Michael Cook’s photography adorns our latest issue, showing a near-surreal blend of high materialism against the endurance of Country. While Cook talks about what we decide to value, a feature on the female gaze considers how the male gaze has been overvalued throughout art history. Peter Tyndall, a conceptual painter with a 50-year practice, gets to the core of how we look at art, while a reflective essay on Andy Warhol’s polaroids considers how his ceaseless photographing was both a determinant of, and escape from, his loneliness. We visit Sarah crowEST’s studio, and five artists—Amalia Lindo, Anu Kumar, Christian Thompson, Jessie French and Mark Smith—tell us about the work they’re exhibiting for Melbourne Now. And while the art world is famously built on personal networks, does that mean your best friends should also be your curators, collectors, profilers, show essayists, reviewers, installers and co-exhibiters? This, and more, in our latest March/April issue.
