1 Return and revival in ‘He Nae  kea: Bound Together’ by Mārata Ketekiri Tamaira, Honolulu Ahu‘ula (feather cloak), late 18th century, plant fibre, feathers, 145cm length, 220cm width; gift of Lord St Oswald, 1912; image courtesy Museum of New Zealand Te Papa Tongarewa, Wellington

1 Return and revival in ‘He Nae  kea: Bound Together’ by Mārata Ketekiri Tamaira, Honolulu

Ahu‘ula (feather cloak), late 18th century, plant fibre, feathers, 145cm length, 220cm width; gift of Lord St Oswald, 1912; image courtesy Museum of New Zealand Te Papa Tongarewa, Wellington

2 Conundrums for curators: Pacific art at the APT by Susan Cochrane, Brisbane Angela Tiatia, Walking the wall, 2014, video still; from ‘An Inventory of Gestures’ series; single-channel HD video: 16:9, 13 mins duration (looped), colour, sound; edition 2/8, purchased through the Queensland Art Gallery / Gallery of Modern Art Foundation, Brisbane, 2015; image courtesy the artist and Alcaston Gallery, Melbourne; © the artist

2 Conundrums for curators: Pacific art at the APT by Susan Cochrane, Brisbane

Angela Tiatia, Walking the wall, 2014, video still; from ‘An Inventory of Gestures’ series; single-channel HD video: 16:9, 13 mins duration (looped), colour, sound; edition 2/8, purchased through the Queensland Art Gallery / Gallery of Modern Art Foundation, Brisbane, 2015; image courtesy the artist and Alcaston Gallery, Melbourne; © the artist

3 The concept of absence: Luke Willis Thompson’s Sucu Mate by Andrea Bell, Brisbane/Auckland Luke Willis Thompson, Sucu Mate / Born Dead, 2016, installation view, Hopkinson Mossman, Auckland, 2016; image courtesy the artist and Hopkinson Mossman, Auckland; photo: Alex North

3 The concept of absence: Luke Willis Thompson’s Sucu Mate by Andrea Bell, Brisbane/Auckland

Luke Willis Thompson, Sucu Mate / Born Dead, 2016, installation view, Hopkinson Mossman, Auckland, 2016; image courtesy the artist and Hopkinson Mossman, Auckland; photo: Alex North

4 Pieces of infinity by Ruha Fifita, Haveluloto Robin White and Ruha Fifita working on ngatu with a women’s group at Haveluloto village, Tongatapu, October 2011; photo: Bruce Foster

4 Pieces of infinity by Ruha Fifita, Haveluloto

Robin White and Ruha Fifita working on ngatu with a women’s group at Haveluloto village, Tongatapu, October 2011; photo: Bruce Foster

5 Re-imagining Papua New Guinea by James Morrison, Melbourne James Morrison, Building Goroka, 2016, oil on linen, 91 x 91cm; image courtesy the artist and Darren Knight Gallery, Sydney

5 Re-imagining Papua New Guinea by James Morrison, Melbourne

James Morrison, Building Goroka, 2016, oil on linen, 91 x 91cm; image courtesy the artist and Darren Knight Gallery, Sydney

6 Primitive accumulation: Nicholas Mangan’s Limits to Growth by Dylan Rainforth, Melbourne Nicholas Mangan, Limits to Growth, 2016, installation views (Bitcoin rig in the basement of Monash University Museum of Art), co-commissioned by Monash University Museum of Art, Melbourne, and the Institute of Modern Art, Brisbane, assisted by the Australian Government through the Australia Council, its arts funding and advisory body; images courtesy the artist; Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City

6 Primitive accumulation: Nicholas Mangan’s Limits to Growth by Dylan Rainforth, Melbourne

Nicholas Mangan, Limits to Growth, 2016, installation views (Bitcoin rig in the basement of Monash University Museum of Art), co-commissioned by Monash University Museum of Art, Melbourne, and the Institute of Modern Art, Brisbane, assisted by the Australian Government through the Australia Council, its arts funding and advisory body; images courtesy the artist; Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City

