Summer 2020-21 Issue 326

1 insta-tutional critique: annette an-jen liuPosted @changethemuseum_aunz on 24 July 2020 — **1 insta-tutional critique: annette an-jen liu**
Posted @changethemuseum_aunz on 24 July 2020

2 through the ‘looking glass’ at tarrawarra museum of art: sophia hallowayJudy Watson, standing stones, ashes to ashes, 2020, earth, acrylic, graphite on canvas, 229 x 181cm; courtesy the artist and Milani Gallery, Brisbane; photo: Carl Warner — **2 through the ‘looking glass’ at tarrawarra museum of art: sophia halloway**
Judy Watson, *standing stones, ashes to ashes*, 2020, earth, acrylic, graphite on canvas, 229 x 181cm; courtesy the artist and Milani Gallery, Brisbane; photo: Carl Warner

3 ‘contour 556’: creating and holding space: saskia scott, canberraMegan Cope, Walangala, 2020, installation view, ‘Contour 556’, Kingston Foreshore, Canberra, 2020; perforated concrete and swamp reeds, dimensions variable; courtesy the artist and M… — 3 ‘contour 556’: creating and holding space: saskia scott, *canberra*
Megan Cope, *Walangala,* 2020, installation view, ‘Contour 556’, Kingston Foreshore, Canberra, 2020; perforated concrete and swamp reeds, dimensions variable; courtesy the artist and Milani Gallery, Brisbane; photo: Chris Bulloch

4 ‘nirin’: a call from the edge: chaitanya sambrani, sydneyThe Mulka Project, Watami Manikay (Song of the Winds), 2020, installation view, 22nd Biennale of Sydney, Art Gallery of New South Wales, 2020; commissioned by the Biennale of Sydney; contrib… — 4 ‘nirin’: a call from the edge: chaitanya sambrani, *sydney*
The Mulka Project, *Watami Manikay (Song of the Winds)*, 2020, installation view, 22nd Biennale of Sydney, Art Gallery of New South Wales, 2020; commissioned by the Biennale of Sydney; contributors: Joseph Brady, Rebecca Charlesworth, Ishmael Marika, Mundatjngu Mununggurr, Patrina Munungurr, Arian Pearson, Siena Stubbs, Wukun Wanambi, Gutingarra Yunupingu; courtesy Buku-Larrnggay Mulka Centre, Yirrkala; photo: Zan Wimberley

5 a drone opera: matthew sleeth’s neo-baroque expression: oliver watts Matthew Sleeth, A Drone Opera, 2019, production still from multichannel video installation; courtesy the artist — **5 *a drone opera*: matthew sleeth’s neo-baroque expression: oliver watts**

Matthew Sleeth, *A Drone Opera*, 2019, production still from multichannel video installation; courtesy the artist

6 beauty, trauma and giving up the ghost: james lieutenant in conversationJames Lieutenant, Wardrobe, 2020, acrylic on canvas, 74 x 50cm; courtesy the artist and Galerie pompom, Sydney; photo: Docqment — **6 beauty, trauma and giving up the ghost: james lieutenant in conversation**
James Lieutenant, *Wardrobe*, 2020, acrylic on canvas, 74 x 50cm; courtesy the artist and Galerie pompom, Sydney; photo: Docqment

7 isolation and the artist’s studio: david eastwoodAnne Zahalka’s studio, Sydney, 2020, from ‘Lockdown Studio’; courtesy Griffith University Art Museum, Brisbane, and the artist — **7 isolation and the artist’s studio: david eastwood**
Anne Zahalka’s studio, Sydney, 2020, from ‘Lockdown Studio’; courtesy Griffith University Art Museum, Brisbane, and the artist

8 barry pearce’s peter kingston: paintings and drawings: sasha grishinbarry pearce, peter kingston: paintings and drawings, the beagle press, sydney, 2019, 220 pages, AU$120 — **8 barry pearce’s *peter kingston: paintings and drawings*: sasha grishin**
barry pearce, *peter kingston: paintings and drawings*, the beagle press, sydney, 2019, 220 pages, AU$120

9 judith brooks’s the women’s gallery 1988-1995: juliette peersjudith brooks (ed.), the women’s gallery 1988-1995, mouse in house publishing, barwon heads, 2019, 288 pages, au$56 — **9 judith brooks’s *the women’s gallery 1988-1995*: juliette peers**
judith brooks (ed.), *the women’s gallery 1988-1995*, mouse in house publishing, barwon heads, 2019, 288 pages, au$56

10 ian fairweather: a life in letters: martin edmondclaire roberts and john thompson (eds), ian fairweather: a life in letters, text, melbourne, 2019, 574 pages, au$59.99 — **10 *ian fairweather: a life in letters*: martin edmond**
claire roberts and john thompson (eds), *ian fairweather: a life in letters*, text, melbourne, 2019, 574 pages, au$59.99

