text:
Author: Edblog
The China Phenomenon
Magazine Memory Stick
Extra Extra
Published September 2012
Day jobs and other interruptions
Of the 9,000 visual artists in Australia a frighteningly large proportion are earning less than $7,300 from their art. David Throsby's latest report Don't Give Up Your Day Job reminds us that earning subsistence income from sources other than an artist's real work forms an endemic pattern which is barely commented on these days. Day jobs range from telemarketing to taxi driving while lack of moral support from the current administration makes the enactment of tax benefits which would alleviate some of this pain more difficult than it should be. Mr David Gonski , Chair of the Australia Council which commissioned the report, believes that government and industry should do more to improve artists' incomes, and that as a society we are missing the chance to capitalize on the huge pool of talented, trained artists in our midst. As one important government issue, resale royalties, long denied to Australians, are on the federal agenda again, so some benefit will be felt by artists whose works are in the secondary market, if and when the legislation is achieved.
" In an outstanding example of negotiation between interest groups, agreement has been reached on a Code of Practice for Australian Galleries and the Artists They Represent. The Australian Commercial Galleries Association, the National Association for the Visual Arts and the Australia Council have all signed off on it and it is available now. It should be compulsory reading for the education of artists and dealers about their rights and obligations in the treacherous and so far uncharted waters of the art market.
Screen based
" In September ACMI (Australian Centre for the Moving Image) in Melbourne welcomed its millionth visitor, easily exceeding (after 11 months) the estimate of 800,000 for its first year of operation. It has quickly become a regular stopping place for locals and visitors to Melbourne who love the interactive cinema and virtual reality elements as well as the rich range of curated shows and events. This success story bodes well for other states thinking about creating moving image centres within art museum complexes, Queensland's Gallery of Modern Art being one which has already committed to this.
" http://www.artistprofiles.com.au/ is a site where you can see whole exhibitions from a variety of galleries, selected by independent enthusiast David Loughton whose favourite Neitzsche quote is 'Art is the proper task of life'.
" Artists, theorists and organisations (especially from the Asia-Pacific region) are invited to participate in pathiharn electron [supernatural] part of Switch Media art festival Chiang Mai, Thailand, 6-30 April 2004, any form of digital media art accepted. Switch Media is a non-profit organization run by an international team with backgrounds in art, new media and project-management. The festival will consist of lectures, workshops, screenings and exhibitions mainly at Chiang Mai University Art Museum and through the city. Deadline 15 January 2004. Info email switchmedia@inter.net
Gertrude Contemporary Art Space is offering the second in their limited edition multiples by artists who have been associated with the Gertrude St Studios. The works are donated by the artists to raise funds for the organization. Kate Beynon has produced 30 copies each of two paintings on the theme of warrior girl Li Ji on 12.5 x 12.5cm canvases for $880 each. The previous edition by Ricky Swallow sold out quickly. Phone 03 9419 3406 info@gertrude.org.au
Awards, patrons and sponsorship
" Northern Territory artist, Bronwyn Wright has won the inaugural $20,000 ENERGEX Arbour Contemporary Art Prize from Queensland for her photo image Jump! 4 Ever Family. This and other outstanding selected entries in the competition which called for images of the 21st Century family, were shown outdoors as 2.4 x 3m banners in the wonderful bougainvillea arbour at Southbank, Brisbane.
Image: Bronwyn Wright Jump! 4 Ever Family.
" Wendy Sharpe (NSW) has won the $18,000 2003 Portia Geach Memorial Award with her Self Portrait with Tea Cup and Burning Paintings.
" Ian Burns and John Clark have won the $100,000 McClelland Award for sculpture with Plantation 2003 - 28 identical vertical 'pods',which are on show in the grounds of the McClelland Gallery+Sculpture Park until March 8th, as part of the large sculpture event the McClelland Survey.
" At last! A body has been formed which will help sculpture in Australia. The Balnaves Foundation was established by Neil and Diane Balnaves in 2003 to support medicine as well as art, and one of their first commitments was to help the Art Gallery of NSW set up a five year program of exhibitions and acquisitions of contemporary and historical sculpture. Still Life, the first of the exhibitions (Sept-Nov 2003), brought together five sculptors: James Angus, Mikala Dwyer, Emily Floyd, Ronnie Van Hout and Ricky Swallow. In 2004 the Gallery will commission a major site-specifc sculpture, in 2005 an international sculptor will be invited to produce a new, possibly ephemeral work, in 2006 there will be a retrospective of the work of Bertram Mackennal, the Victorian/Edwardian sculptor and in 2007 a large piece by an Australian sculptor will be bought.
" Macquarie Bank has given $85,000 to Bundanon Trust's Adopt a School program, which gives disadvantaged government schools access to the Arthur Boyd property and its education programs. Bundanon was gifted to the nation by the Boyds, together with a great deal of their art, and offers residencies to artists. Now students aged 6 – 18 will enjoy three-day intensive workshops there. www.bundanon.com.au
" Unnatural Selection
The inaugural Waterhouse Natural History Art Prize 2003 at the South Australian Museum awarded a total of well over $70,000 in cash and kind amongst 10 artists from around Australia; the brief was a work of art about natural history (which was not to include any items made by humans). From a weird assortment of birds, landscapes, and wildlife emerged works which fell between every conceivable stool – neither cutting edge work relating to art and science, nor exciting art. The process was hampered by both the conservatism (and in the case of the two non-art people on the panel including the Director of SAM, the ignorance) of the judges, and the culling process which resulted in the response to an enquiry from one of Australia's most celebrated artists, that his work was not eligible for entry. If the organiser, the Waterhouse Club, (set up some years ago for well-heeled patrons to support the SA Museum, but whose main activities appear to be of a fun kind - theme picnics and novelty dinners as well as the odd expedition to the bush with a Museum Curator) is determined to enter the ranks of art prize organisers, it needs to appoint a panel to oversee such an event which has a grasp of current thinking in the arts. Dead giveaways were the entry categories: 'A: oil, acrylic or mix; B watercolour, pastel, gouache, ink, charcoal, pencil or mix; C: Sculpture' (this last included the proviso that it must be able to pass through a normal door!). This sadly misguided effort at supporting the SA Museum (why an Art Prize though?) contributed nothing to art or science and exposed a noble scientific institution to ridicule.
" Tamara Winikoff, Director of the National Association for the Arts, has been awarded the Emeritus Medal by the Visual Arts Craft Board of the Australia Council for her services to the visual arts.
" Chryssy Tintner is the new Executive Officer of Viscopy, Australia's visual arts copyright collection agency, replacing Anna Ward who resigned to take up a position with a firm of lawyers in London specializing in copyright.
" Jane MacFarlane is the new state manager for the Australian Business Arts Foundation (AbaF) in Tasmania. (03) 6233 5934.
" Robyn Daw is Head of Education at the National Gallery of Australia
" Alison Kubler has joined the curatorial team at QUT Art Museum.
Artists' Week returns
The Art Gallery of SA is the venue for the welcome return of the premier national talkfest for the visual arts, under the banner of the Adelaide Bank 2004 Festival of Arts. Artists' Week Director Erica Green, with the help of forum curators Ian North, Alasdair Foster, Liz Ann McGregor, Tamara Winikoff and others are offering keynote speakers Dave Hickey (theorist USA) and Anna Somers Cocks (Art Newspaper), a Sacred Symposium of all-indigenous celebrities, 5 days of forums with leading artists, curators, theorists, critics and ratbags, as well as great food and atmosphere, 28 February – 4 March, free of charge. Full details of program released January. www.adelaidefestival.com.au
Forward planning > March
" Aboriginal and Oceanic Art Fair, Sydney, June
" Affordable Art Fair, Melbourne dates 15 - 18 April
" Festival of Pacific Arts, Republic of Palau, Micronesia 22 – 31 July
" Biennale of Sydney: On Reason and Emotion 4 June – 15 August www.biennaleofsydney.com.au
" Biennial of Electronic Arts Perth, John Curtin Gallery, September:
" Melbourne Art Fair 29 September - 3 October.
EXHIBITIONS TO WATCH
December - March 2004
" Australians in Hollywood showcases the history of Australian actors, directors, producers, designers and technicians in Tinseltown, from the lesser-known artists of yesteryear to the stars of today. National Portrait Gallery at its second space, Commonwealth Place, to 21 March 2004, 02 6270 8236, portrait.gov.au
" Home Sweet Home: Works from the Peter Fay Collection is delivers art with an unashamedly domestic context and offers inventive ways of approaching collecting. At the National Gallery of Australia until 18 January 2004 before starting a tour.
" The 2nd Auckland Triennial Public/Private Tumatanui/Tamataiti, curated by Ewen McDonald and Ngahiraka Mason, looks at privacy, surveillance, personal freedom and a raft of related global issues. This new major show in our region can be seen at 3 Auckland venues: Auckland Art Gallery, Gus Fisher Gallery and Artspace 20 March – 30 May.
" Bloom: mutation, toxicity and the sublime - humanity vs nature, a challenging curatorial premise explored by international artists Eduardo Kac, Jun Nguyen-Hatsushiba, Motohiko Odani, Patricia Piccinini, Saskia Olde Wolbers, Boyd Webb, Denise Kum and David Hatcher, Hany Armanious, Christine Borland, Tamami Hitsuda, Susan Norrie, and Magnus Wallin, Govett-Brewster Gallery, New Plymouth to 26 February.
" Darkness & Light: Caravaggio & His World comprises 8 Caravaggios and around 50 works by his contemporaries including the famous Artemisia Gentilischi. Art Gallery of NSW to 22 February, (National Gallery of Victoria 11 March – 30 May).
