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Closing Remarks &
AAANZ Prize Announcements

 

Friday 10th 6:30-7:00pm

Online & in person at the Chau Chak Wing Museum, University of Sydney

Mark Ledbury & Donna West Brett (Conference Convenors)
Wendy Garden (AAANZ President)
Ver​ónica Tello (AAANZ NSW Representative)
 

AAANZ 2021 Art Writing & Publishing Awards (AWAPAs)


NOMINATIONS

 

BEST BOOK

($1,000 sponsored by Professor Terry Smith, FAHA, CIHA)

 

  • Christina Barton, Billy Apple® Life/Work (Auckland: Auckland University Press, 2020)

 

  • Stephen Davies, Adornment: What Self-Decoration Tells Us About Who We Are (London:  Bloomsbury, 2020)

  • Elisa deCourcy and Martyn Jolly, Empire, Early Photography and Spectacle The Global Career of Showman Daguerreotypist J.W. Newland (New York and Dresden: Routledge, 2021)

  • Hannah Fink and Steven Miller (eds) Daniel Thomas ‘Recent past: writing Australian art (Sydney: Art Gallery of New South Wales, 2020)

  • Amelia Groom, Beverly Buchanan: Marsh Ruins (Cambridge and London: MIT Press, 2020)

  • Janis Lander, Art and Philosophy of the Spirit (New York and Dresden: Atropos Press, 2020)

  • Chari Larsson, Didi-Huberman and the image (Manchester: Manchester University Press, 2020)

  • David J. Mabberley, Botanical Revelation: European encounters with Australian plants before Darwin (Sydney: New South Publishing, 2019)

 

  • Lyn Merrington, Marcel Duchamp's Fountain in Context: Readymades Read and Made Part 2 (Perth: Are Press, 2020)

 

  • Lyn Merrington, Marcel Duchamp and Francois Villon: Readymades Read and Made Part 3 (Perth: Are Press, Perth, 2020)

 

  • Adelina Modesti, Women's Patronage and Gendered Cultural Networks in Early Modern Europe. Vittoria della Rovere, Grand Duchess of Tuscany (New York and London: Routledge, 2020)

 

  • Michelle Potter, Kristian Fredrikson. Designer (Melbourne: Melbourne Books, 2020)

  • Anthony White, Italian Modern Art in the Age of Fascism (New York: Routledge, 2020)

 

  • Stephen H. Whiteman, Where Dragon Veins Meet: the Kangxi Emperor and His Estate at Rehe (Seattle: University of Washington Press, 2020)

 

  • José Antonio González Zarandona, Murujuga: Rock art, Heritage and Landscape Iconoclasm (Philadelphia: University of Pennsylvania Press, 2020)

 

 

BEST ANTHOLOGY

($500 sponsored by the Australian Institute of Art History, University of Melbourne)

 

  • Annika Aitken, Dr Isobel Crombie, Megan Patty, Dr Maria Quirk and Myles Russell-Cook (eds.), She Persists: Perspective on Women in Art & Design (Melbourne: National Gallery of Victoria, 2020)

 

  • Tony Bennett, Deborah Stevenson, Fred Myers, Tamara Winikoff (eds), The Australian Art Field: Practices, Policies, Institutions (New York and London: Routledge, 2020)

 

  • Alisa Bunbury (ed.), Pride of Place: Exploring the Grimwade Collection (Melbourne: Melbourne University Publishing, 2020)

 

  • Richard Read and Kenneth Haltman (eds), Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Paintings in Australia and the United States (Chicago: Terra Foundation for the Arts, 2020)

 

 

BEST ARTIST LED PUBLICATION

($500 sponsored by Monash Art, Design & Architecture, Monash University)

 

  • Cherine Fahd, Apókryphos (Melbourne: M.33, 2019)

 

  • Denise Ferris, ‘Mary Leunig - The Activist Art of Blood and Guts’ in Hecate, vol 45, issue 1/2, pp. 77-100, 2020.

 

  • Jenny Gillam & Eugene Hansen (Maniapoto) (eds), Te Manu Huna a Tāne (Auckland: Massey University Press, 2020)

 

  • Angela Goddard and Tim Riley Walsh (eds.) Gordon Bennett: Selected Writings (Sydney: Power Publications and Griffith University Art Museum, 2020)

  • Bianca Hester, Sandstone, (Hobart: A Published Event, for Lost Rocks, 2020)

 

  • Drew Pettifer, A Sorrowful Act: The Wreck of the Zeewijk (Perth: Lawrence Wilson Art Gallery, 2020)

 

BEST ART WRITING BY AN INDIGENOUS AUSTRALIAN

($500 prize money and new writing commission supported by Art Monthly)

