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

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.