" Colin McCahon: A Question of Faith, is a major touring show originating at the Stedelijk Museum in Amsterdam, curated by Marja Bloem. (see feature Artlink V23#3) Art Gallery of NSW (final venue) closes 18 January 2004.
" Nam June Paik: 32 cars for the 20th century play Mozart's Requiem quietly is a large laser and neon tower on loan from Korea which will be installed on the Forecourt of the Sydney Opera House surrounded by 16 cars filled with old technology and video monitors. Suspended States is a series of photographs by Cherine Fahd and Trent Parke mounted in lightboxes around Circular Quay and Martin Place. Both installations Sydney Festival 8 – 26 January.
" Tracey Moffatt a comprehensive survey from mid 1980s to present, including her film and video works. Museum of Contemporary Art, Sydney to 29 February.
" Take a Bowery, The Art and (larger than) Life of Leigh Bowery, is the first in depth survey to examine the infamous extreme fashion as performance career of the Melbourne-born phenomenon whose life was mostly spent in London clubs and nights out. Museum of Contemporary Art, Sydney to 7 March.
CAPTION Fergus Greer Leigh Bowery Looks,1988, courtesy artist/ Michael Hopper Gallery, London
" Man Ray brings together for the first time in Australia a definitive view of 200 works mostly from 1917-1939 when this inventive artist made his revolutionary work. Based largely on the Paris collection of his assistant Lucein Treillard, it is co-curated by Judy Annear and Emmanuelle de L'Ecotais and supported by a rich program of talks and screenings. Art Gallery of NSW 6 February – 18 April and touring to Brisbane and Melbourne.
" MAKEbelieve: Photographic Fictions explores the unconscious, the imaginary and inexplicable through the work of 10 photoartists including Shayne Higson, Helen Kundecevic, Robyn Stacey and Polixeni Papapetrou at Stills Gallery, Sydney 31 January – 13 March.
Image Polixeni Papapetrou, The Flying Cards, 2003, photograph 105 x 105 cm.
" Kiichiro Ishida and the Sydney Camera Circle 1920s – 1940s charts the work of this early Japanese/Australian photo artist and his Sydney friends. Museum of Sydney, 20 December – 25 April.
The Brisbane Line: Queensland Women Artists of the Early 20th Century, QUT Art Museum, to 7 March 2004
" Four artists in four galleries – Roderick Bunter, Judith Kentish, Michael Zavros and Sarah Ryan all on at the Institute of Modern Art, Brisbane to 31 January.
" Judy Watson, painter and printmaker, will have a solo show at the Institute of Modern Art 19 March – 24 April.
"Charles Conder 1868 – 1909 retrospective of an artist who spent only 6 years in this country but helped found the Heidelberg School in the late 1880s. Art Gallery of SA to 26 January.
Adelaide Festival of Arts exhibitions:
" John Glover and the Colonial Picturesque, curated by David Hanson for the Tasmanian Museum and Art Gallery, is a landmark survey of the work of the successful English landscape artist who emigrated to Tasmania in 1830 aged 63, where he became the father of Australian landscape painting. Art Gallery of South Australia 19 February – 12 April and touring to Canberra and Melbourne.
" Adelaide Biennial of Australian Art focusing on photo-media cuated by Julie Robinson, Art Gallery of SA from 28 February.
" Holy Holy Holy explores the nexus between Christianity and Aboriginal art, a major touring show curated by Vivonne Thwaites, Flinders University City Gallery, Adelaide, 27 February – 14 March.
Requested image to email
" William Robinson: The Revelation of Landscape University of SA Art Museum 26 February – 4 April.
"Art of the Biotech Era curated by Melentie Pandilovski, Experimental Art Foundation 26 February – 10 April.
" Other festival shows: Christine Borland (UK) at Contemporary Art Centre of SA, Stories from Australia: Aboriginal & TSI Peoples at Tandanya, Experimenta House of Tomorrow at Artspace, The Rugs of War Afghan carpets, at Nexus Multicultural Art Centre, Patricia Piccinini and Peter Hennessy at Greenaway Art Gallery, all from 27 February.
" Fringe exhibitions include Zoo Artwalk: animal sculptures specially made by SA artists, at the Adelaide Zoo, 21 February – 22 March.
" Transfigure is a major international show of immersive virtual-reality, interactives, projections, animations by 15 leading artists from 6 countries exploring the way our views of the world have been changed by moving image technologies. Artists include Char Davies, Stelarc, Chris Cunningham, Gina Czarnecki, Robert Gligorov, and Justine Cooper. Australian Centre for the Moving Image, Melbourne to 9 May.
Image requested from Brendan Wall ACMI
" Also at ACMI is a season of all five episodes of The Cremaster Cycle a series of provocative films which fuse art and cinema, made between 1994 and 2002 by US cult artist/filmmaker Matthew Barney. (www.cremaster.net) From 8 February, ph (03) 8663 2200 for session times.
"Judging Architecture: Issues, Divisions, Triumphs. Victorian Architecture Awards 1929–2003, a pictorial exhibition about the judgements on architectural design reveals changing attitudes towards the built environment, Heide Museum of Modern Art, to 22 February 2004, (03) 9850 1500 or moma@heide.com.au
www.heide.com.au
" Linden Postcard Show is a selection of images no larger than 30 x 30 x 30 cm submitted by artists all around Australia, with cash and art material prizes from Art Spectrum to the three who come up with an image which grabs the attention of the serious judges Kelly Gellatly, Irene Sutton and David Rosetszky. Linden: St Kilda Centre for Contemporary Arts, Melbourne 31 January – 13 March 2004 www.lindenarts.org, (03) 9209 6794
picture postcard with eye in toe
CAPTION: Bronwyn Turnbull Impetus, 2002, digital print. Jpeg OK
" The Print Exposed demonstrates and explains 24 historical or alternative photographic print processes from Daguerrotype to Cibachrome with examples from UK, North America and Australia. Gold Street Studios, Collingwood, Melbourne, to 26 January 2004 ph (03) 9415 9559 www.goldstreetstudios.com.au
" Giant – ancient and historic trees is an exhibition and book about famous trees of the world with a focus on Australia through historical photographs, paintings, prints etc. Specially commissioned large format photographs by John Gollings honour some of our celebrity specimens and Tim Jones has made wood engravings of significant sites in Victoria. A timely and popular show at Geelong Gallery to 15 February.
Picture optional, only if space – could be moved to the Book column as it is black and white
John Gollings The Separation Tree, 2003, from Giant
" Tracey Moffatt surveys the past 15 years work of this international artist, including her recent explorations of the impact of film and pop culture on our lives. Curated by Ted Snell for the Perth International Festival. John Curtin Gallery 6 February – 28 March.
" UWA Perth International Arts Festival (www.perthfestival.com.au) visual arts program includes:
- Ian de Gruchy giant projections on various buildings through the Festival
REQUESTED Image: Ian de Gruchy projection on ???
- Guan Wei: Prediction-Reflection, recent works by the Chinese-Australian artist include his Ned Kelly paintings. Church Gallery, , 5 February – 7 March.
- Howard Taylor: Phenomena, a survey of his work with a focus on the 1980s and 1990s. Perth International Festival, Art Gallery of Western Australia 5 February – 2 May.
- Lisa Roet: Pri-mates various meditations on the chimpanzee, Lawrence Wilson Gallery 13 February – 20 April
- Martin Smith and Kate McMillan two shows exploring death and disaster, Perth Institute of Contemporary Arts 12 February – 21 March
" Barks from Arnhem Land, Works from the collection, holmes à court gallery, to February 2004.
" Paper Matters, works on paper from the University of Western Australia art collection comprises drawings, prints and watercolours from the 1870s to the 1980s. Lawrence Wilson Art Gallery, to 2 February 2004.
Public Art & Architecture
Webb Bridge, created by artist Robert Owen and architects Denton Corker Marshall for the revamped Melbourne Docklands, was opened in September 2003. The new pedestrian/cycle way, formerly a railway bridge spanning the Yarra River, has been transformed at one end into a 6m high latticed hooped sculpture. Inspired by a woven eel trap and lit at night, it creates a focal point for Yarra's Edge, the new luxury residential development. The $6m bridge/sculpture was developed and funded by Mirvac in conjunction with VicUrban. Mirvac has committed to spend $10m on public art for Yarra's Edge.
Picture of Webb Bridge from CD jpeg
CAPTION: Robert Owen and DKM, Webb Bridge, Melbourne.
" Another new major public artwork in Melbourne, launched in October, is Island Wave by Lisa Young. It comprises 22 steel French curves, each 5m long, that follow the curve of the roundabout at Franklin and Queen streets.
" Art & Soul Gallery is a new space for South Australia's remote Indigenous artists which opened 13 November in Sussex St, Glenelg in association with Ananguku Arts & Culture Aboriginal Corporation.
" The Noguchi Museum in Long Island City, NY, dedicated to the work of Isamu Noguchi (1904 – 1988) will reopen on 17 April 2004 after several years of major structural repairs. The famous museum and garden is a tranquil oasis of calm within the city and every detail of the original conversion from a 1927 printing works was designed by the sculptor. Its program will now be extended to include temporary shows relating to Noguchi as well as the collection. www.noguchi.org
" Exhibition Hall is the inspired name of a new space in the Sydney Opera House whose first exhibition will be Sydney Style, a collection of Sydney design, for the Sydney Festival 6 January – 14 March.
" The National Gallery of Victoria on St Kilda Rd reopened on 4 December after massive $160m renovations designed by Italian architect Mario Bellini, (Milan) with Métier 3 of Melbourne. It houses the international collection and has 25% more exhibition space than the old gallery. world rush_4 artists is the first major special exhibition for NGV International with Eija-Liisa Ahtila, Doug Aitken, Lee Bul and Sarah Sze, rising international stars, looking at questions of beauty for our time.
Picture: Sarah Sze (USA) Every Thing in its Right Place, 2002, sculpture
" The new Museum of Brisbane, which opened on 25 October, aims to tell the stories of Brisbane past and present through exhibitions using community collections, artefacts, electronic games, moving images, photographs, artwork and voice. Formerly the Brisbane City Gallery, it is on the ground floor of the City Hall. Info: (07) 3403 8888.
Australian art overseas
