Art Monthly Australasia-Issue 296 March 296

March 2017 Issue 296

1 Dispatches: Making private museums public: Andrew StephensReko RenniE, Visible Invisible, 2017, installation view at the construction of the new Lyon Housemuseum galleries, 2017; image courtesy Lyon Housemuseum, Melbourne; photo: John Gollings — **1 Dispatches: Making private museums public: Andrew Stephens**
Reko RenniE, *Visible Invisible*, 2017, installation view at the construction of the new Lyon Housemuseum galleries, 2017; image courtesy Lyon Housemuseum, Melbourne; photo: John Gollings

2 Place-based: PAM and Biennial Lab: David Cross, MelbourneA Centre For Everything, Visible Hands, 2016; image courtesy the artists; photo: Bryony Jackson — 2 Place-based: PAM and Biennial Lab: David Cross, *Melbourne*
A Centre For Everything, Visible Hands, 2016; image courtesy the artists; photo: Bryony Jackson

3 Grand designs: Towards a new: SAM D.J. Huppatz, SheppartonImage courtesy MvS Architects — **3 Grand designs: Towards a new: SAM D.J. Huppatz, Shepparton**
Image courtesy MvS Architects

4 Claire Lambe’s libidinal economy: Sophie Knezic, MelbourneClaire Lambe, Shhhh men at work II, 2013, detail; cast bronze foot, chain mail top, wooden and gold hanging chain, 35 x 25 x 300cm; National Gallery of Victoria (NGV), Melbourne, Yvonne Pet… — 4 Claire Lambe’s libidinal economy: Sophie Knezic, *Melbourne*
Claire Lambe, *Shhhh men at work II*, 2013, detail; cast bronze foot, chain mail top, wooden and gold hanging chain, 35 x 25 x 300cm; National Gallery of Victoria (NGV), Melbourne, Yvonne Pettengell Bequest, 2014; image courtesy NGV Photographic Services; photo: Christian Markel

5 From the bower , Loris Button, Deborah Klein, Louise Saxton and Carole WilsonEucalyptus leaves, 2015 –16, handpainted with Indian ink, acrylic paint and pigment markers, dimensions variable; flower presses: wood and metal, each 4 x 24 x 10cm (appr… — **5 From the bower , Loris Button, Deborah Klein, Louise Saxton and Carole Wilson**
*Eucalyptus leaves, 2015 –16*, handpainted with Indian ink, acrylic paint and pigment markers, dimensions variable; flower presses: wood and metal, each 4 x 24 x 10cm (approx.); collection of Deborah Klein; image courtesy the artist; photo: Tim Gresham

6 Screening Vassilieff: The Wolf in Australian Art: Felicity St John Moore, MelbournePhotographer unknown, ‘Daniel’ Vassilieff in Bristol at the age of 35; image courtesy Felicity St John Moore — 6 Screening Vassilieff: The Wolf in Australian Art: Felicity St John Moore, *Melbourne*
Photographer unknown, ‘Daniel’ Vassilieff in Bristol at the age of 35; image courtesy Felicity St John Moore

7 Towards a global discourse: ‘Making Modernism’: Sally Quin, MelbourneO’Keeffe, Preston, Cossington Smith: Making Modernism, exhibition view, Heide Museum of Modern Art, Melbourne, 2016, featuring the work of Grace Cossington Smith; photo: Jeremy W… — 7 Towards a global discourse: ‘Making Modernism’: Sally Quin, *Melbourne*
O’Keeffe, Preston, Cossington Smith: Making Modernism, exhibition view, Heide Museum of Modern Art, Melbourne, 2016, featuring the work of Grace Cossington Smith; photo: Jeremy Weihrauch

8 Answering back: ‘Artist and Empire’ at the National Gallery Singapore: Julie Ewington, SingaporeMichael Cook, Undiscovered #7, 2010, inkjet print, 125 x 100cm; National Gallery of Australia, Canberra, purchased 2010; image courtesy the artist and … — 8 Answering back: ‘Artist and Empire’ at the National Gallery Singapore: Julie Ewington, *Singapore*
Michael Cook, *Undiscovered #7*, 2010, inkjet print, 125 x 100cm; National Gallery of Australia, Canberra, purchased 2010; image courtesy the artist and Andrew Baker Art Dealer, Brisbane

9 A multilayered mapping: The 5th Singapore Biennale: Tarun Nagesh, SingaporeQiu Zhijie, One Has to Wander through All the Outer Worlds to Reach the Innermost Shrine at the End, 2016, installation view, 5th Singapore Biennale, 2016; ink on paper, gl… — 9 A multilayered mapping: The 5th Singapore Biennale: Tarun Nagesh, *Singapore*
Qiu Zhijie, *One Has to Wander through All the Outer Worlds to Reach the Innermost Shrine at the End*, 2016, installation view, 5th Singapore Biennale, 2016; ink on paper, glass and stone, dimensions variable; collection of the artist, Singapore Biennale 2016 commission; image courtesy the artist and Singapore Art Museum

10 Southeast Asia Forum: Dissonant voiceS: Michael Fitzgerald, SingaporeTintin Wulia, Untold Movements Act 1: Neitherland, Whitherland, Hitherland, 2015, installation view, Art Stage Singapore, 2017; 32-channel sound installation, dimensions variabl… — 10 Southeast Asia Forum: Dissonant voiceS: Michael Fitzgerald, *Singapore*
Tintin Wulia, Untold Movements Act 1: Neitherland, Whitherland, Hitherland, 2015, installation view, Art Stage Singapore, 2017; 32-channel sound installation, dimensions variable; image courtesy the artist, Art Stage Singapore and Milani Gallery, Brisbane

11.Cerebral spheres: ‘Light Geist’ at Fremantle Arts Centre: Andrew Frost, PerthNgamaru Bidu and Sohan Ariel Hayes, Walyja Ngurra, 2016, installation view, Fremantle Arts Centre, 2016; 4-channel video projection with 4.1 soundscape, 21 minute loop; … — 11.Cerebral spheres: ‘Light Geist’ at Fremantle Arts Centre: Andrew Frost, *Perth*
Ngamaru Bidu and Sohan Ariel Hayes, Walyja Ngurra, 2016, installation view, Fremantle Arts Centre, 2016; 4-channel video projection with 4.1 soundscape, 21 minute loop; image courtesy Fremantle Arts Centre; photo: Eva Fernandez

12. Allure and discomfort: Bruce Connew’s Body of Work: Jenny HarperBruce Connew, Body of Work #9, 2015, offset tritone; image courtesy the artist — **12. Allure and discomfort: Bruce Connew’s Body of Work: Jenny Harper**
Bruce Connew, Body of Work #9, 2015, offset tritone; image courtesy the artist

13 Gordon Samstag: Major ‘New Deal’ American artist in South Australia: Daniel Thomas, AdelaideBook Cover — 13 Gordon Samstag: Major ‘New Deal’ American artist in South Australia: Daniel Thomas, *Adelaide*
Book Cover

14 Leonard William French 1928 –2017: Sasha GrishinLeonard French’s Great Hall ceiling, NGV International, Melbourne; image courtesy National Gallery of Victoria, Melbourne — **14 Leonard William French 1928 –2017: Sasha Grishin**
Leonard French’s Great Hall ceiling, NGV International, Melbourne; image courtesy National Gallery of Victoria, Melbourne

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.

Buy a subscription

Donate Now

Art Monthly Australasia receives organisational funding through:

Art Monthly Australasia is housed by:

‘UAMA Essay Series’
sponsored by: