April 2017 Issue 297

1 Dispatches: Glass act: Andrew StephensLisa Cahill, Road trip series #2, Rain on the Hume, 2016, kiln-formed glass with ceramic decals, nine parts, 65 x 88 x 2cm overall; collection the artist; © the artist; photo: Greg Piper — **1 Dispatches: Glass act: Andrew Stephens**
Lisa Cahill, *Road trip series #2, Rain on the Hume,* 2016, kiln-formed glass with ceramic decals, nine parts, 65 x 88 x 2cm overall; collection the artist; © the artist; photo: Greg Piper

2 Subcontinental shifts: The 9th India Art Fair: Sebastian Goldspink, New DelhiReena Saini Kallat, Woven Chronicle, 2011–16, installation view, 9th Art Fair India, New Delhi, 2017; photo: © Andy Barnham — 2 Subcontinental shifts: The 9th India Art Fair: Sebastian Goldspink, *New Delhi*
Reena Saini Kallat, *Woven Chronicle,* 2011–16, installation view, 9th Art Fair India, New Delhi, 2017; photo: © Andy Barnham

3 Carpark chic: Art Fair Philippines 2017: Chloé Wolifson, ManilaMaria Jeona Zoleta, Forced Farts, Cartoon Pain and Daddy Issues Or Accident By Voodoo while I Masturbate Underwater with My Adult Diaper Rash until Hell Freezes Over is a Freak Show, … — 3 Carpark chic: Art Fair Philippines 2017: Chloé Wolifson, *Manila*
Maria Jeona Zoleta, *Forced Farts, Cartoon Pain and Daddy Issues Or Accident By Voodoo while I Masturbate Underwater with My Adult Diaper Rash until Hell Freezes Over is a Freak Show,* 2017, installation view, 5th Art Fair Philippines, Manila, February 2017; image courtesy Art Fair Philippines

4 Chang sae Tang: The material conditions of the archive: Clare Veal, SingaporeWorks by Tang Chang displayed outside the Tang Chang Private Museum, Nakhon Pathom, during the collection survey, 2015; left to right: Untitled (10), n.d., oil on canvas,… — 4 Chang sae Tang: The material conditions of the archive: Clare Veal, *Singapore*
Works by Tang Chang displayed outside the Tang Chang Private Museum, Nakhon Pathom, during the collection survey, 2015; left to right: *Untitled (10),* n.d., oil on canvas, 207 x 245cm; *Untitled (2),* 1969, oil on canvas with impasto medium, 246 x 208cm; *Untitled (1),* 1969, oil on canvas with impasto medium, 208 x 244cm; and *Untitled (11),* n.d., oil on canvas, with impasto medium, 245 x 108.5cm

5 Alex Martinis Roe: Recovering feminism’s past: Macushla Robinson, New YorkAlex Martinis Roe, It was about opening the very notion that there was a particular perspective, 2015–17, source image; 3-channel video installation: 2 channels digital vide… — 5 Alex Martinis Roe: Recovering feminism’s past: Macushla Robinson, *New York*
Alex Martinis Roe, *It was about opening the very notion that there was a particular perspective,* 2015–17, source image; 3-channel video installation:
2 channels digital video, high definition, colour, sound; 1 channel digital video transferred from 16mm film, standard definition, colour, sound; powder-coated aluminium, wood panels, projection foils, books and archival materials, framed A1 offset printed poster; image courtesy and © Margot Nash

6 On the crest: 40 years of the ANU School of Art: Yolande Norris, CanberraThe ANU School of Art illuminated in rainbow colours in solidarity for the victims of the Orlando nightclub shooting, June 2016; photo: Denise Ferris — 6 On the crest: 40 years of the ANU School of Art: Yolande Norris, *Canberra*
The ANU School of Art illuminated in rainbow colours in solidarity for the victims of the Orlando nightclub shooting, June 2016; photo: Denise Ferris

7 Teaching tomorrow’s artists in a changing world: A roundtableStudents working in the studios of the National Art School (NAS), Sydney, 2016; images courtesy NAS and Zan Wimberley; photos: Zan Wimberley — **7 Teaching tomorrow’s artists in a changing world: A roundtable**
Students working in the studios of the National Art School (NAS), Sydney, 2016; images courtesy NAS and Zan Wimberley; photos: Zan Wimberley

8 Kirstie Rea: Glass alchemies: Zsuzsi Soboslay, CanberraKirstie Rea, Balancing the blades, 2004, kiln-formed, wheel-cut glass, 110 x 120 x 37cm; National Gallery of Australia, Canberra, purchased 2004 — 8 Kirstie Rea: Glass alchemies: Zsuzsi Soboslay, *Canberra*
Kirstie Rea, *Balancing the blades,* 2004, kiln-formed, wheel-cut glass, 110 x 120 x 37cm; National Gallery of Australia, Canberra, purchased 2004

9 Toba Khedoori: Tracing time Gary Dufour, Los AngelesToba Khedoori, exhibition installation view, Los Angeles County Museum of Art, 2016–17, with (from left): Untitled (white fireplace), 2005, and Untitled (black fireplace), 2006; © Toba Khedoori: … — 9 Toba Khedoori: Tracing time Gary Dufour, *Los Angeles*
*Toba Khedoori,* exhibition installation view, Los Angeles County Museum of Art, 2016–17, with (from left): *Untitled (white fireplace),* 2005, and *Untitled (black fireplace),* 2006; © Toba Khedoori: photo: © Fredrik Nilsen

10 The Museum of Modern Love: Heather RoseExcerpt from The Museum of Modern Love by Heather Rose; Allen & Unwin, Sydney, Melbourne, Auckland and London, 2016, 284 pages, AU$27.99 — **10 The Museum of Modern Love: Heather Rose**
Excerpt from *The Museum of Modern Love* by Heather Rose; Allen & Unwin, Sydney, Melbourne, Auckland and London, 2016, 284 pages, AU$27.99

11 Running to-and-fro: Terry Smith’s Talking Contemporary Curating: Sophie KnezicTerry Smith, Talking Contemporary Curating, from the ‘Perspectives in Curating’ series; Independent Curators International, New York, 2015, 344 pages, US$19.95 — **11 Running to-and-fro: Terry Smith’s *Talking Contemporary Curating:* Sophie Knezic**
Terry Smith, *Talking Contemporary Curating,* from the ‘Perspectives in Curating’ series; Independent Curators International, New York, 2015, 344 pages, US$19.95

12 Modernism in motion: Peter Pinson’s Gerald Lewers Sculptor: Ken ScarlettPeter Pinson, Gerald Lewers Sculptor, Phillip Mathews Book Publishers, Sydney, 2016, 83 pages, AU$40 — **12 Modernism in motion: Peter Pinson’s *Gerald Lewers Sculptor:* Ken Scarlett**
Peter Pinson, *Gerald Lewers Sculptor*, Phillip Mathews Book Publishers, Sydney, 2016, 83 pages, AU$40

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.