April 2013 Issue 258

1 Transcending Histories & Disrupting the Present at APT7: JI-SHEN LOONGHeman Chong, Asia / Pacific / Triennial, 2012, 20-channel sound installation; commissioned for APT7; installation views, APT7; image courtesy the artist and Queensland Art G… — **1 Transcending Histories & Disrupting the Present at APT7: JI-SHEN LOONG**
Heman Chong, *Asia / Pacific / Triennial*, 2012, 20-channel sound installation; commissioned for APT7; installation views, APT7; image courtesy the artist and Queensland Art Gallery, Brisban

1a APT adulthood: SASHA GRISHINUji Handoko Eko Saputro (aka Hahan), The New Prophet(from Trinity series), 2011, polyester resin and air brush, 100 x 75 x 100cm; Collection: Queensland Art Gallery; image courtesy the artist — **1a APT adulthood: SASHA GRISHIN**
Uji Handoko Eko Saputro (aka Hahan), *The New Prophet*(from *Trinity* series), 2011, polyester resin and air brush, 100 x 75 x 100cm; Collection: Queensland Art Gallery; image courtesy the artist

2 New works at Home AKL: BILLIE LYTHBERGLeilani Kake, stills from Ariki, 2011, digital video; image courtesy the artist — **2 New works at Home AKL: BILLIE LYTHBERG**
Leilani Kake, stills from *Ariki*, 2011, digital video; image courtesy the artist

3 Machines of knowledge & experimentation: NATALIE KING & HOU HANRUDo-Ho Suh, still from A Perfect Home: The Bridge Project 2010, synchronised four monitor animated digital slide presentation; image courtesy the artist — **3 Machines of knowledge & experimentation: NATALIE KING & HOU HANRU**
Do-Ho Suh, still from *A Perfect Home: The Bridge Project* 2010, synchronised four monitor animated digital slide presentation; image courtesy the artist

4 Mirror to tomb: Bacon & Kapoor in Sydney: DAVID HANSENEntrance to Francis Bacon: five decades at the Art Gallery of NSW, 2012-13 — **4 Mirror to tomb: Bacon & Kapoor in Sydney: DAVID HANSEN**
Entrance to *Francis Bacon: five decades* at the Art Gallery of NSW, 2012-13

5 Such is Life: JOHN KELLYSidney Nolan, Constable Fitzpatrick and Kate Kelly, 1946, enamel on composition board, 90.7cm x 121.2cm; Collection: National Gallery of Australia, Canberra; Gift of Sunday Reed 1977; image courtesy National Gallery of Aust… — **5 Such is Life: JOHN KELLY**
Sidney Nolan, *Constable Fitzpatrick and Kate Kelly*, 1946, enamel on composition board, 90.7cm x 121.2cm; Collection: National Gallery of Australia, Canberra; Gift of Sunday Reed 1977; image courtesy National Gallery of Australia

6 Seeing the natural world: Art & Reconciliation: DONNA LESLIEPeter Nangwurrama Wurrawilya, Yaraja [Goanna], c. 1945-49, ochres and orchid extract on eucalyptus bark; The Leonhard Adam Collection of International Indigenous Culture, the Universi… — **6 Seeing the natural world: Art & Reconciliation: DONNA LESLIE**
Peter Nangwurrama Wurrawilya, *Yaraja* [*Goanna*], c. 1945-49, ochres and orchid extract on eucalyptus bark; The Leonhard Adam Collection of International Indigenous Culture, the University of Melbourne Art Collection

7 Are we there yet?: MAURICE O'RIORDANSera Waters, Self in Stitches, 2012, handmade clay beads, lace, string, hand-dyed linen, cotton, beads, sequins, approx 70 x 55cm; Cruthers Collection of Women’s Art; showing in the CCWA solo exhibition Dark Por… — **7 Are we there yet?: MAURICE O'RIORDAN**
Sera Waters, *Self in Stitches*, 2012, handmade clay beads, lace, string, hand-dyed linen, cotton, beads, sequins, approx 70 x 55cm; *Cruthers Collection of Women’s Art*; showing in the CCWA solo exhibition *Dark Portrals: Sera Waters*, Lawrence Wilson Art Gallery, Perth, 8 February to 20 April 2013

8 A Crowd of Eyes: the collector, the artist & the Balinese Gods: JOHN MATEERDewa Putu Mokoh, Bom Bali [Bali Bomb], 2006, ink and acrylic on canvas, 60 x 80cm, Collection: Chris and Mary Hill; photo: Bo Wong — **8 A Crowd of Eyes: the collector, the artist & the Balinese Gods: JOHN MATEER**
Dewa Putu Mokoh, *Bom Bali* [*Bali Bomb*], 2006, ink and acrylic on canvas, 60 x 80cm, Collection: Chris and Mary Hill; photo: Bo Wong

9 Ben Quilty: After Afghanistan: LAURA WEBSTERBen Quilty, Kandahar, 2011, oil on linen, 140 x 190cm; collection of the Australian War Memorial, Canberra, acquired under the official art scheme in 2012 — **9 Ben Quilty: After Afghanistan: LAURA WEBSTER**
Ben Quilty, *Kandahar*, 2011, oil on linen, 140 x 190cm; collection of the Australian War Memorial, Canberra, acquired under the official art scheme in 2012

10 Ghost bones: Taboo, MCA, SydneyImage from Framing The Native series, selection of 30 historical images, projected; Anthony d’Offay Collection, London; image courtesy Michael Graham-Stewart — **10 Ghost bones: Taboo, MCA, Sydney**
Image from *Framing The Native* series, selection of 30 historical images, projected; Anthony d’Offay Collection, London; image courtesy Michael Graham-Stewart

11 Ian Fairweather: Late Works 1953-1974: ANNE SANDERSBus stop, 1965, gouache on cardboard on board, 72.5 x 97.5cm. All images this article of work by Ian Fairweather, from Collection: Queensland Art Gallery, Brisbane — **11 Ian Fairweather: Late Works 1953-1974: ANNE SANDERS**
*Bus stop*, 1965, gouache on cardboard on board, 72.5 x 97.5cm. All images this article of work by Ian Fairweather, from Collection: Queensland Art Gallery, Brisbane

12 artbooks: An opening: twelve love stories about art, REVIEW: JENNY MCFARLANEStephanie Radok, An opening: twelve love stories about art, Wakefield Press 2012; 184pp; rrp$24.95; ISBN: 9781743050415 — **12 artbooks: *An opening: twelve love stories about art,* REVIEW: JENNY MCFARLANE**
Stephanie Radok, *An opening: twelve love stories about art,* Wakefield Press 2012; 184pp; rrp$24.95; ISBN: 9781743050415

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