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June/July 2018 Issue 308

1 Dispatches:  Andrew StephensNick Mitzevich, 2017; image courtesy the Art Gallery of South Australia, Adelaide; photo: Sven Kovac

1 Dispatches:  Andrew Stephens

Nick Mitzevich, 2017; image courtesy the Art Gallery of South Australia, Adelaide; photo: Sven Kovac

2 notes from the field: Chloé WolifsonDavid Aspden, Jazz Festival Flag, 1968, acrylic on cotton duck, 120 x 236cm; image courtesy the Estate of David Aspden and Utopia Art Sydney

2 notes from the field: Chloé Wolifson

David Aspden, Jazz Festival Flag, 1968, acrylic on cotton duck, 120 x 236cm; image courtesy the Estate of David Aspden and Utopia Art Sydney

3 constructing fantasy worlds at the nga: anne-marie jean and esther carlin, canberraSarah Contos with Nikola Tesla sends Theda Bara to Mars, 2018, the artist’s Balnaves Contemporary Intervention; image courtesy the National Gallery of Australi…

3 constructing fantasy worlds at the nga: anne-marie jean and esther carlin, canberra

Sarah Contos with Nikola Tesla sends Theda Bara to Mars, 2018, the artist’s Balnaves Contemporary Intervention; image courtesy the National Gallery of Australia (NGA), Canberra; photo: Lisa Mattiazzi/NGA

4 art history which sparkles: 'cartier: the exhibition' at the nga: patricia anderson, canberraCartier: The Exhibition, exhibition installation view, National Gallery of Australia (NGA), Canberra, 2018; image courtesy NGA, Canberra

4 art history which sparkles: 'cartier: the exhibition' at the nga: patricia anderson, canberra

Cartier: The Exhibition, exhibition installation view, National Gallery of Australia (NGA), Canberra, 2018; image courtesy NGA, Canberra

5 'throw your arms around the world': samson young and the M+ effect: Chloé Wolifson, hong kongSamson Young, We are the World, as performed by the Hong Kong Federation of Trade Unions Choir, 2017, installation view, ‘Songs for Di…

5 'throw your arms around the world': samson young and the M+ effect: Chloé Wolifson, hong kong

Samson Young, We are the World, as performed by the Hong Kong Federation of Trade Unions Choir, 2017, installation view, ‘Songs for Disaster Relief World Tour’, M+ Pavilion, West Kowloon, 2018; image courtesy the artist

6 on playing: daniel buren in conversation with Anaïs LelloucheDaniel Buren, Le Grand Arc, 1979, installation detail, ‘Static/Mobil’, National Gallery of Victoria (NGV), Melbourne, 1979; © Daniel Buren/ADAGP, Paris; photo: NGV, M…

6 on playing: daniel buren in conversation with Anaïs Lellouche

Daniel Buren, Le Grand Arc, 1979, installation detail, ‘Static/Mobil’, National Gallery of Victoria (NGV), Melbourne, 1979; © Daniel Buren/ADAGP, Paris; photo: NGV, Melbourne

7 floating and flouting the national: two museums in wind¥ wellington: julie ewington, wellingtonMichael Parekowhai, Détour, 2018, exhibition installation view, Toi Art, Museum of New Zealand Te Papa Tongarewa, Wellington, 2018, with …

7 floating and flouting the national: two museums in wind¥ wellington: julie ewington, wellington

Michael Parekowhai, Détour, 2018, exhibition installation view, Toi Art, Museum of New Zealand Te Papa Tongarewa, Wellington, 2018, with (from left): Michael Parekowhai, Constable Plum Bob and Hoodwinked, both 2018, fibreglass and automotive paint; with (in background) Colin McCahon, Northland Panels, 1958; image courtesy Te Papa; photo: Maarten Holl

8 sense memory: 'archie moore 1970-2018' at griffith: helen hughes, brisbaneArchie Moore: 1970–2018, exhibition installation view, Griffith University Art Museum, Brisbane, 2018; image courtesy the artist and The Commercial, Sydney; p…

8 sense memory: 'archie moore 1970-2018' at griffith: helen hughes, brisbane

Archie Moore: 1970–2018, exhibition installation view, Griffith University Art Museum, Brisbane, 2018; image courtesy the artist and The Commercial, Sydney; photo: Carl Warner

9 building a house with hairs: bronwyn oliver: strange things: candice bruceThe Sculpture of Bronwyn Oliver, exhibition installation view, TarraWarra Museum of Art, Healesville, 19 November 2016–5 February 2017; image courtesy Roslyn …

9 building a house with hairs: bronwyn oliver: strange things: candice bruce

The Sculpture of Bronwyn Oliver, exhibition installation view, TarraWarra Museum of Art, Healesville, 19 November 2016–5 February 2017; image courtesy Roslyn Oxley9 Gallery, Sydney; © Estate of Bronwyn Oliver; photo: Andrew Curtis

10 it's 1968 (again) and 'the field' rises (again): john barrett-lennard, melbourneWorks in preparation for The Field, and Murdoch Court, National Gallery of Victoria (NGV), Melbourne, 1968; image courtesy the NGV, Melbourne; photo: George…

10 it's 1968 (again) and 'the field' rises (again): john barrett-lennard, melbourne

Works in preparation for The Field, and Murdoch Court, National Gallery of Victoria (NGV), Melbourne, 1968; image courtesy the NGV, Melbourne; photo: George Mehes

11 in the margins: howard taylor's omission from 'the field' exhibition: ted snell, perthHoward Taylor, Columns, 1970, painted steel and galvanised iron, 213.5 x 38.2cm (each), University of Western Australia Art Collection, Perth, ac…

11 in the margins: howard taylor's omission from 'the field' exhibition: ted snell, perth

Howard Taylor, Columns, 1970, painted steel and galvanised iron, 213.5 x 38.2cm (each), University of Western Australia Art Collection, Perth, acquired 1984; © Howard H. Taylor Estate, represented by Galerie Düsseldorf, Perth

12 'the field revisited': let's talk about gender: michael fitzgerald, melbourneNormana Wight, Untitled – double curve grey, 1968, colour screen print, 76.7 x 56cm (sheet); National Gallery of Victoria, Melbourne, purchased,…

12 'the field revisited': let's talk about gender: michael fitzgerald, melbourne

Normana Wight, Untitled – double curve grey, 1968, colour screen print, 76.7 x 56cm (sheet); National Gallery of Victoria, Melbourne, purchased, NGV Supporters of Prints and Drawings, 2014; © Normana Wight