Art Monthly Australasia-Issue 289 May 2016

1 Connective threads: Angela Goddard, BrisbaneImage: Exterior view of The Walls, Miami, Gold Coast, 2015; image courtesy The Walls; photo: Alan Warren — 1 Connective threads: Angela Goddard, *Brisbane*
Image: Exterior view of The Walls, Miami, Gold Coast, 2015; image courtesy The Walls; photo: Alan Warren

2 From ‘Cream’ to ‘Coconut Water’: Feeding Queensland regional audiences: Hamish Sawyer, CaloundraVai Niu Wai Niu Coconut Water, exhibition view with installation detail by Eric Bridgeman, Caboolture Regional Art Gallery, 2015; image courtesy Cabool… — 2 From ‘Cream’ to ‘Coconut Water’: Feeding Queensland regional audiences: Hamish Sawyer, *Caloundra*
*Vai Niu Wai Niu Coconut Water*, exhibition view with installation detail by Eric Bridgeman, Caboolture Regional Art Gallery, 2015; image courtesy Caboolture Regional Art Gallery; photo: Al Sim

3 Reflections in a muddy puddle: Jenny Watson in conversation: Wes Hill, BrisbaneJenny Watson, Reflection in a muddy puddle, 2013, oil on linen and mixed media, 250 x 141cm, image courtesy the artist and Roslyn Oxley Gallery, Sydney — 3 Reflections in a muddy puddle: Jenny Watson in conversation: Wes Hill, *Brisbane*
Jenny Watson, *Reflection in a muddy puddle*, 2013, oil on linen and mixed media, 250 x 141cm, image courtesy the artist and Roslyn Oxley Gallery, Sydney

4 The past comes close: New works: Bruce Reynolds by Virginia Rigney, BrisbaneBruce Reynolds, Vase with Cypress, 2016, lino on board, 168 x 103cm; image courtesy the artist and Jan Manton Art, Brisbane — 4 The past comes close: New works: Bruce Reynolds by Virginia Rigney, *Brisbane*
Bruce Reynolds, *Vase with Cypress*, 2016, lino on board, 168 x 103cm; image courtesy the artist and Jan Manton Art, Brisbane

5 DIY, ARI: Brisbane’s artist-run spaces now: Lisa Bryan-Brown, BrisbaneWeeping Woman performance, That Space, Brisbane, August 1986; image courtesy the University of Queensland Art Museum, Brisbane; photo: The Shared Camera — 5 DIY, ARI: Brisbane’s artist-run spaces now: Lisa Bryan-Brown, *Brisbane*
*Weeping Woman* performance, That Space, Brisbane, August 1986; image courtesy the University of Queensland Art Museum, Brisbane; photo: The Shared Camera

6 andu: A son’s story: Michael Cook, Sunshine CoastMichael Cook, Mother (Bicycle), 2016, inkjet print on paper, 80 x 120cm, edition of 8; image courtesy the artist and Andrew Baker Art Dealer, Brisbane — 6 andu: A son’s story: Michael Cook, *Sunshine Coast*
Michael Cook, *Mother (Bicycle)*, 2016, inkjet print on paper, 80 x 120cm, edition of 8; image courtesy the artist and Andrew Baker Art Dealer, Brisbane

7 Sageraw Thonar: Stories from the southeasterly season: Miriam Carter, CairnsLaurie Nona, Malngu Sagrr Gimeiya, 2016, linocut print on paper, 154.3 x 110.5cm (image size); image courtesy the artist and Badu Art Centre; photo: Jon Linkins — 7 Sageraw Thonar: Stories from the southeasterly season: Miriam Carter, *Cairns*
Laurie Nona, *Malngu Sagrr Gimeiya*, 2016, linocut print on paper, 154.3 x 110.5cm (image size); image courtesy the artist and Badu Art Centre; photo: Jon Linkins

8 Mirdidingkingathi Juwarnda Sally Gabori: The splendour of colour: Louise Martin-Chew, BrisbaneMirdidingkingathi Juwarnda Sally Gabori, Thundi, 2013, synthetic polymer paint on linen; collection: The Estate of Mirdidingkingathi Juwarnda Sally Gabor… — 8 Mirdidingkingathi Juwarnda Sally Gabori: The splendour of colour: Louise Martin-Chew, *Brisbane*
Mirdidingkingathi Juwarnda Sally Gabori, *Thundi*, 2013, synthetic polymer paint on linen; collection: The Estate of Mirdidingkingathi Juwarnda Sally Gabori; © Mirdidingkingathi Juwarnda Sally Gabori, licensed by Viscopy

