01 Connective threads by Angela Goddard,  Brisbane      Image: Exterior view of The Walls, Miami, Gold Coast, 2015; image courtesy The Walls; photo: Alan   Warren

01 Connective threads by Angela Goddard, Brisbane

Image: Exterior view of The Walls, Miami, Gold Coast, 2015; image courtesy The Walls; photo: Alan Warren

  02 From ‘Cream’ to ‘Coconut Water’: Feeding Queensland regional audiences by Hamish Sawyer,  Caloundra    image:  Vai Niu Wai Niu Coconut Water  , exhibition view with installation detail by Eric Bridgeman, Caboolture Regional Art Gallery, 2015; image courtesy Caboolture Regional Art Gallery; photo: Al Sim

02 From ‘Cream’ to ‘Coconut Water’: Feeding Queensland regional audiences by Hamish Sawyer, Caloundra

image: Vai Niu Wai Niu Coconut Water, exhibition view with installation detail by Eric Bridgeman, Caboolture Regional Art Gallery, 2015; image courtesy Caboolture Regional Art Gallery; photo: Al Sim

  03 Reflections in a muddy puddle: Jenny Watson in conversation by Wes Hill,  Brisbane    Image:  Jenny Watson,   Reflection in a muddy puddle  , 2013, oil on linen and mixed media, 250 x 141cm, image courtesy the artist and Roslyn Oxley9 Gallery, Sydney

03 Reflections in a muddy puddle: Jenny Watson in conversation by Wes Hill, Brisbane

Image: Jenny Watson, Reflection in a muddy puddle, 2013, oil on linen and mixed media, 250 x 141cm, image courtesy the artist and Roslyn Oxley9 Gallery, Sydney

  04 The past comes close: New works by Bruce Reynolds by Virginia Rigney,  Brisbane    image:  Bruce Reynolds,   Vase with Cypress  , 2016, lino on board, 168 x 103cm; image courtesy the artist and Jan Manton Art, Brisbane

04 The past comes close: New works by Bruce Reynolds by Virginia Rigney, Brisbane

image: Bruce Reynolds, Vase with Cypress, 2016, lino on board, 168 x 103cm; image courtesy the artist and Jan Manton Art, Brisbane

     05 DIY, ARI: Brisbane’s artist-run spaces now by Lisa Bryan-Brown,  Brisbane     Image: ‘Weeping Woman’ performance, That Space, Brisbane, August 1986; image courtesy the University of Queensland Art Museum, Brisbane; photo: The Shared Camera

 

05 DIY, ARI: Brisbane’s artist-run spaces now by Lisa Bryan-Brown, Brisbane

Image: ‘Weeping Woman’ performance, That Space, Brisbane, August 1986; image courtesy the University of Queensland Art Museum, Brisbane; photo: The Shared Camera

  06 andu: A son’s story by Michael Cook,  Sunshine Coast     IMAGE: Michael Cook,   Mother (Bicycle)  , 2016, inkjet print on paper, 80 x 120cm, edition of 8; image courtesy the artist and Andrew Baker Art Dealer, Brisbane

06 andu: A son’s story by Michael Cook, Sunshine Coast

IMAGE: Michael Cook, Mother (Bicycle), 2016, inkjet print on paper, 80 x 120cm, edition of 8; image courtesy the artist and Andrew Baker Art Dealer, Brisbane

  07 Sageraw Thonar: Stories from the southeasterly season by Miriam Carter,  Cairns    Image: Laurie Nona,  Malngu Sagrr Gimeiya , 2016, linocut print on paper, 154.3 x 110.5cm (image size); image courtesy the artist and Badu Art Centre; photo: Jon Linkins   

07 Sageraw Thonar: Stories from the southeasterly season by Miriam Carter, Cairns

Image: Laurie Nona, Malngu Sagrr Gimeiya, 2016, linocut print on paper, 154.3 x 110.5cm (image size); image courtesy the artist and Badu Art Centre; photo: Jon Linkins

 

  08 Mirdidingkingathi Juwarnda Sally Gabori: The splendour of colour by Louise Martin-Chew,  Brisbane     image: Mirdidingkingathi Juwarnda Sally Gabori,   Thundi  , 2013, synthetic polymer paint on linen; collection: The Estate of Mirdidingkingathi Juwarnda Sally Gabori; © Mirdidingkingathi Juwarnda Sally Gabori, licensed by Viscopy