11 justin paton’s mccahon country: ross gibsonjustin paton, mccahon country, penguin random house new zealand and auckland art gallery toi o tamaki, 2019, 303 pages, au$59.99 — **11 justin paton’s *mccahon country*: ross gibson**
justin paton, *mccahon country*, penguin random house new zealand and auckland art gallery toi o tamaki, 2019, 303 pages, au$59.99

12 kate daw 1965-2020: juliana engbergKate Daw, 2017; image courtesy Sarah Scout Presents, Melbourne; photo: Giulia McGauran — **12 kate daw 1965-2020: juliana engberg**
Kate Daw, 2017; image courtesy Sarah Scout Presents, Melbourne; photo: Giulia McGauran

13 john nixon 1949-2020: max delanyJohn Nixon in his Melbourne studio, 2016; courtesy Sarah Cottier Gallery, Sydney — **13 john nixon 1949-2020: max delany**
John Nixon in his Melbourne studio, 2016; courtesy Sarah Cottier Gallery, Sydney

14 penny evans: a handful of dust: pat hoffiePenny Evans: Language of the Wounded, exhibition installation view, Lismore Regional Gallery, 2020; courtesy the artist and Lismore Regional Gallery; photo: Michelle Eabry — **14 penny evans: a handful of dust: pat hoffie**
*Penny Evans: Language of the Wounded*, exhibition installation view, Lismore Regional Gallery, 2020; courtesy the artist and Lismore Regional Gallery; photo: Michelle Eabry

15 chandler coventry: the next painting: belinda hungerfordDick Watkins, Duck and glove, 1968, synthetic polymer paint on canvas, 167.8 x 167.8cm; Chandler Coventry Collection, NERAM, Armidale; gift of Chandler Coventry, 1979 — **15 chandler coventry: the next painting: belinda hungerford**
Dick Watkins, *Duck and glove*, 1968, synthetic polymer paint on canvas, 167.8 x 167.8cm; Chandler Coventry Collection, NERAM, Armidale; gift of Chandler Coventry, 1979

16 made in australia: the trajectory of the kangaroo in the artbank collection: courtney kiddTreahna Hamm, Kangaroo Dreaming, 1997, etching, printed in colour from four plates, 58.5 x 55cm, Artbank collection — **16 made in australia: the trajectory of the kangaroo in the artbank collection: courtney kidd**
Treahna Hamm, *Kangaroo Dreaming*, 1997, etching, printed in colour from four plates, 58.5 x 55cm, Artbank collection

17 modern art exchanges in asia - an unlikely beginning?: alison carrollXu Beihong, Portrait of Rabindranath Tagore, 1940, colour on paper, 51 x 50cm, Xu Beihong Museum, Beijing; reproduced with the permission of the Xu family — **17 modern art exchanges in asia - an unlikely beginning?: alison carroll**
Xu Beihong, *Portrait of Rabindranath Tagore,* 1940, colour on paper, 51 x 50cm, Xu Beihong Museum, Beijing; reproduced with the permission of the Xu family

18 public bodies, private lives: the work of cao yu and pixy liao: luise guestCao Yu, 90°C IV, 2019, marble, silk stocking, 56 x 46 x 36cm; courtesy the artist and Galerie Urs Meile, Beijing and Lucerne — **18 public bodies, private lives: the work of cao yu and pixy liao: luise guest**
Cao Yu, *90°C IV,* 2019, marble, silk stocking, 56 x 46 x 36cm; courtesy the artist and Galerie Urs Meile, Beijing and Lucerne

19 magic is utopia: jumaadi’s grand private cosmology: matt chun, imogiriJumaadi in his studio at Imogiri, October 2019; photo: Matt Chun — 19 magic is utopia: jumaadi’s grand private cosmology: matt chun, *imogiri*
Jumaadi in his studio at Imogiri, October 2019; photo: Matt Chun

20 ngayulu minyma tjanpinya: i am a tjanpi woman: tjunkaya tapaya, pukatjaTjunkaya Tapaya working on her self-portrait Ngayulu Minyma Tjanpinya, I am a Tjanpi Woman, 2017; courtesy ADC, Sydney; © Tjanpi Desert Weavers, NPY Women’s Council; photo: St… — 20 *ngayulu minyma tjanpinya*: i am a tjanpi woman: tjunkaya tapaya, *pukatja*
Tjunkaya Tapaya working on her self-portrait *Ngayulu Minyma Tjanpinya, I am a Tjanpi Woman*, 2017; courtesy ADC, Sydney; © Tjanpi Desert Weavers, NPY Women’s Council; photo: Stephanie Simcox

21 step into my shoes (fausto santini please): steven millerAdrienne Doig, Feminist Cliché (Dresden Plate), 2012, patchwork, appliqué and embroidery on linen, 99 x 77cm; private collection; courtesy the artist and Martin Browne Contemporary, Sydney — **21 step into my shoes (fausto santini please): steven miller**
Adrienne Doig, *Feminist Cliché (Dresden Plate)*, 2012, patchwork, appliqué and embroidery on linen, 99 x 77cm; private collection; courtesy the artist and Martin Browne Contemporary, Sydney

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