9 Whorled worlds and echoes from history: Jitish Kallat in conversation: Gene Sherman, Sydneyjitish Kallat, Public Notice, 2003, installation view, 5th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisban… — 9 Whorled worlds and echoes from history: Jitish Kallat in conversation: Gene Sherman, *Sydney*
jitish Kallat, *Public Notice*, 2003, installation view, 5th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, 2006–07; burnt adhesive on acrylic mirror, wood, stainless steel, 5 part series, 198.1 x 137.2 x 15.2cm each; image courtesy the artist

10 Confronting the nature of representation: ‘Afterwork’ at Para Site: Chloé Wolifson, Hong KongSantiago Sierra, La trampa (The Trap), Matucana 100, Santiago de Chile, 2007, photograph; image courtesy the artist and Para Site, Hong Kong — 10 Confronting the nature of representation: ‘Afterwork’ at Para Site: Chloé Wolifson, *Hong Kong*
Santiago Sierra, *La trampa (The Trap)*, Matucana 100, Santiago de Chile, 2007, photograph; image courtesy the artist and Para Site, Hong Kong

11 Deep hanging out: Francis Upritchard at MUMA: Amita Kirpalani, MelbourneFrancis Upritchard: Jealous Saboteurs, exhibition view, Monash University Museum of Art (MUMA), Melbourne, 2016; image courtesy the artist and MUMA, Melbourne — 11 Deep hanging out: Francis Upritchard at MUMA: Amita Kirpalani, *Melbourne*
Francis Upritchard: *Jealous Saboteurs*, exhibition view, Monash University Museum of Art (MUMA), Melbourne, 2016; image courtesy the artist and MUMA, Melbourne

12 Curiouser and curiouser: The 2016 Adelaide Biennial of Australian Art: Stephanie Radok, AdelaideTarryn Gill, Guardian Figure, 2015, installation view, Samstag Museum of Art, Adelaide, 2016; mixed media including foam, faux fur, LED lights, 46 x 4… — 12 Curiouser and curiouser: The 2016 Adelaide Biennial of Australian Art: Stephanie Radok, *Adelaide*
Tarryn Gill, *Guardian Figure*, 2015, installation view, Samstag Museum of Art, Adelaide, 2016; mixed media including foam, faux fur, LED lights, 46 x 40 x 30cm; photo: Saul Steed

13 Illuminating tradition: ‘Shimmer’ at Wollongong: Miranda Samuels, WollongongLola Greeno, warrener, 2015, warrener shells, stainless-steel wire, commissioned for ‘Shimmer’; photo: Bernie Fischer — 13 Illuminating tradition: ‘Shimmer’ at Wollongong: Miranda Samuels, *Wollongong*
Lola Greeno, *warrener*, 2015, warrener shells, stainless-steel wire, commissioned for ‘Shimmer’; photo: Bernie Fischer

14 Conflicted emotion: Elizabeth Gower’s ‘he loves me, he loves me not’; Amelia Winata, MelbourneElizabeth Gower, he loves me, he loves me not, 2016, installation images, RMIT Gallery, Melbourne, 2016; photos: Tobias Titz — 14 Conflicted emotion: Elizabeth Gower’s ‘he loves me, he loves me not’; Amelia Winata, *Melbourne*
Elizabeth Gower, *he loves me, he loves me not*, 2016, installation images, RMIT Gallery, Melbourne, 2016; photos: Tobias Titz

15 Gordon Darling 1921 – 2015: Angus Trumble, CanberraJiawei Shen, L. Gordon Darling AC CMG, 2006, oil on canvas, 168.8 x 153cm; National Portrait Gallery, Canberra, purchased with the assistance of the Mundango Charitable Trust and Claudia Hyles 20… — 15 Gordon Darling 1921 – 2015: Angus Trumble, *Canberra*
Jiawei Shen, *L. Gordon Darling AC CMG*, 2006, oil on canvas, 168.8 x 153cm; National Portrait Gallery, Canberra, purchased with the assistance of the Mundango Charitable Trust and Claudia Hyles 2006

Art Monthly Australasia

Art Monthly Australasia is Australasia’s flagship visual arts publication, providing a critical platform for its artists. Published since 1987 under six full-time editors (Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and, from 2014, Michael Fitzgerald), it is Australasia’s only monthly visual arts magazine placing visual arts in a contemporary, historical and regional context.

Based at the ANU School of Art in Canberra since 1992, Art Monthly Australasia is a non-profit charitable organisation whose income is derived from sales of the magazine, advertising, sponsorship and government funding. Its board comprises leaders in their fields of visual arts scholarship, practice and curating, along with business and finance.

Since 2015, Art Monthly has also fostered critical discourse across the Asia-Pacific region with a new International Council, which, along with increased participation at international art fairs and biennales, is helping to provide a meaningful new context for its artists.