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CONTENTS

10 Editorial

41 (Un)tangling the threads that bind them: Judy Watson and Helen Johnson Oscar Capezio, Kamberri/Canberra and Naarm/Melbourne

46 Their own private evening:

Hilarie Mais’s ‘Night Simile’ George Egerton-Warburton, New York City

77 Embarrassment of riches:

‘Cultural Commons’ at the University of Melbourne Giles Fielke

84 Les Blakebrough

1930 – 2022 Anne Brennan

86 Virginia Spate

1937 – 2022 Julie Ewington

48 Barbara Hepworth:

Emotion, recollected in tranquillity Patrick Hutchings, Naarm/Melbourne

88 Angus Trumble

1964 – 2022 Sarah Thomas

52 That invisible element:

‘Air’ at QAGOMA Rebecca Blake, Meanjin/Brisbane

56 You and Me:

A collective beauty Steven Lindsay Ross

61 Firsts and seconds:

On Nan Goldin and Matthew Sleeth Daniel Mudie Cunningham

66 Bowerbirding:

Karla Dickens at Campbelltown Fiona Kelly McGregor, Warrang/Sydney

90 Elevating art writing and contesting paradigms: The 2022 AWAPAs

96 Approp … : A manner proper to the circumstances Moya Costello

98 Body of work:

Peter Maloney’s Fugitive Text Ruth Waller

102 Halcyon days at Emu Plains:

Margo Lewers: No Limits Andrew Andersons

6

Cover: Matthew Sleeth, The First Cut Is the Deepest [Part 2], 2021, still from durational performance, KRONENBERG MAIS WRIGHT, Warrang/Sydney, 2021; courtesy the artist and KRONENBERG MAIS WRIGHT

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