October 2014 Issue 274

1 Making Opportunities: Art in South Australia: KELLI ROWEHenry Jock Walker (assisted by Ben Leslie), Tarp Surfing Drawing at the Art Gallery of South Australia, ‘The Artists’ Voice’ forum, SALA Festival, Adelaide, August 2014; image courtesy the ar… — **1 Making Opportunities: Art in South Australia: KELLI ROWE**
Henry Jock Walker (assisted by Ben Leslie), *Tarp Surfing Drawing at the Art Gallery of South Australia*, ‘The Artists’ Voice’ forum, SALA Festival, Adelaide, August 2014; image courtesy the artist. photo: Che Chorley

2 Processing the past: Contemporary photomedia in South Australia: MARK KIMBERWill Nolan, Pretend I Exist, 2014, archival inkjet print, Gatorboard, glass, black wood frame, 89 x 112cm. image courtesy the artist — **2 Processing the past: Contemporary photomedia in South Australia: MARK KIMBER**
Will Nolan, *Pretend I Exist*, 2014, archival inkjet print, Gatorboard, glass, black wood frame, 89 x 112cm. image courtesy the artist

3 Beyond borders and boundaries: Aboriginal art from the centre and south: NICI CUMPSTONCJ Taylor, Still life with possum, mussels and New Holland Honeyeater, 2011,acrylic glass, fused pigment print, 57 x 75cm; image courtesy the artist — **3 Beyond borders and boundaries: Aboriginal art from the centre and south: NICI CUMPSTON**
CJ Taylor, *Still life with possum, mussels and New Holland Honeyeater*, 2011,acrylic glass, fused pigment print, 57 x 75cm; image courtesy the artist

4 On artists, art fairs and ... Adelaide PAUL GREENAWAY IN CONVERSATION WITH EVE SULLIVANThomas Rentmeister, nearly 100 fridges in a corner, 2008, refrigerators, Penaten cream, styrofoam, 750 x 536 x 370cm;image courtesy Greenaway Art Gallery, Adela… — **4 On artists, art fairs and ... Adelaide PAUL GREENAWAY IN CONVERSATION WITH EVE SULLIVAN**
Thomas Rentmeister, *nearly 100 fridges in a corner*, 2008, refrigerators, Penaten cream, styrofoam, 750 x 536 x 370cm;image courtesy Greenaway Art Gallery, Adelaide. photo: Grant Hancock

5 Changing states: ‘The extreme climate of Nicholas Folland’: JENNA MCKENZIENicholas Folland, Rose, 2012, crystal perfume bottle, polyester resin, timber, aluminium, lightbox, 16 x 7 x 7cm; image courtesy the artist and Art Gallery of South Australi… — **5 Changing states: ‘The extreme climate of Nicholas Folland’: JENNA MCKENZIE**
Nicholas Folland, *Rose*, 2012, crystal perfume bottle, polyester resin, timber, aluminium, lightbox, 16 x 7 x 7cm; image courtesy the artist and Art Gallery of South Australia (AGSA), Adelaide. photo: Ryan Renshaw

6 Without words: ‘Binns + Valamanesh’ at Casula Powerhouse: CLAIRE CAPEL-STANLEyBinns + Valamanesh installation view, Casula Powerhouse Arts Centre, Sydney, 2014, featuring from left: Hossein Valamanesh, Lotus Vault, 2011, lotus leaves on paper on p… — **6 Without words: ‘Binns + Valamanesh’ at Casula Powerhouse: CLAIRE CAPEL-STANLEy**
*Binns + Valamanesh* installation view, Casula Powerhouse Arts Centre, Sydney, 2014, featuring from left: Hossein Valamanesh, *Lotus Vault*, 2011, lotus leaves on paper on plywood, collection of National Gallery of Australia, Canberra, purchased with the assistance of Susan Armitage 2012; Vivienne Binns, *Nylon over the Lachlan*, 2005, acrylic on canvas, collection of National Gallery of Australia, Canberra, purchased 2008; Vivienne Binns, *Wire weave plastic mesh: a paradox of irritations*, 2007–08, synthetic polymer paint on canvas, The James C. Sourris AM Collection, gift of James C. Sourris AM, through the Queensland Art Gallery Foundation 2012, donated through the Australian Government’s Cultural Gifts Program; Hossein Valamanesh, *Fallen Branch*, 2005, bronze. photo: Brenton McGeachie

7 Eric Thake: A surrealist at war: PETER PINSONEric Thake, Japanese wreckage, Penfoei airstrip, Timor, 1945, gouache, pencil on paper, 51 x 39.6cm. image courtesy the Australian War Memorial, Canberra — **7 Eric Thake: A surrealist at war: PETER PINSON**
Eric Thake, *Japanese wreckage, Penfoei airstrip, Timor*, 1945, gouache, pencil on paper, 51 x 39.6cm. image courtesy the Australian War Memorial, Canberra

8 Shifting the registers: ‘What I see When I Look at Sound’: JOHN MATEERMatthew Gingold, Filament Orkestra, 2014, detail; 64 light bulbs, 64 light-dependent resistors (LDRs), 8 Ardunio Fio, 8 FM radios, 8 Lepai 2020 amplifiers, 16 Tang Band W5-1611S… — **8 Shifting the registers: ‘What I see When I Look at Sound’: JOHN MATEER**
Matthew Gingold, *Filament Orkestra*, 2014, detail; 64 light bulbs, 64 light-dependent resistors (LDRs), 8 Ardunio Fio, 8 FM radios, 8 Lepai 2020 amplifiers, 16 Tang Band W5-1611SAF 5-in. full-range speakers, 4km AC/DC wiring. image courtesy the artist and Perth Institute of Contemporary Arts (PICA)

9 Pierre Huyghe and Parallel Presents: JULIE EWINGTONPierre Huyghe, exhibition view, Centre Pompidou, Paris, September 2013 – January 2014. image courtesy the artist; photo: Ola Rindal — **9 Pierre Huyghe and Parallel Presents: JULIE EWINGTON**
*Pierre Huyghe*, exhibition view, Centre Pompidou, Paris, September 2013 – January 2014. image courtesy the artist; photo: Ola Rindal

**10 Richard Larter (1929 – 2014): DEBORAH CLARK**

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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