Spring 2020 Issue 325

1 Pat larter: femail artist: lisa catt and claire egglestonpat larter, mardi gras, 1995, mail art sent to peter maloney, photographed in his canberra studio, july 2020; paint and glitter collage on card; photo: raquel ormella — **1 Pat larter: femail artist: lisa catt and claire eggleston**
pat larter, *mardi gras,* 1995, mail art sent to peter maloney, photographed in his canberra studio, july 2020; paint and glitter collage on card; photo: raquel ormella

2 herstory is yet to be written: women’s work and the institution: louise r. mayhewfrances phoenix, queen of spades, 1975, previously known as kunda, 1976; found doily on cotton, plastic zipper, 50 x 42 x 3cm; collection of toni robertson, sydney; c… — **2 herstory is yet to be written: women’s work and the institution: louise r. mayhew**
frances phoenix, *queen of spades*, 1975, previously known as *kunda*, 1976; found doily on cotton, plastic zipper, 50 x 42 x 3cm; collection of toni robertson, sydney; courtesy the artist’s estate; photo: andrew curtis

3 hand over hand: jane o’sullivanrhonda hamlyn and susannah hamlyn, everyday, 1994, woven wool, 94cm (width); museum of applied arts and sciences, sydney; courtesy the estate of the artists — **3 hand over hand: jane o’sullivan**
rhonda hamlyn and susannah hamlyn, *everyday*, 1994, woven wool, 94cm (width); museum of applied arts and sciences, sydney; courtesy the estate of the artists

4 the past is female: a reading of odd roads and she persists: louise r. mayhewcourtesy red barn publishing, skibbereen — **4 the past is female: a reading of *odd roads* and *she persists*: louise r. mayhew**
courtesy red barn publishing, skibbereen

5 expletives not deleted: wanting to know her name: caren florance, cobargo illustration courtesy caren florance — 5 expletives not deleted: wanting to know her name: caren florance, *cobargo*

illustration courtesy caren florance

6 signal creative: thinking about you, and counting the beat: abigail moncrieffthe galaxy girls perform ‘neon caves’ at the 2018 enlighten festival in canberra; image courtesy signal creative — **6 signal creative: thinking about you, and counting the beat: abigail moncrieff**
the galaxy girls perform ‘neon caves’ at the 2018 enlighten festival in canberra; image courtesy signal creative

7 moving together: the practices and activism of amrita hepi and bhenji ra: annette an-jen liuamrita hepi, monumental, 2020, performance documentation, gertrude contemporary, melbourne, 2020; image courtesy the artist — **7 moving together: the practices and activism of amrita hepi and bhenji ra: annette an-jen liu**
amrita hepi, *monumental*, 2020, performance documentation, gertrude contemporary, melbourne, 2020; image courtesy the artist

8 collaboration is the key: elizabeth reidymake or break, unveilings, 2018, performance documentation, kyneton contemporary art triennial, 2018; public survey, shopfront residency, performance series based on survey results, and book published by ru… — **8 collaboration is the key: elizabeth reidy**
make or break, *unveilings*, 2018, performance documentation, kyneton contemporary art triennial, 2018; public survey, shopfront residency, performance series based on survey results, and book published by ruin press in 2019; image courtesy the artists; photo: zan wimberley

9 no justice, no peace: quiet resistance in women’s figurative work from tangentyere artists: hannah kothe, mparntwedoris thomas, new days and old days, titjikala, 2020; courtesy the artist and tangentyere artists, mparntwe — 9 no justice, no peace: quiet resistance in women’s figurative work from tangentyere artists: hannah kothe, *mparntwe*
doris thomas, *new days and old days, titjikala*, 2020; courtesy the artist and tangentyere artists, mparntwe

10 the australian war memorial and collecting aboriginal art in a moment: erin vinkyhonnie scarce, blue danube [black], 2015, hand-blown glass bomb and yams, 21 x 60 x 21cm; australian war memorial, canberra, purchased 2016; courtesy the artist and … — **10 the australian war memorial and collecting aboriginal art in a moment: erin vink**
yhonnie scarce, *blue danube [black]*, 2015, hand-blown glass bomb and yams, 21 x 60 x 21cm; australian war memorial, canberra, purchased 2016; courtesy the artist and this is no fantasy, melbourne

11 adopting the first name of a famous man: elvis richardson on making art and lists: chloe wolifsonelvis richardson, men vs women, 1965 australian house of representatives hansard, 2017, edited original bound hansard from parliament house library d… — **11 adopting the first name of a famous man: elvis richardson on making art and lists: chloe wolifson**
elvis richardson, *men vs women, 1965 australian house of representatives hansard*, 2017, edited original bound hansard from parliament house library deaccession, 45 x 30 x 8cm; courtesy the artist and hugo michell gallery, adelaide

12 so that her name will be remembered: rebecca blake, canberraphilippa cullen and jo lloyd commission 2020, national gallery of australia, canberra; image courtesy jo lloyd and sage arts, melbourne — 12 so that her name will be remembered: rebecca blake, *canberra*
philippa cullen and jo lloyd commission 2020, national gallery of australia, canberra; image courtesy jo lloyd and sage arts, melbourne

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.