Summer 2022-23 Issue 334

1 harbouring home: do ho suh at the mca: en young ahn

do ho suh, floor, 1997-2000, detail, lehman maupin gallery, New York, 2000; pvc figures, glass plates, phenolic sheets, polyurethane resin; courtesy the artist and lehman maupin gallery, new york, Hong Kong, seoul, london; © the artist

2 serial affirmations: the 5th aichi triennale: emily wakeling, aichi prefecture  

ROMAN ONDAK, EVENT HORIZON, 2016, INSTALLATION VIEW, 5TH AICHI TRIENNALE, 2022; © AICHI TRIENNALE ORGANISING COMMITTEE; PHOTO: TOLOLO STUDIO 

3 DOCUMENTA 15: RUANGRUPA’S TRIAL IN RADICAL HOSPITALITY: PAT HOFFIE, KASSEL

DAN PERJOVSCHI, GENEROSITY, REGENERATION, TRANSPARENCY, INDEPENDENCE, SUFFICIENCY, LOCAL ANCHOR AND MOST OF ALL HUMOUR, 2022, Installation DETAIL, FRIDERICIANUM, DOCUMENTA 15; PHOTO: PAT HOFFIE

4 ALTERED STATES: JEREMY SHAW AT MONA: YARRAN GATSBY, NIPALUNA/HOBART

JEREMY SHAW, PHASE SHIFTING INDEX, 2020, INSTALLATION VIEW, MUSEUM OF OLD AND NEW ART (MONA), NIPALUNA/HOBART, 2022; PHOTO: JESSE HUNNIFORD

5 EXPLORING A MEDIUM: ‘CLAY DYNASTY’ AT THE POWERHOUSE: JULIA JONES, WARRANG/SYDNEY

MARGARET DODD, TWO BLUES HOLDEN, 1976-77, EARTHENWARE, 17.5 X 20CM; POWERHOUSE MUSEUM, WARRANG/SYDNEY, PURCHASED 1987; PHOTO: MARINCO KOJDANOVSKI

6 TONAL DISSONANCE: MAX MELDRUM IN BALLARAT: JULIETTE PEERS, BALLARAT

MAX MELDRUM, MICA SMITH, 1923, OIL ON CANVAS, 72 X 61.2cm; ART GALLERY OF BALLARAT, PURCHASED BY PUBLIC SUBSCRIPTION, 1934; © ESTATE OF MAX MELDRUM

7 ECHOES AND EXCAVATIONS: NARELLE JUBELIN’S ‘NALGURES’ (SOMEPLACE): ANN STEPHEN, SANTIaGO DE COMPOSTELA

NaRELLE JUBELIN: NALGURES, INSTALLATION VIEW, GALICIAN CENTRE OF CONTEMPORARY ART (CGAC), SANTIAGO DE COMPOSTELA, 2022; PHOTO: MANU SUÁREZ

8 MATERIAL TRUTHS: ‘GLASSTRESS 2022: STATE OF MIND’: ZSUZSANNA SOBOSLAY, VENICE

KOEN VANMECHELEN, TEMPTATION - ANTINOUS, 2021, STATUARIO MARBLE AND MURANO GLASS, 102 X 70 X 40CM; COURTESY THE ARTIST AND BERENGO STUDIO, MURANO; PHOTO: FRANCESCO ALLEGRETTO 

9 FROM BREATH: YHONNIE SCARCE’S STORYTELLING IN GLASS: TINA BAUM (GULUMIRRGIN [LARRAKIA]/WARDAMAN/KARAJARRI)

YHONNIE SCARCE, SHADOW CREEPER, 2022, INSTALLATION VIEW, ‘RECLAIM THE EARTH’, PALAIS DE TOKYO, PARIS, 2022; BLOWN GLASS YAMS, STAINLESS STEEL, REINFORCED WIRE; COURTESY THE ARTIST AND THIS IS NO FANTASY, NAARM/MELBOURNE; PHOTO: AURÉLIEN MOLE 

10 BLANCHE TILDEN: MAKING MEMORIES AND MEANING IN GLASS: KELLY GELLATLY

BLANCHE TILDEN, RIPPLE EFFECT, 2019-21, INSTALLATION COMPRISING RIPPLE EFFECT 01-07, SALVAGED GLASS LENSES, 9 CARAT GOLD, OXIDISED STERLING SILVER, DIMENSIONS VARIABLE; COURTESY THE ARTIST AND GALLERY FUNAKI, NAARM/MELBOURNE; © BLANCHE TILDEN; PHOTO: ANDREW CURTIS

 
 

11 LAYERED LANDSCAPES IN AUSTRALIAN GLASS: JEFFREY SARMIENTO

KIrSTIE REa: THE BREADTH OF STILLNESS, 2022, INSTALLATION VIEW, TOYAMA GLASS ART MUSEUM, TOYAMA; COURTESY TOYAMA GLASS ART MUSEUM, TOYAMA; PHOTO: WATANABE OSAMU

12 IN GOOD COMPANY: KLAUS MOJE’S WALL PANELS: NOLA ANDERSON  

KLAUS MOJE LAYING OUT THE PIECE FOR UNTITLED 2, 2006, FROM THE ‘LANDSCAPE’ SERIES IN HIS WAPENGO STUDIO

13 THE CHRYSALIS EFFECT: THINKING THROUGH NEW PRACTICES IN GLASS: JULIE EWINGTON

JESSICA MURTAGH, MODERN RELIC: THE GOOD WIFE AND THE MENTAL LOAD, 2022; BLOWN GLASS, SANDBLASTED AND ENGRAVED; CoURTeSY THE ARTIST

14 BEING ‘MEDIUMED’: LOUIS GRANT AND SPENCE MESSIH: ROBERT COOK

LOUIS GRANT, AFTERGLOW, 2022, INSTALLATION VIEW, ‘BREAKABLE HEAVEN’, CANBERRA CONTEMPORARY ART SPACE MANUKA, KAMBERRI/CANBERRA, 2022; HOT-CAST AND COLD-WORKED GLASS, Neon, ACRYLIC, VINYL; COURTESY THE ARTIST; PHOTO: BRENTON MCGEACHIE

15 GENERATING A NEW METHODOLOGY IN GLASS: CONSUELO CAVANIGLIA IN CONVERSATION WITH AIMEE FRODSHAM

CONSUELO CAVANIGLIA, UNTITLED, 2022, installation DETAIL, ‘NIGHT CHANGES THINGS, YOU CAN’T SEE EXACTLY HOW BUT YOU CAN FEEL IT IN YOUR BONES’, CANBERRA GLASSWORKS, 2022; TIMBER, ACRYLIC PAINT AND KILNFORMED GLASS; COURTESY THE ARTIST AND STATION, NAARM/MELBOURNE AND WARRANG/SYDNEY