08 Mirdidingkingathi Juwarnda Sally Gabori: The splendour of colour by Louise Martin-Chew, Brisbane

image: Mirdidingkingathi Juwarnda Sally Gabori, Thundi, 2013, synthetic polymer paint on linen; collection: The Estate of Mirdidingkingathi Juwarnda Sally Gabori; © Mirdidingkingathi Juwarnda Sally Gabori, licensed by Viscopy

  09 Whorled worlds and echoes from history: Jitish Kallat in conversation by Gene Sherman,  Sydney     image: jitish Kallat,   Public Notice  , 2003, installation view, 5th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, 2006–07; burnt adhesive on acrylic mirror, wood, stainless steel, 5 part series, 198.1 x 137.2 x 15.2cm each; image courtesy the artist

09 Whorled worlds and echoes from history: Jitish Kallat in conversation by Gene Sherman, Sydney

image: jitish Kallat, Public Notice, 2003, installation view, 5th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, 2006–07; burnt adhesive on acrylic mirror, wood, stainless steel, 5 part series, 198.1 x 137.2 x 15.2cm each; image courtesy the artist

  10 Confronting the nature of representation: ‘Afterwork’ at Para Site by Chloé Wolifson,  Hong Kong     image: Santiago Sierra,   La trampa (The Trap)  , Matucana 100, Santiago de Chile, 2007, photograph; image courtesy the artist and Para Site, Hong Kong

10 Confronting the nature of representation: ‘Afterwork’ at Para Site by Chloé Wolifson, Hong Kong

image: Santiago Sierra, La trampa (The Trap), Matucana 100, Santiago de Chile, 2007, photograph; image courtesy the artist and Para Site, Hong Kong

  11 Deep hanging out: Francis Upritchard at MUMA by Amita Kirpalani,  Melbourne     Image: Francis Upritchard:   Jealous Saboteurs  , exhibition view, Monash University Museum of Art (MUMA), Melbourne, 2016; image courtesy the artist and MUMA, Melbourne

11 Deep hanging out: Francis Upritchard at MUMA by Amita Kirpalani, Melbourne

Image: Francis Upritchard: Jealous Saboteurs, exhibition view, Monash University Museum of Art (MUMA), Melbourne, 2016; image courtesy the artist and MUMA, Melbourne

  12 Curiouser and curiouser: The 2016 Adelaide Biennial of Australian Art by Stephanie Radok,  Adelaide     image: Tarryn Gill,   Guardian Figure  , 2015, installation view, Samstag Museum of Art, Adelaide, 2016; mixed media including foam, faux fur, LED lights, 46 x 40 x 30cm; photo: Saul Steed

12 Curiouser and curiouser: The 2016 Adelaide Biennial of Australian Art by Stephanie Radok, Adelaide

image: Tarryn Gill, Guardian Figure, 2015, installation view, Samstag Museum of Art, Adelaide, 2016; mixed media including foam, faux fur, LED lights, 46 x 40 x 30cm; photo: Saul Steed

  13 Illuminating tradition: ‘Shimmer’ at Wollongong by Miranda Samuels,  Wollongong     image: Lola Greeno,   warrener  , 2015, warrener shells, stainless-steel wire, commissioned for ‘Shimmer’; photo: Bernie Fischer

13 Illuminating tradition: ‘Shimmer’ at Wollongong by Miranda Samuels, Wollongong

image: Lola Greeno, warrener, 2015, warrener shells, stainless-steel wire, commissioned for ‘Shimmer’; photo: Bernie Fischer

  14 Conflicted emotion: Elizabeth Gower’s ‘he loves me, he loves me not’ by Amelia Winata,  Melbourne     image: Elizabeth Gower,   he loves me, he loves me not  , 2016, installation images, RMIT Gallery, Melbourne, 2016; photos: Tobias Titz

14 Conflicted emotion: Elizabeth Gower’s ‘he loves me, he loves me not’ by Amelia Winata, Melbourne

image: Elizabeth Gower, he loves me, he loves me not, 2016, installation images, RMIT Gallery, Melbourne, 2016; photos: Tobias Titz

  15 Gordon Darling 1921 – 2015 by Angus Trumble,  Canberra     image: Jiawei Shen,   L. Gordon Darling AC CMG  , 2006, oil on canvas, 168.8 x 153cm; National Portrait Gallery, Canberra, purchased with the assistance of the Mundango Charitable Trust and Claudia Hyles 2006

15 Gordon Darling 1921 – 2015 by Angus Trumble, Canberra

image: Jiawei Shen, L. Gordon Darling AC CMG, 2006, oil on canvas, 168.8 x 153cm; National Portrait Gallery, Canberra, purchased with the assistance of the Mundango Charitable Trust and Claudia Hyles 2006