1 New Zealand at Venice: Simon Denny’s ‘Secret Power’ by Christina Barton, Venice Simon Denny, Plaque (Claudius Ptolemy, Geography), 2015, installation view, Marco Polo International Airport, Venice, 2015; photo: Paolo Monell

1 New Zealand at Venice: Simon Denny’s ‘Secret Power’ by Christina Barton, Venice

Simon Denny, Plaque (Claudius Ptolemy, Geography), 2015, installation view, Marco Polo International Airport, Venice, 2015; photo: Paolo Monell

2 Re-animating encounter: Lisa Reihana’s in Pursuit of Venus [infected] by Vivienne Webb, Auckland Lisa Reihana, in Pursuit of Venus [infected], 2015, exhibition views, Auckland Art Gallery Toi o Tāmaki, 2015; gift of the Patrons of Auckland Art Gallery

2 Re-animating encounter: Lisa Reihana’s in Pursuit of Venus [infected] by Vivienne Webb, Auckland

Lisa Reihana, in Pursuit of Venus [infected], 2015, exhibition views, Auckland Art Gallery Toi o Tāmaki, 2015; gift of the Patrons of Auckland Art Gallery

3 Reflecting a figure: The Govett-Brewster’s new Len Lye Centre by Wystan Curnow, New Plymouth Patterson Associates’ Len Lye Centre, New Plymouth, 2015; photo: Patrick Reynolds


3 Reflecting a figure: The Govett-Brewster’s new Len Lye Centre by Wystan Curnow, New Plymouth

Patterson Associates’ Len Lye Centre, New Plymouth, 2015; photo: Patrick Reynolds

4 The past is a foreign climate: Shigeyuki Kihara meets the Anthropocene by Nina Seja, Auckland Shigeyuki Kihara, German Monument, Mulinu’u, 2013, type-C photograph, edition 5/5 + 2 AP; Queensland Art Gallery / Gallery of Modern Art, Brisbane; image courtesy the artist and Milford Galleries, Dunedin

4 The past is a foreign climate: Shigeyuki Kihara meets the Anthropocene by Nina Seja, Auckland

Shigeyuki Kihara, German Monument, Mulinu’u, 2013, type-C photograph, edition 5/5 + 2 AP; Queensland Art Gallery / Gallery of Modern Art, Brisbane; image courtesy the artist and Milford Galleries, Dunedin

5 My big ugly art world: Grayson Perry on Aboriginal art and how to be undiplomatic in the history wars by Khadija von Zinnenburg Carroll, London Grayson Perry, My Pretty Little Art Career, 2003, glazed ceramic, Speyer Family Collection, New York; image courtesy the artist and Victoria Miro, London; © Grayson Perry

5 My big ugly art world: Grayson Perry on Aboriginal art and how to be undiplomatic in the history wars by Khadija von Zinnenburg Carroll, London

Grayson Perry, My Pretty Little Art Career, 2003, glazed ceramic, Speyer Family Collection, New York; image courtesy the artist and Victoria Miro, London; © Grayson Perry

6 Depicting durchblicke: The wall works of Klaus Moje by Nola Anderson, Canberra Klaus Moje, Floating Red, 2000, fused and cold worked glass, 152 x 152cm, Australian National University Collection, Canberra; image courtesy the artist; photo: Rob Little

6 Depicting durchblicke: The wall works of Klaus Moje by Nola Anderson, Canberra

Klaus Moje, Floating Red, 2000, fused and cold worked glass, 152 x 152cm, Australian National University Collection, Canberra; image courtesy the artist; photo: Rob Little

7 A desirous mind: Matthys Gerber at the MCA by Max Delany, Sydney Matthys Gerber, L’Origine du Monde #1, 1992, oil on canvas, Barber Cottier Collection, Sydney; image couresy and © the artist; photo: Ashley Barber

7 A desirous mind: Matthys Gerber at the MCA by Max Delany, Sydney

Matthys Gerber, L’Origine du Monde #1, 1992, oil on canvas, Barber Cottier Collection, Sydney; image couresy and © the artist; photo: Ashley Barber

