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April 2018 Issue 306

  1 Dispatches: Andrew Stephens   Peter Maloney,  Untitled , c. 1995, collage and mixed media on paper, 72.6 x 54.8cm, Australian National University Art Collection, Canberra

1 Dispatches: Andrew Stephens

Peter Maloney, Untitled, c. 1995, collage and mixed media on paper, 72.6 x 54.8cm, Australian National University Art Collection, Canberra

  2 Notes from the field: Chloé Wolifson   Fiona Connor,  Closed Down Clubs, Circus of Books , 2016–17; image courtesy the artist and Hopkinson Mossman, Wellington

2 Notes from the field: Chloé Wolifson

Fiona Connor, Closed Down Clubs, Circus of Books, 2016–17; image courtesy the artist and Hopkinson Mossman, Wellington

  3 The Howard Hinton Collection: A magnificent obsession: Andrew Frost,  Armidale     Hinton: Treasures of Australian Art , exhibition installation view, New England Regional Art Museum, Armidale, 2018, with (detail, left): Julian Ashton,  The Awakening , 1902; photo: Simon Scott Photo

3 The Howard Hinton Collection: A magnificent obsession: Andrew Frost, Armidale

Hinton: Treasures of Australian Art, exhibition installation view, New England Regional Art Museum, Armidale, 2018, with (detail, left): Julian Ashton, The Awakening, 1902; photo: Simon Scott Photo

  4 Scintillating signifiers: ‘Flora’ at Lawrence Wilson Art Gallery: Ann Schilo,  Perth     Flora , exhibition installation view, Lawrence Wilson Art Gallery, the University of Western Australia, Perth, 2018; image courtesy the Lawrence Wilson Art Gallery; photo: Caine Chennatt

4 Scintillating signifiers: ‘Flora’ at Lawrence Wilson Art Gallery: Ann Schilo, Perth

Flora, exhibition installation view, Lawrence Wilson Art Gallery, the University of Western Australia, Perth, 2018; image courtesy the Lawrence Wilson Art Gallery; photo: Caine Chennatt

  5 Between nature and culture: ‘The Remarkable Tasmanian Devil’ at TMAG: Jan Hogan and Benjamin J. Richardson,  Hobart    Matt Calvert,  Shadow devil , 2017, installation view, 'The Remarkable Tasmanian Devil’, Tasmanian Museum and Art Gallery (TMAG), Hobart, 2018; toughened glass, 50 x 75 x 12cm, TMAG, Hobart; photo: Mathew Farrell

5 Between nature and culture: ‘The Remarkable Tasmanian Devil’ at TMAG: Jan Hogan and Benjamin J. Richardson, Hobart

Matt Calvert, Shadow devil, 2017, installation view, 'The Remarkable Tasmanian Devil’, Tasmanian Museum and Art Gallery (TMAG), Hobart, 2018; toughened glass, 50 x 75 x 12cm, TMAG, Hobart; photo: Mathew Farrell

  6 From sadness to sunshine: ‘The Unflinching Gaze’ at BRAG: Pedro de ALMEiDA,  Bathurst    William Yang,  Allan , from the series ‘Sadness’, 1988–90, detail; installation view, ‘The Unflinching Gaze: Photo Media and the Male Figure’, Bathurst Regional Art Gallery (BRAG), 2017; image courtesy BRAG; photo: Silversalt Photography

6 From sadness to sunshine: ‘The Unflinching Gaze’ at BRAG: Pedro de ALMEiDA, Bathurst

William Yang, Allan, from the series ‘Sadness’, 1988–90, detail; installation view, ‘The Unflinching Gaze: Photo Media and the Male Figure’, Bathurst Regional Art Gallery (BRAG), 2017; image courtesy BRAG; photo: Silversalt Photography

  7 ‘I can’t believe I still have to protest this fucking shit’: Janine Burke,  Melbourne    Ali Gumillya Baker,  Racist texts , 2014/17, detail; installation view, ‘Unfinished Business: Perspectives on art and feminism’, Australian Centre for Contemporary Art, Melbourne, 2017–18; image courtesy the artist; photo: Andrew Curtis

7 ‘I can’t believe I still have to protest this fucking shit’: Janine Burke, Melbourne

Ali Gumillya Baker, Racist texts, 2014/17, detail; installation view, ‘Unfinished Business: Perspectives on art and feminism’, Australian Centre for Contemporary Art, Melbourne, 2017–18; image courtesy the artist; photo: Andrew Curtis

  8 Ryan Presley: ‘Prosperity'    Blood Money – Fifty Dollar Note – Fanny Balbuk Commemorative , 2011, watercolour on Arches paper, 40.5 x 91.5cm; image courtesy the artist; photo: Carl Warner

8 Ryan Presley: ‘Prosperity'

Blood Money – Fifty Dollar Note – Fanny Balbuk Commemorative, 2011, watercolour on Arches paper, 40.5 x 91.5cm; image courtesy the artist; photo: Carl Warner

  9 Mutlu Çerkez: Fake or fortune?: Audrey Schmidt,  Melbourne     Mutlu Çerkez: 1988-2065 , exhibition installation view, Monash University Museum of Art, Melbourne, 2018; photo: Andrew Curtis

9 Mutlu Çerkez: Fake or fortune?: Audrey Schmidt, Melbourne

Mutlu Çerkez: 1988-2065, exhibition installation view, Monash University Museum of Art, Melbourne, 2018; photo: Andrew Curtis

  10 Michael Hobbs 1934 – 2018: Patricia Anderson   Jon Lewis, Michael Hobbs, c. 1975, silver gelatin print; image courtesy Katharine Glass

10 Michael Hobbs 1934 – 2018: Patricia Anderson

Jon Lewis, Michael Hobbs, c. 1975, silver gelatin print; image courtesy Katharine Glass

  11  Michael Whitworth 1947 – 2017: Candice Bruce  Michael Whitworth at the exhibition ‘We used to talk about love’, Art Gallery of New South Wales, Sydney, 2013; image courtesy Candice Bruce

11 Michael Whitworth 1947 – 2017: Candice Bruce

Michael Whitworth at the exhibition ‘We used to talk about love’, Art Gallery of New South Wales, Sydney, 2013; image courtesy Candice Bruce