Art Monthly Australasia-Issue 285 November 2015

1 New Zealand at Venice: Simon Denny’s ‘Secret Power’ by Christina Barton, VeniceSimon Denny, Plaque (Claudius Ptolemy, Geography), 2015, installation view, Marco Polo International Airport, Venice, 2015; photo: Paolo Monell — 1 New Zealand at Venice: Simon Denny’s ‘Secret Power’ by Christina Barton, *Venice*
Simon Denny, Plaque (Claudius Ptolemy, Geography), 2015, installation view, Marco Polo International Airport, Venice, 2015; photo: Paolo Monell

2 Re-animating encounter: Lisa Reihana’s in Pursuit of Venus [infected]: Vivienne Webb, AucklandLisa Reihana, in Pursuit of Venus [infected], 2015, exhibition views, Auckland Art Gallery Toi o Tāmaki, 2015; gift of the Patrons of Auckland Art Gallery — 2 Re-animating encounter: Lisa Reihana’s in Pursuit of Venus [infected]: Vivienne Webb, *Auckland*
Lisa Reihana, *in Pursuit of Venus [infected]*, 2015, exhibition views, Auckland Art Gallery Toi o Tāmaki, 2015; gift of the Patrons of Auckland Art Gallery

3 Reflecting a figure: The Govett-Brewster’s new Len Lye Centre: Wystan Curnow, New PlymouthPatterson Associates’ Len Lye Centre, New Plymouth, 2015; photo: Patrick Reynolds — 3 Reflecting a figure: The Govett-Brewster’s new Len Lye Centre: Wystan Curnow, *New Plymouth*
Patterson Associates’ Len Lye Centre, New Plymouth, 2015; photo: Patrick Reynolds

4 The past is a foreign climate: Shigeyuki Kihara meets the Anthropocene: Nina Seja, AucklandShigeyuki Kihara, German Monument, Mulinu’u, 2013, type-C photograph, edition 5/5 + 2 AP; Queensland Art Gallery / Gallery of Modern Art, Brisbane; image c… — 4 The past is a foreign climate: Shigeyuki Kihara meets the Anthropocene: Nina Seja, *Auckland*
Shigeyuki Kihara, *German Monument, Mulinu’u*, 2013, type-C photograph, edition 5/5 + 2 AP; Queensland Art Gallery / Gallery of Modern Art, Brisbane; image courtesy the artist and Milford Galleries, Dunedin

5 My big ugly art world: Grayson Perry on Aboriginal art and how to be undiplomatic in the history wars: Khadija von Zinnenburg Carroll, LondonGrayson Perry, My Pretty Little Art Career, 2003, glazed ceramic, Speyer Family Collection, New York; imag… — 5 My big ugly art world: Grayson Perry on Aboriginal art and how to be undiplomatic in the history wars: Khadija von Zinnenburg Carroll, *London*
Grayson Perry, *My Pretty Little Art Career*, 2003, glazed ceramic, Speyer Family Collection, New York; image courtesy the artist and Victoria Miro, London; © Grayson Perry

6 Depicting durchblicke: The wall works of Klaus Moje: Nola Anderson, CanberraKlaus Moje, Floating Red, 2000, fused and cold worked glass, 152 x 152cm, Australian National University Collection, Canberra; image courtesy the artist; photo: Rob Little — 6 Depicting durchblicke: The wall works of Klaus Moje: Nola Anderson, *Canberra*
Klaus Moje, *Floating Red*, 2000, fused and cold worked glass, 152 x 152cm, Australian National University Collection, Canberra; image courtesy the artist; photo: Rob Little

7 A desirous mind: Matthys Gerber at the MCA: Max Delany, SydneyMatthys Gerber, L’Origine du Monde #1, 1992, oil on canvas, Barber Cottier Collection, Sydney; image couresy and © the artist; photo: Ashley Barber — 7 A desirous mind: Matthys Gerber at the MCA: Max Delany, *Sydney*
Matthys Gerber, *L’Origine du Monde #1*, 1992, oil on canvas, Barber Cottier Collection, Sydney; image couresy and © the artist; photo: Ashley Barber

