Winter 2022 Issue 332

1 FROM ‘CRIES AND WHISPERS’ TO ‘BROWN POTS’: A LONG JOURNEY TO THE SHEPPARTON ART MUSEUM: PETER HILL, SHEPPARTON

SHEPPARTON ART MUSEUM, 2021; PHOTO: © CAM MATHESON  

2 NO ONE PERSON CAN OWN THE LANDSCAPE: REBIRTH AT BUNDANON: SOPHIA HALLOWAY, ILLAROO

THE BRIDGE, BUNDANON, 2021; PHOTO: ZAN WIMBERLEY 

3 NAVIGATING AN ARCHITECTURE (AND POETICS) OF PLACE: Michael Fitzgerald, ROCKHAMPTON

WELCOME HOME, EXHIBITION INSTALLATION VIEW, ROCKHAMPTON MUSEUM OF ART, 2022; COURTESY RMOA, ROCKHAMPTON 

4 REITERATING OUR FEARS AND FANTASIES: ‘THE DATA IMAGINARY’: LOUISE R. MAYHEW, BRISBANE

JOANA MOLL, THE HIDDEN LIFE OF AN AMAZON USER, 2019, INSTALLATION VIEW, ‘THE DATA IMAGINARY: FEARS AND FANTASIES’, GRIFFITH UNIVERSITY ART MUSEUM, BRISBANE, 2021; WEBSITE: WWW.JANAVIRGIN.COM/AMZ/AMAZON.HTML, PRINTED STACK OF CODE ON A4 PAPER, THREE TEXT INTERPRETATIONS OF THE WORK, BOOK PURCHASED FROM AMAZON; COURTESY THE ARTIST; PHOTO: CARL WARNER  

5 EXALTING A POETICS FOR THE FUTURE: ‘THIS LANGUAGE THAT IS EVERY STONE’: ELLIE BUTTROSE, BRISBANE

PHUONG NGO, NO ONE UNDERSTANDS MY ILLS, NOR THE TERROR THAT FILLS MY BREAST, WHO DOES NOT KNOW THE HEART OF A MOTHER, 2020, INSTALLATION VIEW, ‘THIS LANGUAGE THAT IS EVERY STONE’, INSTITUTE OF MODERN ART, BRISBANE, 2022; PIGMENT PRINT, FOUND POSTCARD, 40 X 25.5CM; MURRAY ART MUSEUM ALBURY, PURCHASED 2020; COURTESY THE ARTIST; PHOTO: JOE RUCKLI 

6 NOLAN’S CAREER PATHWAY: CHRISTOPHER HEATHCOTE

SIDNEY NOLAN, LEDA AND SWAN, 1960, POLYVINYL ACETATE ON COMPOSITION BOARD,  121.5 X 121.5CM; TARRAWARRA MUSEUM OF ART, GIFT OF EVA BESEN AND MARC BESEN AO, 2001; © THE TRUSTEES OF THE SIDNEY NOLAN TRUST / BRIDGEMAN IMAGES

7 BEAUTIFUL FAILURE: ‘QUEER’ AT THE NGV: Michael Fitzgerald, MELBOURNE

Worcester Royal Porcelain Co., Aesthetic teapot​, 1882, ​porcelain, 15.4 x 17.5 x 8.5cm (overall)​; NATIONAL GALLERY OF VICTORIA (NGV), Melbourne, the Dr Robert Wilson Collection, presented through the NGV Foundation by Dr Robert Wilson, Honorary Life Benefactor, 2002 

8 THE FUTURE OF THE ART MARKET OR A BLIP ON THE BLOCKCHAIN? ZETA XU

DAMIEN HIRST, 3395. WHERE YOU WENT WRONG, AS PART OF ‘THE CURRENCY’, 2021, DIGITAL IMAGE; NATIONAL GALLERY OF VICTORIA, MELBOURNE, PURCHASED THROUGH THE NGV FOUNDATION, 2021  

9 FAʻAFAFABULOUS: LÉULI ESHRĀGHI, VENICE

YUKI KIHARA, ‘VĀRCHIVE’, INSTALLATION DETAIL VIEW, ‘PARADISE CAMP’, 59TH VENICE BIENNALE, 2022; PHOTO: LUKE WALKER  

10 INTERNALISING OUR ANXIETY: KEN + JULIA YONETANI’S ‘TO BE HUMAN’: EMILY WAKELING

KEN + JULIA YONETANI, FUMIE TILES, 2003, INSTALLATION VIEW, CSIRO DISCOVERY CENTRE, CANBERRA, 2003; CERAMICS; COURTESY THE ARTISTS AND MIZUMA ART GALLERY, TOKYO; ©︎ KEN + JULIA YONETANI; PHOTO: NOELENE LUCAS 

 
 

11 ‘THE ONLY THING YOU CAN HOLD TO IS MEMORY’: THE POLITICS OF REMEMBRANCE AND ERASURE IN WORKS BY RUSHDI ANWAR: BLAKE PALMER

RUSHDI ANWAR, A FEW LINES OF HISTORY, 2011, DETAIL; PHOTOGRAPHIC PRINTS TREATED WITH SMOKE MOUNTED ON WOODEN BOARDS ON PAINTED WALL, 15 X 10CM (EACH PANEL), INSTALLATION DIMENSIONS VARIABLE; COURTESY THE ARTIST 

12 A VERY SERIOUS INTENT: DAVID ELLIOTT’S ART AND TROUSERS: JOHN CLARK

DAVID ELLIOTT, 2020; PHOTO: KATE ELLIOTT 

13 THE STRUGGLE TO SUPPRESS THE SELF: SUSAN BEST’S IT’S NOT PERSONAL: ELSPETH PITT

NAT RANDALL AND ANNA BRECKON, THE SECOND WOMAN, 2016, PERFORMANCE VIEW, ‘LIVEWORKS 2017’, CARRIAGEWORKS, SYDNEY, WITH SET DESIGN BY GENEVIEVE MURRAY; COURTESY THE ARTISTS; PHOTO: HEIDRUN LÖHR 

14 HOSSEIN VALAMANESH 1949–2022: MICHAEL FITZGERALD

HOSSEIN VALAMANESH, FALLEN BRANCH, 2005, INSTALLATION VIEW, ‘THIS WILL ALSO PASS’, INSTITUT DES CULTURES D’ISLAM, PARIS, 2021; COURTESY THE ARTIST’S ESTATE AND GAGPROJECTS, ADELAIDE; PHOTO: MARC DOMAGE 

15 KEN WHISSON 1927–2022: LESLEY HARDING

KEN WHISSON: AS IF, EXHIBITION INSTALLATION VIEW, MUSEUM OF CONTEMPORARY ART AUSTRALIA (MCA), SYDNEY, 2012; COURTESY MCA, SYDNEY; PHOTO: JENNI CARTER