Issue 277 March 2015

1 A broadened perspective: The NGV’s Tony Ellwood in conversation – Michael Fitzgerald Tony Ellwood with works by Brent Harris; from left: No. 21, No. 9 and No. 26 (The reassembled self), 2011, charcoal and gouache on plywood, 42 x 31cm; National Gallery of Victoria, Melbourne, purchased, Victoria Foundation for Living Australian Artists, 2011; © Brent Harris; photo: Selina Ou, NGV Photographic Services

1 A broadened perspective: The NGV’s Tony Ellwood in conversation – Michael Fitzgerald

Tony Ellwood with works by Brent Harris; from left: No. 21, No. 9 and No. 26 (The reassembled self), 2011, charcoal and gouache on plywood, 42 x 31cm; National Gallery of Victoria, Melbourne, purchased, Victoria Foundation for Living Australian Artists, 2011; © Brent Harris; photo: Selina Ou, NGV Photographic Services

2 Capitalising culture: Horsham Regional Art Gallery’s rural renaissance – Jarrod Rawlins Horsham Regional Art Gallery (HRAG), Wilson Street elevation, artist’s impression; image courtesy HRAG

2 Capitalising culture: Horsham Regional Art Gallery’s rural renaissance – Jarrod Rawlins

Horsham Regional Art Gallery (HRAG), Wilson Street elevation, artist’s impression; image courtesy HRAG

3 Echoing across the pond: Gallery Gabrielle Pizzi, 1987–2014 – Jane Raffan Christian Thompson, We Bury Our Own, exhibition view, Gallery Gabrielle Pizzi, Melbourne, 2012; image courtesy Gallery Gabrielle Pizzi, Melbourne

3 Echoing across the pond: Gallery Gabrielle Pizzi, 1987–2014 – Jane Raffan

Christian Thompson, We Bury Our Own, exhibition view, Gallery Gabrielle Pizzi, Melbourne, 2012; image courtesy Gallery Gabrielle Pizzi, Melbourne

4 In your own time: Alicia Frankovich’s Defending Plural Experiences – Ash Kilmartin Alicia Frankovich, Defending Plural Experiences, 2014, performance views, Australian Centre for Contemporary Art, Melbourne, 2014; live performance, 4 hour duration; images courtesy the artist

4 In your own time: Alicia Frankovich’s Defending Plural Experiences – Ash Kilmartin

Alicia Frankovich, Defending Plural Experiences, 2014, performance views, Australian Centre for Contemporary Art, Melbourne, 2014; live performance, 4 hour duration; images courtesy the artist

The unfinished archive (or the pleasure of looking through other people’s things) – Julia Powles Bianca Hester, Please leave these windows open overnight to enable the fans to draw in cool air during the early hours of the morning, exhibition view, ACCA, Melbourne, 2010; image courtesy the artist and ACCA Archive

The unfinished archive (or the pleasure of looking through other people’s things) – Julia Powles

Bianca Hester, Please leave these windows open overnight to enable the fans to draw in cool air during the early hours of the morning, exhibition view, ACCA, Melbourne, 2010; image courtesy the artist and ACCA Archive

6 Inside the circle: A life among artists – Sheridan Palmer Jean Langley 1958, Heide Museum of Modern Art Archive, Melbourne; photo: John Yule; © Estate of John Yule

6 Inside the circle: A life among artists – Sheridan Palmer

Jean Langley 1958, Heide Museum of Modern Art Archive, Melbourne; photo: John Yule; © Estate of John Yule

7 Platforms, prizes and PYTHAGORAS: ‘Singapore Art Week 2015’ – Chloé Wolifson Ho Tzu Nyen, PYTHAGORAS, 2013, video still from installation with 4-channel HD video, 8-channel sound, automated curtain track, fans, lights and show control mechanism, dimensions variable; Singapore Art Museum (SAM) collection; image courtesy the artist and SAM, Singapore

7 Platforms, prizes and PYTHAGORAS: ‘Singapore Art Week 2015’ – Chloé Wolifson

Ho Tzu Nyen, PYTHAGORAS, 2013, video still from installation with 4-channel HD video, 8-channel sound, automated curtain track, fans, lights and show control mechanism, dimensions variable; Singapore Art Museum (SAM) collection; image courtesy the artist and SAM, Singapore

8 Sculpture in the bush: Surveying ‘The McClelland’ – Sasha Grishin Sonia Payes, Re:Generation, 2014, fibreglass, UV stable gelcoat; 3 elements: 500 x 230 x 230cm; 250 x 230 x 230cm; 125 x 230 x 23cm; image courtesy the artist and McClelland Sculpture Park & Gallery, Langwarrin; photo: Mark Ashkanasy

8 Sculpture in the bush: Surveying ‘The McClelland’ – Sasha Grishin

Sonia Payes, Re:Generation, 2014, fibreglass, UV stable gelcoat; 3 elements: 500 x 230 x 230cm; 250 x 230 x 230cm; 125 x 230 x 23cm; image courtesy the artist and McClelland Sculpture Park & Gallery, Langwarrin; photo: Mark Ashkanasy

9 Cultural freight: ‘Fashion Icons’ in Adelaide – Sally Gray Fashion Icons: Masterpieces from the collection of the Musée des Arts Décoratifs, Paris, from left: Comme des Garçons, dress, ready-to-wear, Autumn–Winter 2012–13, Les Arts Décoratifs, Mode et Textile collection, Paris, purchased with the support of Louis Vuitton, 2012; Valentino, evening suit, haute couture, Autumn–Winter 2007–08, Les Arts Décoratifs, Mode et Textile collection, Paris, in association with Valentino, 2008; photo: Thierry Dreyfus for Eyesight Group

9 Cultural freight: ‘Fashion Icons’ in Adelaide – Sally Gray

Fashion Icons: Masterpieces from the collection of the Musée des Arts Décoratifs, Paris, from left: Comme des Garçons, dress, ready-to-wear, Autumn–Winter 2012–13, Les Arts Décoratifs, Mode et Textile collection, Paris, purchased with the support of Louis Vuitton, 2012; Valentino, evening suit, haute couture, Autumn–Winter 2007–08, Les Arts Décoratifs, Mode et Textile collection, Paris, in association with Valentino, 2008; photo: Thierry Dreyfus for Eyesight Group

10 Seeking resolution: ‘Hito Steyerl: Too Much World’ – Ellie Buttrose Hito Steyerl, Strike, 2010, installation with 46-inch flat screen mounted on two freestanding poles, HD video file, 28sec; image courtesy Wilfried Lentz Rotterdam; © Hito Steyerl

10 Seeking resolution: ‘Hito Steyerl: Too Much World’ – Ellie Buttrose

Hito Steyerl, Strike, 2010, installation with 46-inch flat screen mounted on two freestanding poles, HD video file, 28sec; image courtesy Wilfried Lentz Rotterdam; © Hito Steyerl

11 New beginnings: ‘Pop to popism’ – Juliana Engberg Martha Rosler, Cleaning the Drapes, from the series ‘House Beautiful: Bringing the War Home’, 1967–72, photomontage; courtesy the artist and Mitchell-Innes & Nash,  New York

11 New beginnings: ‘Pop to popism’ – Juliana Engberg

Martha Rosler, Cleaning the Drapes, from the series ‘House Beautiful: Bringing the War Home’, 1967–72, photomontage; courtesy the artist and Mitchell-Innes & Nash, 
New York