September 2016 Issue 292

  1 Connection and belonging: The 33rd NATSIAAs at MAGNT: Luke Scholes,  Darwin    Harold Joseph Thomas (Bundoo),  Tribal abduction , 2016, synthetic polymer paint on canvas, 134 x 214cm; image courtesy the artist and the Museum and Art Gallery of the Northern Territory (MAGNT), Darwin

1 Connection and belonging: The 33rd NATSIAAs at MAGNT: Luke Scholes, Darwin

Harold Joseph Thomas (Bundoo), Tribal abduction, 2016, synthetic polymer paint on canvas, 134 x 214cm; image courtesy the artist and the Museum and Art Gallery of the Northern Territory (MAGNT), Darwin

  2 Quick, raw and physical: Franck Gohier’s monoprints: Joanna Barrkman,  Darwin    Franck Gohier,  Self portrait 1 , 1991, monoprint, 50 x 34cm (print), 58.3 x 45.5cm (paper); Charles Darwin University (CDU) Art Collection, Darwin, acquired 1991; image courtesy the artist and CDU Art Collection and Art Gallery, Darwin

2 Quick, raw and physical: Franck Gohier’s monoprints: Joanna Barrkman, Darwin

Franck Gohier, Self portrait 1, 1991, monoprint, 50 x 34cm (print), 58.3 x 45.5cm (paper); Charles Darwin University (CDU) Art Collection, Darwin, acquired 1991; image courtesy the artist and CDU Art Collection and Art Gallery, Darwin

  3 Angela Cavalieri: Narrative tones: Wendy Garden,  Darwin    Angela Cavalieri,  Il Ritorno , 2015, hand-printed linocut, acrylic and oil paint on canvas, 180 x 415cm; image courtesy the artist; photo: Greg Wallis

3 Angela Cavalieri: Narrative tones: Wendy Garden, Darwin

Angela Cavalieri, Il Ritorno, 2015, hand-printed linocut, acrylic and oil paint on canvas, 180 x 415cm; image courtesy the artist; photo: Greg Wallis

  4 Angelina Pwerle: An artist from Utopia: Chrischona Schmidt,  Utopia    Angelina Pwerle,  Bush plum , 2007, acrylic on linen, 117 x 61cm; © the artist, licensed by Aboriginal Artists Agency Ltd

4 Angelina Pwerle: An artist from Utopia: Chrischona Schmidt, Utopia

Angelina Pwerle, Bush plum, 2007, acrylic on linen, 117 x 61cm; © the artist, licensed by Aboriginal Artists Agency Ltd

  5 ‘Everywhen there is time for Aboriginal art in America: An interview with Stephen Gilchrist: Khadija von Zinnenburg Carroll,  Harvard    Stephen Gilchrist, the Australian Studies Visiting Curator at the Harvard Art Museums, in front of Vernon Ah Kee’s  many lies  (2004), during preparation for ‘Everywhen: The Eternal Present in Indigenous Art from Australia’, Harvard Art Museums, 2016; image courtesy and © President and Fellows of Harvard College, Cambridge, Massachusetts; photo: Kris Snibbe/Harvard University

5 ‘Everywhen there is time for Aboriginal art in America: An interview with Stephen Gilchrist: Khadija von Zinnenburg Carroll, Harvard

Stephen Gilchrist, the Australian Studies Visiting Curator at the Harvard Art Museums, in front of Vernon Ah Kee’s many lies (2004), during preparation for ‘Everywhen: The Eternal Present in Indigenous Art from Australia’, Harvard Art Museums, 2016; image courtesy and © President and Fellows of Harvard College, Cambridge, Massachusetts; photo: Kris Snibbe/Harvard University

  6 All our relations: Art from Moananui a Kiwa at the NGV: Léuli Eshraghi,  Narrm Melbourne    Ruha Fifita performing traditional Tongan dance in the exhibition ‘Siu i Moana: Reaching Across the Ocean’, NGV International, Narrm Melbourne, June 2016; photo: Wayne Taylor

6 All our relations: Art from Moananui a Kiwa at the NGV: Léuli Eshraghi, Narrm Melbourne

Ruha Fifita performing traditional Tongan dance in the exhibition ‘Siu i Moana: Reaching Across the Ocean’, NGV International, Narrm Melbourne, June 2016; photo: Wayne Taylor

  7 Tautai Matagofie, The Wonderful Navigator: 30 years of Tautai Contemporary Pacific Arts Trust: Nina Tonga,  Auckland    Siliga David Setoga leading the ‘ava ceremony to mark Tautai’s 30-year celebrations at Studio One Toi Tū, Auckland, March 2016; photo: Robert George

7 Tautai Matagofie, The Wonderful Navigator: 30 years of Tautai Contemporary Pacific Arts Trust: Nina Tonga, Auckland

Siliga David Setoga leading the ‘ava ceremony to mark Tautai’s 30-year celebrations at Studio One Toi Tū, Auckland, March 2016; photo: Robert George

  8 Material presence: ‘Emanations’ at Govett-Brewster: Daniel Palmer,  New Plymouth    Walead Beshty,  Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive , 2007, installation view, Govett-Brewster Art Gallery, New Plymouth, 2016; chromogenic photograph; image courtesy Govett-Brewster Art Gallery, New Plymouth

8 Material presence: ‘Emanations’ at Govett-Brewster: Daniel Palmer, New Plymouth

Walead Beshty, Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive, 2007, installation view, Govett-Brewster Art Gallery, New Plymouth, 2016; chromogenic photograph; image courtesy Govett-Brewster Art Gallery, New Plymouth

  9 Spaces for reflection: Natasha Johns-Messenger at Heide: Sophie Knezic,  Melbourne    Natasha Johns-Messenger,  Enfolder , 2016, installation view, Heide Museum of Modern Art, Melbourne, 2016; image courtesy the artist and Heide Museum of Modern Art, Melbourne; photo: Christian Capurro

9 Spaces for reflection: Natasha Johns-Messenger at Heide: Sophie Knezic, Melbourne

Natasha Johns-Messenger, Enfolder, 2016, installation view, Heide Museum of Modern Art, Melbourne, 2016; image courtesy the artist and Heide Museum of Modern Art, Melbourne; photo: Christian Capurro

  10 Fragile environments: The ‘Sea Pearl White Cloud’ project: Minerva Inwald,  Guangzhou    Trevor Yeung,  Ten Suns and The Saddest Sunrise (Byron Bay) , 2016, installation view, Observation Society, Guangzhou, 2016; image courtesy the artist; photo: Trevor Yeung

10 Fragile environments: The ‘Sea Pearl White Cloud’ project: Minerva Inwald, Guangzhou

Trevor Yeung, Ten Suns and The Saddest Sunrise (Byron Bay), 2016, installation view, Observation Society, Guangzhou, 2016; image courtesy the artist; photo: Trevor Yeung