AMA301_SEP_Cover_LG.jpg

September 2017 Issue 301

1 Dispatches:  Andrew Stephens Mikala Dwyer, Square Cloud Compound, 2010, Installation View, Musuem of Contemporary Art, Sydney; Fabric stockings, glass, beer, Champagne, Plastic, Ceramics, Found Things, Wood, Rocks, Lights, Paints, Acrylic, Cat and Bird ornaments, dimensions variable; image courtesy the artist; photo: Jessica MAurer

1 Dispatches:  Andrew Stephens

Mikala Dwyer, Square Cloud Compound, 2010, Installation View, Musuem of Contemporary Art, Sydney; Fabric stockings, glass, beer, Champagne, Plastic, Ceramics, Found Things, Wood, Rocks, Lights, Paints, Acrylic, Cat and Bird ornaments, dimensions variable; image courtesy the artist; photo: Jessica MAurer

2 September in The Galleries, Chloé Wolifson Desert Mob, 2016, exhibition opening, 8 September 2016; image courtesy Araluen Arts Centre, Alice Springs; Photo: Lisa Hatzimihail

2 September in The Galleries, Chloé Wolifson

Desert Mob, 2016, exhibition opening, 8 September 2016; image courtesy Araluen Arts Centre, Alice Springs; Photo: Lisa Hatzimihail

3 The Young ones: Finding Philanthropy, Rhianna Walcott, Sydney MCA Young Ambassadors at Tom Polo's Artspace Studio, Sydney, 16 May 2017; image courtesy the artist, Artspace, Sydney, and the Museum of Contemporary Art Australia, Sydney; Photo: Sam Whiteside

3 The Young ones: Finding Philanthropy, Rhianna Walcott, Sydney

MCA Young Ambassadors at Tom Polo's Artspace Studio, Sydney, 16 May 2017; image courtesy the artist, Artspace, Sydney, and the Museum of Contemporary Art Australia, Sydney; Photo: Sam Whiteside

4 Greg Semu and Philjames: All that Glitters Is Not Gold, Elizabeth Reidy, Sydney Greg Semu, Black Tracker Surrogate Family, 2016-17, from the 'Blood Red' series; pigment print on art paper, 80 x 106.75cm; image courtesy the artist and Alcaston Gallery, Melbourne

4 Greg Semu and Philjames: All that Glitters Is Not Gold, Elizabeth Reidy, Sydney

Greg Semu, Black Tracker Surrogate Family, 2016-17, from the 'Blood Red' series; pigment print on art paper, 80 x 106.75cm; image courtesy the artist and Alcaston Gallery, Melbourne

5 Revisiting Landscape and Identity with Anne Zahalka, Jacqui Durrant, Albury Anne Zahalka, Outlawed!, 2017, archival Pigment Print, 90 x 121cm; image courtesy the artist and ARC ONE Gallery, Melbourne

5 Revisiting Landscape and Identity with Anne Zahalka, Jacqui Durrant, Albury

Anne Zahalka, Outlawed!, 2017, archival Pigment Print, 90 x 121cm; image courtesy the artist and ARC ONE Gallery, Melbourne

6 Beneath The 'layered otherness' of Dacchi Dang, John Clark, Sydney Dacchi Dang: An omen near and Far, Exhibition detail View, 4A Centre for Contemporary Asian Art, Sydney, 2017, with (from left): Spectacle I, 1996; Untitled, 1996, from the series 'Spectacle II'; image courtesy the artist; photo: Document Photography

6 Beneath The 'layered otherness' of Dacchi Dang, John Clark, Sydney

Dacchi Dang: An omen near and Far, Exhibition detail View, 4A Centre for Contemporary Asian Art, Sydney, 2017, with (from left): Spectacle I, 1996; Untitled, 1996, from the series 'Spectacle II'; image courtesy the artist; photo: Document Photography

7 Hilarie Mais: A geometary of Emotion, Michael Desmond, Sydney Hilarie Mais, Cluster Ghost, 2016, Synthetic polymer paint on wood, 182 x 182 x 4.5cm; image courtesy and copyright the artist; photo: Jessica Maurer

7 Hilarie Mais: A geometary of Emotion, Michael Desmond, Sydney

Hilarie Mais, Cluster Ghost, 2016, Synthetic polymer paint on wood, 182 x 182 x 4.5cm; image courtesy and copyright the artist; photo: Jessica Maurer

8 Ella Dreyfus: Walking in Wiesbaden Ella Dreyfus, brettheimer, dreyfus, juden, ransenberg (brettheimer, dreyfus, jews, ransenberg), No 2, Schulbergstrabe, Wiesbaden, 2017, from the series 'Walking in Wiesbaden' (2017); chromogenic print, 60 x 84cm; image courtesy the artist

8 Ella Dreyfus: Walking in Wiesbaden

Ella Dreyfus, brettheimer, dreyfus, juden, ransenberg (brettheimer, dreyfus, jews, ransenberg), No 2, Schulbergstrabe, Wiesbaden, 2017, from the series 'Walking in Wiesbaden' (2017); chromogenic print, 60 x 84cm; image courtesy the artist

9 A Curated Vision for the 2017 NATSIAAs: Michael Fitzgerald, Darwin Robert Fielding, Milkali Kutju - One Blood, 2017, synthetic polymer paint and ink on burnt and pierced paper, 153.5 x 140.5cm; image courtesy the artist and MAGNT, Darwin

9 A Curated Vision for the 2017 NATSIAAs: Michael Fitzgerald, Darwin

Robert Fielding, Milkali Kutju - One Blood, 2017, synthetic polymer paint and ink on burnt and pierced paper, 153.5 x 140.5cm; image courtesy the artist and MAGNT, Darwin

10 'To attend, singing, to the trace of the fugitive gods' The Big Punchbowl Project, Delia Nicholls, Freycinet Peninsula Poet Adrienne Eberhard and painter Sue Lovegrove at the Big Punchbowl, Tasmania, October 2016; Photo: Mathew Newton

10 'To attend, singing, to the trace of the fugitive gods' The Big Punchbowl Project, Delia Nicholls, Freycinet Peninsula

Poet Adrienne Eberhard and painter Sue Lovegrove at the Big Punchbowl, Tasmania, October 2016; Photo: Mathew Newton

11 The National ' Institution', Fernando de Campo, Sydney The National 2017: New Australian Art, exhibition installation view, Carriageworks, Sydney, 2017; image courtesy Carriageworks, Sydney; photo: Zan Wimberley

11 The National ' Institution', Fernando de Campo, Sydney

The National 2017: New Australian Art, exhibition installation view, Carriageworks, Sydney, 2017; image courtesy Carriageworks, Sydney; photo: Zan Wimberley