Charlotte Day; Robert Leonard
Melbourne: Monash University Museum of Art, 2014.

“As part of his diverse artistic practice, Stuart Ringholt leads audiences on naturist gallery tours, anger workshops, and participatory performances that invoke embarrassment, fear, laughter, and love. He also makes videos, absurdist sculptures, painted mirrors, and collages.”

Max Delany
Melbourne: Monash University Museum of Art, 2013.

“English artist Simon Starling—who won the prestigious Turner Prize in 2005—is celebrated for his erudite projects. His works explore the legacies of modernism and globalisation by addressing peculiar histories surrounding specific objects and sites of art, design, and science. While they mine real histories, there is always something unexpected, excessive, witty, perverse, serendipitous, convoluted, or crafty about them.”

Vivian Ziheri
Amsterdam: Frontier Imaginaries, 2016.

“Frontier Imaginaries Ed No1 offers a chance to reflect upon how, why, and with what tools locally-focused projects can be meaningfully connected across vastly separate geographies. Are publications valuable means of transmitting the specific work of an exhibition across time and territories? Do more recent communications technologies offer other tools that may be more useful? From the art-making perspective, what can be learned and/or contributed to the approaches of current social movements that strive to effect local change within systems of globalised power-relations?”

Aileen Burns; Johan Lundh
Milan: Mousse Publishing, 2015.

“This book documents the eponymous work by British artist, Patrick Staff, presented at the Chisenhale Gallery, London; Spike Island, Bristol; Contemporary Art Gallery, Vancouver; and the Institute of Modern Art, Brisbane. The film combines footage shot at the Tom of Finland Foundation in Los Angeles–home to the archive of the erotic artist and gay icon and a community of people that care for it–with choreographic sequences shot within a specially constructed set.” (publisher’s blurb)

Evie Franzidis
Brisbane: Institute of Modern Art, 2011.

“New Zealand collage artist Peter Madden draws much of his imagery from old issues of National Geographic. He plunders and reworks the magazine’s discredited ’empire of signs’ to forge his own. His surrealistic pictures, objects, and installations—with their watchmaker detail and intensity—have been described as ‘microcosms’ and ‘intricate kingdoms of flying forms’ Madden has one foot in the vanitas still-life tradition and the other in new-age thinking. On the one hand, he is death obsessed: a master of morbid decoupage. (Moths and butterflies—symbols of transient life—abound. His assemblages in bell jars suggest some Victorian taxidermist killing time in his parlour.) On the other hand, with his flocks, schools, and swarms of quivering animal energy, he revels in biodiversity and magic. Madden’s works manage to be at once morbid and abundant, rotting and blooming, creepy and fey. This book serveys Madden’s work of the last ten years.” Essay by Tessa Laird. Interview by Robert Leonard.