7 Embassies of resistance: The 20th Biennale of Sydney by Chaitanya Sambrani, Sydney Taro Shinoda, Abstraction of Confusion, 2016, installation view, 20th Biennale of Sydney at the Art Gallery of New South Wales, 2016; clay, pigment, ochre, tatami mats, dimensions variable; created for the 20th Biennale of Sydney; image courtesy the artist; photo: Ben Symons  

7 Embassies of resistance: The 20th Biennale of Sydney by Chaitanya Sambrani, Sydney

Taro Shinoda, Abstraction of Confusion, 2016, installation view, 20th Biennale of Sydney at the Art Gallery of New South Wales, 2016; clay, pigment, ochre, tatami mats, dimensions variable; created for the 20th Biennale of Sydney;

image courtesy the artist; photo: Ben Symons

 

8 ‘Winsome Jobling: the nature of paper’: Solo, survey or retrospective exhibition? by Anita Angel, Darwin Winsome Jobling, Playsuit, 1996, banana paper and zipper, 256.5 x 100 x 1cm; Plaid dress, 1996, watermarked banana paper, 248.5 x 113.5 x 15.5cm; Brocade gown, 1996, banana paper with pulp paper inclusions, 255 x 102 x 1cm; Museum and Art Gallery of the Northern Territory collection, Darwin; image courtesy MAGNT; photo: Fiona Morrison; © the artist

8 ‘Winsome Jobling: the nature of paper’: Solo, survey or retrospective exhibition? by Anita Angel, Darwin

Winsome Jobling, Playsuit, 1996, banana paper and zipper, 256.5 x 100 x 1cm; Plaid dress, 1996, watermarked banana paper, 248.5 x 113.5 x 15.5cm; Brocade gown, 1996, banana paper with pulp paper inclusions, 255 x 102 x 1cm; Museum and Art Gallery of the Northern Territory collection, Darwin; image courtesy MAGNT; photo: Fiona Morrison; © the artist

9 Material shift: ‘200 Years of Australian Fashion’ at the NGV by Sally Gray, Melbourne 200 Years of Australian Fashion, exhibition view of the Department Store room, NGV Australia, Melbourne, 2016; photo: Wayne Taylor

9 Material shift: ‘200 Years of Australian Fashion’ at the NGV by Sally Gray, Melbourne

200 Years of Australian Fashion, exhibition view of the Department Store room, NGV Australia, Melbourne, 2016; photo: Wayne Taylor

10 Coming of age: ‘ephemeral traces’ at UQ Art Museum by Jane Somerville, Brisbane Barbara Campbell, … Cutting off your nose to spite your face, 1984, synthetic polymer paint and screenprint on aluminium plate, 76.1 x 56cm, University of Queensland collection, purchased 1999; image courtesy the artist; photo: Carl Warner

10 Coming of age: ‘ephemeral traces’ at UQ Art Museum by Jane Somerville, Brisbane

Barbara Campbell, … Cutting off your nose to spite your face, 1984, synthetic polymer paint and screenprint on aluminium plate, 76.1 x 56cm, University of Queensland collection, purchased 1999; image courtesy the artist; photo: Carl Warner

11 New interpretations: Wanarn Painters of Place and Time by Patrick Hutchings, Melbourne Neville Niypula McArthur, Lake Baker, 2012, acrylic on board, 38 x 30.5cm, private collection

11 New interpretations: Wanarn Painters of Place and Time by Patrick Hutchings, Melbourne

Neville Niypula McArthur, Lake Baker, 2012, acrylic on board, 38 x 30.5cm, private collection

12 Bea Maddock 1934 – 2016 by Daniel Thomas, Tasmania Bea Maddock, Four finger exercise for two hands, 1982, photo-etched linocut, printed in process colour, from four blocks; 53.4 x 46.9cm (printed image), 76.6 x 58.4cm (sheet); National Gallery of Australia, Canberra; Gordon Darling Fund, 1984

12 Bea Maddock 1934 – 2016 by Daniel Thomas, Tasmania

Bea Maddock, Four finger exercise for two hands, 1982, photo-etched linocut, printed in process colour, from four blocks; 53.4 x 46.9cm (printed image), 76.6 x 58.4cm (sheet); National Gallery of Australia, Canberra; Gordon Darling Fund, 1984