations: ‘oceania’ at the royal academy: jenny harper, london

Oceania, exhibition installation view, Royal Academy of Arts, London, featuring: Mata Aho Collective, Kiko Moana, 2017, polyethene tarpaulin and cotton thread, 11 x 4cm; photo: © David Parry/Royal Academy of Arts

  6 looking, rEADING AND THINKING: imants tillers’s ‘journey to nowhere’: jenny harper,  riga     Imants Tillers: Journey to Nowhere , exhibition installation view, Latvian National Museum of Art, Riga, 2018, featuring:  Journey to Nowhere , 2017, acrylic, gouache on 90 canvas boards, 228.5 x 355cm; courtesy the artist and Roslyn Oxley9 Gallery, Sydney; photo: Otto Strazd

6 looking, rEADING AND THINKING: imants tillers’s ‘journey to nowhere’: jenny harper, riga

Imants Tillers: Journey to Nowhere, exhibition installation view, Latvian National Museum of Art, Riga, 2018, featuring: Journey to Nowhere, 2017, acrylic, gouache on 90 canvas boards, 228.5 x 355cm; courtesy the artist and Roslyn Oxley9 Gallery, Sydney; photo: Otto Strazd

  7 against alienation: speculating on the post-human at mona: oscar capezio,  hobart    Toby Ziegler,  Your shadow rising , exhibition installation view, Museum of Old and New Art (MONA), Hobart, 2018, with (from left): It'll soon be over (exquisite corpse), 2018, and The human engine, 2018; image courtesy the artist and MONA, Hobart; photo: MONA/Jesse Hunniford

7 against alienation: speculating on the post-human at mona: oscar capezio, hobart

Toby Ziegler, Your shadow rising, exhibition installation view, Museum of Old and New Art (MONA), Hobart, 2018, with (from left): It'll soon be over (exquisite corpse), 2018, and The human engine, 2018; image courtesy the artist and MONA, Hobart; photo: MONA/Jesse Hunniford

  8 energising emotion: sally smart and the ballets russes: caren florance,  canberra    Sally Smart in her installation of ‘NGA Play’, National Gallery of Australia (NGA), Canberra, November 2018; image courtesy NGA, Canberra

8 energising emotion: sally smart and the ballets russes: caren florance, canberra

Sally Smart in her installation of ‘NGA Play’, National Gallery of Australia (NGA), Canberra, November 2018; image courtesy NGA, Canberra

  9 past and present: revisiting the artemis women’s art movement: annette pedersen,  perth    Penny Bovell,  Down Pour , 2018, installation detail, ‘No Second Thoughts: Reflections on the ARTEMIS Women’s Art Forum’, Lawrence Wilson Art Gallery (LWAG), University of Western Australia, Perth, 2018; image courtesy the artist and LWAG, Perth; photo: Ilkka K Photography

9 past and present: revisiting the artemis women’s art movement: annette pedersen, perth

Penny Bovell, Down Pour, 2018, installation detail, ‘No Second Thoughts: Reflections on the ARTEMIS Women’s Art Forum’, Lawrence Wilson Art Gallery (LWAG), University of Western Australia, Perth, 2018; image courtesy the artist and LWAG, Perth; photo: Ilkka K Photography

  10 on  opening our eyes:  christine nicholls   Max Dupain,  First Exhibition of the Tutini (Pukumani Grave Posts) at the Art Gallery of New South Wales , 1959, silver gelatin photograph, 17.5 x 25.5cm; artists: Laurie Nelson Mungatopi, Bob One Apuatimi, Jack Yarunga, Don Barukmadjua, Charlie Quiet Kwangdini and artist unknown; Art Gallery of New South Wales (AGNSW) Archive, Sydney; © AGNSW and estates of the artists

10 on opening our eyes: christine nicholls

Max Dupain, First Exhibition of the Tutini (Pukumani Grave Posts) at the Art Gallery of New South Wales, 1959, silver gelatin photograph, 17.5 x 25.5cm; artists: Laurie Nelson Mungatopi, Bob One Apuatimi, Jack Yarunga, Don Barukmadjua, Charlie Quiet Kwangdini and artist unknown; Art Gallery of New South Wales (AGNSW) Archive, Sydney; © AGNSW and estates of the artists

  11 surfacing: the art of louise olsen and stephen ormandy: michael fitzgerald   Louise Olsen,  Hidden Lake , 2018, oil on linen, 198 x 153cm; image courtesy the artist

11 surfacing: the art of louise olsen and stephen ormandy: michael fitzgerald

Louise Olsen, Hidden Lake, 2018, oil on linen, 198 x 153cm; image courtesy the artist

  12 because of her, we can!: revisiting early women’s art at ernabella: hannah kothe   Marea Gazzard, Yipati Kuyata Williams, Yayampi Brown and Nyukana (Daisy) Baker at a lighthouse, South Coast, New South Wales, 1971; image courtesy Sturt Permanent Collection, Mittagong

12 because of her, we can!: revisiting early women’s art at ernabella: hannah kothe

Marea Gazzard, Yipati Kuyata Williams, Yayampi Brown and Nyukana (Daisy) Baker at a lighthouse, South Coast, New South Wales, 1971; image courtesy Sturt Permanent Collection, Mittagong

  13 Anita Angel 1963 - 2018: chips mackinolty   Anita Angel, 2010; image courtesy Charles Darwin University Art Collection and Art Gallery, Darwin; photo: Chris Knight, DigiFilm Australia Pty Ltd

13 Anita Angel 1963 - 2018: chips mackinolty

Anita Angel, 2010; image courtesy Charles Darwin University Art Collection and Art Gallery, Darwin; photo: Chris Knight, DigiFilm Australia Pty Ltd

  14 kunmanara nampitjinpa M. boko (nee williams) 1953 - 2017   Kunmanara M. Boko,  Self Portrait , 2013; image courtesy Tangentyere Artists, Alice Springs; © the artist’s estate and Tangentyere Artists, Alice Springs

14 kunmanara nampitjinpa M. boko (nee williams) 1953 - 2017

Kunmanara M. Boko, Self Portrait, 2013; image courtesy Tangentyere Artists, Alice Springs; © the artist’s estate and Tangentyere Artists, Alice Springs