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10 Editorial

36 From ‘Cries and Whispers’ to

‘Brown Pots’: A long journey to the Shepparton Art Museum Peter Hill, Shepparton

40 No one person can own the landscape: Rebirth at Bundanon Sophia Halloway, Illaroo

44 Navigating an architecture

(and poetics) of place Michael Fitzgerald, Rockhampton

48 Reiterating our fears and fantasies: ‘The Data Imaginary’ Louise R. Mayhew, Brisbane

52 Exalting a poetics for the future:

‘This language that is every stone’ Ellie Buttrose, Brisbane

56 Nolan’s career pathway

Christopher Heathcote

60 Beautiful failure:

‘Queer’ at the NGV Michael Fitzgerald, Melbourne

64 The future of the art market or a blip on the blockchain? Zeta Xu

74 Fa‘afafabulous

Léuli Eshrāghi

80 Internalising our anxiety:

Ken + Julia Yonetani’s ‘To Be Human’ Emily Wakeling

86 ‘The only thing you can hold to is memory’: The politics of remembrance and erasure in works by Rushdi Anwar Blake Palmer

92 A very serious intent:

David Elliott’s Art and Trousers John Clark

96 The struggle to suppress the self: Susan Best’s It’s Not Personal Elspeth Pitt

98 Hossein Valamanesh

1949 – 2022 Michael Fitzgerald

102 Ken Whisson

1927 – 2022 Lesley Harding


Cover: Yuki Kihara, Nafea e te fa‘aipoipo? When will you marry? (After Gauguin), 2020, Hahnemühle ¨ine art paper mounted on aluminium, 101 x 77cm; courtesy Yuki Kihara and Milford Galleries, Aotearoa New Zealand

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