March 2019 Issue 314

1 Dispatches: andrew stephensRhana Devenport, 2018; image courtesy the Art Gallery of South Australia, Adelaide; photo: Saul Steed — **1 Dispatches: andrew stephens**
Rhana Devenport, 2018; image courtesy the Art Gallery of South Australia, Adelaide; photo: Saul Steed

2 Notes from the field: Chloé WolifsonJason Wee, Labyrinths (Open Fire), 2017, galvanised steel, watercolour on cold press paper, acrylic panel, chiffon print on plywood, coated steel, 200 x 164cm; image courtesy the artist and Yavuz Gallery, Singap… — **2 Notes from the field: Chloé Wolifson**
Jason Wee, *Labyrinths (Open Fire)*, 2017, galvanised steel, watercolour on cold press paper, acrylic panel, chiffon print on plywood, coated steel, 200 x 164cm; image courtesy the artist and Yavuz Gallery, Singapore

3 Beyond the margins; the 4th kochi-muziris biennale; lleah smith, kochiThe Otolith Group, O Horizon, 2018, still; 81mins 10 secs, 4K, colour; commissioned by bauhaus imaginista and co-produced with the Rubin Museum and the support of Project 88; ph… — 3 Beyond the margins; the 4th kochi-muziris biennale; lleah smith, *kochi*
The Otolith Group, *O Horizon*, 2018, still; 81mins 10 secs, 4K, colour; commissioned by bauhaus imaginista and co-produced with the Rubin Museum and the support of Project 88; photo: Lleah Smith

4 points of contact: natasha bullock in conversation with sook-kyung leeHelen Johnson, A Feast of Reason and a Flow of Soul, 2016, acrylic on canvas, wood, 396 x 325cm; Museum of Contemporary Art Australia and Tate, purchased jointly with funds prov… — **4 points of contact: natasha bullock in conversation with sook-kyung lee**
Helen Johnson, *A Feast of Reason and a Flow of Soul*, 2016, acrylic on canvas, wood, 396 x 325cm; Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2017

5 Hard, clear light reveals the bones’; visiting the gibbs farm; Patrick hutchings, kaipara harbourAndy Goldsworthy, Arches, 2005, pink Leadhills sandstone blocks stacked into 11 freestanding arches (each 7m long); image courtesy Gibbs Farm, Kaipara… — 5 Hard, clear light reveals the bones’; visiting the gibbs farm; Patrick hutchings, *kaipara harbour*
Andy Goldsworthy, *Arches*, 2005, pink Leadhills sandstone blocks stacked into 11 freestanding arches (each 7m long); image courtesy Gibbs Farm, Kaipara Harbour

6 lauren berkowitz’s fragile structures; Emma-Kate wilson Lauren Berkowitz, Plastic Topographies, 2018, installation view, Ideas Platform, Artspace, Sydney, 2018; plastic and plants, 300 x 200 x 200cm; image courtesy the artist; photo: Jessica Maur… — **6 lauren berkowitz’s fragile structures; Emma-Kate wilson**

Lauren Berkowitz, *Plastic Topographies*, 2018, installation view, Ideas Platform, Artspace, Sydney, 2018; plastic and plants, 300 x 200 x 200cm; image courtesy the artist; photo: Jessica Maurer

7 outside of all places; fiona connor’s sculpture; oscar capezioFiona Connor, Community Notice Board (Cleaning Coop), 2018, detail; plasterboard, acrylic, silkscreen and UV prints on aluminium, staples, pins, 122 x 214 x 8cm; image courtesy the arti… — **7 outside of all places; fiona connor’s sculpture; oscar capezio**
Fiona Connor, *Community Notice Board (Cleaning Coop)*, 2018, detail; plasterboard, acrylic, silkscreen and UV prints on aluminium, staples, pins, 122 x 214 x 8cm; image courtesy the artist and Fine Arts, Sydney

8 maximising minimalism; michael fitzgerald singaporeTatsuo Miyajima, Mega Death, 1999/2016, installation view, National Gallery Singapore, 2018; LED, IC, electric wire and infrared sensor, dimensions variable; Domus Collection, New York and Beijing… — 8 maximising minimalism; michael fitzgerald *singapore*
Tatsuo Miyajima, *Mega Death*, 1999/2016, installation view, National Gallery Singapore, 2018; LED, IC, electric wire and infrared sensor, dimensions variable; Domus Collection, New York and Beijing; image courtesy National Gallery Singapore; © Domus Collection and Tatsuo Miyajima

9 viscerally yours, china; mikala taiHe Xiangyu, Tank Project, 2011–13, installation view, ‘Heavy Artillery’, White Rabbit Gallery, Sydney, 2016; Italian leather, 890 x 600 x 150cm; image courtesy White Rabbit Collection, Sydney; photo: David Roche — **9 viscerally yours, china; mikala tai**
He Xiangyu, *Tank Project*, 2011–13, installation view, ‘Heavy Artillery’, White Rabbit Gallery, Sydney, 2016; Italian leather, 890 x 600 x 150cm; image courtesy White Rabbit Collection, Sydney; photo: David Roche

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.

Donate Now

Art Monthly Australasia receives program funding through:

Art Monthly Australasia is housed by:

‘UAMA Essay Series’
sponsored by: