Issue 292 September 2016 Northern Territory focus edition

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