Spring 2021 Issue 329

1 Beyond visibility: ‘The National 2021’ Tess Maunder, *Sydney*
Lorraine Connelly-Northey, *Narrbong Galang*, 2021, installation view, ‘The National 2021: New Australian Art’, Carriageworks, Sydney, 2021; courtesy and © the artist; photo: Zan Wimberley

**2 ‘Still working themselves out’: taiwanese photographs from the 1970s and 1980s: Annette An-Jen Liu**
*Wayfaring: Photography in 1970s–80s Taiwan*, exhibition installation view, Australian Centre on China in the World, Australian National University, Canberra, 2021; photo: Chin-Jie Melodie Liu

3 Tony Curran: On paying attention: Amy Walters, *canberra*
Tony Curran, *Bright Pixel #4*, 2020, oil on linen, 41 x 31cm; courtesy the artist; photo: Brenton McGeachie

4 seeing what’s there: Rebecca Mayo’s *Embracing the familiar*: caren florance, *canberra*
*Rebecca Mayo: Embracing the Familiar*, exhibition installation view, Tuggeranong Arts Centre, Canberra, 2021; photo: Brenton McGeachie

**5 Secret power: Robert MacPherson’s ‘Nominal Gestures’: Ingrid Periz**

Robert MacPherson, 11 FROG POEMS, WATER WITCH, FOR THE MEMORY OF: TONY GOLDEN; JOE BIRCH; GUNTER CHRISTMANN; “OLD CHARLIE” POLLOCK; ALEC WILSON; “OLD JIM” TALTY; ERNIE WILLIAMS; BRIAN CHANTRILL; “WIZARD SMITH”; GEORGE NOBLE; COX MIRIAM VALE, 2020, installation view, Griffith University Art Museum, Brisbane, 2020; wire, copper and plastic, dimensions variable; Griffith University Art Museum, donated through the Australian Government’s Cultural Gifts Program by an anonymous donor, 2021; courtesy the artist and Yuill/Crowley, Sydney; photo: Carl Warner

6 clarice beckett’s edgy calm: Daniel Thomas, *adelaide*
*Clarice Beckett: The present moment*, exhibition installation view, Art Gallery of South Australia, Adelaide, 2021; photo: Saul Steed

**7 ‘it is important to know your history to understand society today’: Fiona Foley in conversation with Louise Martin-chew**
Fiona Foley, *The Magna Carta Tree #3*, 2021, inkjet print; courtesy the artist and Andrew Baker Art Dealer, Brisbane; photo: Mick Richards

**8 Metaphors in broken glass: Sam Bowker**
Tim Silver, *Crypt figure A* and *Crypt figure B*, 2019, installation view, ‘Windowless Worlds’, National Art Glass Gallery, Wagga Wagga Art Gallery, 2021; courtesy Wagga Wagga Art Gallery; photo: Tayla Martin

9 This whole big story about the Indian Ocean: jude van der merwe, *perth*
Yee I-Lann, *Tepo Aniya Nombor Na (Mat with a number)*, 2020, Bajau Sama Dilaut pandanus weave with commercial dye, 366 x 427cm; weavers: Kak Sanah, Kak Kinnuhong, Kak Budi, Kak Roziah, Adik Darwisa, Adik Enidah, Adik Dela, Adik Asima, Adik Dayang, Adik Tasya, Adik Alisya, Adik Erna; courtesy the artist; photo: Andy Chia

**10 Salote Tawale: Performing in multiple registers: Andy Butler**
*Salote Tawale: I don’t see colour*, exhibition installation view, Perth Institute of Contemporary Arts, 2021; photo: Bo Wong

**11 arone meeks 1957 - 2021: sasha Grishin**
Arone Meeks; courtesy Boomalli Aboriginal Artists Co-operative, Sydney; photo: Sharon Hickey

**12 Helge Larsen 1929 - 2021: david williams**
Helge Larsen, 1990; photo: Steven Lojewski

Art Monthly Australasia

Art Monthly Australasia is Australasia’s flagship visual arts publication, providing a critical platform for its artists. Published since 1987 under six full-time editors (Peter Townsend, Peter Timms, Philippa Kelly, Deborah Clark, Maurice O’Riordan and, from 2014, Michael Fitzgerald), it is Australasia’s only monthly visual arts magazine placing visual arts in a contemporary, historical and regional context.

Based at the ANU School of Art in Canberra since 1992, Art Monthly Australasia is a non-profit charitable organisation whose income is derived from sales of the magazine, advertising, sponsorship and government funding. Its board comprises leaders in their fields of visual arts scholarship, practice and curating, along with business and finance.

Since 2015, Art Monthly has also fostered critical discourse across the Asia-Pacific region with a new International Council, which, along with increased participation at international art fairs and biennales, is helping to provide a meaningful new context for its artists.