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Issue 293 October 2016 NSW focus edition

1 DISPATCHES: making modern; singapore transfer; finding a future for nas, ANDREW STEPHENS Arrival, inaugural exhibition view, Sullivan+Strumpf Singapore, Gillman Barracks, June 2016, including work (from left): Tim Silver (multiple plinths), Hiromi Tango, Alex Seton, Sally Smart, Karen Black, Richard Lewer and Tony Clark; image courtesy Sullivan+Strumpf

1 DISPATCHES: making modern; singapore transfer; finding a future for nas, ANDREW STEPHENS

Arrival, inaugural exhibition view, Sullivan+Strumpf Singapore, Gillman Barracks, June 2016, including work (from left): Tim Silver (multiple plinths), Hiromi Tango, Alex Seton, Sally Smart, Karen Black, Richard Lewer and Tony Clark; image courtesy Sullivan+Strumpf

2 On ‘Solid Ground’ by Tony Albert, Sydney Pages from the 2016 publication Alexandria Park Community School is on Gadigal Land; courtesy the artist and Boccalatte, Sydney; photo: David Collins Alexandria Park Community School is on Gadigal Land will be launched on 12 November 2016 as part of the Black Arts Market at Carriageworks, Sydney.

2 On ‘Solid Ground’ by Tony Albert, Sydney

Pages from the 2016 publication Alexandria Park Community School is on Gadigal Land; courtesy the artist and Boccalatte, Sydney; photo: David Collins

Alexandria Park Community School is on Gadigal Land will be launched on 12 November 2016 as part of the Black Arts Market at Carriageworks, Sydney.

3 Without censure: ‘Black White & Restive’ at Newcastle by Louise Martin-Chew, Newcastle Black White & Restive, exhibition view, Newcastle Art Gallery, 2016; image courtesy Newcastle Art Gallery

3 Without censure: ‘Black White & Restive’ at Newcastle by Louise Martin-Chew, Newcastle

Black White & Restive, exhibition view, Newcastle Art Gallery, 2016; image courtesy Newcastle Art Gallery

4 Reframing emerging art: The 2016 NSW Visual Arts Fellowship (Emerging) by Talia Linz, Alexie Glass-Kantor and Lola Pinder, Sydney Tully Arnot, Meadow IRL, 2015, installation view; modified solar display stands, straws, light, motion; image courtesy the artist; photo: Tully Arnot

4 Reframing emerging art: The 2016 NSW Visual Arts Fellowship (Emerging) by Talia Linz, Alexie Glass-Kantor and Lola Pinder, Sydney

Tully Arnot, Meadow IRL, 2015, installation view; modified solar display stands, straws, light, motion; image courtesy the artist; photo: Tully Arnot

5 Trace, breath and touch: Katthy Cavaliere at Carriageworks by Andrew Frost, Sydney Katthy Cavaliere, katthy’s room, 1998, installation view, Carriageworks, Sydney, 2016; image courtesy Carriageworks, Sydney; photo: Zan Wimberley

5 Trace, breath and touch: Katthy Cavaliere at Carriageworks by Andrew Frost, Sydney

Katthy Cavaliere, katthy’s room, 1998, installation view, Carriageworks, Sydney, 2016; image courtesy Carriageworks, Sydney; photo: Zan Wimberley

6 Wittily subversive: Stephen Bird’s ‘Bastard Son of Royal Doulton’ by Julia Jones, Sydney Stephen Bird, Dundee I love you but you’re bringing me down, 1992, oil on cardboard, tin and perspex, 55.5 x 84 x 10cm; image courtesy the artist, Gould Galleries, Melbourne, and Olsen Irwin, Sydney

6 Wittily subversive: Stephen Bird’s ‘Bastard Son of Royal Doulton’ by Julia Jones, Sydney

Stephen Bird, Dundee I love you but you’re bringing me down, 1992, oil on cardboard, tin and perspex, 55.5 x 84 x 10cm; image courtesy the artist, Gould Galleries, Melbourne, and Olsen Irwin, Sydney

7 From manner to materiality: Sculpture in the Hunter by Jill Stowell, Maitland Braddon Snape sculptures from left: Single fold propped, 2016, welded, inflated and powder-coated steel, 180 x 60 x 40cm; Three chamber plop, 2016, welded, inflated and powder-coated steel, 63 x 60 x 40cm; Performed two chamber plop, MAKEit MADEit 2016, 2016, welded, inflated and powder-coated steel, 81 x 66 x 60cm; image courtesy the artist and Maitland Regional Gallery

7 From manner to materiality: Sculpture in the Hunter by Jill Stowell, Maitland

Braddon Snape sculptures from left: Single fold propped, 2016, welded, inflated and powder-coated steel, 180 x 60 x 40cm; Three chamber plop, 2016, welded, inflated and powder-coated steel, 63 x 60 x 40cm; Performed two chamber plop, MAKEit MADEit 2016, 2016, welded, inflated and powder-coated steel, 81 x 66 x 60cm; image courtesy the artist and Maitland Regional Gallery

8 Anne Graham: Gathering by Simeon Kronenberg, Blue Mountains Anne Graham, Eugenia and Atom, 2014, photograph and dog hair felted; image courtesy the artist and Kronenberg Wright Artists Projects, Sydney

8 Anne Graham: Gathering by Simeon Kronenberg, Blue Mountains

Anne Graham, Eugenia and Atom, 2014, photograph and dog hair felted; image courtesy the artist and Kronenberg Wright Artists Projects, Sydney

