June/July 2016 Issue 290

1 Return and revival in ‘He Nae kea: Bound Together’: Mārata Ketekiri Tamaira, HonoluluAhu‘ula (feather cloak), late 18th century, plant fibre, feathers, 145cm length, 220cm width; gift of Lord St Oswald, 1912; image courtesy Museum of New Zealand T… — 1 Return and revival in ‘He Nae kea: Bound Together’: Mārata Ketekiri Tamaira, *Honolulu*
Ahu‘ula (feather cloak), late 18th century, plant fibre, feathers, 145cm length, 220cm width; gift of Lord St Oswald, 1912; image courtesy Museum of New Zealand Te Papa Tongarewa, Wellington

2 Conundrums for curators: Pacific art at the APT: Susan Cochrane, BrisbaneAngela Tiatia, Walking the wall, 2014, video still; from ‘An Inventory of Gestures’ series; single-channel HD video: 16:9, 13 mins duration (looped), colour, sound; edition 2… — 2 Conundrums for curators: Pacific art at the APT: Susan Cochrane, *Brisbane*
Angela Tiatia, *Walking the wall*, 2014, video still; from ‘An Inventory of Gestures’ series; single-channel HD video: 16:9, 13 mins duration (looped), colour, sound; edition 2/8, purchased through the Queensland Art Gallery / Gallery of Modern Art Foundation, Brisbane, 2015; image courtesy the artist and Alcaston Gallery, Melbourne; © the artist

3 The concept of absence: Luke Willis Thompson’s Sucu Mate: Andrea Bell, Brisbane/AucklandLuke Willis Thompson, Sucu Mate / Born Dead, 2016, installation view, Hopkinson Mossman, Auckland, 2016; image courtesy the artist and Hopkinson Mossman, Auckl… — 3 The concept of absence: Luke Willis Thompson’s Sucu Mate: Andrea Bell, *Brisbane/Auckland*
Luke Willis Thompson, *Sucu Mate / Born Dead*, 2016, installation view, Hopkinson Mossman, Auckland, 2016; image courtesy the artist and Hopkinson Mossman, Auckland; photo: Alex North

4 Pieces of infinity: Ruha Fifita, HavelulotoRobin White and Ruha Fifita working on ngatu with a women’s group at Haveluloto village, Tongatapu, October 2011; photo: Bruce Foster — 4 Pieces of infinity: Ruha Fifita, *Haveluloto*
Robin White and Ruha Fifita working on ngatu with a women’s group at Haveluloto village, Tongatapu, October 2011; photo: Bruce Foster

5 Re-imagining Papua New Guinea: James Morrison, MelbourneJames Morrison, Building Goroka, 2016, oil on linen, 91 x 91cm; image courtesy the artist and Darren Knight Gallery, Sydney — 5 Re-imagining Papua New Guinea: James Morrison, *Melbourne*
James Morrison, *Building Goroka*, 2016, oil on linen, 91 x 91cm; image courtesy the artist and Darren Knight Gallery, Sydney

6 Primitive accumulation: Nicholas Mangan’s Limits to Growth: Dylan Rainforth, MelbourneNicholas Mangan, Limits to Growth, 2016, installation views (Bitcoin rig in the basement of Monash University Museum of Art), co-commissioned by Monash Universit… — 6 Primitive accumulation: Nicholas Mangan’s Limits to Growth: Dylan Rainforth, *Melbourne*
Nicholas Mangan, *Limits to Growth*, 2016, installation views (Bitcoin rig in the basement of Monash University Museum of Art), co-commissioned by Monash University Museum of Art, Melbourne, and the Institute of Modern Art, Brisbane, assisted by the Australian Government through the Australia Council, its arts funding and advisory body; images courtesy the artist; Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City

7 Embassies of resistance: The 20th Biennale of Sydney: Chaitanya Sambrani, SydneyTaro Shinoda, Abstraction of Confusion, 2016, installation view, 20th Biennale of Sydney at the Art Gallery of New South Wales, 2016; clay, pigment, ochre, tatami mats… — 7 Embassies of resistance: The 20th Biennale of Sydney: Chaitanya Sambrani, *Sydney*
Taro Shinoda, *Abstraction of Confusion*, 2016, installation view, 20th Biennale of Sydney at the Art Gallery of New South Wales, 2016; clay, pigment, ochre, tatami mats, dimensions variable; created for the 20th Biennale of Sydney; image courtesy the artist; photo: Ben Symons

8 ‘Winsome Jobling: the nature of paper’: Solo, survey or retrospective exhibition?: Anita Angel, DarwinWinsome Jobling, Playsuit, 1996, banana paper and zipper, 256.5 x 100 x 1cm; Plaid dress, 1996, watermarked banana paper, 248.5 x 113.5 x 15.5cm;… — 8 ‘Winsome Jobling: the nature of paper’: Solo, survey or retrospective exhibition?: Anita Angel, *Darwin*
Winsome Jobling, *Playsuit*, 1996, banana paper and zipper, 256.5 x 100 x 1cm; *Plaid dress*, 1996, watermarked banana paper, 248.5 x 113.5 x 15.5cm; *Brocade gown*, 1996, banana paper with pulp paper inclusions, 255 x 102 x 1cm; Museum and Art Gallery of the Northern Territory collection, Darwin; image courtesy MAGNT; photo: Fiona Morrison; © the artist

9 Material shift: ‘200 Years of Australian Fashion’ at the NGV: Sally Gray, Melbourne200 Years of Australian Fashion, exhibition view of the Department Store room, NGV Australia, Melbourne, 2016; photo: Wayne Taylor — 9 Material shift: ‘200 Years of Australian Fashion’ at the NGV: Sally Gray, *Melbourne*
*200 Years of Australian Fashion*, exhibition view of the Department Store room, NGV Australia, Melbourne, 2016; photo: Wayne Taylor

10 Coming of age: ‘ephemeral traces’ at UQ Art Museum: Jane Somerville, BrisbaneBarbara Campbell, … Cutting off your nose to spite your face, 1984, synthetic polymer paint and screenprint on aluminium plate, 76.1 x 56cm, University of Queensland col… — 10 Coming of age: ‘ephemeral traces’ at UQ Art Museum: Jane Somerville, *Brisbane*
Barbara Campbell, … *Cutting off your nose to spite your face*, 1984, synthetic polymer paint and screenprint on aluminium plate, 76.1 x 56cm, University of Queensland collection, purchased 1999; image courtesy the artist; photo: Carl Warner

11 New interpretations: Wanarn Painters of Place and Time: Patrick Hutchings, MelbourneNeville Niypula McArthur, Lake Baker, 2012, acrylic on board, 38 x 30.5cm, private collection — 11 New interpretations: Wanarn Painters of Place and Time: Patrick Hutchings, *Melbourne*
Neville Niypula McArthur, *Lake Baker*, 2012, acrylic on board, 38 x 30.5cm, private collection

12 Bea Maddock 1934 – 2016: Daniel Thomas, TasmaniaBea Maddock, Four finger exercise for two hands, 1982, photo-etched linocut, printed in process colour, from four blocks; 53.4 x 46.9cm (printed image), 76.6 x 58.4cm (sheet); National Gallery of Au… — 12 Bea Maddock 1934 – 2016: Daniel Thomas, *Tasmania*
Bea Maddock, *Four finger exercise for two hands*, 1982, photo-etched linocut, printed in process colour, from four blocks; 53.4 x 46.9cm (printed image), 76.6 x 58.4cm (sheet); National Gallery of Australia, Canberra; Gordon Darling Fund, 1984

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