" Object – Australian Centre for Craft & Design took a range of work to Japan in October for the Tokyo Designers Block 2003 which coincided with Ancient*Future – Australian Arts Festival Japan 2003. Dinosaur Designs formed the centrepiece, with over 500 pieces, of jewellery, textiles and homewares as well as a giant chandelier. Ruth McMillan, Marc Pascal and Julie Paterson showed ceramics, textiles and lighting, all at the Spiral Gallery at Aoyama. They were supported by the Australian Embassy in Tokyo.
" In November 2003 an independent collective from NSW, Victoria and Queensland went to Milan where they were joined by Milan-based writer/curator Roberto Pinto in an exhibition project Quiet Collision: Current Practice/Australian Style. One of the artists had made the trip in 2002 to secure good venues for the group which comprised Simone LeAmon, Charles Anderson, Damiano Bertoli, Michael Zavros and Marco Fusinato (artists) and Alison Kubler and Stuart Koop (curator/writers). The results of a 12-month process of exchange and collaboration was seen at the Association Viafarini, and CareOf contemporary art spaces in Milan.
" Face UP: Contemporary Art from Australia, at the monumental Hamburger Bahnhof Museum, complete with bright pink flag fluttering from the tower, suffered a little in terms of its installation due to a fire in the building shortly before installation causing several galleries to be closed. However, within these limits the work was sensitively installed and enthusiastically embraced by local audiences in Berlin who were seen puzzling over and debating the exotic iconography of the Piccinini space with its surfer and ocean-girl-mutant theme. Those who bought a Face Up catalogue during the run of the show were presented with a complimentary copy of Artlink's September issue Rich and Strange. Artlink was also the only Australian art magazine at the very chic art fair Art Forum Berlin and received much positive feedback. It was a pity that the organizers of the Australian panel discussion at the Art Forum missed the chance to showcase Australian publications, both periodicals and catalogues, or indeed even to offer promotional material or samples of the catalogue of Face Up. So often it seems our international efforts, despite massive budget spending in some areas, fall needlessly short of the basic common sense minimum required to meet the demands of simpler but equally important moments. Making time and headspace to plan a realistic strategy for the presentations by the Australian panel would have also averted what was a public relations tragedy.
" Contemporary Art of Australia, a touring exhibition of work by Tony Clark, Destiny Deacon, Louise Weaver, Richard Tipping, Anne Wallace, Melita Dahl, Fiona Foley, Gloria Petyarre and Julie Dowling was mounted by Galerie Seippel in Cologne from October to mid-January. A 72-page catalogue accompanies the tour through Germany to Städtische Galerie Delmenhorst (14 Feb – 18 April) and the Kulturstiftung Schloss Agathenburg (25April - 16 June).
Image: Julie Dowling Ecologically Harmless, 2003, acrylic on canvas, 120 x 100 cm
" Australian artists, Maslen & Mehra were artists in residence for two months at The Eden Project in Cornwall UK from November 2003. The residency is part of a six-month project that will result in a new body of work, exhibition and publication. One of the highlights is The Humid Tropics Biome, the world's largest greenhouse, where visitors can gain an understanding of man's relationship with, and dependence upon, plants. www.voidgallery.com/upcoming.htm
" The Artificial Horizon: Imagining the Blue Mountains by Martin Thomas, draws on painting, photography, legend, explorers' journals and visitors' diaries to evoke what the Blue Mountains represent to people at various times. Melbourne University Publishing $49.95
" At Home in Australia by Peter Conrad uses the photography collection of the National Gallery of Australia to trace this expatriate writer's journey to rediscover the country he left aged 20. The settlement of Australia coincided with the birth of photography and the books reveals how photography incrementally helped Australians build a sense of community. Thames & Hudson in assoc with the NGA. Paperback version only from NGA: $49.
The Bright Shapes and the True Names: A Memoir by Patrick McCaughey is a highly entertaining autobiography of one of Australian art's most remarkable and charismatic figures. The Text Publishing Company RRP $32.
Rhythms of Life: The Art of Andrew Rogers, Ken Scarlett (ed.). This lavishly illustrated publication surveys the entire range and production of Rogers' bronze sculptures and monumental stone geoglyphs. Macmillan Art Publishing RRP $99.
Love & Clutter by Mirka Mora. This exquisite and unusual book, a collection of pieces about the extraordinary nature of ordinary objects, is a marriage of text and art. Viking RRP $45.
The Diaries of Donald Friend Volume 2, Paul Hetherington (ed.), is the second of four volumes to be published by the National Library, revealing Friend's fine powers of observation, his irreverence and wit, his sensitivity and his marvellous eloquence. National Library of Australia RRP $59.95.
The Darkroom: Photography and the Theatre of Desire by Anne Marsh. In this engaging study, Dr Anne Marsh argues that photography is a 'theatre of desire' driven by the needs of photographer, viewer and subject alike. MacMillan Publishers $59.
In our September issue the article on hyperrealism by Tracey Clement included some discussion of the work of Patricia Piccinini. Artlink wishes to apologise to Sam Jinks, the Melbourne-based sculptor responsible for physically creating some of the recent works of Piccinini, including The Young Famiily, for not acknowledging his crucial role in the realisation of these hyperreal silicone sculptures. Jinks' role goes beyond the more commonly understood role of fabricator in which work may be executed in steel, fibreglass, marble etc by skilled specialists from precise drawings or computer specifications. The comparison with the work of Ron Mueck may have suggested to readers that Piccinini, like Mueck, was closely involved in the actual making of this work. Artlink did not mean to suggest this and while acknowledging that Piccinini, if consulted, always takes pains to provide the information, we would like to take the opportunity to remind all writers, gallerists, editors and artists of the importance of thinking about and acknowledging the proper role of skilled craftspeople in the end product. Long live collaboration and all it stands for!
Binghui Huangfu Stephanie Britton
Thinking About Guan Wei
Philippa Kelly
With Traditional Chinese art education requiring students to master the painting styles of each historic period, it is not surpirising that Guan Weis own style (having painted systematically from Impressionism to Postmodernism over ten years) has rendered his work appealing to Australian audiences. His works are cool in colour, surreal in style, quirky in wit. Weis work displays a graphic sensibility and visual language similar to that of Leunigs cartoons and is successful for these exact reasons.
FLUX: Uncertain States: New Art from Western Australia
Felena Alach
Lawrence Wilson Art Gallery, WA
17 August - 15 October 2003
Chinese Art Sydney Style
Louisa Teo
After more than a decade since many of the Chinese artists who have the highest profiles here migrated to Australia, several of them are currently at a crossroads with respect to their careers and what their next steps will be. As is the case with Guan Wei and Ah Xian, two of the best-known mainland Chinese artists working in Sydney, there has been an invested interest in exposing their work to local and international audiences. Teo looks at some of the initiatives which have propelled these artists work both locally and internationally and the various approaches in bringing together aspects of Australian and Chinese life and culture.
Changchun, China: to Confront or Confirm
Scarlett pays homage to the opening of an International Sculpture Park at Changchun, northern China, which bosts 315 works by numerous international and local provincial Chinese artists. Scarlett looks at this event and examines how audiences react to both controversial and more accepted and confirmed art within a society.
Paul Hoban
4MAL
Greenaway Art Gallery, Adelaide
Ruth Johnstone, Glen Walls, Lisa Young and John Walker
Jazmina Cininas
Modelling Space
RMIT Project Space & Space Room, Melbourne
India Flint, Stephanie Radok, Honor Freeman and Sarah CrowEST, Roy Amanda, Andrew Best and Matthew Bradley
Paul Downton
Built! An ephemeral public art project
Adelaide Festival Centre
4 - 24 August 2003
I've Been Busy
30 July - 6 September 2003
Two Faces of Contemporary Art in China
Yao Souchou
In these days of Theory, innovative curatorial practice calls for a certain empirical discipline; by revealing the arts subtle and yet detectable connections with the social world. Having established this position, Souchou looks at the controversial performance work of Chinese artist Zhang Huan; a practice which displays a confronting yet contemplative look at the relationship between people and society in a post-Mao and contemporary China. An ongoing process of losing oneself in order to understand the effects of cultural and material life, and to animate the desire for release.
The Decade of the Rise of Chinese Women Artists
Gu / Yang Zhenqing / Li
Socio-economic conditions and traditional ethics encourage Chinese women to maintain the ideal of harmony between genders, whilst certainly pursuing and endorsing independence. The state of womens art in China is an increasingly pluralistic art establishment within which international feminist thought has been a great source of energy but where there exists a clear opposition to the we dont bite attitude. This article examines the impact of western feminist thought on a group of Chinese women artists who studied in Europe and America and the new awareness of their own feminist identities that came as a result.
The 28th Annual Shell Fremantle Print Award
Paola Anselmi
Wang Jianwei: Working on the Boundaries
Binghui Huangfu
New media in China is probably the most rapidly developing medium used by contemporary artists in that country. As an art form new media characterises a form of communication with an almost endless capacity to be manipulated, making it the perfect tool to express a new artistic confidence. The intent of this article is the concentration on the work of one artist Wang Jianwei, whose work typifies many of the issues being expressed nationally through contemporary art. His is a practice differentiated by the way he slides from media to media allowing the intent of the art to govern the form of expression.