9 Mountain mapping by Tony Bond, Blue Mountains MAPSPACE, exhibition view, Blue Mountains Cultural Centre (BMCC), Katoomba, 2016, with the work of (from left): Anne Graham, Claire Healy and Sean Cordeiro, and Sarah Keighery; image courtesy BMCC, Katoomba; photo: Silversalt Photography

9 Mountain mapping by Tony Bond, Blue Mountains

MAPSPACE, exhibition view, Blue Mountains Cultural Centre (BMCC), Katoomba, 2016, with the work of (from left): Anne Graham, Claire Healy and Sean Cordeiro, and Sarah Keighery; image courtesy BMCC, Katoomba; photo: Silversalt Photography

10 Diversionary tactics: Mike Parr at the NGA by Bree Richards, Canberra Mike Parr, Information Centre, 2016, install view as part of ‘Mike Parr: Foreign Looking’, National Gallery of Australia (NGA), Canberra, 2016; image courtesy the artist and NGA, Canberra; photo: Lisa Mattiazzi

10 Diversionary tactics: Mike Parr at the NGA by Bree Richards, Canberra

Mike Parr, Information Centre, 2016, install view as part of ‘Mike Parr: Foreign Looking’, National Gallery of Australia (NGA), Canberra, 2016; image courtesy the artist and NGA, Canberra; photo: Lisa Mattiazzi

11 Parr’s penance: ‘Asylum’ at Willow Court by Lucy Hawthorne, New Norfolk Mike Parr, Asylum [Entry by Mirror Only], exhibition view, Willow Court, New Norfolk, June 2016; image courtesy MONA, Hobart; photo: MONA/ReÅLmi Chauvin

11 Parr’s penance: ‘Asylum’ at Willow Court by Lucy Hawthorne, New Norfolk

Mike Parr, Asylum [Entry by Mirror Only], exhibition view, Willow Court, New Norfolk, June 2016; image courtesy MONA, Hobart; photo: MONA/ReÅLmi Chauvin

12 Blow, winds, and crack your cheeks!: ‘Tempest’ at TMAG by Craig Judd, Hobart Tempest, exhibition view, stairwell intervention, Tasmanian Museum and Art Gallery (TMAG), Hobart, 2016; image courtesy TMAG, Hobart; photo: James Spencer

12 Blow, winds, and crack your cheeks!: ‘Tempest’ at TMAG by Craig Judd, Hobart

Tempest, exhibition view, stairwell intervention, Tasmanian Museum and Art Gallery (TMAG), Hobart, 2016; image courtesy TMAG, Hobart; photo: James Spencer

13 Actions and reflections: ‘Space to Dream: Recent Art from South America’ by Toni Ross, Auckland Lygia Clark, O eu e o tu (The I and the you), 1967/2016, installation view, Auckland Art Gallery, 2016; industrial rubber, foam, fabric, vinyl, acrylon, zipper, plastic brush, horsehair, plastic, 170 x 68 x 8cm (each); The World of Lygia Clark Cultural Association, Rio de Janeiro; image courtesy Auckland Art Gallery Toi o Tāmaki

13 Actions and reflections: ‘Space to Dream: Recent Art from South America’ by Toni Ross, Auckland

Lygia Clark, O eu e o tu (The I and the you), 1967/2016, installation view, Auckland Art Gallery, 2016; industrial rubber, foam, fabric, vinyl, acrylon, zipper, plastic brush, horsehair, plastic, 170 x 68 x 8cm (each); The World of Lygia Clark Cultural Association, Rio de Janeiro; image courtesy Auckland Art Gallery Toi o Tāmaki

14 Alicia Frankovich and Tehching Hsieh: Well-matched in Brooklyn by Macushla Robinson, New York Alicia Frankovich, Bisons, 2010– , performance documentation; performance piece by Alicia Frankovich performed with Tehching Hsieh, International Studio & Curatorial Program, New York, 26 July 2016; image courtesy the artist

14 Alicia Frankovich and Tehching Hsieh: Well-matched in Brooklyn by Macushla Robinson, New York

Alicia Frankovich, Bisons, 2010– , performance documentation; performance piece by Alicia Frankovich performed with Tehching Hsieh, International Studio & Curatorial Program, New York, 26 July 2016; image courtesy the artist

15 An antipodean view of ‘Conceptual Art in Britain 1964–1979’ by Ann Stephen, London Keith Arnatt, Art as an Act of Retraction, 1971, detail; Tate, London, transferred from Tate Archive, 2010; image courtesy Tate, London; ˝ Keith Arnatt Estate / DACS, London

15 An antipodean view of ‘Conceptual Art in Britain 1964–1979’ by Ann Stephen, London

Keith Arnatt, Art as an Act of Retraction, 1971, detail; Tate, London, transferred from Tate Archive, 2010; image courtesy Tate, London; ˝ Keith Arnatt Estate / DACS, London

16 An unsettling ambivalence: Matthew Ngui’s ‘Every Point of View’ by John Mateer, Perth Matthew Ngui, Swimming; at least 8 points of view, 2007, installation view, Fremantle Arts Centre, 2016; four-channel digital video, sound, 10:10 mins duration; Queensland Art Gallery / Gallery of Modern Art, Brisbane

16 An unsettling ambivalence: Matthew Ngui’s ‘Every Point of View’ by John Mateer, Perth

Matthew Ngui, Swimming; at least 8 points of view, 2007, installation view, Fremantle Arts Centre, 2016; four-channel digital video, sound, 10:10 mins duration; Queensland Art Gallery / Gallery of Modern Art, Brisbane