September 2016 Issue 292

1 Connection and belonging: The 33rd NATSIAAs at MAGNT: Luke Scholes, DarwinHarold 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 Northe…

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, DarwinFranck 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 cou…

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, DarwinAngela 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, UtopiaAngelina 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, HarvardStephen Gilchrist, the Australian Studies Visiting Curator at the Harvard Art Museums, in front of Vernon Ah Kee’s …

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

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, AucklandSiliga David Setoga leading the ‘ava ceremony to mark Tautai’s 30-year celebrations at Studio One Toi Tū, Auckland, March 2016; phot…

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 PlymouthWalead Beshty, Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive, 2007, installation view, Govett-Brewster Art Gallery, New Plym…

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, MelbourneNatasha Johns-Messenger, Enfolder, 2016, installation view, Heide Museum of Modern Art, Melbourne, 2016; image courtesy the artist and Heide Museum of Modern Art, Mel…

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

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