Art Monthly Australasia-Issue 293 October 2016

October 2016 Issue 292

1 DISPATCHES: making modern; singapore transfer; finding a future for nas: ANDREW STEPHENSArrival, inaugural exhibition view, Sullivan+Strumpf Singapore, Gillman Barracks, June 2016, including work (from left): Tim Silver (multiple plinths), Hiromi … — **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’: Tony Albert, SydneyPages 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… — 2 On ‘Solid Ground’: 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: Louise Martin-Chew, NewcastleBlack White & Restive, exhibition view, Newcastle Art Gallery, 2016; image courtesy Newcastle Art Gallery — 3 Without censure: ‘Black White & Restive’ at Newcastle: 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): Talia Linz, Alexie Glass-Kantor and Lola Pinder, SydneyTully Arnot, Meadow IRL, 2015, installation view; modified solar display stands, straws, light, motion; image courtesy t… — 4 Reframing emerging art: The 2016 NSW Visual Arts Fellowship (Emerging): 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: Andrew Frost, SydneyKatthy 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: 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’: Julia Jones, SydneyStephen 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 Gallerie… — 6 Wittily subversive: Stephen Bird’s ‘Bastard Son of Royal Doulton’: 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: Jill Stowell, MaitlandBraddon 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 pow… — 7 From manner to materiality: Sculpture in the Hunter: 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: Simeon Kronenberg, Blue MountainsAnne Graham, Eugenia and Atom, 2014, photograph and dog hair felted; image courtesy the artist and Kronenberg Wright Artists Projects, Sydney — 8 Anne Graham: Gathering: 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: Tony Bond, Blue MountainsMAPSPACE, 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, Katoom… — 9 Mountain mapping: 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: Bree Richards, CanberraMike 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, … — 10 Diversionary tactics: Mike Parr at the NGA: 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: Lucy Hawthorne, New NorfolkMike 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: 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: Craig Judd, HobartTempest, 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: 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’: Toni Ross, AucklandLygia 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, … — 13 Actions and reflections: ‘Space to Dream: Recent Art from South America’: 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: Macushla Robinson, New YorkAlicia Frankovich, Bisons, 2010– , performance documentation; performance piece by Alicia Frankovich performed with Tehching Hsieh, International Studio &a… — 14 Alicia Frankovich and Tehching Hsieh: Well-matched in Brooklyn: 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’: Ann Stephen, LondonKeith Arnatt, Art as an Act of Retraction, 1971, detail; Tate, London, transferred from Tate Archive, 2010; image courtesy Tate, London; ˝ Keith Arnatt Estate / DACS,… — 15 An antipodean view of ‘Conceptual Art in Britain 1964–1979’: 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’: John Mateer, PerthMatthew Ngui, Swimming; at least 8 points of view, 2007, installation view, Fremantle Arts Centre, 2016; four-channel digital video, sound, 10:10 mins duration; Qu… — 16 An unsettling ambivalence: Matthew Ngui’s ‘Every Point of View’: 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

Art Monthly Australasia

Art Monthly Australasia is Australasia’s flagship visual arts publication, providing a critical platform for its artists. Published since 1987 under six full-time editors (Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and, from 2014, Michael Fitzgerald), it is Australasia’s only monthly visual arts magazine placing visual arts in a contemporary, historical and regional context.

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