1 Eating pulau with ghee: Dhaka Art Summit 2014: MAURICE O'RIORDANDhaka Art Summit 2014; image courtesy of Maurice O'Riordan — **1 Eating pulau with ghee: Dhaka Art Summit 2014: MAURICE O'RIORDAN**
Dhaka Art Summit 2014; image courtesy of Maurice O'Riordan

2 Rogerworld: CRAIG JUDDRoger Ballen, Asylum, 2013, installation views, Museum of Old and New Art (MONA), Hobart; mixed-media and found objects; images courtesy MONA; photos: MONA/Rémi Chauvinmore — **2 Rogerworld: CRAIG JUDD**
Roger Ballen, *Asylum*, 2013, installation views, Museum of Old and New Art (MONA), Hobart; mixed-media and found objects; images courtesy MONA; photos: MONA/Rémi Chauvinmore

3 In veneration of lost souls: Christian Boltanski’s Chance: PEDRO DE ALMEIDAChristian Boltanski, Last News From Humans(details), 2014, installation views, Carriageworks, Sydney; images courtesy Carriageworks; photos: Zan Wimberley — **3 In veneration of lost souls: Christian Boltanski’s Chance: PEDRO DE ALMEIDA**
Christian Boltanski, *Last News From Humans(details),* 2014, installation views, Carriageworks, Sydney; images courtesy Carriageworks; photos: Zan Wimberley

4 An absent presence: Anne Ferran’s ‘Shadow Land’: LEIGH ROBBAnne Ferran, Untitled [christening gown 1978/3043/2], 2001, silver gelatin photogram, 125 x 89.5cm; © the artist — **4 An absent presence: Anne Ferran’s ‘Shadow Land’: LEIGH ROBB**
Anne Ferran, *Untitled [christening gown 1978/3043/2],* 2001, silver gelatin photogram, 125 x 89.5cm; © the artist

5 Emily Floyd: In the knowledge garden: GLENN BARKLEYEmily Floyd, Organic Practice, 2009, wooden sculptures (kota wood, huon pine, beechwood, ancient New Zealand kauri), cardboard presentation box, 60 x 61 x 40cm; image courtesy the artist and Anna … — **5 Emily Floyd: In the knowledge garden: GLENN BARKLEY**
Emily Floyd, *Organic Practice*, 2009, wooden sculptures (kota wood, huon pine, beechwood, ancient New Zealand kauri), cardboard presentation box, 60 x 61 x 40cm; image courtesy the artist and Anna Schwartz Gallery, Melbourne and Sydney

6 Alms to stray dogs and other stories Araya Rasdjarmrearnsook in conversation with JOHN CLARKAraya Rasdjarmrearnsook, Treachery of the Moon (still), 2012, single-channel video installation; image courtesy the artist — **6 Alms to stray dogs and other stories Araya Rasdjarmrearnsook in conversation with JOHN CLARK**
Araya Rasdjarmrearnsook, *Treachery of the Moon (still)*, 2012, single-channel video installation; image courtesy the artist

7 From ‘Australia’ to ‘America’: Painting a nation: ADAM GECZYJohn Singleton Copley, Portrait of a lady, 1771, oil on canvas, 126.9 x 100.3cm, Los Angeles County Museum of Art; purchased with funds provided by the American Art Council; image courtes… — **7 From ‘Australia’ to ‘America’: Painting a nation: ADAM GECZY**
John Singleton Copley, *Portrait of a lady*, 1771, oil on canvas, 126.9 x 100.3cm, Los Angeles County Museum of Art; purchased with funds provided by the American Art Council; image courtesy and © Museum Associates/ LACMA

8 Melbourne HOW?: HANNAH MATHEWSAsh Keating, NGV International North Wall Billboard Intervention, 2013, Weathershield Low Sheen on vinyl billboard; image courtesy the artist and the National Gallery of Victoria, Melbourne — **8 Melbourne HOW?: HANNAH MATHEWS**
Ash Keating, NGV International *North Wall Billboard Intervention*, 2013, Weathershield Low Sheen on vinyl billboard; image courtesy the artist and the National Gallery of Victoria, Melbourne

9 TRIBUTE: Marea Gazzard AO, CBE: MERRAN ESSANMarea Gazzard and V.I.P, 2006, bronze; image courtesy of Utopia Art Sydney — **9 TRIBUTE: Marea Gazzard AO, CBE: MERRAN ESSAN**
Marea Gazzard and *V.I.P,* 2006, bronze; image courtesy of Utopia Art Sydney

10 TRIBUTE: Ningura Napurrula: SARITA QUINLIVANNingura Napurrula, Untitled, 2007, synthetic polymer on Belgian linen, 183 x 122cm; courtesy Papunya Tula Artists — **10 TRIBUTE: Ningura Napurrula: SARITA QUINLIVAN**
Ningura Napurrula, *Untitled*, 2007, synthetic polymer on Belgian linen, 183 x 122cm; courtesy Papunya Tula Artists

11 TRIBUTE: Sam Ure-Smith: JOANNA MENDELSSOHNSam Ure-Smith, 1961; image courtesy National Archives of Australia (A1200, L39472); photo: W. Brindle — **11 TRIBUTE: Sam Ure-Smith: JOANNA MENDELSSOHN**
Sam Ure-Smith, 1961; image courtesy National Archives of Australia (A1200, L39472); photo: W. Brindle

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.