September 2017 Issue 301

1 Dispatches: Andrew StephensMikala Dwyer, Square Cloud Compound, 2010, Installation View, Musuem of Contemporary Art, Sydney; Fabric stockings, glass, beer, Champagne, Plastic, Ceramics, Found Things, Wood, Rocks, Lights, Paints, Acrylic, Cat and B… — **1 Dispatches: Andrew Stephens**
Mikala Dwyer, *Square Cloud Compound*, 2010, Installation View, Musuem of Contemporary Art, Sydney; Fabric stockings, glass, beer, Champagne, Plastic, Ceramics, Found Things, Wood, Rocks, Lights, Paints, Acrylic, Cat and Bird ornaments, dimensions variable; image courtesy the artist; photo: Jessica MAurer

2 September in The Galleries: Chloé WolifsonDesert Mob, 2016, exhibition opening, 8 September 2016; image courtesy Araluen Arts Centre, Alice Springs; Photo: Lisa Hatzimihail — **2 September in The Galleries: Chloé Wolifson**
*Desert Mob*, 2016, exhibition opening, 8 September 2016; image courtesy Araluen Arts Centre, Alice Springs; Photo: Lisa Hatzimihail

3 The Young ones: Finding Philanthropy: Rhianna Walcott, SydneyMCA Young Ambassadors at Tom Polo's Artspace Studio, Sydney, 16 May 2017; image courtesy the artist, Artspace, Sydney, and the Museum of Contemporary Art Australia, Sydney; Photo: Sam Wh… — 3 The Young ones: Finding Philanthropy: Rhianna Walcott, *Sydney*
MCA Young Ambassadors at Tom Polo's Artspace Studio, Sydney, 16 May 2017; image courtesy the artist, Artspace, Sydney, and the Museum of Contemporary Art Australia, Sydney; Photo: Sam Whiteside

4 Greg Semu and Philjames: All that Glitters Is Not Gold: Elizabeth Reidy, SydneyGreg Semu, Black Tracker Surrogate Family, 2016-17, from the 'Blood Red' series; pigment print on art paper, 80 x 106.75cm; image courtesy the artist and Alcaston Galle… — 4 Greg Semu and Philjames: All that Glitters Is Not Gold: Elizabeth Reidy, *Sydney*
Greg Semu, *Black Tracker Surrogate Family*, 2016-17, from the 'Blood Red' series; pigment print on art paper, 80 x 106.75cm; image courtesy the artist and Alcaston Gallery, Melbourne

5 Revisiting Landscape and Identity with Anne Zahalka: Jacqui Durrant, AlburyAnne Zahalka, Outlawed!, 2017, archival Pigment Print, 90 x 121cm; image courtesy the artist and ARC ONE Gallery, Melbourne — 5 Revisiting Landscape and Identity with Anne Zahalka: Jacqui Durrant, *Albury*
Anne Zahalka, *Outlawed!*, 2017, archival Pigment Print, 90 x 121cm; image courtesy the artist and ARC ONE Gallery, Melbourne

6 Beneath The 'layered otherness' of Dacchi Dang: John Clark, SydneyDacchi Dang, An omen near and Far, Exhibition detail View, 4A Centre for Contemporary Asian Art, Sydney, 2017, with (from left): Spectacle I, 1996; Untitled, 1996, from the series '… — 6 Beneath The 'layered otherness' of Dacchi Dang: John Clark, *Sydney*
Dacchi Dang, *An omen near and Far*, Exhibition detail View, 4A Centre for Contemporary Asian Art, Sydney, 2017, with (from left): Spectacle I, 1996; Untitled, 1996, from the series 'Spectacle II'; image courtesy the artist; photo: Document Photography

7 Hilarie Mais: A geometary of Emotion: Michael Desmond, SydneyHilarie Mais, Cluster Ghost, 2016, Synthetic polymer paint on wood, 182 x 182 x 4.5cm; image courtesy and copyright the artist; photo: Jessica Maurer — 7 Hilarie Mais: A geometary of Emotion: Michael Desmond, *Sydney*
Hilarie Mais, *Cluster Ghost*, 2016, Synthetic polymer paint on wood, 182 x 182 x 4.5cm; image courtesy and copyright the artist; photo: Jessica Maurer

8 Ella Dreyfus: Walking in WiesbadenElla Dreyfus, brettheimer, dreyfus, juden, ransenberg (brettheimer, dreyfus, jews, ransenberg), No 2, Schulbergstrabe, Wiesbaden, 2017, from the series Walking in Wiesbaden (2017); chromogenic print, 60 x 84cm; im… — **8 Ella Dreyfus: Walking in Wiesbaden**
Ella Dreyfus, brettheimer, dreyfus, juden, ransenberg (brettheimer, dreyfus, jews, ransenberg), No 2, Schulbergstrabe, Wiesbaden, 2017, from the series *Walking in Wiesbaden* (2017); chromogenic print, 60 x 84cm; image courtesy the artist

9 A Curated Vision for the 2017 NATSIAAs: Michael Fitzgerald, DarwinRobert Fielding, Milkali Kutju - One Blood, 2017, synthetic polymer paint and ink on burnt and pierced paper, 153.5 x 140.5cm; image courtesy the artist and MAGNT, Darwin — **9 A Curated Vision for the 2017 NATSIAAs: Michael** Fitzgerald, *Darwin*
Robert Fielding, *Milkali Kutju* - One Blood, 2017, synthetic polymer paint and ink on burnt and pierced paper, 153.5 x 140.5cm; image courtesy the artist and MAGNT, Darwin

10 'To attend, singing, to the trace of the fugitive gods' The Big Punchbowl Project: Delia Nicholls, Freycinet PeninsulaPoet Adrienne Eberhard and painter Sue Lovegrove at the Big Punchbowl, Tasmania, October 2016; Photo: Mathew Newton — 10 'To attend, singing, to the trace of the fugitive gods' The Big Punchbowl Project: Delia Nicholls, *Freycinet Peninsula*
Poet Adrienne Eberhard and painter Sue Lovegrove at the Big Punchbowl, Tasmania, October 2016; Photo: Mathew Newton

11 The National ' Institution': Fernando de Campo, SydneyThe National 2017: New Australian Art, exhibition installation view, Carriageworks, Sydney, 2017; image courtesy Carriageworks, Sydney; photo: Zan Wimberley — 11 The National ' Institution': Fernando de Campo, *Sydney*
The National 2017: *New Australian Art*, exhibition installation view, Carriageworks, Sydney, 2017; image courtesy Carriageworks, Sydney; photo: Zan Wimberley

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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.

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