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Thought this was rather decent; while it's nothing like the banana bread with mushy banana that I love, it was pretty light and fluffy with a whiff of banana sweetness. Pairs well with a cup of coffee on the side.
From The Wired Monkey at Dunlop Street; a new cafe that serves up specialty coffee and other cafe grub as well — the current menu consists of only two burgers, a single toast and salad. Sides and pastries are also available as well.
I am pretty much a fan of chickpeas and falafel so this burger pretty much caught my attention when I was skimming through the menu. This reminds me of middle eastern food; really liked that smooth, mushy chickpea patty that is all crisp with its fried, crusted exterior — it comes with nibs of corn for some texture too. The entire burger was flavoursome; the combination of the Falafel Patty, the Tzatziki, Kale and Tomato Compote was everything tangy, zippy and savoury, while the buns were pretty light and fluffy. The sweet potato fries are well-seasoned with salt while sweet inside; pretty crisp though turns a little hard if left alone for a while. A steal at $12 — the portion is actually pretty substantial; definitely leaves one full after wiping out the entire portion.
If you need some quick bite of breakfast over coffee, they do serve pastry for the morning people here. It was crispy and match well with your drink.


We will be at the TRICIA Spring Festival this Sunday in Albany, NY!
See you at Dilli Haat in Cupertino, CA this weekend!
If you are in the Bay Area this weekend, do head over to the Dilli Haat Food Festival in Cupertino on June 18th. Our partner, KitaabWorld, will be there with some great books from South Asia-focused publishers. See if you can spot a Yali book or two!


