March 2017 issue 296

   
  
 
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     1. Dispatches: Making private museums public,  Andrew Stephens   Reko RenniE, Visible Invisible, 2017, installation view at the construction of the new Lyon Housemuseum galleries, 2017; image courtesy Lyon Housemuseum, Melbourne; photo: John Gollings

1. Dispatches: Making private museums public,  Andrew Stephens

Reko RenniE, Visible Invisible, 2017, installation view at the construction of the new Lyon Housemuseum galleries, 2017; image courtesy Lyon Housemuseum, Melbourne; photo: John Gollings

   
  
 
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     2. Place-based: PAM and Biennial Lab, David Cross,  Melbourne    A Centre For Everything, Visible Hands, 2016; image courtesy the artists; photo: Bryony Jackson

2. Place-based: PAM and Biennial Lab, David Cross, Melbourne

A Centre For Everything, Visible Hands, 2016; image courtesy the artists; photo: Bryony Jackson

   
  
 
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     3. Grand designs: Towards a new SAM D.J. Huppatz, S hepparton    Image courtesy MvS Architects

3. Grand designs: Towards a new SAM D.J. Huppatz, Shepparton

Image courtesy MvS Architects

   
  
 
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   4. Claire Lambe’s libidinal economy Sophie Knezic,  Melbourne    Claire Lambe, Shhhh men at work II, 2013, detail; cast bronze foot, chain mail top, wooden and gold hanging chain, 35 x 25 x 300cm; National Gallery of Victoria (NGV), Melbourne, Yvonne Pettengell Bequest, 2014; image courtesy NGV Photographic Services; photo: Christian Markel

4. Claire Lambe’s libidinal economy Sophie Knezic, Melbourne

Claire Lambe, Shhhh men at work II, 2013, detail; cast bronze foot, chain mail top, wooden and gold hanging chain, 35 x 25 x 300cm; National Gallery of Victoria (NGV), Melbourne, Yvonne Pettengell Bequest, 2014; image courtesy NGV Photographic Services; photo: Christian Markel

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  From the bower , Loris Button, Deborah Klein, Louise Saxton and Carole Wilson           
  
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   Eucalyptus leaves, 2015 –16, handpainted with Indian ink, acrylic paint and pigment markers, dimensions variable; flower presses: wood and metal, each 4 x 24 x 10cm (approx.); collection of Deborah Klein; image courtesy the artist; photo: Tim Gresham

5. From the bower , Loris Button, Deborah Klein, Louise Saxton and Carole Wilson

Eucalyptus leaves, 2015 –16, handpainted with Indian ink, acrylic paint and pigment markers, dimensions variable; flower presses: wood and metal, each 4 x 24 x 10cm (approx.); collection of Deborah Klein; image courtesy the artist; photo: Tim Gresham

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   Screening Vassilieff: The Wolf in Australian Art, Felicity St John Moore,  Melbourne       
  
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    Photographer unknown, ‘Daniel’ Vassilieff in Bristol at the age of 35; image courtesy Felicity St John Moore

6. Screening Vassilieff: The Wolf in Australian Art, Felicity St John Moore, Melbourne

Photographer unknown, ‘Daniel’ Vassilieff in Bristol at the age of 35; image courtesy Felicity St John Moore

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   Towards a global discourse:   ‘  Making Modernism  ’   Sally Quin,  Melbourne         
  
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    O’Keeffe, Preston, Cossington Smith: Making Modernism, exhibition view, Heide Museum of Modern Art, Melbourne, 2016, featuring the work of Grace Cossington Smith; photo: Jeremy Weihrauch

7. Towards a global discourse: Making Modernism’ Sally Quin, Melbourne

O’Keeffe, Preston, Cossington Smith: Making Modernism, exhibition view, Heide Museum of Modern Art, Melbourne, 2016, featuring the work of Grace Cossington Smith; photo: Jeremy Weihrauch

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   Answering back:   ‘  Artist and Empire  ’   at the National Gallery Singapore,   Julie Ewington,    Singapore         
  
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    Michael Cook, Undiscovered #7, 2010, inkjet print, 125 x 100cm; National Gallery of Australia, Canberra, purchased 2010; image courtesy the artist and Andrew Baker Art Dealer, Brisbane

8. Answering back: Artist and Empire at the National Gallery Singapore, Julie Ewington, Singapore

Michael Cook, Undiscovered #7, 2010, inkjet print, 125 x 100cm; National Gallery of Australia, Canberra, purchased 2010; image courtesy the artist and Andrew Baker Art Dealer, Brisbane

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   A multilayered mapping: The 5th Singapore Biennale,   Tarun Nagesh,    Singapore         
  
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    Qiu Zhijie, One Has to Wander through All the Outer Worlds to Reach the Innermost Shrine at the End, 2016, installation view, 5th Singapore Biennale, 2016; ink on paper, glass and stone, dimensions variable; collection of the artist, Singapore Biennale 2016 commission; image courtesy the artist and Singapore Art Museum

9. A multilayered mapping: The 5th Singapore Biennale, Tarun Nagesh, Singapore

Qiu Zhijie, One Has to Wander through All the Outer Worlds to Reach the Innermost Shrine at the End, 2016, installation view, 5th Singapore Biennale, 2016; ink on paper, glass and stone, dimensions variable; collection of the artist, Singapore Biennale 2016 commission; image courtesy the artist and Singapore Art Museum