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]: 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]: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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: 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?’: 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?’: 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: 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: 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: 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: 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: John Freeland   Peter Rushforth at his Shipley studio in the Blue Mountains; image courtesy Rebecca Berrell

13 Peter Rushforth OA 1920 – 2015: John Freeland

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