Winter 2020 Issue 324

1 Dispatches: andrew StephensA children’s project responding to Daniel Boyd’s Captain no beard (2005) from the National Gallery of Australia (NGA) collection; courtesy the artist and NGA, Canberra — **1 Dispatches: andrew Stephens**
A children’s project responding to Daniel Boyd’s *Captain no beard* (2005) from the National Gallery of Australia (NGA) collection; courtesy the artist and NGA, Canberra

2 freedom and horror: viewing art during covid-19: michael Fitzgerald, sydneyet al., are we sorry? (bringing them home ... testimonies of removal #1–20), 2020, installation detail, Yuill/Crowley, Sydney, 2020; mixed media (woollen blankets, embroide… — 2 freedom and horror: viewing art during covid-19: michael Fitzgerald, *sydney*
et al., *are we sorry? (bringing them home ... testimonies of removal #1–20)*, 2020, installation detail, Yuill/Crowley, Sydney, 2020; mixed media (woollen blankets, embroidered texts, compressed in flexi-storage bags), each 60 x 80cm or 80 x 60cm, arrangement and dimensions variable; courtesy the artist and Yuill/Crowley, Sydney; photo: Aimee Crouch

3 black friday in gotham: pat hoffie, new yorkImage courtesy and © Pat Hoffie — 3 black friday in gotham: pat hoffie, *new york*
Image courtesy and © Pat Hoffie

4 a practice of protest and protection: the masks of jemima wyman: lucy jacksonJemima Wyman, Flourish (No.7) [working title], 2019, detail; hand-cut photos on paper, 132 x 101.5cm; courtesy the artist; Commonwealth and Council, Los Angeles; Milani G… — **4 a practice of protest and protection: the masks of jemima wyman: lucy jackson**
Jemima Wyman, *Flourish (No.7)* [working title], 2019, detail; hand-cut photos on paper, 132 x 101.5cm; courtesy the artist; Commonwealth and Council, Los Angeles; Milani Gallery, Brisbane; and Sullivan+Strumpf, Sydney and Singapore

5 watching you, watching me: giselle stanborough’s ‘cinopticon’: stephanie berlangieri, sydney Giselle Stanborough, Cinopticon (Mirror), 2020, still; single-channel HD video with mirrored film, 9:16, no sound, 5 mins duration; courtesy the artist a… — 5 watching you, watching me: giselle stanborough’s ‘cinopticon’: stephanie berlangieri, *sydney*

Giselle Stanborough, *Cinopticon (Mirror)*, 2020, still; single-channel HD video with mirrored film, 9:16, no sound, 5 mins duration; courtesy the artist and Carriageworks, Sydney

6 read so that writing won’t fail us: existential crisis and digital platforms: zara stanhopeWebsite screenshot courtesy A+A Online — **6 read so that writing won’t fail us: existential crisis and digital platforms: zara stanhope**
Website screenshot courtesy *A+A Online*

7 a good time to be a post-internet artist: sophia halloway, canberraJess Herrington, Slinky Face, 2019, augmented reality face filter (available on Instagram @jess.herrington; image courtesy the artist — 7 a good time to be a post-internet artist: sophia halloway, *canberra*
Jess Herrington, *Slinky Face*, 2019, augmented reality face filter (available on Instagram @jess.herrington; image courtesy the artist

8 arresting the touristic gaze: therese ritchie and the art of representation in a transient place: koulla roussos, darwinTherese Ritchie, Shortgrass people 1, 2003, inkjet print, 40 x 60cm; Charles Darwin University Art Collection, Darwin, gift of … — 8 arresting the touristic gaze: therese ritchie and the art of representation in a transient place: koulla roussos, *darwin*
Therese Ritchie, *Shortgrass people 1*, 2003, inkjet print, 40 x 60cm; Charles Darwin University Art Collection, Darwin, gift of the artist, 2010

9 the archive and the public square: alex burchmore, seoulShin Meekyoung,Translation Series: Venus, 2006–13, installation view, ‘The Square: Part 2, 1950–2019’, National Museum of Modern and Contemporary Art (MMCA), Gwacheon, 2019; soap, colour pigm… — 9 the archive and the public square: alex burchmore, *seoul*
Shin Meekyoung,*Translation Series: Venus*, 2006–13, installation view, ‘The Square: Part 2, 1950–2019’, National Museum of Modern and Contemporary Art (MMCA), Gwacheon, 2019; soap, colour pigment, varnish; MMCA Gwacheon; photo: Alex Burchmore

10 making connections: mitiana arbon, winnie dunn, enoch mailangi and talia smith in conversationWansolwara: One Salt Water, exhibition installation view, UNSW Galleries, Sydney, 2020 with (from left): Caroline Monnet, Creatura Dada, 2016; Gutinarra… — **10 making connections: mitiana arbon, winnie dunn, enoch mailangi and talia smith in conversation**
*Wansolwara: One Salt Water*, exhibition installation view, UNSW Galleries, Sydney, 2020 with (from left): Caroline Monnet, *Creatura Dada*, 2016; Gutinarra Yunupingu, *Gurrutu’mi Mala (My Connections)*, 2019; photo: Zan Wimberley

11 some notes on anne wallace’s ‘strange ways’: Hamish sawyer, brisbaneAnne Wallace, She Is, 2001, oil on canvas, 164 x 197cm; National Gallery of Australia, Canberra, purchased 2002; image courtesy the artist and Darren Knight Gallery, Sydney — 11 some notes on anne wallace’s ‘strange ways’: Hamish sawyer, *brisbane*
Anne Wallace, *She Is*, 2001, oil on canvas, 164 x 197cm; National Gallery of Australia, Canberra, purchased 2002; image courtesy the artist and Darren Knight Gallery, Sydney

12 room to exhale: mel o’callaghan’s ‘centre of the centre’: anabelle lacroixMel O’Callaghan, Respire, respire, 2019, performance view, Artspace, Sydney, 2019; photo: Clemens Habicht — **12 room to exhale: mel o’callaghan’s ‘centre of the centre’: anabelle lacroix**
Mel O’Callaghan, *Respire, respire*, 2019, performance view, Artspace, Sydney, 2019; photo: Clemens Habicht

13 daniel thomas to a t: michael fitzgeraldRobert walker, daniel thomas in his apartment at elizabeth bay from the robert walker archive, 1965, black-and-white negative, 6 x 6cm; national art archive, art gallery of new south wales, sydney, gift of … — **13 daniel thomas to a t: michael fitzgerald**
Robert walker, *daniel thomas in his apartment at elizabeth bay from the robert walker archive*, 1965, black-and-white negative, 6 x 6cm; national art archive, art gallery of new south wales, sydney, gift of the robert walker family, 2008; © estate of robert walker

14 the christo backlash: daniel thomasArt Monthly Australia, no. 46, December/January 1991–92; photo: Bob Newman — **14 the christo backlash: daniel thomas**
*Art Monthly Australia*, no. 46, December/January 1991–92; photo: Bob Newman

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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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