8 Multiple flows: ‘Saltwater: A Theory of Thought Forms’, the 14th Istanbul Biennial by Julie Ewington, Istanbul Adrián Villar Rojas, The Most Beautiful of All Mothers, 2015, site-specific installation, organic and inorganic materials; photo: Kubra Karacizmeli

8 Multiple flows: ‘Saltwater: A Theory of Thought Forms’, the 14th Istanbul Biennial by Julie Ewington, Istanbul

Adrián Villar Rojas, The Most Beautiful of All Mothers, 2015, site-specific installation, organic and inorganic materials; photo: Kubra Karacizmeli

9 Through a glass darkly: ‘Myth + Magic’ at the NGA by Diane Losche, Canberra Myth + Magic: Art of the Sepik River, Papua New Guinea, exhibition views, National Gallery of Australia (NGA), Canberra; images courtesy the NGA, Canberra

9 Through a glass darkly: ‘Myth + Magic’ at the NGA by Diane Losche, Canberra

Myth + Magic: Art of the Sepik River, Papua New Guinea, exhibition views, National Gallery of Australia (NGA), Canberra; images courtesy the NGA, Canberra

10 Slow burn: Robyn Backen’s ‘If you do not speak, do I speak for you?’ by John Murphy, Sydney Robyn Backen, If you do not speak, do I speak for you?, 2015, installation view, Incinerator Art Space, Sydney, 2015; photo: Ian Hobbs

10 Slow burn: Robyn Backen’s ‘If you do not speak, do I speak for you?’ by John Murphy, Sydney

Robyn Backen, If you do not speak, do I speak for you?, 2015, installation view, Incinerator Art Space, Sydney, 2015; photo: Ian Hobbs

11 Continental drift: Derek Kreckler’s ‘Accident & Process’ at PICA by Marco Marcon, Perth Derek Kreckler, Holey #1, 2003, installation view, Perth Institute of Contemporary Arts (PICA), 2015; type-C digital prints, aluminium spheres, cast vinyl, wooden plinths; 120 x 250 x 5cm (wall); 8 x 250 x 100cm (floor); photo: Alessandro Bianchetti

11 Continental drift: Derek Kreckler’s ‘Accident & Process’ at PICA by Marco Marcon, Perth

Derek Kreckler, Holey #1, 2003, installation view, Perth Institute of Contemporary Arts (PICA), 2015; type-C digital prints, aluminium spheres, cast vinyl, wooden plinths; 120 x 250 x 5cm (wall); 8 x 250 x 100cm (floor); photo: Alessandro Bianchetti

12 Robert MacPherson: Everyone, everything, everywhere by Daniel Thomas, Brisbane Robert MacPherson, 17 Frog Poems (for G.N. & A.W. (who by example) taught the kinder way), 1987–89, installation view, ‘Robert MacPherson: The Painter’s Reach’, Gallery of Modern Art, Brisbane, 2015; Metl-Stik on wood with wood and canvas stretcher beds; Queensland Art Gallery, Brisbane, purchased 1999, the Queensland Government’s special Centenary Fund; photo and image courtesy: QAGOMA, Brisbane

12 Robert MacPherson: Everyone, everything, everywhere by Daniel Thomas, Brisbane

Robert MacPherson, 17 Frog Poems (for G.N. & A.W. (who by example) taught the kinder way), 1987–89, installation view, ‘Robert MacPherson: The Painter’s Reach’, Gallery of Modern Art, Brisbane, 2015; Metl-Stik on wood with wood and canvas stretcher beds; Queensland Art Gallery, Brisbane, purchased 1999, the Queensland Government’s special Centenary Fund; photo and image courtesy: QAGOMA, Brisbane

13 Peter Rushforth OA 1920 – 2015 by John Freeland Peter Rushforth at his Shipley studio in the Blue Mountains; image courtesy Rebecca Berrell

13 Peter Rushforth OA 1920 – 2015 by John Freeland

Peter Rushforth at his Shipley studio in the Blue Mountains; image courtesy Rebecca Berrell