1 The Tasmanian effect: Fernando do Campo, HobartMarina Abramović: Private Archaeology, exhibition entrance view, Museum of Old and New Art (MONA), Hobart; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin — 1 The Tasmanian effect: Fernando do Campo, *Hobart*
Marina Abramović: *Private Archaeology*, exhibition entrance view, Museum of Old and New Art (MONA), Hobart; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin

2 World-in-a-world: ‘The Shadows Calling’ at Detached: Rachel Kent, HobartPatricia Piccinini and Peter Hennessey, Kami, 2015, installation view, Detached Cultural Organisation, Old Mercury Building, Hobart, 2015; Formply, chairs, rope, ABS plastic; … — 2 World-in-a-world: ‘The Shadows Calling’ at Detached: Rachel Kent, *Hobart*
Patricia Piccinini and Peter Hennessey, *Kami*, 2015, installation view, Detached Cultural Organisation, Old Mercury Building, Hobart, 2015; Formply, chairs, rope, ABS plastic; image courtesy the artists and Detached, Hobart; photo: MONA/Rémi Chauvin

3 Embodying culture: Lola Greeno and Marina Abramović: Gabriella Coslovich, HobartLola Greeno’S necklace of 143 Bungana (king) maireener shells threaded on stainless steel with human hair clasp, 25cm; commissioned by the Museum of Old and New Art (M… — 3 Embodying culture: Lola Greeno and Marina Abramović: Gabriella Coslovich, *Hobart*
Lola Greeno’S necklace of 143 Bungana (king) maireener shells threaded on stainless steel with human hair clasp, 25cm; commissioned by the Museum of Old and New Art (MONA), Hobart, in January 2015 and presented to Marina Abramović on 14 June 2015; photo © MONA: Rosie Hastie

4 In the moment: Marina Abramović’s ‘Private Archaeology’ at MONA: Diane Soumilas, HobartMarina Abramović and Ulay, AAA–AAA, 1978, performance for video, RTB Television Studio, Liège, 15 mins duration; black-and-white video, sound, 9:54 mins duratio… — 4 In the moment: Marina Abramović’s ‘Private Archaeology’ at MONA: Diane Soumilas, *Hobart*
Marina Abramović and Ulay, *AAA–AAA,* 1978, performance for video, RTB Television Studio, Liège, 15 mins duration; black-and-white video, sound, 9:54 mins duration; Museum of Old and New Art (MONA), Hobart; image courtesy MONA, Hobart; photo: MONA/Rémi Chauvin

5 A growing medium: The garden in art and design: Julia Jones, SydneyJanet Laurence, Treelines Track, Bundanon NSW, 2014–16, detail views; linear passage of trees forming a walking track; stones scripted with text; dimensions variable; images courte… — 5 A growing medium: The garden in art and design: Julia Jones, *Sydney*
Janet Laurence, *Treelines Track*, Bundanon NSW, 2014–16, detail views; linear passage of trees forming a walking track; stones scripted with text; dimensions variable; images courtesy the artist

6 Suspending disbelief: ‘The photograph and Australia’: Claire Capel-Stanley, SydneyThe photograph and Australia, exhibition view, Art Gallery of New South Wales (AGNSW), Sydney, 2015, with archival display and artworks by Tracey Moffatt; photo © AG… — 6 Suspending disbelief: ‘The photograph and Australia’: Claire Capel-Stanley, *Sydney*
The photograph and Australia, exhibition view, Art Gallery of New South Wales (AGNSW), Sydney, 2015, with archival display and artworks by Tracey Moffatt; photo © AGNSW: Jenni Carter

7 Against the grain: Melinda Harper’s ‘Colour Sensation’ at Heide: Carolyn Barnes, MelbourneColour Sensation: The Works of Melinda Harper, exhibition view with 10 objects, each Untitled, 2006, private collection, Melbourne; Heide Museum of Modern Ar… — 7 Against the grain: Melinda Harper’s ‘Colour Sensation’ at Heide: Carolyn Barnes, *Melbourne*
Colour Sensation: The Works of Melinda Harper, exhibition view with 10 objects, each Untitled, 2006, private collection, Melbourne; Heide Museum of Modern Art, Melbourne, 2015; photo: Christian Capurro

8 Coincident lines: Ruark Lewis and Barayuwa Mununggurr at the Northern Centre for Contemporary Art: James Paull, DarwinRambangi, Together as Equals, exhibition views, Northern Centre for Contemporary Art (NCCA), Darwin, 2015; images courtesy the NC… — 8 Coincident lines: Ruark Lewis and Barayuwa Mununggurr at the Northern Centre for Contemporary Art: James Paull, *Darwin*
Rambangi, *Together as Equals*, exhibition views, Northern Centre for Contemporary Art (NCCA), Darwin, 2015; images courtesy the NCCA; photos: Fiona Morrison

9 Closing the temporal distance: Khadija von Zinnenburg Carroll’s Art in the Time of Colony: Stephen Gilchrist, SydneyImage courtesy and © Bob Newman — 9 Closing the temporal distance: Khadija von Zinnenburg Carroll’s Art in the Time of Colony: Stephen Gilchrist, *Sydney*
Image courtesy and © Bob Newman

10 Connecting threads: Go East, Chinese Bible and Jitish Kallat: Chloé Wolifson, SydneyCovers and pages from Go East, Chinese Bible and Jitish Kallat; photos: © and courtesy Bob Newman — 10 Connecting threads: Go East, Chinese Bible and Jitish Kallat: Chloé Wolifson, *Sydney*
Covers and pages from Go East, Chinese Bible and Jitish Kallat; photos: © and courtesy Bob Newman

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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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.