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June/July 2018 Issue 308

  1 Dispatches:  Andrew Stephens   Nick 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 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

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,  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

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,  canberra     Cartier: 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 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

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 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

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,  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

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,  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

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 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

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,  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

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,  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

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,  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   

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