New York Times OpDocs: Pickle

I spend far too many hours online roving far and wide across the interweb. One of my go to sites is the New York Times, where a very reasonable monthly subscription gives me full access to the latest news via daily bulletins, and years of archived articles and content.

I recently began exploring the OpDocs section of the NYT Online, and have enjoyed watching many great video's ranging in length from five to fifteen minutes. The video embedded below, Pickle, is a delightful look at the parents of Amy Nicholson, who made the film, but more importantly, she documents the many animals, rescued and otherwise, that Amy's parents have cared for over many years. With regard to the video, Amy writes:

For more than two decades, I have been visiting my dad’s farm on the Chesapeake Bay in Maryland, often returning to New York with anecdotes about one member or another of the unlikely menagerie that lived there. I would regale my friends with tales of cross-eyed cats perpetually on the verge of death, ailing chickens convalescing in the house or a paraplegic possum that fancied scrambled eggs for dinner. Practically all of the pets were rescues of some sort with various abnormalities, and the ones that didn’t cling to life well past their prime died prematurely.

I try to find a funny side to everything, and tragedy is no exception. This film’s unrelenting march of death has a light side, but hopefully between morbid curiosity and chuckling at the sheer volume of casualties, the audience will find a bit of themselves in this film. “Pickle” examines the depths of one couple’s devotion to their pets while exploring the complicated relationship that we humans have with all animals. If you find a hurt animal that you’re able to help, is it moral to come to its rescue, as we would with a human? Or is it true compassion to let nature take its course?

Amy Nicholson is a documentary filmmaker who lives in New York City. Pickle is her fourth film.

There are many other great short documentaries on through the New York Times OpDocs portal, and I encourage you to explore the collection on your own. As time goes on I will myself add more to this blog, if only to help spread the word about this great resource.

Magda Love: Global Street Artist

Magda Love: unfinished mural at Hudson and Clarkson, lower Manhattan

In my daily trawl across the internet, I am constantly finding interesting snippets of news, information, videos, and events, that catch my eye and make me wish I was right there where the event was taking place.

The global street artist Magda Love is a perfect example of the serendipitous nature of web surfing. This talented New York based artist (an Argentinian by birth) has been creating vibrant paintings and murals right across New York City, as well as in cities and galleries around the world.

As a traveling artist, a single mother and a mentor to students throughout New York City, Magda (like most other artists) struggles with finding the perfect work/life balance. The short video below documents this struggle, while grappling with her biggest project yet – a massive six-storey wall on the corner of Hudson and Clarkson streets in lower Manhattan. 

As you can see from the Google Maps screen shot illustrating this post, the mural project is only partially completed. I got in touch with Magda yesterday, and in a message to me just this morning she writes that she recently signed the last contract to complete the mural, and that, “…hopefully, soon I’ll get back to it.”

Readers interested in seeing more of Magda’s art work will find plenty online with a simple “magda love graffiti” Google search. You can also connect with her via her Facebook page…

More information:
Magda Love online...
Magda Love: From Buenos Aires to Brooklyn...

UPDATE: After uploading this blog post, I went in search of more of Magda Love's work and found the following video that I thought I just had to add to this post. If you are interested in graffiti art in particular, and even art in general, I urge you to do your own Google search for Magda's work.

The Silicon Jungle, 1985

During one of my periodic trawls through the Gutenberg website, I spotted a recent upload for The Silicon Jungle, which was published in 1985, and which is about when I first started mucking around with computers! I did a quick scan through the book and had to marvel at how arcane the world of computers was, way back when the technology was just beginning to find its feet so to speak.

Rothman’s computer of choice at the time was a Kaypro II, which he considered to be the perfect computer for his needs. I can see why—it had a very impressive—wait for it—64K of RAM. Yes, dear reader, that really is 64,000 kilobytes of RAM (Random Access Memory). Incredibly, the file size of the book cover seen here is a very modest (by today’s standards), 99,000 kilobytes.

Reading through books like The Silicon Jungle, I am reminded of the much quoted statement that was once attributed to Thomas J. Watson, the chairman and CEO of IBM from 1911—1956, which went something like: ‘I think there is a world market for maybe five computers’.

Modern research suggests that it is highly doubtful that Watson ever made this statement, but be that as it may, many other authors and experts have made their own assertions about computers and the software and hardware that is needed to run them, and Rothman was one of them. To choose just one example of many, try reading his thoughts on the humble computer mouse without laughing out loud, thirty-two years after he wrote them.

