Jonathan Jones untitled (transcriptions of country)

here is no artist that I admire more greatly than Jonathan Jones. The first work I ever saw of his was, , 2016, at the Royal Botanic Gardens on Cadi land of the Eora Nation. The expansive public installation outlined the perimeter of where the Garden Palace used to stand before it, along with its expansive collection of stolen Aboriginal artefacts, burned to the ground in 1882. When I look back on the experience, I remember how the work was a reminder that to be in Australia is to be on Aboriginal land. And that to be on Aboriginal land is the greatest privilege I have ever and will ever receive. Growing up in the affluent suburbs of Boorloo (Perth, Western Australia), I was deliberately taught a bleached, colonypositive, narrative that we called “history.” It wasn’t until