Issue 272 August 2014

1 State of independence: New South Wales’s new funding paradigm JANE SOMERVILLE James Deutsher, menvra/CASA, installation view, Minerva, Sydney, 2014; image courtesy Minerva, Sydney

1 State of independence: New South Wales’s new funding paradigm JANE SOMERVILLE

James Deutsher, menvra/CASA, installation view, Minerva, Sydney, 2014; image courtesy Minerva, Sydney

2 Lismore Regional Gallery: Past, present, future SHARNE WOLFF Emily Hunt, Quoits & Goat Skins (detail), 2013, watercolour and ink on paper, 110 x 75.5 x 5cm; image courtesy the artist and The Commercial Gallery, Sydney; © the artist

2 Lismore Regional Gallery: Past, present, future SHARNE WOLFF

Emily Hunt, Quoits & Goat Skins (detail), 2013, watercolour and ink on paper, 110 x 75.5 x 5cm; image courtesy the artist and The Commercial Gallery, Sydney; © the artist

3 Bearing witness: The Refugee Art Project SAFDAR AHMED Saad Tlaa, Portrait of Josefa, pen and watercolour on paper, 29 x 41cm; image courtesy the artist and the Refugee Art Project

3 Bearing witness: The Refugee Art Project SAFDAR AHMED

Saad Tlaa, Portrait of Josefa, pen and watercolour on paper, 29 x 41cm; image courtesy the artist and the Refugee Art Project

4 ‘I keep finding myself in Parramatta’ MICHAEL DAGOSTINO AND SOPHIA KOUYOUMDJIAN Artist Jodie Whalen in her studio at Parramatta Artists Studios, 2013; photo: Alex Wisser; image courtesy and © Parramatta Artists Studio

4 ‘I keep finding myself in Parramatta’ MICHAEL DAGOSTINO AND SOPHIA KOUYOUMDJIAN

Artist Jodie Whalen in her studio at Parramatta Artists Studios, 2013; photo: Alex Wisser; image courtesy and © Parramatta Artists Studio

5 Drawing the mark: 50 years of Watters Gallery GLENN BARKLEY Frank Watters and Tony Tuckson in the artist’s Wahroonga studio, choosing works for Tuckson’s first solo exhibition at Watters Gallery, Sydney, 1970; image and photo courtesy Margaret Tuckson

5 Drawing the mark: 50 years of Watters Gallery GLENN BARKLEY

Frank Watters and Tony Tuckson in the artist’s Wahroonga studio, choosing works for Tuckson’s first solo exhibition at Watters Gallery, Sydney, 1970; image and photo courtesy Margaret Tuckson

6 Material elaborations – Sarah Cottier Gallery: 1994–2014 JAMES PAULL Pages from 20/200, 2014; image courtesy Sarah Cottier Gallery, Sydney; photo: Ashley Barber

6 Material elaborations – Sarah Cottier Gallery: 1994–2014 JAMES PAULL

Pages from 20/200, 2014; image courtesy Sarah Cottier Gallery, Sydney; photo: Ashley Barber

7 Gail Hastings: Sculptuations JUDITH BLACKALL Gail Hastings, Exhibition: To Do, 2014, installation view, showing (left wall) Corner caretakers and (centre floor) Exhibition: To Do, The Commercial, Sydney, 2014; image courtesy the artist and The Commercial, Sydney; photo: Sofia Freeman 

7 Gail Hastings: Sculptuations JUDITH BLACKALL

Gail Hastings, Exhibition: To Do, 2014, installation view, showing (left wall) Corner caretakers and (centre floor) Exhibition: To Do, The Commercial, Sydney, 2014; image courtesy the artist and The Commercial, Sydney; photo: Sofia Freeman 

8 Ken Unsworth: Conjuring art TONY BOND Ken Unsworth, Five secular settings for sculpture as ritual and burial piece, from the series ‘Five secular settings for sculpture as ritual and burial piece’, 1975, silver gelatine photograph, 28.3 x 19.2cm, Art Gallery of New South Wales (AGNSW), Sydney, purchased 1976; photo: AGNSW © Ken Unsworth 

8 Ken Unsworth: Conjuring art TONY BOND

Ken Unsworth, Five secular settings for sculpture as ritual and burial piece, from the series ‘Five secular settings for sculpture as ritual and burial piece’, 1975, silver gelatine photograph, 28.3 x 19.2cm, Art Gallery of New South Wales (AGNSW), Sydney, purchased 1976; photo: AGNSW © Ken Unsworth 

9 Two soliloquies in a rhythm: A conversation about curatorial collaboration NATALIE KING AND DJON MUNDINE boat-people, Muffled Protest, 2010, documentation, Federation Square, Melbourne, dimensions variable; image courtesy the artists; photo: Tanja Milbourne

9 Two soliloquies in a rhythm: A conversation about curatorial collaboration NATALIE KING AND DJON MUNDINE

boat-people, Muffled Protest, 2010, documentation, Federation Square, Melbourne, dimensions variable; image courtesy the artists; photo: Tanja Milbourne

10 Floating with form: Matisse’s cut-outs at the Tate ANNE-MARIE JEAN Henri Matisse (1869 -1964); image courtesy Tate Modern, London; photo: Lydia Delectorskaya; © Succession Henri Matiss

10 Floating with form: Matisse’s cut-outs at the Tate ANNE-MARIE JEAN

Henri Matisse (1869 -1964); image courtesy Tate Modern, London; photo: Lydia Delectorskaya; © Succession Henri Matiss