August 2016 issue 291 South Australia Focus

 
  1 Playful allegories and powerful gestalts: A conversation with Ian North by Christine Nicholls,  Adelaide    Ian North,  Harbinger , 2015, digital type-C print, 72 x 180cm; image courtesy the artist and GAGPROJECTS / Greenaway Art Gallery, Adelaid

1 Playful allegories and powerful gestalts: A conversation with Ian North by Christine Nicholls, Adelaide

Ian North, Harbinger, 2015, digital type-C print, 72 x 180cm; image courtesy the artist and GAGPROJECTS / Greenaway Art Gallery, Adelaid

  2 Territorial encounters by James Tylor,  Adelaide    James Tylor,  1836 Adelaide#1 Kaurna Nation , 2016, from ‘Territorial Encounters’, daguerreotype with scratches, 10.16 x 12.7cm; image courtesy the artist, GAGPROJECTS / Greenaway Art Gallery, Adelaide; Vivien Anderson Gallery, Melbourne; and Stills Gallery, Sydney

2 Territorial encounters by James Tylor, Adelaide

James Tylor, 1836 Adelaide#1 Kaurna Nation, 2016, from ‘Territorial Encounters’, daguerreotype with scratches, 10.16 x 12.7cm; image courtesy the artist, GAGPROJECTS / Greenaway Art Gallery, Adelaide; Vivien Anderson Gallery, Melbourne; and Stills Gallery, Sydney

  3 His mortal eye: Stanley Spencer at Carrick Hill by Geoff Gibbons,  Adelaide    Stanley Spencer,  Zermatt , 1934, oil on canvas, 51.2 x 61.5cm; Carrick Hill Trust, Adelaide, Hayward Bequest

3 His mortal eye: Stanley Spencer at Carrick Hill by Geoff Gibbons, Adelaide

Stanley Spencer, Zermatt, 1934, oil on canvas, 51.2 x 61.5cm; Carrick Hill Trust, Adelaide, Hayward Bequest

  4 Dark lament: Fiona Hall’s  All the King’s Men  by Jenna McKenzie,  Adelaide    Fiona Hall,  All the King’s Men , 2014–15, installation view; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney; photo: Clayton Glen

4 Dark lament: Fiona Hall’s All the King’s Men by Jenna McKenzie, Adelaide

Fiona Hall, All the King’s Men, 2014–15, installation view; image courtesy the artist and Roslyn Oxley9 Gallery, Sydney; photo: Clayton Glen

  5 ‘Anangu culture is family culture’: Collaborative painting in the APY Lands by Nyurpaya Kaika-Burton and Hannah Kothe,  Kaltjiti    Production view of  Kungkarangkalpa – Seven Sisters , 2016, Kaltjiti Arts, Fregon community, 23 May 2016; image courtesy Ernabella Arts, Pukatja communitY

5 ‘Anangu culture is family culture’: Collaborative painting in the APY Lands by Nyurpaya Kaika-Burton and Hannah Kothe, Kaltjiti

Production view of Kungkarangkalpa – Seven Sisters, 2016, Kaltjiti Arts, Fregon community, 23 May 2016; image courtesy Ernabella Arts, Pukatja communitY

  6 Open space: National Gallery Singapore by Julie Ewington,  Singapore    National Gallery Singapore redevelopment by Studio Milou Singapore and CPG Consultants Pte Ltd; image courtesy the National Gallery Singapore

6 Open space: National Gallery Singapore by Julie Ewington, Singapore

National Gallery Singapore redevelopment by Studio Milou Singapore and CPG Consultants Pte Ltd; image courtesy the National Gallery Singapore

  7 A vast universe within: Nasreen Mohamedi at The Met by Ellie Buttrose,  New York     Nasreen Mohamedi , exhibition view, The Met Breuer, New York, 2016; image courtesy and © The Metropolitan Museum of Art, 2016

7 A vast universe within: Nasreen Mohamedi at The Met by Ellie Buttrose, New York

Nasreen Mohamedi, exhibition view, The Met Breuer, New York, 2016; image courtesy and © The Metropolitan Museum of Art, 2016

