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March 2019 Issue 314

1 Dispatches: andrew stephens   Rhana Devenport, 2018; image courtesy the Art Gallery of South Australia, Adelaide; photo: Saul Steed

1 Dispatches: andrew stephens

Rhana Devenport, 2018; image courtesy the Art Gallery of South Australia, Adelaide; photo: Saul Steed

2 Notes from the field: Chloé Wolifson   Jason Wee,  Labyrinths (Open Fire) , 2017, galvanised steel, watercolour on cold press paper, acrylic panel, chiffon print on plywood, coated steel, 200 x 164cm; image courtesy the artist and Yavuz Gallery, Singapore

2 Notes from the field: Chloé Wolifson

Jason Wee, Labyrinths (Open Fire), 2017, galvanised steel, watercolour on cold press paper, acrylic panel, chiffon print on plywood, coated steel, 200 x 164cm; image courtesy the artist and Yavuz Gallery, Singapore

3 Beyond the margins; the 4th kochi-muziris biennale; lleah smith,  kochi    The Otolith Group,  O Horizon , 2018, still; 81mins 10 secs, 4K, colour; commissioned by bauhaus imaginista and co-produced with the Rubin Museum and the support of Project 88; photo: Lleah Smith

3 Beyond the margins; the 4th kochi-muziris biennale; lleah smith, kochi

The Otolith Group, O Horizon, 2018, still; 81mins 10 secs, 4K, colour; commissioned by bauhaus imaginista and co-produced with the Rubin Museum and the support of Project 88; photo: Lleah Smith

4 points of contact: natasha bullock in conversation with sook-kyung lee   Helen Johnson,  A Feast of Reason and a Flow of Soul , 2016, acrylic on canvas, wood, 396 x 325cm; Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2017

4 points of contact: natasha bullock in conversation with sook-kyung lee

Helen Johnson, A Feast of Reason and a Flow of Soul, 2016, acrylic on canvas, wood, 396 x 325cm; Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2017

5 Hard, clear light reveals the bones’; visiting the gibbs farm; Patrick hutchings,  kaipara harbour    Andy Goldsworthy,  Arches , 2005, pink Leadhills sandstone blocks stacked into 11 freestanding arches (each 7m long); image courtesy Gibbs Farm,   Kaipara Harbour

5 Hard, clear light reveals the bones’; visiting the gibbs farm; Patrick hutchings, kaipara harbour

Andy Goldsworthy, Arches, 2005, pink Leadhills sandstone blocks stacked into 11 freestanding arches (each 7m long); image courtesy Gibbs Farm, Kaipara Harbour

6 lauren berkowitz’s fragile structures; Emma-Kate wilson   Lauren Berkowitz,  Plastic Topographies , 2018, installation view, Ideas Platform, Artspace, Sydney, 2018; plastic and plants, 300 x 200 x 200cm; image courtesy the artist; photo: Jessica Maurer

6 lauren berkowitz’s fragile structures; Emma-Kate wilson

Lauren Berkowitz, Plastic Topographies, 2018, installation view, Ideas Platform, Artspace, Sydney, 2018; plastic and plants, 300 x 200 x 200cm; image courtesy the artist; photo: Jessica Maurer

7 outside of all places; fiona connor’s sculpture; oscar capezio   Fiona Connor,  Community Notice Board (Cleaning Coop) , 2018, detail; plasterboard, acrylic, silkscreen and UV prints on aluminium, staples, pins, 122 x 214 x 8cm; image courtesy the artist and Fine Arts, Sydney

7 outside of all places; fiona connor’s sculpture; oscar capezio

Fiona Connor, Community Notice Board (Cleaning Coop), 2018, detail; plasterboard, acrylic, silkscreen and UV prints on aluminium, staples, pins, 122 x 214 x 8cm; image courtesy the artist and Fine Arts, Sydney

8 maximising minimalism; michael fitzgerald  singapore    Tatsuo Miyajima,  Mega Death , 1999/2016, installation view, National Gallery Singapore, 2018; LED, IC, electric wire and infrared sensor, dimensions variable; Domus Collection,   New York and Beijing; image courtesy National Gallery Singapore; © Domus Collection and Tatsuo Miyajima

8 maximising minimalism; michael fitzgerald singapore

Tatsuo Miyajima, Mega Death, 1999/2016, installation view, National Gallery Singapore, 2018; LED, IC, electric wire and infrared sensor, dimensions variable; Domus Collection, New York and Beijing; image courtesy National Gallery Singapore; © Domus Collection and Tatsuo Miyajima

9 viscerally yours, china; mikala tai   He Xiangyu,  Tank Project , 2011–13, installation view, ‘Heavy Artillery’, White Rabbit Gallery, Sydney, 2016; Italian leather, 890 x 600 x 150cm; image courtesy White Rabbit Collection, Sydney; photo: David Roche

9 viscerally yours, china; mikala tai

He Xiangyu, Tank Project, 2011–13, installation view, ‘Heavy Artillery’, White Rabbit Gallery, Sydney, 2016; Italian leather, 890 x 600 x 150cm; image courtesy White Rabbit Collection, Sydney; photo: David Roche