August 2014 Issue 272

1 State of independence: New South Wales’s new funding paradigm: JANE SOMERVILLEJames Deutsher, menvra/CASA, installation view, Minerva, Sydney, 2014; image courtesy Minerva, Sydney — **1 State of independence: New South Wales’s new funding paradigm: JANE SOMERVILLE**
James Deutsher, *menvra/CASA*, installation view, Minerva, Sydney, 2014; image courtesy Minerva, Sydney

2 Lismore Regional Gallery: Past, present, future: SHARNE WOLFFEmily Hunt, Quoits & Goat Skins (detail), 2013, watercolour and ink on paper, 110 x 75.5 x 5cm; image courtesy the artist and The Commercial Gallery, Sydney; © the artist — **2 Lismore Regional Gallery: Past, present, future: SHARNE WOLFF**
Emily Hunt, *Quoits & Goat Skins* (detail), 2013, watercolour and ink on paper, 110 x 75.5 x 5cm; image courtesy the artist and The Commercial Gallery, Sydney; © the artist

3 Bearing witness: The Refugee Art Project: SAFDAR AHMEDSaad Tlaa, Portrait of Josefa, pen and watercolour on paper, 29 x 41cm; image courtesy the artist and the Refugee Art Project — **3 Bearing witness: The Refugee Art Project: SAFDAR AHMED**
Saad Tlaa, *Portrait of Josefa*, pen and watercolour on paper, 29 x 41cm; image courtesy the artist and the Refugee Art Project

4 ‘I keep finding myself in Parramatta’: MICHAEL DAGOSTINO AND SOPHIA KOUYOUMDJIANArtist Jodie Whalen in her studio at Parramatta Artists Studios, 2013; photo: Alex Wisser; image courtesy and © Parramatta Artists Studio — **4 ‘I keep finding myself in Parramatta’: MICHAEL DAGOSTINO AND SOPHIA KOUYOUMDJIAN**
Artist Jodie Whalen in her studio at Parramatta Artists Studios, 2013; photo: Alex Wisser; image courtesy and © Parramatta Artists Studio

5 Drawing the mark: 50 years of Watters Gallery: GLENN BARKLEYFrank Watters and Tony Tuckson in the artist’s Wahroonga studio, choosing works for Tuckson’s first solo exhibition at Watters Gallery, Sydney, 1970; image and photo courtesy Margaret Tuc… — **5 Drawing the mark: 50 years of Watters Gallery: GLENN BARKLEY**
Frank Watters and Tony Tuckson in the artist’s Wahroonga studio, choosing works for Tuckson’s first solo exhibition at Watters Gallery, Sydney, 1970; image and photo courtesy Margaret Tuckson

6 Material elaborations – Sarah Cottier Gallery: 1994–2014: JAMES PAULLPages from 20/200, 2014; image courtesy Sarah Cottier Gallery, Sydney; photo: Ashley Barber — **6 Material elaborations – Sarah Cottier Gallery: 1994–2014: JAMES PAULL**
Pages from *20/200*, 2014; image courtesy Sarah Cottier Gallery, Sydney; photo: Ashley Barber

7 Gail Hastings: Sculptuations: JUDITH BLACKALLGail Hastings, Exhibition: To Do, 2014, installation view, showing (left wall) Corner caretakers and (centre floor) Exhibition: To Do, The Commercial, Sydney, 2014; image courtesy the artist and The Com… — **7 Gail Hastings: Sculptuations: JUDITH BLACKALL**
Gail Hastings, *Exhibition: To Do*, 2014, installation view, showing (left wall) Corner caretakers and (centre floor) *Exhibition: To Do*, The Commercial, Sydney, 2014; image courtesy the artist and The Commercial, Sydney; photo: Sofia Freeman

8 Ken Unsworth: Conjuring art: TONY BONDKen Unsworth, Five secular settings for sculpture as ritual and burial piece, from the series ‘Five secular settings for sculpture as ritual and burial piece’, 1975, silver gelatine photograph, 28.3 x 19.2cm, … — **8 Ken Unsworth: Conjuring art: TONY BOND**
Ken Unsworth, *Five secular settings for sculpture as ritual and burial piece*, from the series ‘Five secular settings for sculpture as ritual and burial piece’, 1975, silver gelatine photograph, 28.3 x 19.2cm, Art Gallery of New South Wales (AGNSW), Sydney, purchased 1976. photo: AGNSW © Ken Unsworth

9 Two soliloquies in a rhythm: A conversation about curatorial collaboration: NATALIE KING AND DJON MUNDINEboat-people, Muffled Protest, 2010, documentation, Federation Square, Melbourne, dimensions variable; image courtesy the artists. photo: Tanja… — **9 Two soliloquies in a rhythm: A conversation about curatorial collaboration: NATALIE KING AND DJON MUNDINE**
boat-people, *Muffled Protest*, 2010, documentation, Federation Square, Melbourne, dimensions variable; image courtesy the artists. photo: Tanja Milbourne

10 Floating with form: Matisse’s cut-outs at the Tate: ANNE-MARIE JEANHenri Matisse (1869 -1964); image courtesy Tate Modern, London; photo: Lydia Delectorskaya. © Succession Henri Matiss — **10 Floating with form: Matisse’s cut-outs at the Tate: ANNE-MARIE JEAN**
Henri Matisse (1869 -1964); image courtesy Tate Modern, London; photo: Lydia Delectorskaya. © Succession Henri Matiss

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.