Art Monthly Australasia-Issue 286 Summer15/16

1 Notes on the formation of a feminist curatorial practice for today: Aileen Burns, BrisbaneAndrea Francke, The Invisible Spaces of Parenthood, 2013–, installation views from the exhibition ‘The Grand Domestic Revolution GOES ON’, CCA Derry~Londonde… — 1 Notes on the formation of a feminist curatorial practice for today: Aileen Burns, *Brisbane*
Andrea Francke, *The Invisible Spaces of Parenthood*, 2013–, installation views from the exhibition ‘The Grand Domestic Revolution GOES ON’, CCA Derry~Londonderry, 2013; photos: Andrea Francke

2 Ladies’ legacies: Women gifting art by women: Lisa Bryan-Brown, Brisbaneetty Quelhurst, Self portrait, 1948, oil on composition board, QUT Art Collection, Brisbane; gift of the artist under the Cultural Gifts Program, 1998 — 2 Ladies’ legacies: Women gifting art by women: Lisa Bryan-Brown, *Brisbane*
etty Quelhurst, *Self portrait*, 1948, oil on composition board, QUT Art Collection, Brisbane; gift of the artist under the Cultural Gifts Program, 1998

3 Forty years and countinG: Louise R. Mayhew, SydneyMarie McMahon, Needlework demonstrations, 1976, screenprint, 57.8 x 45.3cm, University of Sydney Art Collection, transferred from the Tin Sheds Gallery and Art Workshop to the University of Sydney,… — 3 Forty years and countinG: Louise R. Mayhew, *Sydney*
Marie McMahon, *Needlework demonstrations*, 1976, screenprint, 57.8 x 45.3cm, University of Sydney Art Collection, transferred from the Tin Sheds Gallery and Art Workshop to the University of Sydney, 2014

4 A proliferous moment: Contemporary feminism and the formation of new women’s collectives: Louise R. Mayhew, SydneyClark Beaumont, Camouflage, 2011, video still; image courtesy the artists — 4 A proliferous moment: Contemporary feminism and the formation of new women’s collectives: Louise R. Mayhew, *Sydney*
Clark Beaumont, *Camouflage*, 2011, video still; image courtesy the artists

5 Political feminism: Activist art in Australia in 2015: Courtney Coombs, BrisbaneMish Meijers and Tricky Walsh, Angry Ladies, 2015, video still, 2:03 mins duration; image courtesy the artists — 5 Political feminism: Activist art in Australia in 2015: Courtney Coombs, *Brisbane*
Mish Meijers and Tricky Walsh, *Angry Ladies*, 2015, video still, 2:03 mins duration; image courtesy the artists

6 Queer spritz: Kate Britton, SydneySpence Messih, Physical bottom / mental top, 2014, installation view as part of ‘A matter of time’, Firstdraft, Sydney, 2014; steel, 81 x 58cm; image courtesy the artist; photo: Fiona Susanto — 6 Queer spritz: Kate Britton, *Sydney*
Spence Messih, *Physical bottom / mental top*, 2014, installation view as part of ‘A matter of time’, Firstdraft, Sydney, 2014; steel, 81 x 58cm; image courtesy the artist; photo: Fiona Susanto

7 Patriotism, patriarchy and politics: 2015 feminism in context: Chloé Wolifson, SydneyBrenda Samuels, Aesop hand wash, 2015, oil on canvas, 30 x 30cm, image courtesy the artist — 7 Patriotism, patriarchy and politics: 2015 feminism in context: Chloé Wolifson, *Sydney*
Brenda Samuels, *Aesop hand wash*, 2015, oil on canvas, 30 x 30cm, image courtesy the artist

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.