Some things to note: This is an unofficial package, thus is not officially supported by the Yuzu team. Please don't ask for help on their forums or discord if you run into issues with this build, as it might devote import development resources to a bug that might have to do with running Yuzu on an unofficial platform. If you encounter an issue, feel free to comment on this package and I'll try to point you in the right direction.
Also, this build is in active development. Builds might break every once in a while. Please check https://travis-ci.org/yuzu-emu/yuzu-canary/builds to see if their linux builds are compiling correctly before flagging this package out of date.
If you're looking for the QT version of this package, it has now been merged in this package. No need for two packages anymore, and no need to compile everything twice.
@bscubed Oh, I see, thank you.
@dd86 That's an issue with the yuzu canary source. A recent commit broke the build, and it's been failing for a couple days now. See here: https://travis-ci.org/yuzu-emu/yuzu-canary/builds Keep your eyes peeled, it should be fixed soon.
Edit: The issue has been fixed and the build should finish now.


MMG's English blog at PMCurie | Can you cook delicious meals for just $4?
Can you cook delicious meals for just $4?
This entry was posted in AMERICAN RECIPES, HOW TO... and tagged food, health, recipes, society. Bookmark the permalink.


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Off-Season Report
Stein: Deron Williams seeking release from Brooklyn Nets so he can sign with Dallas Mavericks
By Anthony Puccio Jul 10, 2015, 2:48am EDT
Share All sharing options for: Stein: Deron Williams seeking release from Brooklyn Nets so he can sign with Dallas Mavericks
Marc Stein of ESPN has reported that Nets point guard Deron Williams is hoping to be released by the team so he can join his hometown team, the Dallas Mavericks. According to Stein's report, it's "60-70 percent" he winds up in Dallas.
Story going online now: ESPN sources say Deron Williams seeking release from Brooklyn Nets so he can sign with his hometown Dallas Mavericks
— Marc Stein (@ESPNSteinLine) July 10, 2015
As covered in the story, there is strong mutual interest between Mavs and Deron Williams to strike deal if Williams and Nets can part ways
NetsDaily can confirm the report. Discussions have been ongoing for weeks. The options are a buyout under which the two years worth of salary left on Williams' contract would be paid out to him as a percentage of what he's owed; a stretch of the salary over five years ... or a combination of the two in which the buyout would be stretched. Under the best circumstances, the Nets would still have to carry several million dollars on the cap for as long as five years.
But as John Schuhmann notes, there are advantages...

Nets can possibly get out of the luxury tax completely w/ a buyout for Williams (depending on the $) & then using the stretch provision.
— John Schuhmann (@johnschuhmann) July 10, 2015

The two teams have been linked before in a Deron Williams conversation. In 2012, when the Nets were headed to Brooklyn, the Dallas Mavericks were the one threat to the Nets' hopes of re-signing the star point guard.
Now, after DeAndre Jordan bounced back and forth from L.A. to Dallas and., the Mavericks have room to sign someone like Williams. They also need a point guard, bad.
Here's what Stein had to say about the situation:
Sources told ESPN.com that the Nets, whose well-chronicled hope is moving out both Williams and fellow former cornerstone Joe Johnson before the start of next season, have opened buyout talks with Williams on the remaining two years and $43.3 million of his contract.
A buyout, if Williams' representatives and the Nets can come to terms, would be Brooklyn's preference compared to outright waiving the 31-year-old. The Nets have been adamant since the end of the season that they do not want to simply release Williams via the stretch provision, even though it would allow them to pay out his remaining salary over the next five seasons and reduce their luxury-tax bill, as long as such a measure is executed before the Aug. 31 deadline.
Stein also discusses how trade talks for Williams have gone nowhere since the Nets and Kings talked about potential deal last season. The Nets declined that deal because Sacramento wanted Mason Plumlee, who the Nets did not want to give up. He's now in Portland after a Draft Night deal that brought the Nets Rondae Hollis-Jefferson.
His colleague Mike Mazzeo tweeted out other details...and who might take his place, at least in the interim.
While #Nets had been active in trying to trade Deron, higher-ups in organization believed buyout possibility could be ultimate resolution.
— Mike Mazzeo (@MazzESPN) July 10, 2015
If D-Will bought out, Jack could serve as a transition PG & money saved could go toward bigger PG pursuit in summer of '16 (Conley?) #Nets
Williams is set to make more than $43 million over the next two years. After three straight seasons of constant turmoil --in large part due to injuries and leadership issues -- the Nets have been working effortlessly to get Williams off the books. Nothing would get them closer to their goal of getting under the luxury tax threshold ... and away from the repeater tax.
The Mavericks won'n't seek a trade because of the negative implications it would have on their salary cap. And although Billy King said "no" when asked about a Deron Williams buyout early in the summer, insiders believe a buyout is the ultimate solution.
The Nets would need to get rid of Williams and/or Joe Johnson in order to avoid the repeater tax. The Nets explored a potential salary-dump trade with Cleveland involving Joe Johnson in order to do so, but Cleveland wasn't interested due to Johnson's huge contract.
Williams averaged 13 points & 6.6 assists per game last season, making it a constant decrease in productivity over a three year span in Brooklyn.
Recently, Ian Eagle talked to WFAN about the possibility of the Nets dumping D-Will....
"As they look at their team in regards to Deron Williams, I'm not convinced that moving forward that Deron can be a part of this. Now the finances play a big role in all of that. The issue is going to be whether they try to do everything in their power to trade him or at some point just decide they've got to cut bait and move on without him. Those are the decisions that will have to made down the road by Billy King and ownership."
Eagle also said the Nets also believed "there's a role for Joe Johnson on this team."
A month ago, Billy King said there was "zero chance" of a buyout or a stretch of Williams contract, and even suggested yesterday that it was likely Williams would be on the Nets roster for the season opener ... but would not guarantee that he and Joe Johnson would with the club at the end of the season, when luxury taxes are calculated.
Deron Williams, Brooklyn Nets in talks to secure Williams' release - Marc Stein - ESPN
Deron Williams seeking release in hope of joining Mavericks: report - Tim Bontemps - New York Post
Deron Williams, Nets reportedly discussing contract buyout - Rod Boone - Newsday
NBA Free Agency rumors: Deron Williams talking buyout with Nets to join Dallas Mavericks? - Charles Curtis - NJ.com
Brooklyn Nets' Deron Williams Buyout Would Be A Win-Win-Win - Steve Lichtenstein - WFAN
Deron Williams seeking buyout from Nets so he can join Dallas Mavericks: Report - Devin Kharpertian - The Brooklyn Game
Report: Deron Williams seeks release from Nets to join Mavericks - Matt Moore - CBS Sports
Will the Nets buy out Deron Williams so he can head home to Dallas? - Mike Bonesteel - Washington Post
Deron Williams reportedly wants release from Nets to sign with Mavs - Jordan Heck - Sporting News
Deron Williams is looking to leave Brooklyn for Dallas, per report - Austin Ngaruiya - Mavs Moneyball

