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Winter 2019 Issue 317

1 Dispatches: andrew stephens   Consuelo Cavaniglia,  Untitled (screen) , 2018, powder-coated aluminium, coloured acrylic fixings; courtesy the artist, Kronenberg Mais Wright, Sydney, and Station Gallery, Melbourne

1 Dispatches: andrew stephens

Consuelo Cavaniglia, Untitled (screen), 2018, powder-coated aluminium, coloured acrylic fixings; courtesy the artist, Kronenberg Mais Wright, Sydney, and Station Gallery, Melbourne

2 Notes from the field: Chloé Wolifson   Mabel King,  Three Tribes , n.d., acrylic on canvas, 106 x 177cm; courtesy the artist’s estate and Short Street Gallery, Broome

2 Notes from the field: Chloé Wolifson

Mabel King, Three Tribes, n.d., acrylic on canvas, 106 x 177cm; courtesy the artist’s estate and Short Street Gallery, Broome

3 From bauhaus to nowhaus: kym maxwell and Meredith Turnbull   Sarah crowEST,  Dark Ruumbling Earth , 2019, documentation of performance, Melbourne Art Theatre, RMIT School of Art, Melbourne, 15 April 2019; courtesy the artist; photos: Yanni Florence

3 From bauhaus to nowhaus: kym maxwell and Meredith Turnbull

Sarah crowEST, Dark Ruumbling Earth, 2019, documentation of performance, Melbourne Art Theatre, RMIT School of Art, Melbourne, 15 April 2019; courtesy the artist; photos: Yanni Florence

4 FELT: LISA RADFORD AND NICHOLAS SELENITSCH IN CONVERSATION   Lisa Radford (with Northern Theatre Company),  Dear Masato, all at once (get a life, the only thing that cuts across the species is death) , 2016, durational performance, West Space, Melbourne, 2016; courtesy the artist; photo: Teresa Noble

4 FELT: LISA RADFORD AND NICHOLAS SELENITSCH IN CONVERSATION

Lisa Radford (with Northern Theatre Company), Dear Masato, all at once (get a life, the only thing that cuts across the species is death), 2016, durational performance, West Space, Melbourne, 2016; courtesy the artist; photo: Teresa Noble

5 TAREE MACKENZIE’S CARTESIAN UTOPIA: PARIS LETTAU AND AMELIA WINATA   Taree Mackenzie,  Pepper’s ghost, triangles, cyan and red , 2018, acrylic, MDF, reflective tint, LEDs, mirror-ball motor, paint, wood, vinyl; lightbox elements: 200 x 120 x 20cm; reflective screen:200 x 120 x 7cm; hanging sculpture: 140 x 87cm; brackets: 120 x 120cm; courtesy the artist and Neon Parc, Melbourne; photo: Christo Crocker

5 TAREE MACKENZIE’S CARTESIAN UTOPIA: PARIS LETTAU AND AMELIA WINATA

Taree Mackenzie, Pepper’s ghost, triangles, cyan and red, 2018, acrylic, MDF, reflective tint, LEDs, mirror-ball motor, paint, wood, vinyl; lightbox elements: 200 x 120 x 20cm; reflective screen:200 x 120 x 7cm; hanging sculpture: 140 x 87cm; brackets: 120 x 120cm; courtesy the artist and Neon Parc, Melbourne; photo: Christo Crocker

6 RESURRECTING SPIRIT: MIKALA DWYER IN ‘BAUHAUS NOW!’: REX BUTLER   Mikala Dwyer and Justene Williams,  Red Rockers , 2010, video still; courtesy the artists, Sarah Cottier Gallery, Sydney, Roslyn Oxley9 Gallery, Sydney, and Anna Schwartz Gallery, Melbourne; copyright the artists

6 RESURRECTING SPIRIT: MIKALA DWYER IN ‘BAUHAUS NOW!’: REX BUTLER

Mikala Dwyer and Justene Williams, Red Rockers, 2010, video still; courtesy the artists, Sarah Cottier Gallery, Sydney, Roslyn Oxley9 Gallery, Sydney, and Anna Schwartz Gallery, Melbourne; copyright the artists

7 SOCIAL BUTTERFLIES: A BRIEF HISTORY OF AUSTRALIAN CARTOONS: MICHAEL FITZGERALD,  CANBERRA    Matthew Martin,  [Untitled] , 2010, the  Sydney Morning Herald ; image courtesy Matthew Martin

7 SOCIAL BUTTERFLIES: A BRIEF HISTORY OF AUSTRALIAN CARTOONS: MICHAEL FITZGERALD, CANBERRA

Matthew Martin, [Untitled], 2010, the Sydney Morning Herald; image courtesy Matthew Martin

8 FREESTANDING: SODEISHA AT NEWCASTLE ART GALLERY: JILL STOWELL,  NEWCASTLE    Kazuo Yagi,  Design plan (Face) ,1977, black-fired earthenware, 28.5 x 18 x 18.5cm; Newcastle Art Gallery, gift of members of the Sodeisha group, 1981; image courtesy Newcastle Art Gallery

8 FREESTANDING: SODEISHA AT NEWCASTLE ART GALLERY: JILL STOWELL, NEWCASTLE

Kazuo Yagi, Design plan (Face),1977, black-fired earthenware, 28.5 x 18 x 18.5cm; Newcastle Art Gallery, gift of members of the Sodeisha group, 1981; image courtesy Newcastle Art Gallery

9 still moving: alexander calder at the NGV    Alexander Calder: Radical Inventor , exhibition installation view, NGV International, Melbourne, 2019; © 2019 Calder Foundation, New York / Copyright Agency, Australia; photo: Brooke Holm

9 still moving: alexander calder at the NGV

Alexander Calder: Radical Inventor, exhibition installation view, NGV International, Melbourne, 2019; © 2019 Calder Foundation, New York / Copyright Agency, Australia; photo: Brooke Holm

10 performing alchemy: gemma sith at UNSW galleries: Chloé Wolifson,  Sydney    Gemma Smith,  Multicoloured Adaptable #4 , 2008, installation view, ‘Rhythm Sequence’, UNSW Galleries, Sydney, 2019; acrylic on aircraft plywood, dimensions variable; courtesy the artist, Milani Gallery, Brisbane, and Sarah Cottier Gallery, Sydney; photo: Zan Wimberley

10 performing alchemy: gemma sith at UNSW galleries: Chloé Wolifson, Sydney

Gemma Smith, Multicoloured Adaptable #4, 2008, installation view, ‘Rhythm Sequence’, UNSW Galleries, Sydney, 2019; acrylic on aircraft plywood, dimensions variable; courtesy the artist, Milani Gallery, Brisbane, and Sarah Cottier Gallery, Sydney; photo: Zan Wimberley

11 Donald Brook and post-object art:   Stephen Jones   Herbert Flugelman,  Donald Brook in Feathered Office , March 1971, colour transparency, 2.4 x 3.6cm; Art Gallery of New South Wales Archive, Sydney; © Herbert Flugelman, licensed by Copyright Agency, Australia

11 Donald Brook and post-object art: Stephen Jones

Herbert Flugelman, Donald Brook in Feathered Office, March 1971, colour transparency, 2.4 x 3.6cm; Art Gallery of New South Wales Archive, Sydney; © Herbert Flugelman, licensed by Copyright Agency, Australia