 

  • Tina Baum, ‘On Tommy Pukualami Mungatope’, in Judith Ryan (ed.), Tiwi: Art and Artists (Melbourne: National Gallery of Victoria, 2020)

 

  • Tina Baum, ‘On Enraeld Djulabinyanna Munkara’, in Tiwi: Art and Artists (Melbourne: National Gallery of Victoria, 2020)

 

  • Stephen Gilchrist, ‘On Jean Baptiste Apuatimi’, in Tiwi: Art and Artists (Melbourne: National Gallery of Victoria, 2020)

 

  • Stephen Gilchrist, ‘Indigenous Curatorial Interpellations: Insistence and Refusal’ in Tony Bennett, Deborah Stevenson, Fred Myers, Tamara Winikoff (eds), The Australian Art Field: Practices, Policies, Institutions (New York and London: Routledge, 2020)

 

  • Julie Gough, Greg Lehman, Too Many Cooks (Hobart: Plimsoll Gallery, University of Tasmania, 2020)

 

  • Julie Gough, ‘Testing the Ground: Art and ‘Difficult’ Histories’ in Refusal’ in The Australian Art Field (New York and London: Routledge, 2020)

 

  • Dominic Guerrera, in Rayleen Forester (ed.), If The Future Is To Be Worth Anything (Adelaide: ACE Open and Have You Seen Him, 2020)

 

  • Jonathan Jones, ‘On Pedro Wonaeamirri’, in Tiwi: Art and Artists (Melbourne: National Gallery of Victoria, 2020)

 

  • Danie Mellor, ‘Speaking of an Unquiet Country’ in The Australian Art Field (New York and London: Routledge, 2020)

 

  • Cara Pinchbeck, ‘Holding culture for the future’, in Tiwi: Art and Artists (Melbourne: National Gallery of Victoria, 2020)

 

  • Michelle Pulutuwayu Woddy Minnapinni with Patrick Freddy Puruntatameri and Kaye Brown, ‘Murtankala’, in Tiwi: Art and Artists (Melbourne: National Gallery of Victoria, 2020)

 

  • Myles Russell-Cook, DESTINY (Melbourne: National Gallery of Victoria, 2020)

 

  • Myles Russell-Cook, ‘On Mani Luki Harry Carpenter Wommatakimmi, in Tiwi: Art and Artists (Melbourne: National Gallery of Victoria, 2020)

  • Pedro Wonaeamirri, ‘Tiwi art and culture’ in Tiwi: Art and Artists (Melbourne: National Gallery of Victoria, 2020)

 

BEST WRITING BY AN AOTEAROA MAORI OR PASIFIKA

($500 sponsored by the Christchurch Art Gallery Te Puna o Waiwhetū)

 

  • Eugene Hansen/Maniapoto and Jenny Gillam (eds), Te Manu Huna a Tāne (Auckland: Massey University Press, 2020)

 

 

BEST SCHOLARLY ARTICLE IN THE AUSTRALIAN AND NEW ZEALAND ART JOURNAL

($500 sponsored by the Power Institute, Foundation for Art and Visual Culture, The University of Sydney)

 

  • Deborah Ascher Barnstone, ‘Paradoxes of War Critique on Display: The Dresden Bundeswehr Museum of Military History’ vol 20, issue 1, 2020.

 

  • Joanna Bourke, Cruel Visions: Reflections on Artists and Atrocities’, vol 20, issue 1, 2020.

 

  • Richard Bullen and Tets Kimura, ‘Japanese Art in Australasia During the Second World War’, vol 20, issue 1, 2020.

 

  • Marie Geissler, ‘Ulli Beier, the Aboriginal Arts Board and Aboriginal Self-Determination’, vol 20, issue 2, 2020.

 

  • Darren Jorgensen, ‘George Gittoes in an Era of Post-Heroic, Hyper-Real Warfare’, vol 20, issue 1, 2020.

 

  • Edwin Jurriëns, ‘Indonesian Artivism: Layers of Performativity and Connectivity’, vol 20, issue 2, 2020.

 

  • Desmond Manderson, ‘Fabulous Retroactivity: Time and Colonialism in Gordon Bennett’s Possession Island’, vol 20, issue 2, 2020.

 

  • Grace McQuilten, ‘Dignity and Futility: Art and Labour in a Post-Industrial World’, vol 20, issue 2, 2020.

 

  • Kit Messahm-Muir and Uroš Čvoro, ‘After Aftershock: The Affect-Trauma Paradigm One Generation After 9/11’, vol 20, issue 1, 2020.

 

  • Lyn Merrington, ‘Marcel’s Blagues: Duchamps’ Liguistic Jokes’, vol 20, issue 2, 2020.

