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Summer 2017-2018 Issue 304

  1 Dispatches:  Andrew Stephens    Jennifer Mitchell,   Hugo Weaving as Martin,   1991, from the film   Proof   directed by Jocelyn Moorhouse; image courtesy House And Moorhouse Films Pty Ltd, and the National Film and Sound Archive of Australia, Canberra

1 Dispatches:  Andrew Stephens

Jennifer Mitchell, Hugo Weaving as Martin, 1991, from the film Proof directed by Jocelyn Moorhouse;
image courtesy House And Moorhouse Films Pty Ltd, and the National Film and Sound Archive of Australia, Canberra

  2 Inhabiting complex currents and contexts: mami kataoka in conversation with julie ewington   Mami Kataoka, Sydney Opera House, April 2017; image courtesy the Biennale of Sydney; photo: Catherine McElhone

2 Inhabiting complex currents and contexts: mami kataoka in conversation with julie ewington

Mami Kataoka, Sydney Opera House, April 2017; image courtesy the Biennale of Sydney; photo: Catherine McElhone

  3 From 'Asia Corridor' to 'Sunshower': Illuminating North and Southeast Asian art in Japan, Judy Annear    Felix Bacolor, Stormy Weather, 2009/2017, installation view, ‘Sunshower: Contemporary Art from Southeast Asia 1980s to Now’, Mori Art Museum, Tokyo, 2017; wind chimes, dimensions variable; image courtesy Mori Art Museum, Tokyo; © the artist; photo: Kioku Keizo

3 From 'Asia Corridor' to 'Sunshower': Illuminating North and Southeast Asian art in Japan, Judy Annear

Felix Bacolor, Stormy Weather, 2009/2017, installation view, ‘Sunshower: Contemporary Art from Southeast Asia 1980s to Now’, Mori Art Museum, Tokyo, 2017; wind chimes, dimensions variable; image courtesy Mori Art Museum, Tokyo; © the artist; photo: Kioku Keizo

  4 Watch the Inside of the heart of the other: notes on Pipilotti rist, Natasha Bullock, Sydney   Pipilotti Rist, 4th Floor to Mildness, 2016, installation view, ‘Pipilotti Rist: Sip my Ocean’, Museum of Contemporary Art Australia, Sydney, 2017; image courtesy the artist, Hauser & Wirth and Luhring Augustine; © the artist; photo: Ken Leanfore

4 Watch the Inside of the heart of the other: notes on Pipilotti rist, Natasha Bullock, Sydney

Pipilotti Rist, 4th Floor to Mildness, 2016, installation view, ‘Pipilotti Rist: Sip my Ocean’, Museum of Contemporary Art Australia, Sydney, 2017; image courtesy the artist, Hauser & Wirth and Luhring Augustine; © the artist; photo: Ken Leanfore

  5 Crossing boundaries and calling homeTintin Wulia in conversation with Tess Maunder    Tintin Wulia,   Eeny Meeny Money Moe,   2012, installation view, 7th Asia Pacific Triennial of Contemporary Art (APT7), Brisbane, 2012–13; interactive installation with handmade passports and synchronised machines, commissioned for APT7; image courtesy the artist and Milani Gallery, Brisbane; © the artist; photo: Mark Sherwood

5 Crossing boundaries and calling homeTintin Wulia in conversation with Tess Maunder

Tintin Wulia, Eeny Meeny Money Moe, 2012, installation view, 7th Asia Pacific Triennial of Contemporary Art (APT7), Brisbane, 2012–13;
interactive installation with handmade passports and synchronised machines, commissioned for APT7; image courtesy the artist and Milani Gallery, Brisbane; © the artist; photo: Mark Sherwood

  6 Remaking culture in‘Project Banaba’Katerina Teaiwa in conversation with Michael Fitzgerald   Katerina Teaiwa, Project Banaba, exhibition detail from Teaiwa’s Kainga; image courtesy the artist; photo: Katerina Teaiwa

6 Remaking culture in‘Project Banaba’Katerina Teaiwa in conversation with Michael Fitzgerald

Katerina Teaiwa, Project Banaba, exhibition detail from Teaiwa’s Kainga; image courtesy the artist; photo: Katerina Teaiwa

  7 Benjamin Duterrau A grand contradiction, Greg Lehman, Hobart   Benjamin Duterrau, The Conciliation, 1840, oil on canvas, 121 x 170.5cm; Tasmanian Museum and Art Gallery, Hobart, purchased with assistance from the Friends of the Museum Fund and the Murray Fund, 1945

7 Benjamin Duterrau A grand contradiction, Greg Lehman, Hobart

Benjamin Duterrau, The Conciliation, 1840, oil on canvas, 121 x 170.5cm; Tasmanian Museum and Art Gallery, Hobart, purchased with assistance from the Friends of the Museum Fund and the Murray Fund, 1945