8 Multiple flows: ‘Saltwater: A Theory of Thought Forms’, the 14th Istanbul Biennial: Julie Ewington, IstanbulAdrián Villar Rojas, The Most Beautiful of All Mothers, 2015, site-specific installation, organic and inorganic materials; photo: Kubra Ka… — 8 Multiple flows: ‘Saltwater: A Theory of Thought Forms’, the 14th Istanbul Biennial: Julie Ewington, *Istanbul*
Adrián Villar Rojas, *The Most Beautiful of All Mothers*, 2015, site-specific installation, organic and inorganic materials; photo: Kubra Karacizmeli

9 Through a glass darkly: ‘Myth + Magic’ at the NGA: Diane Losche, CanberraMyth + Magic: Art of the Sepik River, Papua New Guinea, exhibition views, National Gallery of Australia (NGA), Canberra; images courtesy the NGA, Canberra — **9 Through a glass darkly: ‘Myth + Magic’ at the NGA: Diane Losche, Canberra**
*Myth + Magic: Art of the Sepik River, Papua New Guinea*, exhibition views, National Gallery of Australia (NGA), Canberra; images courtesy the NGA, Canberra

10 Slow burn: Robyn Backen’s ‘If you do not speak, do I speak for you?’: John Murphy, SydneyRobyn Backen, If you do not speak, do I speak for you?, 2015, installation view, Incinerator Art Space, Sydney, 2015; photo: Ian Hobbs — 10 Slow burn: Robyn Backen’s ‘If you do not speak, do I speak for you?’: John Murphy, *Sydney*
Robyn Backen, *If you do not speak, do I speak for you?*, 2015, installation view, Incinerator Art Space, Sydney, 2015; photo: Ian Hobbs

11 Continental drift: Derek Kreckler’s ‘Accident & Process’ at PICA: Marco Marcon, PerthDerek Kreckler, Holey #1, 2003, installation view, Perth Institute of Contemporary Arts (PICA), 2015; type-C digital prints, aluminium spheres, cast vinyl, … — 11 Continental drift: Derek Kreckler’s ‘Accident & Process’ at PICA: Marco Marcon, *Perth*
Derek Kreckler, Holey #1, 2003, installation view, Perth Institute of Contemporary Arts (PICA), 2015; type-C digital prints, aluminium spheres, cast vinyl, wooden plinths; 120 x 250 x 5cm (wall); 8 x 250 x 100cm (floor); photo: Alessandro Bianchetti

12 Robert MacPherson: Everyone, everything, everywhere: Daniel Thomas, BrisbaneRobert MacPherson, 17 Frog Poems (for G.N. & A.W. (who by example) taught the kinder way), 1987–89, installation view, ‘Robert MacPherson: The Painter’s Reach’, Galle… — 12 Robert MacPherson: Everyone, everything, everywhere: Daniel Thomas, *Brisbane*
Robert MacPherson, 17 Frog Poems (for G.N. & A.W. (who by example) taught the kinder way), 1987–89, installation view, ‘Robert MacPherson: The Painter’s Reach’, Gallery of Modern Art, Brisbane, 2015; Metl-Stik on wood with wood and canvas stretcher beds; Queensland Art Gallery, Brisbane, purchased 1999, the Queensland Government’s special Centenary Fund; photo and image courtesy: QAGOMA, Brisbane

13 Peter Rushforth OA 1920 – 2015: John FreelandPeter Rushforth at his Shipley studio in the Blue Mountains; image courtesy Rebecca Berrell — **13 Peter Rushforth OA 1920 – 2015: John Freeland**
Peter Rushforth at his Shipley studio in the Blue Mountains; image courtesy Rebecca Berrell

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.