 

  • Jurij Selan, ‘The Case of Hypothetical Art: From Philosophy of Art to Contemporary Art Practice’, vol 20, issue 2, 2020.

 

  • Catherine Speck, ‘Thunder Raining Poison: The Lineage of Protest Against Mid-Century British Nuclear Bomb Tests in Central Australia’, vol 20, issue 1, 2020.

 

  • Jesse Adams Stein, ‘When Manufacturing Workers Make Sculpture: Creative Pathways in the Context of Australian Deindustrialisation’, vol 20, issue 2, 2020.

 

  • Kate Warren, Anthea Gunn and Mikala Tai, ‘Artists, Institutions, Publics: Contemporary Responses to Conflict’, vol 20, issue 1, 2020.

 

  • Andrew Yip, ‘Hypermappying Conflict: War, Art and Immersive Aesthetics’, vol 20, issue 1, 2020.

 

BEST SMALL EXHIBITION CATALOGUE

($500 sponsored by the University of Melbourne)

 

  • Andrew Atchison, … (illegible) ... (Melbourne: MADA Gallery, Monash University, 2019)

 

  • Naomi Evans, Elizabeth Newman: Is that a 'No'? (Brisbane: Griffith University Art Museum, 2020)

 

  • Rayleen Forester (ed.), If The Future Is To Be Worth Anything (Adelaide: ACE Open and Have You Seen Him, 2020)

 

  • Stephen Jones, Cognitive Dissidents: Reasons to be Cheerful (Brisbane: Griffith University Art Museum, 2020)

 

  • Laura Kiely, A Life WiTHIN stILLNESS - Illuminating Severe Enduring Anorexia Nervosa (Perth: Stala Contemporary, 2020 reprinted 2021)

 

  • Isobel Parker Philip (ed.), Shadow Catchers (Sydney: Art Gallery of New South Wales, 2020)

BEST MEDIUM EXHIBITION CATALOGUE

($500 sponsored by the Australian Institute of Art History, University of Melbourne)

 

  • Ken Hall with Haruhiko Sameshima, Hidden Light: Early Canterbury and West Coast Photography (Christchurch: Christchurch Art Gallery Te Puna o Waiwhetu, 2020)

 

  • Bruce Johnson McLean and Gina Allain, Mavis Ngallametta: Show Me the Way to Go Home (Brisbane: Queensland Art Gallery | Gallery of Modern Art, 2020)

  • Elizabeth Ann Macgregor, Lindy Lee: Moon in a Dew Drop (Sydney: Museum of Contemporary Art Australia, 2020)

 

BEST LARGE EXHIBITION CATALOGUE

($500 sponsored by the Australian Institute of Art History, University of Melbourne)

 

  • Rebecca Agnew, Modern Seasons, the Great Curve (Melbourne: Fox Galleries, 2020)

 

  • Ken Hall, Felicity Milburn, Nathan Pohio, Lara Strongman and Peter Vangioni, with Stephanie Oberg, Te Wheke: Pathways Across Oceania (Christchurch: Christchurch Art Gallery Te Puna o Waiwhetu, 2020)

 

  • Simon Maidment (ed.) NGV Triennial 2020 (Melbourne: National Gallery of Vitoria, 2020)

 

  • Myles Russell-Cook (ed.) DESTINY (Melbourne: National Gallery of Victoria, 2020)

 

  • Judith Ryan (ed.), Tiwi: Art & Artists (Melbourne: National Gallery of Victoria, 2020)

 

  • Zara Stanhope, Abigail Bernal, Simon Wright, J Faith (Kapwa) Almiron, Tim Riley Walsh, Unfinished Business: The Art of Gordon Bennett (Brisbane: Queensland Art Gallery | Gallery of Modern Art, 2020)

 

  • Wayne Tunnicliffe, Streeton (Sydney: Art Gallery of New South Wales and Thames & Hudson Australia, 2020)

 

 

BEST UNIVERSITY ART MUSEUM EXHIBITION CATALOGUE 

($1,000 sponsored by the University Art Museum Association)

  • Christina Barton and Priscilla Pitts, Looking for a New Country: Christopher Perkins in New Zealand (Wellington: Te Pātaka Toi Adam Art Gallery, 2020)

 

  • Julie Gough, Greg Lehman and Ian Mclean, Too Many Cooks (Hobart: Plimsoll Gallery, University of Tasmania, 2020)

 

  • Hannah Mathews and Melissa Ratliff (eds.), Agatha Gothe-Snape: The Outcome Is Certain (Melbourne: Monash University Museum of Art and Perimeter Editions, 2020)