CONTENTS 38 Editorial 36 Insta-tutional critique Annette An-Jen Liu 38 Through the ‘Looking Glass’
at TarraWarra Museum of Art Sophia Halloway 40 ‘Contour 556’:
Creating and holding space Saskia Scott, Canberra 42 ‘NIRIN’: A call from the edge Chaitanya Sambrani, Sydney 46 A Drone Opera: Matthew Sleeth’s neo-baroque expression of state power’s inconsistency Oliver Watts 50 Beauty, trauma and giving up the ghost:
James Lieutenant in conversation with Michael Fitzgerald 54 Isolation and the artist’s studio David Eastwood 60 Barry Pearce’s Peter Kingston:
Paintings and Drawings Sasha Grishin 61 Judith Brooks’s
The Women’s Gallery 1988–1995 Juliette Peers 62 Ian Fairweather: A Life in Letters Martin Edmond
63 Justin Paton’s McCahon Country Ross Gibson 64 Kate Daw 1965–2020 Juliana Engberg 65 John Nixon 1949–2020 Max Delany 70 Penny Evans: A handful of dust Pat Hoffie 74 Chandler Coventry: The next painting Belinda Hungerford 80 Made in Australia: The trajectory of the kangaroo in the Artbank collection Courtney Kidd 86 Modern art exchanges in Asia
– an unlikely beginning? Alison Carroll 92 Public bodies, private lives:
The work of Cao Yu and Pixy Liao Luise Guest 98 Magic is utopia:
Jumaadi’s grand private cosmology Matt Chun, Imogiri 104 Ngayulu Minyma Tjanpinya:
I am a Tjanpi woman Tjunkaya Tapaya, Pukatja 110 Step into my shoes (Fausto Santini please) Steven Miller
CONTRIBUTORS Alison Carroll has been an academic, critic, writer, curator and administrator of art exhibitions and artist exchanges with Asia for over 30 years; Matt Chun is an artist, writer and picture-book author based between Melbourne and Taipei; he is a current Creative Fellow at the State Library of Victoria in Melbourne; Max Delany is Artistic Director and CEO of the Australian Centre for Contemporary Art, Melbourne; David Eastwood is Postgraduate Research Coordinator and Lecturer in the Fine Arts program at UNSW Art & Design in Sydney; Martin Edmond was born in Ohakune, New Zealand and lives in Sydney, Australia; his books include Battarbee and Namatjira (2014), Dark Night: Walking with McCahon (2011) and The Supply Party: Ludwig Becker on the Burke and Wills Expedition (2009); Juliana Engberg is a curator and writer; she is currently engaged as Senior Curator, Contemporary Global Art at the Auckland Art Gallery; Michael Fitzgerald is Editor of Art Monthly Australasia; Ross Gibson is Centenary Professor at the University of Canberra; his most recent books are The Criminal Re-Register (2017) and RedACT (2019); Sasha Grishin is an Emeritus Professor at the Australian National University (ANU), Canberra; Luise Guest is a Sydney-based writer and researcher focused on China and contemporary Chinese art; Sophia Halloway has been a 2020 Critic-in-Residence at ANCA, Canberra;
she currently works at the National Gallery of Australia in private giving; Pat Hoffie AM is a visual artist and Professor Emeritus at Queensland College of Art, Griffith University in Brisbane; Belinda Hungerford is the Manager of Exhibitions and Curatorial at the New England Regional Art Museum in Armidale; she was the curator of ‘COVENTRY’; Courtney Kidd is a Sydney-based art consultant with Artbank and a freelance visual arts writer; Annette An-Jen Liu has been a 2020 Critic-in-Residence at ANCA, Canberra; she is a graduate of the University of Sydney and the ANU, and a recent curatorial intern at the Museum of Modern Art, New York; Steven Miller is Head of the Edmund and Joanna Capon Research Library and Archive at the Art Gallery of New South Wales, Sydney; Juliette Peers was a senior lecturer at RMIT in Melbourne and has been researching and curating Australian women’s art for over three decades; Chaitanya Sambrani is an art historian and curator specialising in modern and contemporary Asian art; he teaches at the ANU School of Art & Design in Canberra; Saskia Scott has been a 2020 Critic-in-Residence at ANCA, Canberra; she is Senior Gallery Coordinator at the ANU School of Art & Design Gallery; Tjunkaya Tapaya OAM divides her time as an artist between painting for Ernabella Arts and weaving for Tjanpi Desert Weavers; Oliver Watts is an artist, curator and academic.
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