  8 Urgency rezoned ‘Canton Express’ at M+ Pavilion, Mikala Tai, Hong Kong   Xu Tan, Biennale.dog, 2003, digital print on vinyl banner; M+, Hong Kong, gift of Guan Yi, 2013; image courtesy M+, Hong Kong

8 Urgency rezoned ‘Canton Express’ at M+ Pavilion, Mikala Tai, Hong Kong

Xu Tan, Biennale.dog, 2003, digital print on vinyl banner; M+, Hong Kong, gift of Guan Yi, 2013; image courtesy M+, Hong Kong

  9 ‘It’s not that I’m afraid to die ...’, Kit Messham-Muir, Perth   Abdullah M. I. Syed, Flying Rug of Drones (Circle), 2015–17, razor blades, sound; image courtesy the artist and Aicon Gallery, New York

9 ‘It’s not that I’m afraid to die ...’, Kit Messham-Muir, Perth

Abdullah M. I. Syed, Flying Rug of Drones (Circle), 2015–17, razor blades, sound; image courtesy the artist and Aicon Gallery, New York

  10 Sociopolitical whirls ‘After Utopia’ at Samstag, Christine Nicholls, Adelaide   After Utopia: Revisiting the Ideal in Asian Contemporary Art, exhibition installation view, Anne & Gordon Samstag Museum of Art, University of South Australia, Adelaide, 2017; photo: Sam Noonan

10 Sociopolitical whirls ‘After Utopia’ at Samstag, Christine Nicholls, Adelaide

After Utopia: Revisiting the Ideal in Asian Contemporary Art, exhibition installation view, Anne & Gordon Samstag Museum of Art, University of South Australia, Adelaide, 2017; photo: Sam Noonan

  11 Resonating strong ‘Sung into Being’ at QAGOMA, Sasha Grishin, Brisbane    Sung into Being: Aboriginal Masterworks 1984–94,   exhibition installation views, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2017; photos: Natasha Harth, QAGOMA

11 Resonating strong ‘Sung into Being’ at QAGOMA, Sasha Grishin, Brisbane

Sung into Being: Aboriginal Masterworks 1984–94, exhibition installation views, Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, 2017; photos: Natasha Harth, QAGOMA

  12 Creating shape within shape ‘Emu Island’ at Penrith Regional Gallery, Christine France, Emu Plains    Emu Island: Modernism in Place,   exhibition installation view, Penrith Regional Gallery & The Lewers Bequest, Emu Plains, 2017, with (from right to left): Marea Gazzard,   Crater,   1963, earthenware, tin and interior glaze, Penrith Regional Gallery & The Lewers Bequest, gift of Tanya Crothers and Darani Lewers, 2001; Lyndon Dadswell,   Untitled,   c. 1965, brown gummed paper on metal support and wooden base, Penrith Regional Gallery & The Lewers Bequest, gift of Tanya Crothers and Darani Lewers, 1980; photo: Silversalt Photography

12 Creating shape within shape ‘Emu Island’ at Penrith Regional Gallery, Christine France, Emu Plains

Emu Island: Modernism in Place, exhibition installation view, Penrith Regional Gallery & The Lewers Bequest, Emu Plains, 2017, with (from right to left): Marea Gazzard, Crater, 1963, earthenware, tin and interior glaze, Penrith Regional Gallery & The Lewers Bequest, gift of Tanya Crothers and Darani Lewers, 2001; Lyndon Dadswell, Untitled, c. 1965,
brown gummed paper on metal support and wooden base, Penrith Regional Gallery & The Lewers Bequest, gift of Tanya Crothers and Darani Lewers, 1980; photo: Silversalt Photography

  13 A crucial shift ‘Fred Williams in the You Yangs’, Christopher Heathcote, Geelong   Fred Williams, You Yangs III, 1963, oil and tempera on composition board; TarraWarra Museum of Art collection, gift of Eva Besen AO and Marc Besen AO, donated through the Australian Government’s Cultural Gifts Program, 2008; © Estate of Fred Williams

13 A crucial shift ‘Fred Williams in the You Yangs’, Christopher Heathcote, Geelong

Fred Williams, You Yangs III, 1963, oil and tempera on composition board; TarraWarra Museum of Art collection, gift of Eva Besen AO and Marc Besen AO, donated through the Australian Government’s Cultural Gifts Program, 2008; © Estate of Fred Williams

  14 Both sides of the picture: Writing Whiteley on TriaL, Gabriella Coslovich, Melbourne    Detective Senior Constable Justin Stefanec and the writer examine   Big Blue Lavender Bay

14 Both sides of the picture: Writing Whiteley on TriaL, Gabriella Coslovich, Melbourne

Detective Senior Constable Justin Stefanec and the writer examine Big Blue Lavender Bay