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Contributors

Issues

Issue 41:3 | December 2021 | INDIGENOUS_Visualising Sovereignty

INDIGENOUS_Visualising Sovereignty

Issue 41:3 | December 2021

Issue 41:2 | August 2021 | In Public / Inside

In Public / Inside

Issue 41:2 | August 2021

Issue 41:1 | April 2021 | Fashion. Performance. Industry.

Fashion. Performance. Industry.

Issue 41:1 | April 2021

Issue 26:4 | December 2006 | Elders: The Old Magic

Elders: The Old Magic

Issue 26:4 | December 2006

Issue 24:4 | December 2004 | Hybrid World

Issue 24:4 | December 2004

Issue 21:4 | December 2001 | Best Practice: Export Quality

Best Practice: Export Quality

Issue 21:4 | December 2001

Issue 16:2&3 | September 1996 | Art in the Electronic Landscape

Art in the Electronic Landscape

Issue 16:2&3 | September 1996

Issue 3:6 | December 1983 | Artlink 3:6

Issue 3:6 | December 1983

Issue 1:3 | July 1981 | Artlink 1:3

Issue 1:3 | July 1981

Articles

Still in Crisis! The Weaponisation of Humour

Chrisoula Lionis

Knock Knock: Hu’s not There - Hooligans, Jokers, and Chinese Art

Sam Gaskin

Art and Theoriousness

Kathryne Genevieve Honey and Anita King

Gag Reflex: Choking on AI

Scott Robinson

In Conversation: Simone Hine and Keemon Williams Beat a Dead Horse

Simone Hine and Keemon Williams

To the Owner (of multiple properties)

Alana Hunt

Comedy as Resistance: Comedy as Alchemy

Yasemin Sabuncu

Damien Shen – My Cuzzy Nate and the 654 Club

Troy-Anthony Baylis

Tracing traces in the South West Biennial, 2026

Paul Boyé

Indonesian Vibes: Three Exhibitions in Fremantle

Darren Jorgensen

The Stars We Do Not See: Australian Indigenous Art

Lisa Slade

Imants Tillers and Fierce Paradise: Conversations with Aboriginal Art

Lindsay Frost

Ngura Pulka — Epic Country

Una Rey

Notes from Art Basel Hong Kong

Eleen Deprez

After the Women’s Art Movements: Inheritances of Care and Relationality in Contemporary Art

Anne Marsh

Bloomin’ Toxic

Melinda Rackham

In the Fullness of Time: Historicising Sonic Practices

Gail Priest

Collecting the Ephemeral: Conceptual and Experimental Practice in University Collections

Simone Hine

The Recirculate Experiment: The Gallery as Laboratory

Tracey Clement

Unfinished Business: Experimental Art in Aotearoa New Zealand

Christina Barton

Rinse and Repeat: The Blak Laundry project

Troy-Anthony Baylis

Experimenting with the Shadows of AI

Brian Obiri-Asare

Stephanie Britton in conversation with Sasha Grbich

Stephanie Britton and Sasha Grbich

Awakening Histories

John Mateer

Artist to the Power of Mother

Elvis Richardson

Photographing Motherhood

Savannah Smith

Pregnant Woman in Maitland: Notes on Life, Loss, Longing and Love

Gerry Bobsien

(M)Other is an Opera!

Josephine Mead

Sara Hughes: Building Worlds Together

Dina Jezdic

In Conversation: Curating MOTHER

Sophie Gerhard and Katharina Prugger

Veiled to Visible: Motherhood and Maternity in the Cruthers Collection of Women’s Art

Warwick Heywood

Bad Art Mother

Tahney Fosdike

Pat Hoffie: I have loved/I love/I will love

Una Rey

The narrative urge in Western Desert visuality: Wangka Walytja and Doris Bush Nungarrayi

