Art Monthly Australasia-Issue 269 May 2014

1 Olleywood: CHRISTINE FRANCEView of the ‘yellow room’ at the Margaret Olley Art Centre; image courtesy Tweed Regional Gallery, Murwillumbah — **1 Olleywood: CHRISTINE FRANCE**
View of the ‘yellow room’ at the Margaret Olley Art Centre; image courtesy Tweed Regional Gallery, Murwillumbah

2 Connecting the threads of string theory: SARAH PIRRIEDale Harding, bright eyed little dormitory girls (detail), 2013, hessian sacks, mohair wool; image courtesy and © the artist — **2 Connecting the threads of string theory: SARAH PIRRIE**
Dale Harding, *bright eyed little dormitory girls* (detail), 2013, hessian sacks, mohair wool; image courtesy and © the artist

3 An ongoing state of conflict: Richard Mosse’s The Enclave: SUSAN GIBBRichard Mosse, Higher Ground, 2012, still from The Enclave, 2012–13; 16mm infra-red film transferred to HD video, 39min:25sec; produced in eastern Democratic Republic of Congo; d… — **3 An ongoing state of conflict: Richard Mosse’s The Enclave: SUSAN GIBB**
Richard Mosse, *Higher Ground*, 2012, still from The Enclave, 2012–13; 16mm infra-red film transferred to HD video, 39min:25sec; produced in eastern Democratic Republic of Congo; director/producer Richard Mosse; image courtesy and © Richard Mosse, and Jack Shainman Gallery, New York

4 Animating Atua: In the presence of Polynesian gods: MARGARET JOLLYAncestor figure, part of a pou-tokomanawa, mid- to late 19th century; Māori, Aotearoa/New Zealand, southern Polynesia; attributed to Raharuhi Rukupo; wood, 80 x 26.5 x 20cm; NGA, Ca… — **4 Animating Atua: In the presence of Polynesian gods: MARGARET JOLLY**
*Ancestor figure, part of a pou-tokomanawa*, mid- to late 19th century; Māori, Aotearoa/New Zealand, southern Polynesia; attributed to Raharuhi Rukupo; wood, 80 x 26.5 x 20cm; NGA, Canberra; © NGA; all rights reserved

5 Then and now: The Stanley Gordon Moriarty Collection of Papua New Guinea Highlands art: Susan CochraneDancers wearing contemporary gaheisi (ceremonial dance banners), Goroka Show, 2011; photo: Natalie Wilso — **5 Then and now: The Stanley Gordon Moriarty Collection of Papua New Guinea Highlands art: Susan Cochrane**
Dancers wearing contemporary gaheisi (ceremonial dance banners), Goroka Show, 2011; photo: Natalie Wilso

6 ‘Navigation Pacifica 2013’: Community as subject: KON GOURIOTISIsrael Tangaroa Birch, Ara-i-te-uru, 2011, lacquer on stainless steel, 150 x 150 x 900cm; image courtesy of City Gallery Wellington; photo: Andrew Beck — **6 ‘Navigation Pacifica 2013’: Community as subject: KON GOURIOTIS**
Israel Tangaroa Birch, *Ara-i-te-uru*, 2011, lacquer on stainless steel, 150 x 150 x 900cm; image courtesy of City Gallery Wellington; photo: Andrew Beck

7 Future primitive and fugitive: ELIZABETH GERTSAKISRohan Wealleans, Keepers of the Crystal gaze, 2013, colour photograph, edition of 3, 1 AP, 60 x 48.6cm; courtesy the artist and Ivan Anthony Gallery, Auckland — **7 Future primitive and fugitive: ELIZABETH GERTSAKIS**
Rohan Wealleans, *Keepers of the Crystal gaze*, 2013, colour photograph, edition of 3, 1 AP, 60 x 48.6cm; courtesy the artist and Ivan Anthony Gallery, Auckland

8 Silver convention: MAURICE O'RIORDANMichael Cook and Ari Athans, Past, Present, Future (detail), 2013; courtesy Museum of Brisbane — **8 Silver convention: MAURICE O'RIORDAN**
Michael Cook and Ari Athans, *Past, Present, Future* (detail), 2013; courtesy Museum of Brisbane

9 Foreshadowing things to come: Western Australia’s state of art: ANDREW PURVISMounir Fatmi, Save Manhattan 01, 2003–04, books, strings, spotlight and table, 68.5 x 150 x 90cm; State Art Collection, Art Gallery of Western Australia, Perth, purchased… — **9 Foreshadowing things to come: Western Australia’s state of art: ANDREW PURVIS**
Mounir Fatmi, *Save Manhattan 01*, 2003–04, books, strings, spotlight and table, 68.5 x 150 x 90cm; State Art Collection, Art Gallery of Western Australia, Perth, purchased 2013; © Mounir Fatmi, 2003-04

Art Monthly Australasia

Art Monthly Australasia is Australasia’s flagship visual arts publication, providing a critical platform for its artists. Published since 1987 under six full-time editors (Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and, from 2014, Michael Fitzgerald), it is Australasia’s only monthly visual arts magazine placing visual arts in a contemporary, historical and regional context.

Based at the ANU School of Art in Canberra since 1992, Art Monthly Australasia is a non-profit charitable organisation whose income is derived from sales of the magazine, advertising, sponsorship and government funding. Its board comprises leaders in their fields of visual arts scholarship, practice and curating, along with business and finance.

Since 2015, Art Monthly has also fostered critical discourse across the Asia-Pacific region with a new International Council, which, along with increased participation at international art fairs and biennales, is helping to provide a meaningful new context for its artists.