April 2017 Issue 297

1 Dispatches: Glass act Andrew Stephens Lisa Cahill, Road trip series #2, Rain on the Hume, 2016, kiln-formed glass with ceramic decals, nine parts, 65 x 88 x 2cm overall; collection the artist; © the artist; photo: Greg Piper

1 Dispatches: Glass act Andrew Stephens

Lisa Cahill, Road trip series #2, Rain on the Hume, 2016, kiln-formed glass with ceramic decals, nine parts, 65 x 88 x 2cm overall; collection the artist; © the artist; photo: Greg Piper

2 Subcontinental shifts: The 9th India Art Fair Sebastian Goldspink, New Delhi Reena Saini Kallat, Woven Chronicle, 2011–16, installation view, 9th Art Fair India, New Delhi, 2017; photo: © Andy Barnham

2 Subcontinental shifts: The 9th India Art Fair Sebastian Goldspink, New Delhi

Reena Saini Kallat, Woven Chronicle, 2011–16, installation view, 9th Art Fair India, New Delhi, 2017; photo: © Andy Barnham

3 Carpark chic: Art Fair Philippines 2017 Chloé Wolifson, Manila Maria Jeona Zoleta, Forced Farts, Cartoon Pain and Daddy Issues Or Accident By Voodoo while I Masturbate Underwater with My Adult Diaper Rash until Hell Freezes Over is a Freak Show, 2017, installation view, 5th Art Fair Philippines, Manila, February 2017; image courtesy Art Fair Philippines

3 Carpark chic: Art Fair Philippines 2017 Chloé Wolifson, Manila

Maria Jeona Zoleta, Forced Farts, Cartoon Pain and Daddy Issues Or Accident By Voodoo while I Masturbate Underwater with My Adult Diaper Rash until Hell Freezes Over is a Freak Show, 2017, installation view, 5th Art Fair Philippines, Manila, February 2017; image courtesy Art Fair Philippines

4 Chang sae Tang: The material conditions of the archive Clare Veal, Singapore Works by Tang Chang displayed outside the Tang Chang Private Museum, Nakhon Pathom, during the collection survey, 2015; left to right: Untitled (10), n.d., oil on canvas, 207 x 245cm; Untitled (2), 1969, oil on canvas with impasto medium, 246 x 208cm; Untitled (1), 1969, oil on canvas with impasto medium, 208 x 244cm; and Untitled (11), n.d., oil on canvas, with impasto medium, 245 x 108.5cm

4 Chang sae Tang: The material conditions of the archive Clare Veal, Singapore

Works by Tang Chang displayed outside the Tang Chang Private Museum, Nakhon Pathom, during the collection survey, 2015; left to right: Untitled (10), n.d., oil on canvas, 207 x 245cm; Untitled (2), 1969, oil on canvas with impasto medium, 246 x 208cm; Untitled (1), 1969, oil on canvas with impasto medium, 208 x 244cm; and Untitled (11), n.d., oil on canvas, with impasto medium, 245 x 108.5cm

5 Alex Martinis Roe: Recovering feminism’s past Macushla Robinson, New York Alex Martinis Roe, It was about opening the very notion that there was a particular perspective, 2015–17, source image; 3-channel video installation: 2 channels digital video, high definition, colour, sound; 1 channel digital video transferred from 16mm film, standard definition, colour, sound; powder-coated aluminium, wood panels, projection foils, books and archival materials, framed A1 offset printed poster; image courtesy and © Margot Nash

5 Alex Martinis Roe: Recovering feminism’s past Macushla Robinson, New York

Alex Martinis Roe, It was about opening the very notion that there was a particular perspective, 2015–17, source image; 3-channel video installation:
2 channels digital video, high definition, colour, sound; 1 channel digital video transferred from 16mm film, standard definition, colour, sound; powder-coated aluminium, wood panels, projection foils, books and archival materials, framed A1 offset printed poster; image courtesy and © Margot Nash

6 On the crest: 40 years of the ANU School of Art Yolande Norris, Canberra The ANU School of Art illuminated in rainbow colours in solidarity for the victims of the Orlando nightclub shooting, June 2016; photo: Denise Ferris

6 On the crest: 40 years of the ANU School of Art Yolande Norris, Canberra

The ANU School of Art illuminated in rainbow colours in solidarity for the victims of the Orlando nightclub shooting, June 2016; photo: Denise Ferris

7 Teaching tomorrow’s artists in a changing world: A roundtable Students working in the studios of the National Art School (NAS), Sydney, 2016; images courtesy NAS and Zan Wimberley; photos: Zan Wimberley

7 Teaching tomorrow’s artists in a changing world: A roundtable

Students working in the studios of the National Art School (NAS), Sydney, 2016; images courtesy NAS and Zan Wimberley; photos: Zan Wimberley

8 Kirstie Rea: Glass alchemies Zsuzsi Soboslay, Canberra Kirstie Rea, Balancing the blades, 2004, kiln-formed, wheel-cut glass, 110 x 120 x 37cm; National Gallery of Australia, Canberra, purchased 2004

8 Kirstie Rea: Glass alchemies Zsuzsi Soboslay, Canberra

Kirstie Rea, Balancing the blades, 2004, kiln-formed, wheel-cut glass, 110 x 120 x 37cm; National Gallery of Australia, Canberra, purchased 2004

9 Toba Khedoori: Tracing time Gary Dufour, Los Angeles Toba Khedoori, exhibition installation view, Los Angeles County Museum of Art, 2016–17, with (from left): Untitled (white fireplace), 2005, and Untitled (black fireplace), 2006; © Toba Khedoori: photo: © Fredrik Nilsen

9 Toba Khedoori: Tracing time Gary Dufour, Los Angeles

Toba Khedoori, exhibition installation view, Los Angeles County Museum of Art, 2016–17, with (from left): Untitled (white fireplace), 2005, and Untitled (black fireplace), 2006; © Toba Khedoori: photo: © Fredrik Nilsen

10 The Museum of Modern Love Heather Rose Excerpt from The Museum of Modern Love by Heather Rose; Allen & Unwin, Sydney, Melbourne, Auckland and London, 2016, 284 pages, AU$27.99

10 The Museum of Modern Love Heather Rose

Excerpt from The Museum of Modern Love by Heather Rose; Allen & Unwin, Sydney, Melbourne, Auckland and London, 2016, 284 pages, AU$27.99

11 Running to-and-fro: Terry Smith’s Talking Contemporary Curating Sophie Knezic Terry Smith, Talking Contemporary Curating, from the ‘Perspectives in Curating’ series; Independent Curators International, New York, 2015, 344 pages, US$19.95

11 Running to-and-fro: Terry Smith’s Talking Contemporary Curating Sophie Knezic

Terry Smith, Talking Contemporary Curating, from the ‘Perspectives in Curating’ series; Independent Curators International, New York, 2015, 344 pages, US$19.95

12 Modernism in motion: Peter Pinson’s Gerald Lewers Sculptor Ken Scarlett Peter Pinson, Gerald Lewers Sculptor, Phillip Mathews Book Publishers, Sydney, 2016, 83 pages, AU$40

12 Modernism in motion: Peter Pinson’s Gerald Lewers Sculptor Ken Scarlett

Peter Pinson, Gerald Lewers Sculptor, Phillip Mathews Book Publishers, Sydney, 2016, 83 pages, AU$40