redpajama_set_name: RedPajamaCommonCrawl


ADEA took part in the sub-regional exchange of experience workshop on decentralized education management (DEM), from 10 to 13 march 2015 in Niamey, organized by the Japan International Cooperation Agency (JICA) in collaboration with Niger's Ministry of Education.
This was one of a series of workshops organized and supported by JICA since 2006. Experts from a number of countries, including Burkina-Faso, the Ivory Coast, Madagascar, Mali, Niger and Senegal took part. Institutional partners represented included ADEA, the World Bank, and UNESCO, as well as the Kenyatta University of Nairobi and the Hiroshima University of Tokyo and the different JICA offices.
The workshop gave rise to a valuable and pertinent exchange of experience on DEM, in particular on the issue of how to better involve the local communities in education management. The various communications and discussions highlighted the fact that although legal and regulatory provisions for DEM exist in most of the countries present, they are not always applied. The school management committees (SMC) are, on the other, functioning well in most cases. Three key factors were identified as essential to ensure that SMCs function well. These are (i) efficient organisation, (ii) broad and targeted communication, and (iii) the regular organisation of educational forums with clear and precise commitments.
To these three factors can be added effective literacy teaching for local communities, the method by which members of the SMC are nominated, which needs to be democratic, the agreement signed between the school and the local authorities, the presentation of accounts, and the existence of an arbitration authority to settle any disputes.
Another aspect that was highlighted during this workshop was the importance in the DEM process of school subsidies. It is important to remember here that there are several forms of school subsidies, and there is no standard formula for all countries. However, two decisive factors need to be taken into account to ensure a better optimisation of the subsidies granted. These are (i) the restriction of any intermediaries in the allocation of school subsidies to a minimum, and (ii) capacity-building of head teachers, school teacher, and SMC members concerning the use of subsidies. It is also important to note that subsidies on their own are not enough to improve the quality of learning. A number of recommendations were made about how this type of meeting could be repeated and extended to other countries in the region. All the participants praised this excellent initiative of JICA and called for it to be continued.
For further information, please contact Mr Maiga Youssouf Ario (y.maiga@afdb.org), Programme Officer at ADEA.


Study finds link between air pollution and increase in DNA damage ~ Health Matters Today!
A study in the Czech Republic has found a link between exposure to certain air pollutants and an increase in DNA damage for people exposed to high levels of the pollution.
They found that breathing small quantities of a polycyclic aromatic hydrocarbon (PAH), called benzo[a]pyrene (B[a]P), caused an increase in the number of certain 'biomarkers' in DNA associated with a higher risk of diseases, including cancer.
Air pollution is a major problem around the world, particularly in urban areas. In attempt to control regional air pollution levels, the EU has introduced legal limits for exposure to a variety of different airborne pollutants. For B[a]P , the EU air quality standard is 1 nanogram per metre3 (ng/m3) as an annual average that has to be attained where possible throughout the EU.
To measure the risk of DNA damage and risk to health caused by exposure to chemicals, such as PAHs, researchers sometimes use 'biomarkers' – these are biological features that can provide an indicative picture of risk and disease.
Previous studies have suggested that 'DNA adducts' can be used as biomarkers to measure exposure to PAHs. These are, in effect, small molecules, such as PAHs, bound to the DNA. Similarly, 'chromosomal aberrations' - structural changes to a stretch of DNA - can be used as biomarkers to demonstrate the effect of some pollutants on DNA.
To test whether there was a possible link between exposure to PAHs and the frequency of DNA adducts and chromosomal aberrations, the researchers, supported by the EU EnviRisk and INTARESE projects, examined DNA from 950 police officers and bus drivers in Prague.
The participants, drawn from three separate studies conducted over a five-year period, all worked outdoors for more than eight hours a day. Each carried a device to measure their personal exposure to PAHs and DNA was extracted from the participants' white blood cells.
The researchers also tested a new technique for identifying chromosomal aberrations called 'fluorescence in-situ hybridisation', or FISH, which is much more sensitive than previous techniques.
The results revealed, for the first time, a significant relationship between exposure to PAHs, the number of DNA adducts and the number of chromosomal aberrations detected using FISH. In particular, PAH levels and the occurrence of the two biomarkers were higher in winter than in summer.
In one of the studies, average personal exposure to B[a]P and PAHs in January was measured as 1.58 ng/m3 and 9.07 ng/m3, respectively. In June, this dropped to 0.18 ng/m3 and 1.92 ng/m3.
The number of B[a]P-like DNA adducts and chromosomal aberrations were correspondingly much higher in January than in June. In fact, the number of DNA adducts strongly mirrored exposure to PAHs in the past 30 days.
These findings are of concern because exposure to more than 1 ng/m3 of B[a]P has been found to put people at higher risk of developing cancer later in life.
Previous studies have shown that DNA adducts can be an indicator for cancer several years after exposure and the findings of this study indicate that DNA adduct biomarkers and chromosomal aberrations measured using FISH could help health authorities identify individuals at higher risk of disease.


Loikaw Airport is located in Kayah State, Burma. It is classed as a medium airport and as such only available to approved aircraft. LIW is the commonly known airport code and useful when searching for flights into and out of Loikaw Airport.


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Home » Information » Themes » George's Parallel Tours:Tour
George's Parallel Tours:Tour
PARALLEL TOURS My trip to Russia began 56 years ago, when I was born in Munich, West Germany to Russian Displaced People. Coming to the United States in 1949, I was already bilingual, speaking Russian and German as fluently as a 3-year-old can. Once in the U.S., I retained my bilingual ability, switching my German in less than two months to American English. The one constant in our family was that Russian language, culture, traditions and religion were maintained in our home and within the Russian community of Southern California. Only Russian language was allowed in our household. When my sister Tanya and I went to American learning institutions, whether elementary, junior and senior high, or university, naturally we spoke English. After graduation from university, I met and married a Russian girl who had been raised in similar circumstances to mine. Marriage, children (first Gabe, then Mike), Gabe's graduation from high school and subsequent Russian major at SDSU, led eventually to his job with Russian Sunbirds. In a short time, his boss, Paul, sent him on assignment to Russia, to do research for a book about Fedoskino, Palekh, Kholuy and Mstera, and the lacquer box art the four villages were engaged in. All my adult life, I studied the history of Russia and the Soviet Union. In the early 70's, I acquired a book about Palekh and the wonderful boxes produced there. Over time, I acquired several more books, and the impression I gathered from reading these books was that something approaching the mystical was occuring in Palekh. I was unaware of the other three villages. Since those years, during the height of the Cold War and existence of the Evil Empire, not only did I feel the mysticism of Palekh, but I also felt its absolute unattainability. I knew the USSR was going to exist beyond my lifetime, I had no desire to travel there, so I knew I would never see Palekh. For many years, it remained a mystical construct in my mind. Unbelievably to me, 1991 saw the implosion of the Soviet empire. I began to sense a new breeze of freedom and hope, heretofore unknown, in the newly renamed Russia. The possibility of travel to Russia became a reality. Many of my friends in the Russian community were traveling to Russia and coming back with mostly positive views about the newly-free country. But travel to Russia remained a distant (nearly impossible) hope for me. I had too many family, career and personal commitments that precluded my ability to travel, i.e. more often than not, I was not in a position financially to go. Eleven years later, in 2002, after Gabe had spent an adventurous six months in Russia living with various artists in the four villages, he suggested in a telephone conversation I visit Russia while he was still there. Serendipitously, Russian Sunbirds was organizing a Lacquer Box Tour, and although I hemmed and hawed about going, one fine day found me on an Aeroflot 767 flying to Moscow. I was not going as a lacquer box enthusiast. My knowledge was limited to my books from the 70's and what I had picked up by osmosis from Gabe. Although I was traveling with the tour group, I was really going to Russia, ostensibly to visit my son. Russia was, and remains, the land of my forefathers. Was I ready for something I had only read and dreamed about all my life? The reality I finally saw was not shocking, nor was it overwhelming. Moscow looked modern, with many of the trappings we are accustomed to America. I spoke the language like a native, I saw and understood the same mannerisms I had seen all my life in the Russian community of Southern California. Even though I considered myself a Russian, my body language, the manner in which I looked at people, identified me in Russia as a foreigner, in particular as an American. People would approach me attempting to speak English, and would be startled when I responded in fluent Russian. Staying briefly in Moscow, we embarked for Fedoskino in short order. Everyone helping with the tour, Gabe, Alyosha, Seryozha and others, did a sensational job. I may sound like a proud father, but observing my son from a neutral perspective allowed me to see how much he had matured and the self-confidence he had strengthened living in Russia. Everyone assisting with the tour can take tremendous credit for the difficult task they had undertaken. Again, from my neutral (but proud) perspective, I can say that Gabe kept the tour focussed and on-task. Many times, unknown to others, he would go the extra kilometer, or verst, to untangle a problem or to smooth over a seemingly insurmountable bump in the road. I watched as people in all four villages greeted him as one of their own. I could see the genuine respect the artists had for this young man from America. Jim, whose wife Nancy accompanied him on the tour, was able to keep the Sunbirds office end of the tour running smoothly. Both he and I were able to assist Gabe on occasion when the need arose for language translation. I enjoyed this part thoroughly, because not only was I helping my son, I was also communicating with Russian people on a personal level. Gabe having smoothed the way, I was welcomed with open arms into the homes of many of the artists in all four villages. I was able to share many hours (and consume much food and vodka) with them, answering their questions about life in America, and in turn asking them about life in both post-Soviet Russia and in the USSR. I say this with a bit of tongue-in-cheek that they were not 10 feet tall, they were normal, ordinary people with pretty much the same desires for peace and prosperity as any of us might have in America. I was saddened to leave the villages, because I felt I was seeing the true Russia, what the villagers call "glubinka," the true breadth of the country. The tour was coming to an end, and airline connections needed to be made for tour-members returning to the States. In the meantime, Gabe, Jim, Nancy and I took the train to St. Petersburg to spend the remainder of the days we had planned after the Lacquer Box Tour ended. St. Petersburg was pleasant. I thought I had accustomed myself to walking while in Moscow, but the amount we did in the Northern Palmyra was incredible! I think we traversed the city from one end to the other on No. 11, our legs. I admit to being exhausted our last day in St. Petersburg. which I spent resting. Upon returning to Moscow, I gave up all pretense of bravado, and continued to rest in Gabe's apartment. Soon, too soon, it was time to leave, and Jim, Nancy and I boarded the airplane back to Los Angeles. The weather had been impeccable for the entire 17 days of the trip, but as we waited to board, it began raining on the other side of the windowpane, in Moscow. I had first arrived in Moscow as a member of a tour group, but I was really visiting my son in Russia. I had seen a little bit of the country of my ancestors, and I had spent quality time with Gabe. I had seen a mature young man keep a group of lacquer box enthusiasts and collectors headed in the right direction, and he had come out of it none the worse for wear. I came back to America a proud father. And yes, I was happy to be back in my country, the United States of America. Respectfully submitted, George


