Issue 36
| November 9, 2016
Issue 36’s cover artist is Reg Mombassa, one of Australia’s most popular and idiosyncratic artists. We speak with the talented creative force about a life lived well in the arts. Our writers also explore 19 other talented artists’ across Australasia including Kerrie Hughes, Ross Laurie, Paul Boston, Catherine O’Donnell and Karen Mills.
ISSUE
LETTER by Ben Quilty
COVER FEATURE
REG MOMBASSA by Steve Lopes, photography by Tony Lopes
PROFILES
KERRIE HUGHES by Bridget Macleod
JUSTINE VARGA by Anna Johnson
BRUCE ARMSTRONG by Ashley Crawford
KAREN MILLS by Sara Sweet
ROSS LAURIE by Joe Frost
CATHERINE O’DONNELL by Lucy Stranger
PAUL BOSTON by Kon Gouriotis
DANELLE BERGSTROM by Chloe Mandryk
NICK MOURTZAKIS by Owen Craven
PREVIEW
Review: Miriam Stannage, by Laetitia Wilson
Archive: Paul Partos, by Guy Stuart
Essay: SAM, by Joe Kinsela
Process: Evan Salmon
Process: Stephen Armstrong
Process: Naomi Hobson
Book Review: Ngarra, by Lucy Stranger
Preview: Visons of Utopia, by Kon Gouriotis
View Australia
Discovery: Adam Stone
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...
(for Michael Petchkovsky) You passed so quickly, it pulled the oxygen out of the air Drawing sorrow in behind you, like a myst Burning...
While most of Hobart is asleep, Maggie May Jeffries is crawling around in her backyard nasturtiums with a torch, finding inspiration in the intricate details...
i make it so that that every place i live is my home so i put my bed on the wall closest...
after Gbenga Adesina The first text message was sent as the year closed. Before that, red-faced men stood and demanded translation. They wanted us...
Evie Adasal always wanted to paint, but she hesitated. “I graduated from art school in the ‘90s in photography and film,” she recalls. “When I...
Frank was born in Singleton, New South Wales in 1959, and has been represented by Roslyn Oxley9 since 1982—a relationship that spans more than four...
Standing before a luminous artificial sun or walking through rainfall inside a gallery, audiences might mistake spectacle for Olafur Eliasson’s primary concern. Yet, beneath the...
The exhibition unfolds as an ode to Country, grounded in careful engagement with land and the ongoing presence of First Nations custodians. Slee returns, in...