Stepmothers are atrocious. Dolla Merrillees knew from storybooks. But meeting her husband-to-be she finds that true love is not just two people in harmony. She has to like his little boy; and fend off an ex-mother with a heroin habit. Our author is just a flawed human. Will she be squashed into the storybook mould? Or will she prove that a step-family can be a real family? Honest, disturbing, witty, heartwarming, beautifully designed.
Filipino artists Isabel and Alfredo Aquilizan, now based in Australia, are renowned for their collaborations with local communities to create works that express ideas of migration, family and memory. This catalogue is published on the occasion of the Aquilizan's solo exhibition at Sherman Contemporary Art Foundation in Sydney. In this new commission the Aquilizans continue their project Another Country, which uses everyday items to construct intricate installations that reflect individual experiences of dislocation and change. In-Habit has a particular focus on the Badjoa, a nomadic sea community who live precariously on stilted homes on the edge of the ocean. During the course of the exhibition visitors add to the cardboard box scaffolding installed by the Aquilizans, creating an ephemeral work that draws attention to these marginalised and apprehensive people.
Evidence: Brook Andrew is an immersive installation and publication that draws on the rich and varied Museum of Applied Arts and Sciences collection to explore the theme of evidence. Brook Andrew is internationally recognised for his interdisciplinary practice that often interrogates knowledge systems, history, identity and race. In Evidence , Andrew weaves together unexpected and perhaps overlooked objects and materials from the MAAS collection with specially commissioned artworks, suggesting different ways of interpreting objects and their history. Featured objects include Governor Macquarie's chair, a 'black box' flight recorder, a Maralinga souvenir clock, a Brown Bess musket, a surgical table and colonial breastplates along with 19th-century ethnographic photographs. The installation opened at the Powerhouse Museum in October 2015. The publication will follow in early December and will include views of the installation as well as an interview with Andrew reflecting on his artistic philosophy and practice, an essay by legal academic Katherine Biber on the use of criminal evidence in art, and essays by MAAS curators that further explore the themes of evidence, stereotypes, interpretation and material culture through selected Museum objects.
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