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This is how COVID-19 is changing the nature of grief
Many people cannot visit dying relatives for fear of transmission of the coronavirus.
Image: REUTERS/Jim Urquhart
This article is published in collaboration with The Conversation
Lucy Selman Senior Research Fellow, University of Bristol
The Forum's COVID Action Platform: Over 1,500 organizations are working together in response to the pandemic
With the highly infectious nature of the coronavirus, families are struggling to say goodbye to their loved ones in hospital.
From funerals in isolation to grieving alone, this is how bereavement has changed in the COVID-19 pandemic.
As I write this, the UK government has just announced that 13,729 people have died in hospitals from COVID-19. Care England estimates more than 1,400 people have now died in care homes. As you read this, those appalling figures will have grown. The national medical director, Stephen Powis, has said that if the UK death tally comes in below 20,000, "we will have done very well".
As a result, a wave of grief will swell in the coming months, with more and more people experiencing a close bereavement related to COVID-19. The disease brings new challenges in caring for patients and supporting their family and friends. A particularly cruel one is that patients must be isolated to control the spread of infection.
Since a patient's loved ones are often unable to accompany them to hospital, and because patients with COVID-19 can deteriorate quickly, it is really important that we have conversations about advance care planning and document our preferences. This is crucial for older people and those with pre-existing conditions.
Global confirmed coronavirus death toll hits 150,000, according to Reuters tally
We could be vastly overestimating the death rate for COVID-19. Here's why
The United States now has the world's highest coronavirus death toll
With an advance care plan in place, relatives and clinicians have a much clearer idea what the patient would want medically, even if they are too unwell to express it. This translates into a better bereavement process for relatives, should the patient die.
Up to now, visiting patients seriously ill with COVID-19 has been impossible for many, and I have heard anecdotal evidence of varying practice across hospitals and care homes. Some are allowing family members to see a patient – one at a time, and wearing personal protective equipment (PPE) – but others are not able to.
Although it is time-consuming to dress relatives in PPE, and risks contamination, if relatives are not in a high-risk category, in quarantine or unwell themselves, even a short visit of about 15 minutes could make a world of difference. Not being able to say goodbye has been identified as a cause of "complicated grief" among bereaved relatives. Health Secretary Matt Hancock's recent statement that new steps will be taken to allow goodbyes "wherever possible" is therefore welcome – but will require far better access to testing and PPE, both of which remain problematic.
Where visits are not possible, the use of smartphones, tablet computers and other forms of connection can also be a great comfort in enabling patients to communicate with friends and relatives. Some clinical services are even asking for donations of technology to help support these virtual methods of contact.
But great sensitivity is required. Clinicians from a Swiss hospital have cautioned against the use of virtual contact with families when a patient is dying, due to the distress this can cause. Research with bereaved family members has also found that witnessing a death in an ICU may be associated with greater symptoms of post-traumatic stress disorder.
Grieving alone
Grieving alone is a uniquely difficult, unnatural feature of bereavement due to COVID-19. A common impulse in the depths of grief is to seek comfort in the arms of close family members and friends, yet COVID-19 can make this impossible. As Susannah Kraft Levene, the wife of a London rabbi who died after contracting coronavirus, described so movingly, the bereaved are often finding themselves in social isolation.
But those who are grieving, and their friends, families and communities, should be encouraged to reach out to others however they can – online, by telephone or by writing letters. For while these methods can never replace face-to-face interaction, they can be an effective way of showing love and care.
Although family, friends and existing networks are the foundation of support during bereavement, formal bereavement services play a crucial role too. Many British bereavement charities have made Herculean efforts in adapting their work.
Bereavement support is available via email, telephone, mobile apps, web forums, and virtual peer-support meetings. We know some people don't feel comfortable asking for help, so a wide range of services is crucial.
Funerals in isolation
Also on the practical side, coronavirus and social distancing measures have brought about significant restrictions to funeral services which will affect bereaved relatives' ability to mourn. But many funeral directors are doing everything they can to help.
There are online resources on how to organise funerals during the coronavirus crisis which are meaningful for both adults and children. Guidance on religious funerals in the context of COVID-19 is available from the official sites of the Church of England, the Catholic Church for England and Wales, the Muslim Council of Britain and the Jewish Joint Burial Society.
Ways to bring in others who are not there in person include live streaming or recording facilities and circulating the order of service, music and poems. People who are bereaved over the coming months might want to organise a simple service at this stage and arrange a memorial or celebration service later. It is important to bring people together to remember and celebrate the person who has died, even if that occasion has to be delayed.
We can all play our part in supporting the bereaved by recognising and acknowledging their loss. Speaking to people who have lost loved ones and offering condolences is so important. In a recent survey, half of respondents reported being scared of "saying the wrong thing" to a bereaved person. One in two said they didn't know what support to offer, while one in four avoid talking to somebody about their bereavement.
These attitudes can make bereavement even more isolating. As COVID-19 progresses over the coming months, our personal, professional and collective compassion will be put to the test. But with open hearts, a willingness to connect, and the courage to acknowledge and express grief and sorrow, we can help our communities heal.
Lucy Selman, Senior Research Fellow, University of Bristol
This article is published in collaboration with The Conversation.
More on COVID-19 View all
Half of those surveyed are unaware of the link between climate change and diseases like COVID-19
Public concern about climate change has risen, but a study shows that widespread lack of knowledge exists regarding how rising temperatures impact the spread of disease.
Natalie Marchant 20 Jan 2021
Here's what could happen to the global economy this year
A PwC report predicts the global economy will grow 5% this year. The issued value of green bonds will surpass $500 billion. G7 public debt levels will exceed $57 trillion.
Driving change: What's in store for the future of commuting?
Marian Jones · GreenBiz 20 Jan 2021
Gayle Markovitz 20 Jan 2021
COVID-19: What you need to know about the coronavirus pandemic on 20 January
Joe Myers 20 Jan 2021


Billowing clouds of rose-red flower clusters shroud sturdy upright gray-green foliage. Flower heads transition to a dramatic deep red and foliage will infuse with some burgundy red tones in fall. We forecast these will create blustery excitement!
Stonecrop provides beautiful low-care summer and fall color. Let dried flower heads remain to provide nice winter interest. Sedum store water in their thick succulent leaves which enables them to be extremely drought tolerant. Sedum Thunderhead is an upright Sedum variety great for a hot, sunny site.


