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September 2017 Issue 301

  1 Dispatches: Andrew Stephens   Mikala Dwyer,  Square Cloud Compound , 2010, Installation View, Musuem of Contemporary Art, Sydney; Fabric stockings, glass, beer, Champagne, Plastic, Ceramics, Found Things, Wood, Rocks, Lights, Paints, Acrylic, Cat and Bird ornaments, dimensions variable; image courtesy the artist; photo: Jessica MAurer

1 Dispatches: Andrew Stephens

Mikala Dwyer, Square Cloud Compound, 2010, Installation View, Musuem of Contemporary Art, Sydney; Fabric stockings, glass, beer, Champagne, Plastic, Ceramics, Found Things, Wood, Rocks, Lights, Paints, Acrylic, Cat and Bird ornaments, dimensions variable; image courtesy the artist; photo: Jessica MAurer

  2 September in The Galleries: Chloé Wolifson    Desert Mob , 2016, exhibition opening, 8 September 2016; image courtesy Araluen Arts Centre, Alice Springs; Photo: Lisa Hatzimihail

2 September in The Galleries: Chloé Wolifson

Desert Mob, 2016, exhibition opening, 8 September 2016; image courtesy Araluen Arts Centre, Alice Springs; Photo: Lisa Hatzimihail

  3 The Young ones: Finding Philanthropy: Rhianna Walcott,  Sydney    MCA Young Ambassadors at Tom Polo's Artspace Studio, Sydney, 16 May 2017; image courtesy the artist, Artspace, Sydney, and the Museum of Contemporary Art Australia, Sydney; Photo: Sam Whiteside

3 The Young ones: Finding Philanthropy: Rhianna Walcott, Sydney

MCA Young Ambassadors at Tom Polo's Artspace Studio, Sydney, 16 May 2017; image courtesy the artist, Artspace, Sydney, and the Museum of Contemporary Art Australia, Sydney; Photo: Sam Whiteside

  4 Greg Semu and Philjames: All that Glitters Is Not Gold: Elizabeth Reidy,  Sydney    Greg Semu,  Black Tracker Surrogate Family , 2016-17, from the 'Blood Red' series; pigment print on art paper, 80 x 106.75cm; image courtesy the artist and Alcaston Gallery, Melbourne

4 Greg Semu and Philjames: All that Glitters Is Not Gold: Elizabeth Reidy, Sydney

Greg Semu, Black Tracker Surrogate Family, 2016-17, from the 'Blood Red' series; pigment print on art paper, 80 x 106.75cm; image courtesy the artist and Alcaston Gallery, Melbourne

  5 Revisiting Landscape and Identity with Anne Zahalka: Jacqui Durrant,  Albury    Anne Zahalka,  Outlawed! , 2017, archival Pigment Print, 90 x 121cm; image courtesy the artist and ARC ONE Gallery, Melbourne

5 Revisiting Landscape and Identity with Anne Zahalka: Jacqui Durrant, Albury

Anne Zahalka, Outlawed!, 2017, archival Pigment Print, 90 x 121cm; image courtesy the artist and ARC ONE Gallery, Melbourne

  6 Beneath The 'layered otherness' of Dacchi Dang: John Clark,  Sydney    Dacchi Dang,  An omen near and Far , Exhibition detail View, 4A Centre for Contemporary Asian Art, Sydney, 2017, with (from left): Spectacle I, 1996; Untitled, 1996, from the series 'Spectacle II'; image courtesy the artist; photo: Document Photography

6 Beneath The 'layered otherness' of Dacchi Dang: John Clark, Sydney

Dacchi Dang, An omen near and Far, Exhibition detail View, 4A Centre for Contemporary Asian Art, Sydney, 2017, with (from left): Spectacle I, 1996; Untitled, 1996, from the series 'Spectacle II'; image courtesy the artist; photo: Document Photography

  7 Hilarie Mais: A geometary of Emotion: Michael Desmond,  Sydney    Hilarie Mais,  Cluster Ghost , 2016, Synthetic polymer paint on wood, 182 x 182 x 4.5cm; image courtesy and copyright the artist; photo: Jessica Maurer

7 Hilarie Mais: A geometary of Emotion: Michael Desmond, Sydney

Hilarie Mais, Cluster Ghost, 2016, Synthetic polymer paint on wood, 182 x 182 x 4.5cm; image courtesy and copyright the artist; photo: Jessica Maurer

  8 Ella Dreyfus: Walking in Wiesbaden   Ella Dreyfus, brettheimer, dreyfus, juden, ransenberg (brettheimer, dreyfus, jews, ransenberg), No 2, Schulbergstrabe, Wiesbaden, 2017, from the series  Walking in Wiesbaden  (2017); chromogenic print, 60 x 84cm; image courtesy the artist

8 Ella Dreyfus: Walking in Wiesbaden

Ella Dreyfus, brettheimer, dreyfus, juden, ransenberg (brettheimer, dreyfus, jews, ransenberg), No 2, Schulbergstrabe, Wiesbaden, 2017, from the series Walking in Wiesbaden (2017); chromogenic print, 60 x 84cm; image courtesy the artist

  9 A Curated Vision for the 2017 NATSIAAs: Michael   Fitzgerald,  Darwin    Robert Fielding,  Milkali Kutju  - One Blood, 2017, synthetic polymer paint and ink on burnt and pierced paper, 153.5 x 140.5cm; image courtesy the artist and MAGNT, Darwin

9 A Curated Vision for the 2017 NATSIAAs: Michael Fitzgerald, Darwin

Robert Fielding, Milkali Kutju - One Blood, 2017, synthetic polymer paint and ink on burnt and pierced paper, 153.5 x 140.5cm; image courtesy the artist and MAGNT, Darwin

  10 'To attend, singing, to the trace of the fugitive gods' The Big Punchbowl Project: Delia Nicholls,  Freycinet Peninsula    Poet Adrienne Eberhard and painter Sue Lovegrove at the Big Punchbowl, Tasmania, October 2016; Photo: Mathew Newton

10 'To attend, singing, to the trace of the fugitive gods' The Big Punchbowl Project: Delia Nicholls, Freycinet Peninsula

Poet Adrienne Eberhard and painter Sue Lovegrove at the Big Punchbowl, Tasmania, October 2016; Photo: Mathew Newton

  11 The National ' Institution': Fernando de Campo,  Sydney    The National 2017:  New Australian Art , exhibition installation view, Carriageworks, Sydney, 2017; image courtesy Carriageworks, Sydney; photo: Zan Wimberley

11 The National ' Institution': Fernando de Campo, Sydney

The National 2017: New Australian Art, exhibition installation view, Carriageworks, Sydney, 2017; image courtesy Carriageworks, Sydney; photo: Zan Wimberley