Issue 33
| February 25, 2016
In This Issue
In Issue 33 we discover how Joanna Braithwaite juggles humour, politics and her passion for animals in her paintings. David Griggs spoke candidly about his struggle with depression. We follow George Gittoes visit to Julian Assange, his establishment of the Yellow House in Jalalabad: all before he received The Sydney Peace Prize. Drawing you into the Archive, Judith Pugh writes an insightful essay about Clifton Pugh’s practice. Timing in with the Asia Pacific Triennial of Contemporary Art, we give you the break down one of this year’s most exciting events.
ISSUE
Residencies and Reality by Kon Gouriotis
COVER FEATURE
JOANNA BRAITHWAITE by Owen Craven, photography by Tony Lopes
PROFILES
MONICA ROHAN by Lucy Stranger
NUSRA LATIF QURESHI by Elizabeth Gertsarkis
SALVATORE ZOFREA by Steve Lopes
DAVID GRIGGS by Kon Gouriotis
PIPPIN DRYSDALE by Maggie Baxter
KHALED SABSABI by Kon Gouriotis
GEORGE GITTOES DIARIES by Steve Lopes
BROOK ANDREW by Grazia Gunn
PREVIEW
8th Asia Pacific Triennial of Contemporary Art, by Chloe Mandryk
ARCHIVE, Clifton Pugh: Beyond the Tonal Method, by Judith Pugh
Book Reviews
Roger Crawford, by Joe Frost
Process: Dapeng Liu
Process: Vicki White
Process: Todd Hunter
Preview: Alex Gawronski
Preview: Melinda Schawel
Preview: Kevin Connor
View Australia
Discovery: Alison Mackay
Skilfully assimilating secondary sources throughout Paris in Ruins, Smee at the conclusion of Part One, “Salon of 1869,” writes that Auguste Renoir’s and Claude Monet’s...
Multidisciplinary artist Shireen Taweel looks skyward, into the night and beyond, with her exhibition the trig point. Drawing on fieldwork in 2025 at the Siding...
It was back in 2011 that Pip Wallis, senior curator at the Monash University Museum of Art (MUMA), remembers first seeing the work of Balinese...
Senior Pitjantjatjara artist, Tuppy Ngintja Goodwin, was born in 1952 near Bumbali Creek in the Northern Territory, close to the border with South Australia; daughter...
For those of us who seek out unfamiliar voices and see the potential for diverse cultures to create new meanings and memories in a postcolonial...
Show me the beauty of a body contorted by thrall. Then, show me the thrall. Shame is a vast word....
Kon Gouriotis: How did you come to be working with the Yinhawangka community? Pedram Khosronejad: My journey to working with the Yinhawangka community has...
The Art Gallery of South Australia’s (AGSA) Adelaide Biennial of Australian Art has seen real competition over the past two decades, as other institutions have...
Michael Vale views colonialism as the elephant in the room when it comes to Australian history and Australian art. He observes that through a strange...