Issue °196, Summer 2022



Shane Cotton Now
by Reuben Friend and Anthony Byrt

Jack Be Nimble: Thirty Years On
by Tom Augustine, Garth Maxwell, Sarah Smuts-Kennedy and Ron Magliozzi

Fiona Connor
The Gift and the Given
by Victoria Wynne-Jones

Ella Sutherland
Lines that Aren’t Straight
by Melanie Oliver

Simon Denny and Karamia Müller
by Gregory Burke

a page work by PATRICK POUND

reviews on ZAC LANGDON-POLE’s Porous World at Michael Lett; TINO SEHGAL’s Yet Untitled at Auckland Art Gallery Toi o Tāmaki; GRETCHEN ALBRECHT’s Nine Illuminations at Nadene Milne; JOE L’ESTRANGE at Hocken Gallery; JOYCE CAMPBELL’s The Sunken City at Bartley and Company Art; SIMON DENNY and GUILE TWARDOWSKI’s Dotcom Séance at Outernet Arts; and AMMON NGAKURU’s Misere at Coastal Signs; HEIDI BRICKELL in watchlist

sketches on SELWYN MURU at the New Zealand Portrait Gallery; Scape Public Art in Christchurch; FRIDA KAHLO at the Auckland Art Gallery Toi o Tāmaki; a callout for help identifying portraits taken in the SPENCER DIGBY portrait studio between the 1930s and 1980s by Museum of New Zealand Te Papa Tongarewa Collections; Psychedelic: San Francisco Rock Posters of the 1960s at The Dowse Art Museum; KARL FRITSCH and LAURIE STEER’s response to Barry Brickell at Whangārei Art Museum; the Group of Seven exhibition at Aigantighe Art Gallery; JEFFREY HARRIS at the Christchurch Art Gallery Te Puna o Waiwhetū; LISSY ROBINSON-COLE and RUDI ROBINSON at the Dowse Art Museum; and an announcement on the 2023 McCahon House Residency recipients NEKE MOA, OWEN CONNORS and MICHAEL STEVENSON

Editor-in-Chief: John McCormack
Editor: Robert Leonard
Art Director: Kalee Jackson
Copy Editor: Maree Shannon


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