A thoughtful gift to music lovers in our region from the late Mina Brechemin Person has allowed the School of Music to present hundreds of free events over the past several years in the school's Brechemin Auditorium. Mina's family extends her legacy of generosity in 2017-18, enabling the School of Music to present 50-plus concerts with free admission, including recitals by acclaimed guest artists and our stellar faculty as well as the best work emerging from the school's many performance studios. Events are listed below. Program details and updates will be posted at the links as programming is finalized.


More new photos taken between March and August, 2012. These show Grand Central Station, Wall Street, Brooklyn, Green-Wood Cemetery, The Brooklyn Bridge, and the New York City subway.
Click on the photograph at right to see the full gallery.


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By William L. Iggiagruk Hensley
ANCSA: an impossible challenge achieved
Young state, oil discovery, and DC hero help secure settlement Alaska Native Claims – October 12, 2021
Courtesy of Willie Hensley
People associated with the Alaska Federation of Natives and others in the office of Howard Pollack in Washington D.C. Standing (left to right) George Gardner, Roger Conner, Emil Notti, Flore Lekanof, Cliff Groh, Rep. Barry Jackson, Rhoda Fox, and Morris Thompson. Seated (left to right) Rep. Willie Hensley, Pollock and Laura Beltz Bergt.
President Richard M. Nixon signed the Alaska Native Claims Settlement Act (ANCSA) in 1971, exactly 230 years after Captain Vitus Bering's Second Kamchatka Expedition finally sighted land in Alaska offshore from what is now Mount Saint Elias in 1741.
In the years between, the 70,000 or so Unagan (Aleut), Sugpiaq, Yupik, Inupiat, Athapascan, Tlingit, and their descendants began to experience extreme changes brought on by Russian and American firepower, disease, religion, commercial exploitation of sea otters, fur seals, whales, walrus, salmon, copper, gold, and timber.
Colonialism was not a word that my generation used or even understood.
Historians almost always look at history from the perspective of national interests and personalities, and the impacts and consequences on the indigenous inhabitants are either ignored, whitewashed, or forgotten.
In Alaska, the indigenous inhabitants had occupied and controlled their territories for millennia, developed cultures compatible with their environments, governed, warred, traded, and celebrated life –even in the extreme cold of the Far North.
In the case of the Inuit, their language and culture extended from the North Pacific (Kodiak Island) clear across the Arctic to Hudson's Bay, parts of Quebec and Labrador, and on to Greenland.
Doctrine of Discovery, ecclesiastical blessing
The rationale used by the Spanish to take foreign lands was the notion of "discovery."
In 1493 Pope Alexander VI issued the Papal Bull "Inter Caetera" to ensure the Spanish had exclusive rights to lands discovered by Christopher Columbus a year earlier. The Bull stated that "the Catholic faith and the Christian religion be exalted and be everywhere increased and spread, that the health of souls be cared for and that barbarous nations be overthrown and brought to the faith itself."
The Pope declared that all lands one hundred leagues west of the Azores and Cape Verde Islands belonged to Spain and that it had exclusive rights to all territories and trade. Others had to secure a special license from the Spanish Government. Any lands not inhabited by Christians could be claimed and exploited by Christian rulers.
In reality, the Pope had authorized and blessed what became a reign of terror among the citizens of Hispaniola and Central and South America.
This notion of discovery became part of the foundation of American law when Chief Justice Marshall used the principle in the Johnson v. McIntosh case in 1823. Indigenous Americans, including Alaska Natives, had "aboriginal title" or a right of occupancy, which could be extinguished by the claiming sovereign nation. The Indian nations could only deal with the sovereign in ceding lands through treaty and were not free to dispose of lands to states or other third parties.
All this legal and ecclesiastical history was unknown to us when the fight over Alaska lands came to a head in the 1960s. In retrospect, several realities that helped to bring about a land settlement:
• Alaska Natives' underlying aboriginal title ownership had never been extinguished.
• Billions of barrels of oil were discovered in Prudhoe Bay in 1968, and a pipeline across Alaska was necessary to bring the oil to market.
• Alaska did not have enough revenue to run what little government it had.
• Alaska needed the land and the oil revenue to survive as a state.
• The United States needed the oil.
• Alaska Natives were united in their desire to control their own land despite internal differences.
• The United States Congress, controlled by the Democrats, was open to a settlement.
• Richard Nixon, President-elect in 1968, was convinced that American Indians and Alaska Natives deserved "self-determination" and he backed the passage of legislation.
Mike Gravel, supported strongly by village Alaska, defeated Sen. Ernest Gruening in 1968. Gruening was a staunch opponent of Alaska Natives securing land and had done nothing to resolve the issue. He opposed the creation of any indigenous institutions.
Alaska mining and business opposition
One of the most vociferous opponents of any kind of land claims legislation was the Alaska Mining Association. Its president, Leo Mark Antony, and George Moerlein, chair of the association's Land Use Committee, were vocal and unyielding in their negative position.
Moerlein, in his testimony to a Senate committee in 1968, said, "... to grant their land requests may bring the continued development of Alaska's natural resources to a standstill." He also stated that "I submit to you that neither the United States, the State of Alaska, nor any of us here gathered as individuals owes the Natives one acre of ground or one cent of the taxpayer's money."
Another individual opined, "If given land, with the stipulation in the original papers, i.e., 40 million acres, this will absolutely cause the economic collapse of the State of Alaska." (Robert E. Curtis letter to a Senate committee.)
Emil Notti, President of the Alaska Federation of Natives, remembered when Don Dickey, Executive Director of the Chamber of Commerce, ran around a convention with a cowboy hat on with an arrow through it, mocking the land claims of Alaska Natives.
As Executive Director of the AFN, in December 1969, I found it necessary to attack the Chamber of Commerce for raising "unjustifiable fears about the settlement we seek and our legislative program." I charged them with having "limited vision and are threatening and pressuring our Congressional delegation to cease efforts to work out a compromise land claims package."
The chamber was also pushing for small acreages adjacent to villages and opposed the overriding royalty-which was a key element of the financial package being developed.
Challenging colonial mentality
From the beginning of the land claims struggle in the 1960s, only the Alaska Natives had any hope that the federal government might just reverse itself and convey land to its first citizens. It was a complete long shot, after all, the country had spent 200 years taking lands from Indian nations and paying them a pittance-if at all.
In the words of the historian Hubert Howe Bancroft, "On the whole, the people of the United States have not paid an exorbitant price for the ground upon which to build a nation. Trinkets and trickery in the first instance, followed by some bluster, a little fighting, a little money, and we have a fair patch of earth, with good title, in which there is plenty of equity, humanity, sacred rights, and star-spangled banner. What we did not steal ourselves we bought from those who did, and bought it cheap."
The Federal Field Committee (FFC), headed by Joseph Fitzgerald, was set up to help Anchorage recover from the devastating 1964 earthquake. They were to use their competent staff to coordinate the use of federal dollars in the most effective way.
Fitzgerald and his staff were contracted by Sen. Henry Jackson, Chairman of the Senate Interior Committee, to do a study of the Alaska Native land claims – the first such study in over a century. Their product was a six-pound, 569-page behemoth, but it gave credence to the Native land claims and suggested a $1 billion settlement over a ten-year period, but only 4-7 million acres of land.
In retrospect, the FFC was, in reality, proposing to use the settlement as a mechanism to destroy the various Alaska Native cultures. They saw the villages as "racial enclaves" that would prevent Alaska Natives from joining mainstream Alaska.
The FFC was trying to "individualize" the settlement and provide small tracts for homesites and subsistence lots. Fitzgerald's allocation of land would provide a township (23,040 acres) and would go to a state municipal entity. His mechanism for management was a Presidentially appointed Development Corporation for all Alaska Natives initially set up as a non-profit but to revert to a for-profit corporation in 10 years. The Native stockholders would be in control of the directors, but by the tenth year, the stock would then have to be sold in the open market and Alaska Natives would no longer be in control. Alaska Natives would end up owning nothing but the stock over which they would have no control.
AFN had a real challenge in beating down this proposal as it would have Alaska Natives in control of nothing – land or money. There would have been no village or regional corporations had the FFC's approach been adopted. The FFC proposal clearly reflected a colonial mentality.
I knew the staff personally, and it was a sad realization that they had little confidence in the Alaska Natives' willingness and ability to manage their own resources and were trying to take us down the road of extinguishing our cultural identity. But it was not clear at the time whether they were reflecting Chairman Henry M. Jackson's perspective or their own. If the former was the case, we had a huge challenge in preventing their ideas from taking root in the Congress.
To me, we were seeking land to be able to continue our way of life. The financial aspect was important but not the overriding objective. I realized from my research that paying off the Indians for their lands was the historic settlement approach and that we had to make land the foremost issue for Alaska Natives.
A DC hero emerges
Secretary Stewart M. Udall was a hero to Alaska Natives and a pariah to Alaskan politicians for his decision to cease interim conveyances to the State of Alaska when those lands were being claimed by indigenous Alaskans who had occupied their lands for millennia. He was, after all, the trustee for Indian reservations, reserves, allotments, and restricted townsites. It appeared that he did not want to be the authority to ignore Alaskan indigenous ownership rights and dispossess them of their lands when he was supposed to be protecting us. After all, the Congress had included the "disclaimer" clause, which stated that the state disclaimed all right and title to "any lands or other property (including fishing rights), the right or title to which may be held by any Indians, Eskimos, or Aleuts ... or is held in trust for said natives ... shall be and remain under the absolute jurisdiction and control of the United States until disposed of under its authority ..."
From the Treaty of Cession in 1867 to 1959, despite all the laws that had been passed in those intervening years, our sovereign, the United States, had never extinguished Alaska Natives' underlying title. However, had Sec. Udall signed the interim conveyances, that act would have been an extinguishment of our aboriginal rights.
As a non-lawyer student in 1966, I realized the danger that we were in. If there was ever a chance to turn 200 years of American history around on this issue, we had to stop the state selections. Secretary Udall, a westerner whose family was intertwined with the Native American world, precipitated a crisis for the new state, and Governor Hickel fought back furiously – legally and politically. But Udall stuck to his guns and instituted the "superfreeze" the last week he was in office before the Nixon administration took over, with our nemesis, Governor Hickel, slated to take over the department that had provided us the leverage to encourage the Congress to act on our claims.
Despite Udall's staunch support for Alaska Natives and his willingness to offer ideas to move forward with legislation, the Department of Interior's ideas were also rooted in colonial notions of how to deal with "the Indians":
• Indian reservation land was held in trust for the tribal members.
• Nothing could be done with the land without approval of the Department.
• Tribes had to be recognized by the department to qualify for the myriad of programs to enhance the material life of the Indians.
• The country was divided into "Areas" with a director overseeing the tribes in his jurisdiction and he, in turn, reported to the Commissioner of Indians Affairs (later the Assistant Secretary for Indian Affairs).
Udall's department's initial proposal in the spring of 1967 was for 10 million acres of surface land for the villages; the land was to be held in trust for 25 years; compensation would be via the Court of Claims with a date of "taking" as of 1867 ($7.2 million); the Department would control the proceeds.
There was virtually no support for Udall's initial proposals.
Land Claims Task Force
In the meantime, there was a stalemate. The AFN board had no funds to meet or do analysis and the state was stymied from finalizing their hoped-for land conveyances to keep the state solvent.
Not clear at the time was this reality: no legislation was going to pass Congress to resolve the issue unless 1) the state was an active player in the negotiations and 2) the Alaska Natives had to be united and offering ideas that had the potential of being supported by the State and our congressional delegation.
We agreed to let Governor Hickel appoint the entire AFN board to the new Rural Affairs Commission to enable AFN to have funds for travel, hotels, and meals and to solidify its position on a settlement. This became known as the Land Claims Task Force. They elected me Chairman and authorized me to select a drafting committee which, under time pressures, came up with recommendations to the Governor, the legislature, the Washington delegation, and the White House.
This entity was as close as we came to a tripartite negotiation. The group was state-appointed but in addition to AFN representatives, there was always an Interior Department official, Assistant Secretary Robert Vaughn, in the discussions as well as Governor Hickel's hired consultant, flamboyant Edgar Paul Boyko.
The challenge was to come up with ideas that the state could respond to and to be prepared to present our recommendations to Senator Jackson's Interior and Insular Affairs Committee in February 1968.
The Task Force submitted its recommendations to the state in January and proposed a four-part settlement:
• A grant of 40 million acres of land in fee.
• A 10% royalty interest in outer continental shelf revenues as suggested by Secretary Udall with an immediate payment of $20 million.
• A state royalty interest of 5% on state lands.
• A license to use surface lands under occupancy and use by Alaska Natives.
• Objectives were to avoid litigation, if possible; grant present property interests; avoid state and federal control; avoid "freezing the villages in history"; spreading the benefits from royalties widely; and utilizing modern corporate forms in business enterprise.
These ideas were designed to minimize state opposition to a land settlement because without the state concurrence, our delegation would be stymied in moving forward. The recommendations were well received and even resulted in the passage of a bill by the legislature approving a $25 million payment contingent on lifting of the land freeze. It became a dead letter but it helped move the state and the citizens toward a positive outcome.
The Task Force was able to secure Governor Hickel's support for a 40-million-acre settlement. That was a significant victory as he enabled other actors on the political scene to increase their support on the higher number rather than the mediocre acreages offered in various bills. His support for a state royalty interest was also very significant, as well as the support for the corporate vehicle for management.
The work of the Task Force definitely helped move the entire prospect for a land settlement forward and provided ideas that eventually emerged in the federal legislation.
To the horror of the Alaska Native leadership, Governor Hickel was nominated by President-elect Richard Nixon to be the nation's Secretary of Interior, replacing our hero Secretary Stewart Udall.
We knew that Hickel's objective was to eliminate the land freeze and authorize a corridor for the trans-Alaska pipeline that the oil industry, Alaska, and the nation needed for their financial and energy security. We had successfully turned Governor Hickel toward positivity in dealing with the land claims issue, but we knew we had to keep the land freeze to keep the Congress' feet to the fire and come up with legislation.
The Alaska Federation of Natives took up a collection and sent Emil Notti, Eben Hopson, John Borbridge, and myself to Washington to see if we could secure a commitment from Hickel to maintain the freeze while we all worked to get a bill passed by Congress.
In the meantime, a "Truth Squad" of Alaskans chartered a plane to Washington to tell the legislators what an excellent person Hickel was – some of our AFN board members were willing to see Hickel as Secretary of Interior without a commitment on maintaining the land freeze. Under the pressures, some of our AFN board members were beginning to crumble.
Keeping the land freeze was an impossible hope as Hickel had fought the land freeze tooth-and-tong as Governor, and we doubted that he would change his mind as Secretary of Interior. His commitment to Indian America was not as strong as Udall's. Or perhaps, he saw Alaska failing as a state without the oil revenues that the pipeline would bring.
We were unsuccessful in getting his commitment, so we appealed to Sen. Jackson and the Interior Committee to secure his commitment to the freeze to give Congress a chance to pass a bill. It was a great sigh of relief when Hickel, to save his nomination, finally conceded under questioning by Sen. Jackson, that he would not tinker with the land freeze without consulting the Chairman and the committee.
Without the land freeze, we felt that Alaska Natives' hope for a land bill was toast, and we would be forgotten and shunted off to the Court of Claims where any land conveyance was absolutely out of the question and payment made in pennies an acre, if at all.
Finally, after five frenetic, pressure-filled years, President Nixon signed Public Law 92-203 on December 18, 1971, "An act to provide for the settlement of certain land claims of Alaska Natives, and for other purposes."
Tundra Times provides Alaskans with news that President Nixon signed the Alaska Native Claims Act into law.
We all know the broad outlines of the settlement: a payment of $962.5 million, conveyance of 44 million acres of land in fee simple; the establishment of 12 regional corporations in Alaska and nearly 200 village corporations to manage the land and funds, a provision that 70% of revenues from land resources be distributed among all 12 regional corporations; and one half of the amount received by the regions would be distributed to the village corporations within its boundaries, and for pioneer Alaskans, they finally secured, in Section 4(c) an extinguishment of all claims based on aboriginal right or title.
To the horror of all Alaska Natives, absent from the bill was any provision for continued use of the land for hunting, fishing, and trapping – the primary reason many Alaska Natives pushed for the land settlement. That challenge was dealt with in 1980 in a separate bill.
Find out more about how NANA Corp., the ANCSA regional corporation for Willie Hensley's Northwest Arctic home, utilized the ANCSA corporate structure as a tool to create economic opportunities at Alaska Natives utilize new corporate tool in Alaska Native Claims.
Willie L. Iggiagruk Hensley is an Inupiat from the Northwest Arctic Region. He is an author, a college professor, and an Alaska Native leader who was instrumental in the formation of the Alaska Native Claims Settlement Act (ANCSA) of 1971, which restored 44 million acres of land to Alaska Natives. Hensley has been elected to both the Alaska State House of Representatives and the Alaska State Senate. He is one of the founders of NANA Regional Corporation. His autobiography, Fifty Miles from Tomorrow: A Memoir of Alaska and the Real People, was published in 2008. Hensley currently serves as a visiting distinguished professor in the College of Business and Public Policy at the University of Alaska Anchorage.
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The Port of Portland has withdrawn its consent for City of Portland annexation of 800 acres that the Port owns on West Hayden Island. The Port had hoped to use at least 300 acres of that property for auto and bulk-product marine-terminal development, with the remaining 500 acres retained as recreation and wildlife habitat. According to the Oregonian, the move was prompted by City of Portland mitigation requirements attached to development of the 300 acres that would make development of that acreage financially infeasible. According to the Port, the City's requirements would have made the price of the industrial land double the price of other industrial land in the region. The Port found City officials unwilling to negotiate the terms of the annexation to make development of the industrial portion of the property feasible. Although the withdrawal of the annexation application is a blow to the Port, the City will also suffer significant adverse consequences from the withdrawal. The City has a shortage of more than 600 acres of industrial land within its 20-year urban growth boundary, and the loss of the Port's 300 industrial acres will only make that shortfall more acute. In its comprehensive plan update planning effort, the City has been counting on the Port's 300 acres to whittle down that shortfall. This significant blow to the City's planning assumptions—with no realistic replacement property in sight—may help bring the City back to the negotiating table with the Port.


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