Issue 274 October 2014

1 Making Opportunities: Art in South Australia KELLI ROWE Henry Jock Walker (assisted by Ben Leslie), Tarp Surfing Drawing at the Art Gallery of South Australia, ‘The Artists’ Voice’ forum, SALA Festival, Adelaide, August 2014; image courtesy the artist; photo: Che Chorley  

1 Making Opportunities: Art in South Australia KELLI ROWE

Henry Jock Walker (assisted by Ben Leslie), Tarp Surfing Drawing at the Art Gallery of South Australia, ‘The Artists’ Voice’ forum, SALA Festival, Adelaide, August 2014; image courtesy the artist; photo: Che Chorley

 

2 Processing the past: Contemporary photomedia in South Australia MARK KIMBER Will Nolan, Pretend I Exist, 2014, archival inkjet print, Gatorboard, glass, black wood frame, 89 x 112cm; image courtesy the artist    

2 Processing the past: Contemporary photomedia in South Australia MARK KIMBER

Will Nolan, Pretend I Exist, 2014, archival inkjet print, Gatorboard, glass, black wood frame, 89 x 112cm; image courtesy the artist

 

 

3 Beyond borders and boundaries: Aboriginal art from the centre and south NICI CUMPSTON CJ Taylor, Still life with possum, mussels and New Holland Honeyeater, 2011,acrylic glass, fused pigment print, 57 x 75cm; image courtesy the artist  

3 Beyond borders and boundaries: Aboriginal art from the centre and south NICI CUMPSTON

CJ Taylor, Still life with possum, mussels and New Holland Honeyeater, 2011,acrylic glass, fused pigment print, 57 x 75cm; image courtesy the artist

 

4 On artists, art fairs and ... Adelaide PAUL GREENAWAY IN CONVERSATION WITH EVE SULLIVAN Thomas Rentmeister, nearly 100 fridges in a corner, 2008, refrigerators, Penaten cream, styrofoam, 750 x 536 x 370cm; image courtesy Greenaway Art Gallery, Adelaide; photo: Grant Hancock

4 On artists, art fairs and ... Adelaide PAUL GREENAWAY IN CONVERSATION WITH EVE SULLIVAN

Thomas Rentmeister, nearly 100 fridges in a corner, 2008, refrigerators, Penaten cream, styrofoam, 750 x 536 x 370cm;
image courtesy Greenaway Art Gallery, Adelaide; photo: Grant Hancock

5 Changing states: ‘The extreme climate of Nicholas Folland’ JENNA MCKENZIE Nicholas Folland, Rose, 2012, crystal perfume bottle, polyester resin, timber, aluminium, lightbox, 16 x 7 x 7cm; image courtesy the artist and Art Gallery of South Australia (AGSA), Adelaide; photo: Ryan Renshaw  

5 Changing states: ‘The extreme climate of Nicholas Folland’ JENNA MCKENZIE

Nicholas Folland, Rose, 2012, crystal perfume bottle, polyester resin, timber, aluminium, lightbox, 16 x 7 x 7cm; image courtesy the artist and Art Gallery of South Australia (AGSA), Adelaide; photo: Ryan Renshaw

 

6 Without words: ‘Binns + Valamanesh’ at Casula Powerhouse CLAIRE CAPEL-STANLEy Binns + Valamanesh installation view, Casula Powerhouse Arts Centre, Sydney, 2014, featuring from left: Hossein Valamanesh, Lotus Vault, 2011, lotus leaves on paper on plywood, collection of National Gallery of Australia, Canberra, purchased with the assistance of Susan Armitage 2012; Vivienne Binns, Nylon over the Lachlan, 2005, acrylic on canvas, collection of National Gallery of Australia, Canberra, purchased 2008; Vivienne Binns, Wire weave plastic mesh: a paradox of irritations, 2007–08, synthetic polymer paint on canvas, The James C. Sourris AM Collection, gift of James C. Sourris AM, through the Queensland Art Gallery Foundation 2012, donated through the Australian Government’s Cultural Gifts Program; Hossein Valamanesh, Fallen Branch, 2005, bronze; photo: Brenton McGeachie

6 Without words: ‘Binns + Valamanesh’ at Casula Powerhouse CLAIRE CAPEL-STANLEy

Binns + Valamanesh installation view, Casula Powerhouse Arts Centre, Sydney, 2014, featuring from left: Hossein Valamanesh, Lotus Vault, 2011, lotus leaves on paper on plywood, collection of National Gallery of Australia, Canberra, purchased with the assistance of Susan Armitage 2012; Vivienne Binns, Nylon over the Lachlan, 2005, acrylic on canvas, collection of National Gallery of Australia, Canberra, purchased 2008; Vivienne Binns, Wire weave plastic mesh: a paradox of irritations, 2007–08, synthetic polymer paint on canvas, The James C. Sourris AM Collection, gift of James C. Sourris AM, through the Queensland Art Gallery Foundation 2012, donated through the Australian Government’s Cultural Gifts Program; Hossein Valamanesh, Fallen Branch, 2005, bronze; photo: Brenton McGeachie

7 Eric Thake: A surrealist at war PETER PINSON Eric Thake, Japanese wreckage, Penfoei airstrip, Timor, 1945, gouache, pencil on paper, 51 x 39.6cm; image courtesy the Australian War Memorial, Canberra

7 Eric Thake: A surrealist at war PETER PINSON

Eric Thake, Japanese wreckage, Penfoei airstrip, Timor, 1945, gouache, pencil on paper, 51 x 39.6cm; image courtesy the Australian War Memorial, Canberra

8 Shifting the registers: ‘What I see When I Look at Sound’ JOHN MATEER Matthew Gingold, Filament Orkestra, 2014, detail; 64 light bulbs, 64 light-dependent resistors (LDRs), 8 Ardunio Fio, 8 FM radios, 8 Lepai 2020 amplifiers, 16 Tang Band W5-1611SAF 5-in. full-range speakers, 4km AC/DC wiring; image courtesy the artist and Perth Institute of Contemporary Arts (PICA)

8 Shifting the registers: ‘What I see When I Look at Sound’ JOHN MATEER

Matthew Gingold, Filament Orkestra, 2014, detail; 64 light bulbs, 64 light-dependent resistors (LDRs), 8 Ardunio Fio, 8 FM radios, 8 Lepai 2020 amplifiers, 16 Tang Band W5-1611SAF 5-in. full-range speakers, 4km AC/DC wiring; image courtesy the artist and Perth Institute of Contemporary Arts (PICA)

9 Pierre Huyghe and Parallel Presents JULIE EWINGTON Pierre Huyghe, exhibition view, Centre Pompidou, Paris, September 2013 – January 2014; image courtesy the artist; photo: Ola Rindal

9 Pierre Huyghe and Parallel Presents JULIE EWINGTON

Pierre Huyghe, exhibition view, Centre Pompidou, Paris, September 2013 – January 2014; image courtesy the artist; photo: Ola Rindal

10 Richard Larter (1929 – 2014) DEBORAH CLARK

10 Richard Larter (1929 – 2014) DEBORAH CLARK