June-July 2017 Issue 299

  1 Dispatches:  Andrew Stephens   Sharyn Egan, The Nullians, 2017, turned wood from the balga tree, dimensions variable; image courtesy the artist and Perth Institute of Contemporary Arts, Perth; photo: Alessandro Bianchetti

1 Dispatches:  Andrew Stephens

Sharyn Egan, The Nullians, 2017, turned wood from the balga tree, dimensions variable; image courtesy the artist and Perth Institute of Contemporary Arts, Perth; photo: Alessandro Bianchetti

  2. Out of The Enclosure: Elisabeth Cummings's 'Interior Landscapes', Anne-Marie Jean, Canberra   Elisabeth Cummings: Interior Landscapes, exhibition install view, ANU Drill Hall Gallery, Canberra, 2017; image courtesy the Drill Hall Gallery, Canberra; photo: Rob Little Digital Images

2. Out of The Enclosure: Elisabeth Cummings's 'Interior Landscapes', Anne-Marie Jean, Canberra

Elisabeth Cummings: Interior Landscapes, exhibition install view, ANU Drill Hall Gallery, Canberra, 2017; image courtesy the Drill Hall Gallery, Canberra; photo: Rob Little Digital Images

  3. Plein-air Revival: ' headland  Sculpture on The Gulf 2017', Bob Evans, Waiheke Island    Chris Bailey, Te Rerenga Wai ō Tīkapa Moana – The flowing waters of Tī kapa Moana, 2016, install view, ‘headland Sculpture on the Gulf 2017’, Hauraki Gulf, 2017; turpentine (syncarpia glomulifera), pāua shell and stain, eight parts; image courtesy the artist and SOTG

3. Plein-air Revival: 'headland Sculpture on The Gulf 2017', Bob Evans, Waiheke Island

Chris Bailey, Te Rerenga Wai ō Tīkapa Moana – The flowing waters of Tī kapa Moana, 2016, install view, ‘headland Sculpture on the Gulf 2017’, Hauraki Gulf, 2017; turpentine (syncarpia glomulifera), pāua shell and stain, eight parts; image courtesy the artist and SOTG

  4. Destabilising states: Ann Shelton's 'Dark Matter', Blair French, Auckland   Ann Shelton: Dark Matter, exhibition install views, Auckland Art Gallery Toi o Tāmaki, 2017; images courtesy Auckland Art Gallery Toi o Tāmaki; photos: Sam Hartnett

4. Destabilising states: Ann Shelton's 'Dark Matter', Blair French, Auckland

Ann Shelton: Dark Matter, exhibition install views, Auckland Art Gallery Toi o Tāmaki, 2017; images courtesy Auckland Art Gallery Toi o Tāmaki; photos: Sam Hartnett

  5. Maori Matters: 'Colin McCahon: On Going Out With The Tide', Peter Simpson, Wellington   Colin McCahon: On Going Out with the Tide, exhibition install views, City Gallery Wellington, 2017; images courtesy Colin McCahon Research and Publication Trust; photos: Shaun Waugh

5. Maori Matters: 'Colin McCahon: On Going Out With The Tide', Peter Simpson, Wellington

Colin McCahon: On Going Out with the Tide, exhibition install views, City Gallery Wellington, 2017; images courtesy Colin McCahon Research and Publication Trust; photos: Shaun Waugh

  6. Contemporary Atauro carving from Timor-Leste, James Bennett, Darwin   Kai Nai, Mask, mid-late 20th century; wood, presumed white hardwood (Wrightia javanica), initim (AD), ai lalar (T), 36.5 x 16 x 7.5cm; Charles Darwin University Art Collection, Darwin

6. Contemporary Atauro carving from Timor-Leste, James Bennett, Darwin

Kai Nai, Mask, mid-late 20th century; wood, presumed white hardwood (Wrightia javanica), initim (AD), ai lalar (T), 36.5 x 16 x 7.5cm; Charles Darwin University Art Collection, Darwin

  7. N. S. Harsha and Agatha Gothe-Snape in Tokyo: mori Art Museum and the Australian connection, Julie Ewington, Tokyo   N. S. Harsha, Sky Gazers, 2010/17, installation view,‘ N. S. Harsha: Charming Journey’, Mori Art Museum, Tokyo, 2017; acrylic on plywood, 975.4 x 488cm; Image courtesy Mori Art Museum, Tokyo, and Victoria Miro, London; photo: Shiigi Shizune

7. N. S. Harsha and Agatha Gothe-Snape in Tokyo: mori Art Museum and the Australian connection, Julie Ewington, Tokyo

N. S. Harsha, Sky Gazers, 2010/17, installation view,‘ N. S. Harsha: Charming Journey’, Mori Art Museum, Tokyo, 2017; acrylic on plywood, 975.4 x 488cm; Image courtesy Mori Art Museum, Tokyo, and Victoria Miro, London; photo: Shiigi Shizune

  8. Studio Tropes: Exploring the Fluid contexts for Creativity, craig Judd, Sydney   Our Studio Selves, exhibition install view, ‘Ideas Platform’, Artspace, Sydney, April 2017; photo: Zan Wimberley

8. Studio Tropes: Exploring the Fluid contexts for Creativity, craig Judd, Sydney

Our Studio Selves, exhibition install view, ‘Ideas Platform’, Artspace, Sydney, April 2017; photo: Zan Wimberley

  9. Yosl Bergner, Melbourne and his Kafka paintings, Ross Mellick   Photographer unknown, Melech Ravitch and an Australian ‘brother’ in 1933; image courtesy the author

9. Yosl Bergner, Melbourne and his Kafka paintings, Ross Mellick

Photographer unknown, Melech Ravitch and an Australian ‘brother’ in 1933; image courtesy the author

  10. German artists in the South Sea, Alison Carroll   Eugene von Guérard, Tower Hill, 1855, oil on canvas, 68.6 x 122cm; image courtesy Warrnambool Art Gallery, on loan from the Department of Environment, Land, Water and Planning, presented by Miss Effie Thornton, 1966

10. German artists in the South Sea, Alison Carroll

Eugene von Guérard, Tower Hill, 1855, oil on canvas, 68.6 x 122cm; image courtesy Warrnambool Art Gallery, on loan from the Department of Environment, Land, Water and Planning, presented by Miss Effie Thornton, 1966

  11. The Pacific Room, Michael Fitzgerald

11. The Pacific Room, Michael Fitzgerald

  12. From storied gourds to political billboard: Native Hawaiian artists in focus, Mārata Ketekiri Tamaira, Honolulu    Drew Broderick, Billboard I. (The sovereignty of the land is perpetuated in righteousness), 2017, detail; installation view, 1st Honolulu Biennial, 2017; neon, vinyl; image courtesy the artist

12. From storied gourds to political billboard: Native Hawaiian artists in focus, Mārata Ketekiri Tamaira, Honolulu

Drew Broderick, Billboard I. (The sovereignty of the land is perpetuated in righteousness), 2017, detail; installation view, 1st Honolulu Biennial, 2017; neon, vinyl; image courtesy the artist

  13. Michael Parekowhai: The Empire of Light   Michael Parekowhai, The Lighthouse, 2017, details; images courtesy the artist and Michael Lett, Auckland

13. Michael Parekowhai: The Empire of Light

Michael Parekowhai, The Lighthouse, 2017, details; images courtesy the artist and Michael Lett, Auckland