Winter 2021 Issue 328

**1 Big targets: William Kelly’s *Can Art Stop a Bullet?*: Michael fitzgerald**
William Kelly, *Peace or War: The Big Picture*, 2016, installation view, La Trobe Reading Room, State Library Victoria, Melbourne, 2016; limited edition print on archival paper, 1260 x 160cm; courtesy the artist

**2 Seeking transcendence: ‘Out of the darkness’ at the Art Gallery of Ballarat: Koulla Roussos**
James Money, *Guilty/charged*, 2017, ink and enamel on board; collection of Robert House; © James Money

**3 Black sands and portals through time: Brett Graham’s *Tai Moana Tai Tangata*: anna-marie white**
*Brett Graham: Tai Moana Tai Tangata*, exhibition installation views Govett-Brewster Art Gallery/Len Lye Centre, Ngāmotu New Plymouth, 2020–21; courtesy the artist; photo: Neil Pardington

**4 A collector’s offering: ‘Upacara’ at Mosman Art Gallery: Siobhan Campbell**
Artist unknown, bald figure, East Java, fourteenth–fifteenth century; terracotta, 28 x 21 x 14cm; collection of Dr John Yu AC; photo: Tim Connolly

**5 Ritual homage: ‘WARWAR’ at Newcastle Art Gallery: Brian Robinson**

Dr Ken Thaiday Senior, hammerhead shark (*beizam*) headdress, n.d., wood, bamboo, feathers, paint, twine, 94 x 111.6 x 112cm; National Museum of Australia, Canberra; courtesy the artist; photo: Dean McNicoll

**6 Daniel Boyd: Shadowing the Enlightenment: Erin Vink**
Daniel Boyd, *Pediment/Impediment*, 2020, installation detail, Contemporary Art Project #1, Penelope Gallery, Chau Chak Wing Museum, University of Sydney, 2020–21; photo: David James

**7 Icarus, my Son: Dean Cross**
Dean Cross, *Untitled collateral collage #1 (Right Wing Study)*, 2021, digital collage; courtesy the artist and Yavuz Gallery, Singapore and Sydney

**8 Constructing a case for the first truly global contemporary medium: Genevieve Trail**
Nam June Paik, *TV Buddha*, 1974/2002, installation view, ‘Refocusing on the Medium: The Rise of East Asia Video Art’, OCAT Shanghai, 2020–21; CCTV video installation; courtesy OCAT Shanghai

**9 Publishing precedence: Michael Fitzgerald**
*NGV Triennial 2020*, National Gallery of Victoria, Melbourne, 1073 pages, AU$79.95

**10 Night Blue: Angela O’Keeffe**
Jackson Pollock, *Blue poles*, 1952,  enamel and aluminium paint with glass on canvas, 212.1 x 488.9cm; National Gallery of Australia, Canberra, purchased 1973; © Pollock-Krasner Foundation, ARS/Copyright Agency

**11 A sensate space: Nicole Ellis’s ‘Fabrications’:** **Craig Judd**
Nicole Ellis, *Light Matter Yellow*, 2018, fabric and acrylic paint on canvas, 118.5 x 88cm; courtesy the artist; photo: Exact Image

**12 Finding shadows in the sunlight: Michael Fitzgerald**
Iso Rae, *Young girl, Étaples*, c. 1892, oil on canvas, 105.5 x 59.5cm; NGV, Melbourne, purchased with funds donated by Krystyna Campbell-Pretty AM and family, Professor Graham Peirson and Christine Peirson, and the Norma Atwell Bequest, 2020

**13 Where am I going? Moments of illumination and doubt in the work of John Olsen: Chloé Wolifson**

John Olsen, *Where the bee sucks, there suck I*, 1984–86, oil on composition board, 183 x 244.6cm; National Gallery of Victoria, Melbourne, presented through the Art Foundation of Victoria by John Olsen, Governor, 1986

**14 Antony Hamilton 1955 – 2020: Ross Wolfe**

Antony Hamilton, c. 1975; courtesy Helen Fuller

**15 Marr Roy Grounds 1930 – 2021: Nigel Lendon**

Marr Grounds with Pete the dog, bunker installation, 2nd Biennale of Sydney, Art Gallery of New South Wales, Sydney, 1976; courtesy the artist’s estate

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.