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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 April in the galleries: Chloé Wolifson   Fiona Connor, Closed Down Clubs, Circus of Books, 2016–17; imagecourtesy the artist and Hopkinson Mossman, Wellington

2 April in the galleries: Chloé Wolifson

Fiona Connor, Closed Down Clubs, Circus of Books, 2016–17; imagecourtesy 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 ALAMEDA,  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 ALAMEDA, 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: Dr 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: Dr 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