May 2017 Issue 298

1 Dispatches:  Andrew Stephens luna tunapri workshop, Bruny Island, 2011; photo: Lucia Rossi 

1 Dispatches:  Andrew Stephens

luna tunapri workshop, Bruny Island, 2011; photo: Lucia Rossi 

2 Welina mai ke aupuni o Hawai'i: Greetings from the Hawaiian Kingdom, Léuli Eshraghi, Honolulu  Sama Alshaibi, Wasl (Union), 2016, video still, from the project 'Silsila'; image courtesy the artist and Ayyam Gallery, Beirut and Dubai

2 Welina mai ke aupuni o Hawai'i: Greetings from the Hawaiian Kingdom, Léuli Eshraghi, Honolulu 
Sama Alshaibi, Wasl (Union), 2016, video still, from the project 'Silsila'; image courtesy the artist and Ayyam Gallery, Beirut and Dubai

3 An archival: Brook Andrew’s ‘The Right to Offend is Sacred', Sophie Knezic, Melbourne Brook Andrew: The Right to Offend is Sacred, exhibition install views, Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 2017; photos: Wayne Taylor

3 An archival: Brook Andrew’s ‘The Right to Offend is Sacred', Sophie Knezic, Melbourne

Brook Andrew: The Right to Offend is Sacred, exhibition install views, Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 2017; photos: Wayne Taylor

4 Papunya painting: Revisiting the genesis of the movement, Kieran Finnane, Alice Springs Walter Tjampitjinpa, Water story with possum, 1971, synthetic polymer paint on chipboard, 43.7 x 27.1cm; Museum and Art Gallery of the Northern Territory, Darwin, purchased 1972

4 Papunya painting: Revisiting the genesis of the movement, Kieran Finnane, Alice Springs

Walter Tjampitjinpa, Water story with possum, 1971, synthetic polymer paint on chipboard, 43.7 x 27.1cm; Museum and Art Gallery of the Northern Territory, Darwin, purchased 1972

5 Spreading like wildfire: The ‘Kulata Tjuta Project’ in the APY Lands Nyurpaya Kaika-Burton, Amata Kulata Tjuta Project, installation and inma (ceremony) view, Government House, Adelaide, 9 October 2015; commissioned for ‘TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art’; image courtesy the Art Gallery of South Australia, Adelaide, and Ernabella Arts, Iwantja Arts, Kaltjiti Arts, Mimili Maku Arts, Ninuku Arts, Tjala Arts and Tjungu Palya; photo: Ben Searcy

5 Spreading like wildfire: The ‘Kulata Tjuta Project’ in the APY Lands Nyurpaya Kaika-Burton, Amata

Kulata Tjuta Project, installation and inma (ceremony) view, Government House, Adelaide, 9 October 2015; commissioned for ‘TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art’; image courtesy the Art Gallery of South Australia, Adelaide, and Ernabella Arts, Iwantja Arts, Kaltjiti Arts, Mimili Maku Arts, Ninuku Arts, Tjala Arts and Tjungu Palya; photo: Ben Searcy

6 ‘I can see a shadow thinking’: Tracey Moffatt in conversation, Natalie King Tracey Moffatt, Artist at work, 1997, colour billboard, New York; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney, and Tyler Rollins Fine Art, New York

6 ‘I can see a shadow thinking’: Tracey Moffatt in conversation, Natalie King

Tracey Moffatt, Artist at work, 1997, colour billboard, New York; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney, and Tyler Rollins Fine Art, New York

7 Notes on perception: Gordon Bennett and Daniel Boyd, Tim Walsh, Brisbane The Green Room: Daniel Boyd, exhibition install view, Institute of Modern Art, Brisbane, 2016; image courtesy and © the artist and Roslyn Oxley9 Gallery, Sydney; photo: Carl Warner

7 Notes on perception: Gordon Bennett and Daniel Boyd, Tim Walsh, Brisbane

The Green Room: Daniel Boyd, exhibition install view, Institute of Modern Art, Brisbane, 2016; image courtesy and © the artist and Roslyn Oxley9 Gallery, Sydney; photo: Carl Warner

8 On Rattling Spears, Ann Stephen Ian Mclean, rattling spears: a history of indigenous australian art, reaktion books, london, 2016, 296 pages, AU$59.99

8 On Rattling Spears, Ann Stephen

Ian Mclean, rattling spears: a history of indigenous australian art, reaktion books, london, 2016, 296 pages, AU$59.99