1 Connection and belonging: The 33rd NATSIAAs at MAGNT
by Luke Scholes, Darwin

Harold Joseph Thomas (Bundoo), Tribal abduction, 2016, synthetic polymer paint on canvas, 134 x 214cm; image courtesy the artist and the Museum and Art Gallery of the Northern Territory (MAGNT), Darwin

Harold Joseph Thomas (Bundoo), Tribal abduction, 2016, synthetic polymer paint on canvas, 134 x 214cm; image courtesy the artist and the Museum and Art Gallery of the Northern Territory (MAGNT), Darwin

2 Quick, raw and physical: Franck Gohier’s monoprints
by Joanna Barrkman, Darwin

Franck Gohier, Self portrait 1, 1991, monoprint, 50 x 34cm (print), 58.3 x 45.5cm (paper); Charles Darwin University (CDU) Art Collection, Darwin, acquired 1991; image courtesy the artist and CDU Art Collection and Art Gallery, Darwin

Franck Gohier, Self portrait 1, 1991, monoprint, 50 x 34cm (print), 58.3 x 45.5cm (paper); Charles Darwin University (CDU) Art Collection, Darwin, acquired 1991; image courtesy the artist and CDU Art Collection and Art Gallery, Darwin

3 Angela Cavalieri: Narrative tones by Wendy Garden, Darwin

Angela Cavalieri, Il Ritorno, 2015, hand-printed linocut, acrylic and oil paint on canvas, 180 x 415cm; image courtesy the artist; photo: Greg Wallis

Angela Cavalieri, Il Ritorno, 2015, hand-printed linocut, acrylic and oil paint on canvas, 180 x 415cm; image courtesy the artist; photo: Greg Wallis

 

4 Angelina Pwerle: An artist from Utopia by Chrischona Schmidt, Utopia

Angelina Pwerle, Bush plum, 2007, acrylic on linen, 117 x 61cm; © the artist, licensed by Aboriginal Artists Agency Ltd

Angelina Pwerle, Bush plum, 2007, acrylic on linen, 117 x 61cm; © the artist, licensed by Aboriginal Artists Agency Ltd

5 ‘Everywhen there is time for Aboriginal art in America:
An interview with Stephen Gilchrist
by Khadija von Zinnenburg Carroll, Harvard

Stephen Gilchrist, the Australian Studies Visiting Curator at the Harvard Art Museums, in front of Vernon Ah Kee’s many lies (2004), during preparation for ‘Everywhen: The Eternal Present in Indigenous Art from Australia’, Harvard Art Museums, 2016; image courtesy and © President and Fellows of Harvard College, Cambridge, Massachusetts; photo: Kris Snibbe/Harvard University

Stephen Gilchrist, the Australian Studies Visiting Curator at the Harvard Art Museums, in front of Vernon Ah Kee’s many lies (2004), during preparation for ‘Everywhen: The Eternal Present in Indigenous Art from Australia’, Harvard Art Museums, 2016; image courtesy and © President and Fellows of Harvard College, Cambridge, Massachusetts; photo: Kris Snibbe/Harvard University

6 All our relations: Art from Moananui a Kiwa at the NGV
by Léuli Eshraghi, Narrm Melbourne

Ruha Fifita performing traditional Tongan dance in the exhibition ‘Siu i Moana: Reaching Across the Ocean’, NGV International, Narrm Melbourne, June 2016; photo: Wayne Taylor

Ruha Fifita performing traditional Tongan dance in the exhibition ‘Siu i Moana: Reaching Across the Ocean’, NGV International, Narrm Melbourne, June 2016; photo: Wayne Taylor

7 Tautai Matagofie, The Wonderful Navigator:
30 years of Tautai Contemporary Pacific Arts Trust
by Nina Tonga, Auckland

Siliga David Setoga leading the ‘ava ceremony to mark Tautai’s 30-year celebrations at Studio One Toi Tū, Auckland, March 2016; photo: Robert George

Siliga David Setoga leading the ‘ava ceremony to mark Tautai’s 30-year celebrations at Studio One Toi Tū, Auckland, March 2016; photo: Robert George

8 Material presence: ‘Emanations’ at Govett-Brewster
by Daniel Palmer, New Plymouth

Walead Beshty, Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive, 2007, installation view, Govett-Brewster Art Gallery, New Plymouth, 2016; chromogenic photograph; image courtesy Govett-Brewster Art Gallery, New Plymouth

Walead Beshty, Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive, 2007, installation view, Govett-Brewster Art Gallery, New Plymouth, 2016; chromogenic photograph; image courtesy Govett-Brewster Art Gallery, New Plymouth

9 Spaces for reflection: Natasha Johns-Messenger at Heide
by Sophie Knezic, Melbourne

Natasha Johns-Messenger, Enfolder, 2016, installation view, Heide Museum of Modern Art, Melbourne, 2016; image courtesy the artist and Heide Museum of Modern Art, Melbourne; photo: Christian Capurro

Natasha Johns-Messenger, Enfolder, 2016, installation view, Heide Museum of Modern Art, Melbourne, 2016; image courtesy the artist and Heide Museum of Modern Art, Melbourne; photo: Christian Capurro

10 Fragile environments: The ‘Sea Pearl White Cloud’ project
by Minerva Inwald, Guangzhou

Trevor Yeung, Ten Suns and The Saddest Sunrise (Byron Bay), 2016, installation view, Observation Society, Guangzhou, 2016; image courtesy the artist; photo: Trevor Yeung

Trevor Yeung, Ten Suns and The Saddest Sunrise (Byron Bay), 2016, installation view, Observation Society, Guangzhou, 2016; image courtesy the artist; photo: Trevor Yeung