March 2015 Issue 277

1 A broadened perspective: The NGV’s Tony Ellwood in conversation: Michael FitzgeraldTony Ellwood with works by Brent Harris; from left: No. 21, No. 9 and No. 26 (The reassembled self), 2011, charcoal and gouache on plywood, 42 x 31cm; National Gall… — **1 A broadened perspective: The NGV’s Tony Ellwood in conversation: Michael Fitzgerald**
Tony Ellwood with works by Brent Harris; from left: *No. 21*, *No. 9* and *No. 26* (The reassembled self), 2011, charcoal and gouache on plywood, 42 x 31cm; National Gallery of Victoria, Melbourne, purchased, Victoria Foundation for Living Australian Artists, 2011; © Brent Harris. photo: Selina Ou, NGV Photographic Services

2 Capitalising culture: Horsham Regional Art Gallery’s rural renaissance: Jarrod RawlinsHorsham Regional Art Gallery (HRAG), Wilson Street elevation, artist’s impression. image courtesy HRAG — **2 Capitalising culture: Horsham Regional Art Gallery’s rural renaissance: Jarrod Rawlins**
Horsham Regional Art Gallery (HRAG), Wilson Street elevation, artist’s impression. image courtesy HRAG

3 Echoing across the pond: Gallery Gabrielle Pizzi, 1987–2014: Jane RaffanChristian Thompson, We Bury Our Own, exhibition view, Gallery Gabrielle Pizzi, Melbourne, 2012. image courtesy Gallery Gabrielle Pizzi, Melbourne — **3 Echoing across the pond: Gallery Gabrielle Pizzi, 1987–2014: Jane Raffan**
Christian Thompson, *We Bury Our Own*, exhibition view, Gallery Gabrielle Pizzi, Melbourne, 2012. image courtesy Gallery Gabrielle Pizzi, Melbourne

4 In your own time: Alicia Frankovich’s Defending Plural Experiences: Ash KilmartinAlicia Frankovich, Defending Plural Experiences, 2014, performance views, Australian Centre for Contemporary Art, Melbourne, 2014; live performance, 4 hour duration; … — **4 In your own time: Alicia Frankovich’s Defending Plural Experiences: Ash Kilmartin**
Alicia Frankovich, *Defending Plural Experiences*, 2014, performance views, Australian Centre for Contemporary Art, Melbourne, 2014; live performance, 4 hour duration; images courtesy the artist

The unfinished archive (or the pleasure of looking through other people’s things): Julia PowlesBianca Hester, Please leave these windows open overnight to enable the fans to draw in cool air during the early hours of the morning, exhibition view, AC… — **The unfinished archive (or the pleasure of looking through other people’s things): Julia Powles**
Bianca Hester, *Please leave these windows open overnight to enable the fans to draw in cool air during the early hours of the morning,* exhibition view, ACCA, Melbourne, 2010. image courtesy the artist and ACCA Archive

6 Inside the circle: A life among artists: Sheridan PalmerJean Langley 1958, Heide Museum of Modern Art Archive, Melbourne; photo: John Yule © Estate of John Yule — **6 Inside the circle: A life among artists: Sheridan Palmer**
Jean Langley 1958, Heide Museum of Modern Art Archive, Melbourne; photo: John Yule © Estate of John Yule

7 Platforms, prizes and PYTHAGORAS: ‘Singapore Art Week 2015’: Chloé WolifsonHo Tzu Nyen, PYTHAGORAS, 2013, video still from installation with 4-channel HD video, 8-channel sound, automated curtain track, fans, lights and show control mechanism, dim… — **7 Platforms, prizes and PYTHAGORAS: ‘Singapore Art Week 2015’: Chloé Wolifson**
Ho Tzu Nyen, *PYTHAGORAS*, 2013, video still from installation with 4-channel HD video, 8-channel sound, automated curtain track, fans, lights and show control mechanism, dimensions variable; Singapore Art Museum (SAM) collection. image courtesy the artist and SAM, Singapore

8 Sculpture in the bush: Surveying ‘The McClelland’: Sasha GrishinSonia Payes, Re:Generation, 2014, fibreglass, UV stable gelcoat; 3 elements: 500 x 230 x 230cm; 250 x 230 x 230cm; 125 x 230 x 23cm; image courtesy the artist and McClelland Sculpture… — **8 Sculpture in the bush: Surveying ‘The McClelland’: Sasha Grishin**
Sonia Payes, *Re:Generation*, 2014, fibreglass, UV stable gelcoat; 3 elements: 500 x 230 x 230cm; 250 x 230 x 230cm; 125 x 230 x 23cm; image courtesy the artist and McClelland Sculpture Park & Gallery, Langwarrin. photo: Mark Ashkanasy

9 Cultural freight: ‘Fashion Icons’ in Adelaide: Sally GrayFashion Icons: Masterpieces from the collection of the Musée des Arts Décoratifs, Paris, from left: Comme des Garçons, dress, ready-to-wear, Autumn–Winter 2012–13, Les Arts Décoratifs, Mode … — **9 Cultural freight: ‘Fashion Icons’ in Adelaide: Sally Gray**
Fashion Icons: Masterpieces from the collection of the Musée des Arts Décoratifs, Paris, from left: Comme des Garçons, dress, ready-to-wear, Autumn–Winter 2012–13, Les Arts Décoratifs, Mode et Textile collection, Paris, purchased with the support of Louis Vuitton, 2012; Valentino, evening suit, haute couture, Autumn–Winter 2007–08, Les Arts Décoratifs, Mode et Textile collection, Paris, in association with Valentino, 2008. photo: Thierry Dreyfus for Eyesight Group

10 Seeking resolution: ‘Hito Steyerl: Too Much World’: Ellie ButtroseHito Steyerl, Strike, 2010, installation with 46-inch flat screen mounted on two freestanding poles, HD video file, 28sec; image courtesy Wilfried Lentz Rotterdam © Hito Steyerl — **10 Seeking resolution: ‘Hito Steyerl: Too Much World’: Ellie Buttrose**
Hito Steyerl, *Strike*, 2010, installation with 46-inch flat screen mounted on two freestanding poles, HD video file, 28sec; image courtesy Wilfried Lentz Rotterdam © Hito Steyerl

11 New beginnings: ‘Pop to popism’: Juliana EngbergMartha Rosler, Cleaning the Drapes, from the series ‘House Beautiful: Bringing the War Home’, 1967–72, photomontage; courtesy the artist and Mitchell-Innes & Nash, New York — **11 New beginnings: ‘Pop to popism’: Juliana Engberg**
Martha Rosler, *Cleaning the Drapes*, from the series ‘House Beautiful: Bringing the War Home’, 1967–72, photomontage; courtesy the artist and Mitchell-Innes & Nash, New York

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.