Summer 2021–2022 Issue 330

1 A POSITIVE TANGO: ARTISTS AND INSTITUTIONS IN APT10: JASMIN STEPHENS

Phuong Ngo and Michelle Hamer, Untitled No. 45 (Collaborative racist paintings), 2020, detail; synthetic polymer paint and mixed media on plywood boards, 25.4 x 40.6cm (diptych); courtesy the artists

2 ON GLOBAL CULTURAL AUTHORITY AND ‘DESTINATIONALITY’: M+ MUSEUM DIRECTOR SUHANYA RAFFEL IN CONVERSATION WITH ZETA XU

The Horizon Terrace, M+, Hong Kong; courtesy Herzog & de Meuron; photo and © Virgile Simon Bertrand

3 MADISON BYCROFT’S BIOPIC: A FLUID IDENTITY FOR TROUBLED TIMES: EVE SULLIVAN, Adelaide

Madison Bycroft, BIOPIC or Charles Geneviève Louis Auguste André Timothée, 2021, production still; courtesy the artist

4 A BLOCKBUSTER FROM NEW YORK: DANIEL THOMAS, brisbane

Georges de La Tour, The Fortune-Teller, c. 1630s, oil on canvas, 101.9 x 123.5cm; The Metropolitan Museum of Art, New York, Rogers Fund, 1960

5 NOTES ON A SCANDAL: THE STRANGE CASE OF THOMAS Griffiths WAINEWRIGHT: MICHAEL FITZGERALD

Thomas Griffiths Wainewright, Group of standing and reclining figures, c. 1840–44, pencil, 25.7 x 35.6cm (sheet); Art Gallery of Ballarat, purchased with funds from the Lady Currie Bequest, 1978

6 ERA[i]SED PORTRAIT OF IAN FAIRWEATHER: MOYA COSTELLO

Ian Fairweather, Monastery, 1961, synthetic polymer paint and gouache on cardboard mounted on composition board, 144.5 x 185.5cm; National Gallery of Australia, Canberra, purchased 1976; © Ian Fairweather/DACS, London, licensed by Copyright Agency, 2021

7 NATION GAZING: TIM BONYHADY’S TWO AFTERNOONS IN THE KABUL STADIUM: AMY WALTERS

I weave what I have seen: The War Rugs of Afghanistan, exhibition installation view, Drill Hall Gallery, Australian National University, Canberra, 2021; photo: Rob Little, RLDi

8 HARVESTING A ‘FOREST OF IDEAS’: MUMA’S RECENT PUBLICATIONS: CHLOÉ WOLIFSON

Courtesy MUMA and Powered by Power, Melbourne and Sydney

9 BREAKING AWAY: MANDY MARTIN IN QUEANBEYAN AND BEYOND: VIRGINIA RIGNEY

Mandy Martin, Wrapped trees, 1979, gouache and watercolour on paper, 70.1 x 102.5cm; CMAG, Canberra, gift of the artist, 2021

10 NEW IDEAS FROM OLD: INNOVATIVE TRADITION IN THE WORK OF LENA YARINKURA AND KAMARRANG BOB BURRUWAL: HENRY SKERRITT

Tarnanthi 2020: Open Hands, exhibition installation view featuring works by Lena Yarinkura and Yolanda Rostron, Art Gallery of South Australia, Adelaide, 2020; © the artists, Maningrida Arts and Culture, and Copyright Agency; photo: Saul Steed

 
 

11 PRETTY POLYGLOT: PARROTISATION AS THE DIFFERENCE IN REPETITION: TESSA LAIRD

Sergio Vega, Telephones of Paradise, 2005, installation view, 51st Venice Biennale, 2005; 7 sculptures/telephone cabins, painted fibreglass mounted on iron plates, 244 x 91 x 122cm each; courtesy the artist

12 WE SPIN IN CIRCLES IN THE NIGHT AND ARE DEVOURED BY FIRE: CLARA SCHULMANN

Angelica Mesiti: Over the Air and Underground, exhibition installation view, Galerie Allen, Paris, 2021; courtesy the artist and Galerie Allen, Paris; photo: Aurélien Mole

13 KNOW ITS NAME: REX BUTLER

Know My Name: Australian Women Artists 1900 to Now, Part One, exhibition detail view, National Gallery of Australia (NGA), Canberra, 2020–21; courtesy NGA, Canberra

14 ‘THE COLOUR CHART’: RUMINATIONS ON THE WHITE POWER STATUS QUO: LÉULI ESHARĀGHI

Archie Moore, Family Tree, 2021, installation detail, ‘The Colour Line: Archie Moore and W. E. B. Du Bois’, UNSW Galleries, Sydney, 2021; Conté crayon on blackboard paint on board, 488 x 488 x 1.2cm; courtesy the artist, UNSW Galleries and The Commercial, Sydney; photo: Zan Wimberley