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November 2018 Issue 312

  1 Dispatches: Andrew Stephens   May Gibbs,  Eucalyptus Ficifolia (Red flowering gum),  1902, watercolour on cardboard, 30.6 x 23.4cm; State Art Collection, Art Gallery of Western Australia, Perth, purchased 1975; © The Northcott Society and Cerebral Palsy Alliance 2018; photo: Bo Wong

1 Dispatches: Andrew Stephens

May Gibbs, Eucalyptus Ficifolia (Red flowering gum), 1902, watercolour on cardboard, 30.6 x 23.4cm; State Art Collection, Art Gallery of Western Australia, Perth, purchased 1975; © The Northcott Society and Cerebral Palsy Alliance 2018; photo: Bo Wong

  2 Notes from the field: Chloé Wolifson   Min Wong,  It’s party time , 2018, digital print on stainless steel mirror, 100 x 100cm; image courtesy the artist and Hugo Michell Gallery, Adelaide; photo: Grant Hancock

2 Notes from the field: Chloé Wolifson

Min Wong, It’s party time, 2018, digital print on stainless steel mirror, 100 x 100cm; image courtesy the artist and Hugo Michell Gallery, Adelaide; photo: Grant Hancock

  3 on the precipice of change: Jane howard,  Adelaide     Waqt al-tagheer: Time of change , exhibition installation view, ACE Open, Adelaide, 3 March – 21 April 2018, featuring a detail of: Abdul-Rahman Abdullah,  500 Books , 2018, carved wood, oil paint, aluminium leaf, 95 x 110 x 115cm; courtesy the artist and Moore Contemporary, Perth; photo: Sam Roberts Photography

3 on the precipice of change: Jane howard, Adelaide

Waqt al-tagheer: Time of change, exhibition installation view, ACE Open, Adelaide, 3 March – 21 April 2018, featuring a detail of: Abdul-Rahman Abdullah, 500 Books, 2018, carved wood, oil paint, aluminium leaf, 95 x 110 x 115cm; courtesy the artist and Moore Contemporary, Perth; photo: Sam Roberts Photography

  4 Interior outlook: Gerry Wedd in conversation with Liz Nowell   Gerry Wedd,  SONGS FOR A ROOM , 2018, installation views, ACE Open, Adelaide, 2018; glazed ceramic, dimensions variable; images courtesy the artist; photos: Sam Roberts Photography

4 Interior outlook: Gerry Wedd in conversation with Liz Nowell

Gerry Wedd, SONGS FOR A ROOM, 2018, installation views, ACE Open, Adelaide, 2018; glazed ceramic, dimensions variable; images courtesy the artist; photos: Sam Roberts Photography

  5 Adelaide contemporary: a new-ish proposition: wendy walker,  Adelaide    Diller Scofidio + Renfro and Woods Bagot, Adelaide Contemporary, North Terrace frontage, concept design, 2018; image courtesy Diller Scofidio + Renfro and Woods Bagot, New York and Adelaide, and Malcolm Reading Consultants, London

5 Adelaide contemporary: a new-ish proposition: wendy walker, Adelaide

Diller Scofidio + Renfro and Woods Bagot, Adelaide Contemporary, North Terrace frontage, concept design, 2018; image courtesy Diller Scofidio + Renfro and Woods Bagot, New York and Adelaide, and Malcolm Reading Consultants, London

  6 Sight Seeing: Anna Zagala,  Adelaide     Molly Reynolds & Rolf de Heer: The Waiting Room , 2018, installation view, the Anne & Gordon Samstag Museum of Art, University of South Australia, Adelaide, 2018; image courtesy the Anne & Gordon Samstag Museum of Art, Adelaide; photo: Sam Noonan

6 Sight Seeing: Anna Zagala, Adelaide

Molly Reynolds & Rolf de Heer: The Waiting Room, 2018, installation view, the Anne & Gordon Samstag Museum of Art, University of South Australia, Adelaide, 2018; image courtesy the Anne & Gordon Samstag Museum of Art, Adelaide; photo: Sam Noonan

  7 Kamak!: The mercurial art of john mawurndjul   John Mawurndjul,  Ngalyod , c. 1981, earth pigments on stringybark ( Eucalyptus tetrodonta ), 120 x 61.5 x 30cm; Berndt Museum Collection, The University of Western Australia, Perth; © John Mawurndjul/Licensed by the Copyright Agency, 2018; photo: Berndt Museum

7 Kamak!: The mercurial art of john mawurndjul

John Mawurndjul, Ngalyod, c. 1981, earth pigments on stringybark (Eucalyptus tetrodonta), 120 x 61.5 x 30cm; Berndt Museum Collection, The University of Western Australia, Perth; © John Mawurndjul/Licensed by the Copyright Agency, 2018; photo: Berndt Museum