November 2014 Issue 275

1 Still standing: ‘Burning Down the House’, the 10th Gwangju Biennale: EN YOUNG AHNJane Alexander, Symposium, 2014, installation view, the 10th Gwangju Biennale, 2014; 28 figures of infantry and beast, mixed media, dimensions variable; photo: En You… — **1 Still standing: ‘Burning Down the House’, the 10th Gwangju Biennale: EN YOUNG AHN**
Jane Alexander, *Symposium*, 2014, installation view, the 10th Gwangju Biennale, 2014; 28 figures of infantry and beast, mixed media, dimensions variable; photo: En Young Ahn

2 Intersections: The 8th Berlin Biennale for Contemporary Art: JANE DEVERYAgatha Gothe-Snape, IMMACULATE IMMATERIAL AFFLUENCE BLOSSOMING from Untitled, 2014, 8th Berlin Biennale for Contemporary Art (reception desk); image courtesy and © Zak Group, … — **2 Intersections: The 8th Berlin Biennale for Contemporary Art: JANE DEVERY**
Agatha Gothe-Snape, IMMACULATE IMMATERIAL AFFLUENCE BLOSSOMING from Untitled, 2014, 8th Berlin Biennale for Contemporary Art (reception desk); image courtesy and © Zak Group, 2014. photo: Brotherton-Lock

3 An alternative perspective: Adrian Newstead’s The Dealer is the Devil: KATRINA CHAPMANAdrian Newstead, The Dealer is the Devil: An Insider’s History of the Aboriginal Art Trade, Brandl & Schlesinger, Blackheath, 2014, 520 pages, AU$49.95 — **3 An alternative perspective: Adrian Newstead’s *The Dealer is the Devil*: KATRINA CHAPMAN**
Adrian Newstead, *The Dealer is the Devil: An Insider’s History of the Aboriginal Art Trade,* Brandl & Schlesinger, Blackheath, 2014, 520 pages, AU$49.95

4 Transcending fashion: Japanese design and ‘Future Beauty’: ALISON KUBLERComme des Garçons (Rei Kawakubo), Autumn/Winter 2012–13; collection: Kyoto Costume Institute. photo: Masayuki Hayashi — **4 Transcending fashion: Japanese design and ‘Future Beauty’: ALISON KUBLER**
Comme des Garçons (Rei Kawakubo), Autumn/Winter 2012–13; collection: Kyoto Costume Institute. photo: Masayuki Hayashi

5 The fashion phenomenon: Fashion in the gallery and museum: PETER MCNEILChristian Dior, Bar Suit, haute couture, Spring–Summer 1947, Les Arts Décoratifs, Ufac collection, Mode et Textile, in association with Christian Dior, 1958. photo: Thierry Dre… — **5 The fashion phenomenon: Fashion in the gallery and museum: PETER MCNEIL**
Christian Dior, Bar Suit, haute couture, Spring–Summer 1947, Les Arts Décoratifs, Ufac collection, Mode et Textile, in association with Christian Dior, 1958. photo: Thierry Dreyfus for Eyesight Group

6 Futurist remembrance: An Acconci footbridge for Hobart?: DANIEL THOMASAerial view looking northwest along the spine of the Queens Domain. The proposed Acconci bridge seeks to connect the Cenotaph (centre foreground) with the Avenue of Honour (clea… — **6 Futurist remembrance: An Acconci footbridge for Hobart?: DANIEL THOMAS**
Aerial view looking northwest along the spine of the Queens Domain. The proposed Acconci bridge seeks to connect the Cenotaph (centre foreground) with the Avenue of Honour (cleared yellow-tinged native grassland in the middle ground); image courtesy Inspiring Place, Hobart. photo: Adam Muyt, Hobart City Council

7 ‘The Land of David’: Christoph Büchel’s Tasmanian odyssey: MICHAEL FITZGERALDChristoph Büchel, Land of David (Poynduk), installation view, Port Davey, Tasmania, 2014; image courtesy the Museum of Old and New Art (MONA), Hobart. photo: MONA/Rémi Ch… — **7 ‘The Land of David’: Christoph Büchel’s Tasmanian odyssey: MICHAEL FITZGERALD**
Christoph Büchel, *Land of David (Poynduk)*, installation view, Port Davey, Tasmania, 2014; image courtesy the Museum of Old and New Art (MONA), Hobart. photo: MONA/Rémi Chauvin

8 From Gould to the GEOcritical: Circumnavigating an island of art: GILLIAN MARSDENThomas James Lempriere (1796–1852), The Settlement, Macquarie Harbour, Van Diemen’s Land, c. 1827–29, watercolour, pencil and ink, 31.6 x 43.5cm (sheet and image); co… — **8 From Gould to the GEOcritical: Circumnavigating an island of art: GILLIAN MARSDEN**
Thomas James Lempriere (1796–1852), *The Settlement*, Macquarie Harbour, Van Diemen’s Land, c. 1827–29, watercolour, pencil and ink, 31.6 x 43.5cm (sheet and image); collection of Tasmanian Museum and Art Gallery (TMAG), Hobart, purchased 1996. image courtesy TMAG, Hobart

9 Pain is near: River of Fundament, a symphonic film by Matthew Barney and Jonathan Bepler: LISA HAVILAH Matthew Barney and Jonathan Bepler, River of Fundament, 2014, production still; produced by Matthew Barney and Laurenz Foundation; written and d… — **9 Pain is near: River of Fundament, a symphonic film by Matthew Barney and Jonathan Bepler: LISA HAVILAH**
Matthew Barney and Jonathan Bepler, *River of Fundament*, 2014, production still; produced by Matthew Barney and Laurenz Foundation; written and directed by Matthew Barney; music composed by Jonathan Bepler; cinematography by David Regen. image courtesy Matthew Barney

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.