John Kean

Georgie Mattingley: Project Pine Gap

Kieran Finnane

Soft edges: 2025 NATSIAAs and Darwin's festival season

Maurice O'Riordan

State of the Art: Reimagining Queensland

Daniel Qualischefski

Yolŋu Power: The Art of Yirrkala

Roger Benjamin

Protest is a creative act

Juliette Peers

Set For Life: The art and majesty of Uncle Badger Bates

Zena Cumpston

Teho Ropeyarn: The man from Seven Rivers

Jack Wilkie-Jans

Water Country flowing through Tarnanthi

Jacinta Koolmatrie

Three generations: a reflection in colour

Jade Turner

Yolŋu art: blazing countless trails

Mayatili Marika

Retracing the Walyalup/Fremantle Aboriginal Screenprinters

Michelle Broun

Durrugarra ngiyang.gu ngurambang: tracing language home

Jonathan Jones

HELD: The Relationship between Tarnanthi and Kaurna Yarta

Dominic Guerrera

Christopher Bassi: Notes for a Palm Sermon

Peggy Kasabad Lane

ARTJOG 2025

Natasha Doroshenko Murray

HOME: 19th Venice Architecture Biennale

Susie Anderson

Wangaratta Contemporary Textile Award 2025

Una Rey

GUDIRR GUDIRR and Revealed: New and Emerging WA Aboriginal Artists

Sam Beard

ACSA Painting Symposium and STADIUMKRAFT

Belinda Howden

Editorial Narrative + Painting

Una Rey

Meet Joan Meats

Daniel Mudie Cunningham

Billy Coulthurst’s Koalas

Cameron Hurst

Stories in paintings and paintings about stories

Rex Butler

Spider’s eye: The story paintings of John Prince Siddon and Mervyn Street

Tristen Harwood

Djambawa Marawili’s Journey to America

Henry Skerritt

Zico Albaiquni’s Anthroporn

Elly Kent

Art-led learning and Sandra Saunders’ history paintings

Ali Gumillya Baker and Fiona Salmon

Two Painters, Two Laws and One Big Spirit

Una Rey

Tales of spirit painting, old and new: Contemporary artists materialising the spiritual

Michael Newall

The Neoteric project and three Adelaide painters

Eleanor Scicchitano

Diena Georgetti’s Surgeon’s Playlist/Wilding

Andrew Browne

Balang Nakurulk (1952-2024): A Tribute

Jon Altman

Destiny Deacon (1957-2024)

Natalie King

65,000 years: A Short History of Australian Art

John Kean

Radical Textiles

Belinda Howden

Gardens at the edge of the internet: Online ARIs keeping the handmade web alive

Sophie Penkethman-Young

Editorial: The Hyphen - breaking, connecting, continuing

Ava Lacoon, Claire Osborn-Li and Hen Vaughan

The Museum as a Cowboy Place: Rethinking the role of young people and youth programs

Jo Higgins

compost: compose

Rasha Tayeh

Cyborgs, wheelchair flight and disability arts

Robin M Eames

To become, to consume, to destroy: Lindy Lee’s Ouroboros

Lee Mackenzie

Solipsism and Sabotage: Throwing a wrench into the endless doomscroll

Rory Gillen

Terraforming ARIs: Speculations on the Artist Run Initiative

Madeleine Sherburn

Entangled Belonging: Asian Australian artists and cultural hybridity

Cristea Nian Zhao

Access Lab & Library

Jon Tjhia, Fayen d'Evie and Lloyd Mst

Tennant Creek Brio: Juparnta Ngattu Minjinypa Iconocrisis

Lisa Slade

Wilder Times: Arthur Boyd and the mid 1980s landscape

Una Rey

Julia Robinson

Belinda Howden

Remnants of Perception: 'Ivan Durrant: Marmalade Skies Through Opal Eyes' and 'The Good'

Scott Robinson

Editorial Regional

Una Rey

Traversing Saltbush Country

Marika Davies

Hyper-local, hyper-global and post-regional Perth

Sam Beard

Regional Assembly: Resisting Summary

Alana Hunt

Thanakupi and her legacy in Cape York arts

Jack Wilkie-Jans

LiddellWORKS: Transformation in the Upper Hunter

Faye Neilson

In Kandos: Reciprocal relations of art and place

Vanessa Berry

Art and Broken Hill: A-grader, B-grader, Slag Heap

Hester Lyon

Janus-faced: Art and Community in Mildura

Erica Tarquinio

Regional Focus: SA’s Limestone Coast

Una Rey

LIMINAL برزخ: Sha Sarwari

Gabrielle Bergman

Reconciling the seven stages of Archie Moore's grieving

Djon Mundine

If you don’t fight … you lose: politics, posters and PAM

Anna Zagala

8th Yokohama Triennale | Wild Grass: Our Lives

Alison Carroll

Voice Against Reason

Jeong Ok Jeon

Editorial Eco-Critical

Una Rey

Biennale Jogja 17 2023 TITEN: Embodied Knowledges, Shifting Grounds

Bianca Winataputri

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