Art Monthly Australasia-Issue 310 September 2018

September 2018 Issue 310

1 Dispatches: Andrew Stephens Natasha Walsh, Within the Studio (self-portrait), 2017, oil on marble, 10 x 10cm; image courtesy the artist and Newcastle Art Gallery — **1 Dispatches: Andrew Stephens**

Natasha Walsh, *Within the Studio (self-portrait)*, 2017, oil on marble, 10 x 10cm; image courtesy the artist and Newcastle Art Gallery

2 NOTES FROM THE FIELD: CHLOÉ WOLIFSON Mason Kimber, Ivory/slide, 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 x 4.5cm (framed); courtesy the artist, COMA Gallery, Sydney, and Sophie Gannon Gallery, Melbourne — **2 NOTES FROM THE FIELD: CHLOÉ WOLIFSON**

Mason Kimber, *Ivory/slide*, 2018, acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood, 65 x 44.7 x 4.5cm (framed); courtesy the artist, COMA Gallery, Sydney, and Sophie Gannon Gallery, Melbourne

3 Ineffable distillations: the 2018 natsiaas: tai mitsuji, darwin Patrina Liyadurrkitj Mununggurr, Dhunupa’kum nhuna wanda (Straightening your mind), 2018, still; video, 1min 33secs duration; image courtesy the artist and MAGNT, Darwin — 3 Ineffable distillations: the 2018 natsiaas: tai mitsuji, *darwin*

Patrina Liyadurrkitj Mununggurr, *Dhunupa’kum nhuna wanda (Straightening your mind)*, 2018, still; video, 1min 33secs duration; image courtesy the artist and MAGNT, Darwin

4 Convergences - Spiritual and political: the art of khaled sabsabi: safdar AhmedKhaled Sabsabi, We Kill You, 2016, installation detail view, ‘A Self Portrait’, Perth Institute of Contemporary Arts (PICA), 2018; 3-channel HD video installation with … — **4 Convergences - Spiritual and political: the art of khaled sabsabi: safdar Ahmed**
Khaled Sabsabi, *We Kill You*, 2016, installation detail view, ‘A Self Portrait’, Perth Institute of Contemporary Arts (PICA), 2018; 3-channel HD video installation with audio; courtesy the artist, Milani Gallery, Brisbane, and PICA, Perth; photo: Khaled Sabsabi

5 Connecting threads: 'so fine' at the National portrait gallery: caren florence, canberraNusra Latif Qureshi, Refined Portraits of Desire, 2018, watercolour, gouache, cotton, polyester thread, acrylic on illustration boards, 180 x 430cm; image cour… — 5 Connecting threads: 'so fine' at the National portrait gallery: caren florence, *canberra*
Nusra Latif Qureshi, *Refined Portraits of Desire*, 2018, watercolour, gouache, cotton, polyester thread, acrylic on illustration boards, 180 x 430cm; image courtesy the artist and Sutton Gallery, Melbourne

6 present-tense reality: joan jonas at tate modern: bree richards, london Joan Jonas, Delay Delay (London Version), 2018, performance view, ‘Ten Days Six Nights’, Tate Modern, London, March 2018; photo: © Joan Jonas and Lewis Ronald — 6 present-tense reality: joan jonas at tate modern: bree richards, *london*

Joan Jonas, *Delay Delay (London Version),* 2018, performance view, ‘Ten Days Six Nights’, Tate Modern, London, March 2018; photo: © Joan Jonas and Lewis Ronald

7 condensing magnitudes: robert smithson's 'time crystals': andrew mcNamara, brisbane Robert Smithson at Rozel Point, Great Salt Lake, Utah, 1 April 1970, during the building of Spiral Jetty, 1970; courtesy and photo: Gianfranco Gorgoni — 7 condensing magnitudes: robert smithson's 'time crystals': andrew mcNamara, *brisbane*

Robert Smithson at Rozel Point, Great Salt Lake, Utah, 1 April 1970, during the building of *Spiral Jetty*, 1970; courtesy and photo: Gianfranco Gorgoni

8 haegue yang: missed connections at the IMA: wes hill, brisbane Haegue Yang: Triple Vita Nestings, exhibition installation view, Institute of Modern Art (IMA), Brisbane, 2018, featuring: Multiple Mourning Room, 2012, and The Intermediate – Tinted … — 8 haegue yang: missed connections at the IMA: wes hill, *brisbane*

*Haegue Yang: Triple Vita Nestings*, exhibition installation view, Institute of Modern Art (IMA), Brisbane, 2018, featuring: *Multiple Mourning Room*, 2012, and *The Intermediate – Tinted Multi-Tentacled Serpent*, 2017; image courtesy the artist and IMA, Brisbane; photo: Carl Warner

9 Richard tipping: notes on 'art word'Richard Tipping, Artwork, 2004, photographed in Mayfield, New South Wales, 2004; double-sided sign, reflective tape on boxed-edged steel sheet, 60 x 150cm on A-frame legs, edition of 4; Lake Macquarie City Art G… — **9 Richard tipping: notes on 'art word'**
Richard Tipping, *Artwork*, 2004, photographed in Mayfield, New South Wales, 2004; double-sided sign, reflective tape on boxed-edged steel sheet, 60 x 150cm on A-frame legs, edition of 4; Lake Macquarie City Art Gallery; digital photograph 2004, printed 2018, 59.4 x 41cm, Latrobe Regional Gallery, Morwell; image courtesy the artist and Australian Galleries, Melbourne and Sydney; photo: Richard Tipping

10 mingled ferocity and childish want of taste: huang yongping's les consoles de jue souveraines Udo J. Keppler, The real trouble will come with the “wake”, 1900, colour lithograph, 35 x 51cm (sheet), Library of Congress, Washington, D.C.; image c… — 10 mingled ferocity and childish want of taste: huang yongping's *les consoles de jue souveraines*

Udo J. Keppler, *The real trouble will come with the “wake”*, 1900, colour lithograph, 35 x 51cm (sheet), Library of Congress, Washington, D.C.; image courtesy the Library of Congress, Washington, D.C.

11 yvonne todd's twin genres: perfect portraits and spontaneous still lifes: lucy jackson, wellingtonYvonne Todd, Egg-Self, 2018, type-C print from 8x10 transparency film, 150 x 118cm, edition of 3 + 1 AP; image courtesy the artist — 11 yvonne todd's twin genres: perfect portraits and spontaneous still lifes: lucy jackson, *wellington*
Yvonne Todd, Egg-Self, 2018, type-C print from 8x10 transparency film, 150 x 118cm, edition of 3 + 1 AP; image courtesy the artist

12 jono rotman: our enduring image of strength: robert leonard, wellington Jono Rotman, Sean Wellington and Sons, 2009, type-C photograph, 190 x 150cm; image courtesy the artist — 12 jono rotman: our enduring image of strength: robert leonard, *wellington*

Jono Rotman, *Sean Wellington and Sons*, 2009, type-C photograph, 190 x 150cm; image courtesy the artist

13 aria from europe; the 'maxxi bulgari art prize 2018': michael fitzgerald, rome Diego Marcon, Ludwig, 2018, still; video, CGI animation, colour, sound, loop; image courtesy the artist and Ermes-Ermes, Vienna — 13 aria from europe; the 'maxxi bulgari art prize 2018': michael fitzgerald, *rome*

Diego Marcon, *Ludwig*, 2018, still; video, CGI animation, colour, sound, loop; image courtesy the artist and Ermes-Ermes, Vienna

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.

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