  8 Signifiers of lost times: Chen Qiulin at SAM by Jacqui Durrant,  Shepparton    Chen Qiulin,  One Hundred Names for Kwong Wah Chong , 2015, installation detail, Shepparton Art Museum, 2016; 25-channel video installation, mural, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art, Sydney; © the artist; photo: Diana Spriggs

8 Signifiers of lost times: Chen Qiulin at SAM by Jacqui Durrant, Shepparton

Chen Qiulin, One Hundred Names for Kwong Wah Chong, 2015, installation detail, Shepparton Art Museum, 2016; 25-channel video installation, mural, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art, Sydney; © the artist; photo: Diana Spriggs

  9 In every direction: ‘OVERUNDERSIDEWAYSDOWN’ at Manly by Toni Warburton,  Sydney      OVERUNDERSIDEWAYSDOWN , exhibition view, Manly Art Gallery and Museum, Sydney, 2016, with the work of (from left) Jenny Orchard, Angela Brennan and Lynda Draper; photo: Greg Piper

9 In every direction: ‘OVERUNDERSIDEWAYSDOWN’ at Manly by Toni Warburton, Sydney 

OVERUNDERSIDEWAYSDOWN, exhibition view, Manly Art Gallery and Museum, Sydney, 2016, with the work of (from left) Jenny Orchard, Angela Brennan and Lynda Draper; photo: Greg Piper

  10 William Yaxley: An authentic innocence by Mark Svendsen,  Rockhampton    William Yaxley,  The mangrove monster no. 2 , 1986, wood, mandarin skins, shell and resin, 90 x 87 x 146cm; Queensland Art Gallery / Gallery of Modern Art, Brisbane, purchased through the Queensland Art Gallery Foundation, 1987

10 William Yaxley: An authentic innocence by Mark Svendsen, Rockhampton

William Yaxley, The mangrove monster no. 2, 1986, wood, mandarin skins, shell and resin, 90 x 87 x 146cm; Queensland Art Gallery / Gallery of Modern Art, Brisbane, purchased through the Queensland Art Gallery Foundation, 1987

  11 Awesome: Cameron Robbins at MONA by Peter Hill,  Hobart    Cameron Robbins,  Solar Loggerheads , 2016, installation view, ‘Field Lines’, MONA, Hobart, 2016; drawing and erasing instrument – solar and mains power; steel, timber, electric motors, solar panel, stainless steel, brass, aluminium, eraser, marker pen, stone, bearings, glass; image courtesy the artist and MONA, Hobart; photo: MONA/Rémi Chauvin

11 Awesome: Cameron Robbins at MONA by Peter Hill, Hobart

Cameron Robbins, Solar Loggerheads, 2016, installation view, ‘Field Lines’, MONA, Hobart, 2016; drawing and erasing instrument – solar and mains power; steel, timber, electric motors, solar panel, stainless steel, brass, aluminium, eraser, marker pen, stone, bearings, glass; image courtesy the artist and MONA, Hobart; photo: MONA/Rémi Chauvin

  12 Jan Senbergs: Melbourne brutal by Rex Butler,  Melbourne    Jan Senbergs,  Melbourne , 1998–99, synthetic polymer paint on canvas, 183 x 274cm; State Library of Victoria, Melbourne, gift of the Gualtiero Vaccari Foundation in recognition of services provided by the State Library to the Italian community; © Jan Senbergs, administered by Viscopy, Sydney

12 Jan Senbergs: Melbourne brutal by Rex Butler, Melbourne

Jan Senbergs, Melbourne, 1998–99, synthetic polymer paint on canvas, 183 x 274cm; State Library of Victoria, Melbourne, gift of the Gualtiero Vaccari Foundation in recognition of services provided by the State Library to the Italian community; © Jan Senbergs, administered by Viscopy, Sydney

  13 Inge King 1915 – 2016 by Jane Eckett,  Melbourne    Inge King in her studio at Warrandyte, 2013, working on a balsa-wood maquette for the ‘Celestial Rings’ series; photo: Jacqui Henshaw

13 Inge King 1915 – 2016 by Jane Eckett, Melbourne

Inge King in her studio at Warrandyte, 2013, working on a balsa-wood maquette for the ‘Celestial Rings’ series; photo: Jacqui Henshaw