Issue 258 April 2013

1 Transcending Histories & Disrupting the Present at APT7 JI-SHEN LOONG Heman Chong, Asia / Pacific / Triennial, 2012, 20-channel sound installation; commissioned for APT7; installation views, APT7; image courtesy the artist and Queensland Art Gallery, Brisbane

1 Transcending Histories & Disrupting the Present at APT7 JI-SHEN LOONG

Heman Chong, Asia / Pacific / Triennial, 2012, 20-channel sound installation; commissioned for APT7; installation views, APT7; image courtesy the artist and Queensland Art Gallery, Brisbane

1a APT adulthood SASHA GRISHIN Uji Handoko Eko Saputro (aka Hahan), The New Prophet(from Trinity series), 2011, polyester resin and air brush, 100 x 75 x 100cm; Collection: Queensland Art Gallery; image courtesy the artist

1a APT adulthood SASHA GRISHIN

Uji Handoko Eko Saputro (aka Hahan), The New Prophet(from Trinity series), 2011, polyester resin and air brush, 100 x 75 x 100cm; Collection: Queensland Art Gallery; image courtesy the artist

2 New works at Home AKL BILLIE LYTHBERG Leilani Kake, stills from Ariki, 2011, digital video; image courtesy the artist

2 New works at Home AKL BILLIE LYTHBERG

Leilani Kake, stills from Ariki, 2011, digital video; image courtesy the artist

3 Machines of knowledge & experimentation NATALIE KING & HOU HANRU Do-Ho Suh, still from A Perfect Home: The Bridge Project 2010, synchronised four monitor animated digital slide presentation; image courtesy the artist

3 Machines of knowledge & experimentation NATALIE KING & HOU HANRU

Do-Ho Suh, still from A Perfect Home: The Bridge Project 2010, synchronised four monitor animated digital slide presentation; image courtesy the artist

4 Mirror to tomb: Bacon & Kapoor in Sydney DAVID HANSEN Entrance to Francis Bacon: five decades at the Art Gallery of NSW, 2012-13

4 Mirror to tomb: Bacon & Kapoor in Sydney DAVID HANSEN

Entrance to Francis Bacon: five decades at the Art Gallery of NSW, 2012-13

5 Such is Life JOHN KELLY Sidney Nolan, Constable Fitzpatrick and Kate Kelly, 1946, enamel on composition board, 90.7cm x 121.2cm; Collection: National Gallery of Australia, Canberra; Gift of Sunday Reed 1977; image courtesy National Gallery of Australia

5 Such is Life JOHN KELLY

Sidney Nolan, Constable Fitzpatrick and Kate Kelly, 1946, enamel on composition board, 90.7cm x 121.2cm; Collection: National Gallery of Australia, Canberra; Gift of Sunday Reed 1977; image courtesy National Gallery of Australia

6 Seeing the natural world: Art & Reconciliation DONNA LESLIE Peter Nangwurrama Wurrawilya, Yaraja [Goanna], c. 1945-49, ochres and orchid extract on eucalyptus bark; The Leonhard Adam Collection of International Indigenous Culture, the University of Melbourne Art Collection

6 Seeing the natural world: Art & Reconciliation DONNA LESLIE

Peter Nangwurrama Wurrawilya, Yaraja [Goanna], c. 1945-49, ochres and orchid extract on eucalyptus bark; The Leonhard Adam Collection of International Indigenous Culture, the University of Melbourne Art Collection

7 Are we there yet? MAURICE O'RIORDAN Sera Waters, Self in Stitches, 2012, handmade clay beads, lace, string, hand-dyed linen, cotton, beads, sequins, approx 70 x 55cm; Cruthers Collection of Women’s Art; showing in the CCWA solo exhibition Dark Portrals: Sera Waters, Lawrence Wilson Art Gallery, Perth, 8 February to 20 April 2013.

7 Are we there yet? MAURICE O'RIORDAN

Sera Waters, Self in Stitches, 2012, handmade clay beads, lace, string, hand-dyed linen, cotton, beads, sequins, approx
70 x 55cm; Cruthers Collection of Women’s Art; showing in the CCWA solo exhibition Dark Portrals: Sera Waters, Lawrence
Wilson Art Gallery, Perth, 8 February to 20 April 2013.

8 A Crowd of Eyes: the collector, the artist & the Balinese Gods JOHN MATEER Dewa Putu Mokoh, Bom Bali [Bali Bomb], 2006, ink and acrylic on canvas, 60 x 80cm, Collection: Chris and Mary Hill; photo: Bo Wong

8 A Crowd of Eyes: the collector, the artist & the Balinese Gods JOHN MATEER

Dewa Putu Mokoh, Bom Bali [Bali Bomb], 2006, ink and acrylic on canvas, 60 x 80cm, Collection: Chris and Mary Hill; photo: Bo Wong

9 Ben Quilty: After Afghanistan LAURA WEBSTER Ben Quilty, Kandahar, 2011, oil on linen, 140 x 190cm; collection of the Australian War Memorial, Canberra, acquired under the official art scheme in 2012

9 Ben Quilty: After Afghanistan LAURA WEBSTER

Ben Quilty, Kandahar, 2011, oil on linen, 140 x 190cm; collection of the Australian War Memorial, Canberra, acquired under the official art scheme in 2012

10 Ghost bones: Taboo, MCA, Sydney Image from Framing The Native series, selection of 30 historical images, projected; Anthony d’Offay Collection, London; image courtesy Michael Graham-Stewart

10 Ghost bones: Taboo, MCA, Sydney

Image from Framing The Native series, selection of 30 historical images, projected; Anthony d’Offay Collection, London; image courtesy Michael Graham-Stewart

11 Ian Fairweather: Late Works 1953-1974 ANNE SANDERS Bus stop, 1965, gouache on cardboard on board, 72.5 x 97.5cm. All images this article of work by Ian Fairweather, from Collection: Queensland Art Gallery, Brisbane

11 Ian Fairweather: Late Works 1953-1974 ANNE SANDERS

Bus stop, 1965, gouache on cardboard on board, 72.5 x 97.5cm. All images this article of work by Ian Fairweather, from Collection: Queensland Art Gallery, Brisbane

12 artbooks: An opening: twelve love stories about art REVIEW: JENNY MCFARLANE Stephanie Radok, An opening: twelve love stories about art Wakefield Press 2012; 184pp; rrp$24.95; ISBN: 9781743050415

12 artbooks: An opening: twelve love stories about art REVIEW: JENNY MCFARLANE

Stephanie Radok, An opening: twelve love stories about art
Wakefield Press 2012; 184pp; rrp$24.95; ISBN: 9781743050415