“If you’re a trained, high-volume production typist,” asked Seymour Rubinstein, the WordStar* developer, “what are you going to do with a mouse except feed it cheese?” Score one for Rubinstein. He says mice are great—if you have three hands. Doing graphics? A mouse, maybe. But damned if I’m going to take my hands off the keyboard to push the cursor from one spot on the screen to the next. It’s simply too much wasted motion. I instead just press the cursor keys right above the main keyboard. Or I use WordStar’s cursor-moving commands. And even if I hadn’t learned touch typing a quarter century ago, I’d still wonder if a mouse for word processing wasn’t the Silicon Valley version of The Emperor’s New Clothes. Next time you’re in California, maybe you’ll see Apple execs naked in the streets as well as their hot tubs. Well, maybe not. The mouse could be a great marketing tool for sales reps peddling Macs or Apple IIc’s to people hoping to do word processing. But experienced typists? Many would probably groan over all the excursions that the mouse forced them to take from the main keyboard.

By the way, my first computer was a state-of-the-art Commodore 128D. So take that, Mr. Rothman. My system had double the memory of your flashy Kaypro II. Sadly (or should that be, happily?), it wasn’t long before Rothman’s Kaypro II, and my Commodore 128D were superseded by much more powerful computers with virtually unlimited amounts of RAM and hard drive storage. If you don’t believe me, look at the advert here for a 10MB hard disk—a bargain at just $3,398.00. At that price, I bet people were snapping them up!

*Note: WordStar was one of the most popular early word processing programs. Of course, it was soon to be relegated to the dustbin of software history with the rise and rise of Microsoft Windows and the new graphics-based word processing software which included MS Word, WordPerfect, Lotus Word Pro—and those pesky mice that somehow found their way into the hands of every computer user.

53,000 Free Books and Counting

I know I have mentioned the Gutenberg website before, but it won’t hurt to mention it again. The site is a clearing house for almost fifty-four-thousand books, all of which are in the public domain, and all of which can be either read online, or downloaded for free to eReaders such as Kindle’s, iPads and other portable devices that can use the ePub format. If you are a keen reader, and you have never checked out the site, you are surely missing out on a great treasury of amazing literature.

New York City Round-Up #1

LinkNYC by The Numbers

Last year when I was in New York City, I began to notice a number of tall, futuristic-looking kiosks located on Manhattan pavements. I soon learned that they were part of a bold new experiment, funded (and owned) by Google. The kiosks provide free WiFi access to users as well as allow people to make free telephone calls, use USB ports to charge devices, access maps, and initially at least, use the built in browser for the usual online purposes.

Unfortunately, I never got a chance to use the kiosks since those that I did find, seemed to have been commandeered by one of the many street people in the city. Not that they didn’t have a right to use the kiosks, but from what I could see, they would sit by the kiosks, sometimes for hours, listening, watching, reading, and accessing who knows what content. Well, as it happens, we do know what some people were accessing (although not necessarily street people), with the result that the internet browser function of the kiosks has now been disabled after complaints that people were using the kiosks to watch pornography.

The installation of the LinkNYC kiosks was just a few months into its schedule when I visited New York over the summer of 2016. After a full twelve months of ongoing work, the system continues to be expanded across the city. Michael Garofalo, in this online article provides the following statistics about the program. All data is current as of the week of February 27, 2017.

• 631 LinkNYC kiosks currently active, of a planned 7,500

• 1,256,450 unique devices connected to the Wi-Fi network to date, approximately one for every seven New Yorkers

• 115 million Wi-Fi sessions served to date

• 870.86 terabytes of data transferred to date, the rough equivalent of streaming 33 years of high definition video on Netflix

• 150 feet wireless signal range of each kiosk

• 600,000 Wi-Fi sessions served in year one by the city’s most popular kiosk, at 1313 Broadway in Herald Square

• $0 spent by New York City taxpayers on the system, which is operated by a franchisee and generates revenue through advertising and sponsorships

More Information

LinkNYC Website…
Here are the current LinkNYC locations...

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Native American Art at The Met, Fifth Avenue

Housed in the old Customs House close to the foot of Manhattan, and across the road from the Bowling Green (4 and 5 trains) subway, is New York City’s National Museum of the American Indian. There is also another National Museum of the American Indian in Washington DC, and no doubt there are more museums touting their own collections in cities across the United States. 

Not to be outdone or ignored, is the collection of Native American artefacts housed at the Metropolitan Museum on Fifth Avenue. 

Mary Gregory reports that: A small but extraordinary collection of Native American masterpieces is in its final days at the Met Fifth Avenue. Consider a visit to this show as a concise course in Native American art history. From the second century to the 20th, from the Plains to the Southwest to the Northwest Coast, “Native American Masterpieces from the Charles and Valerie Diker Collection” highlights some of the best works ever made in each age and place. It’s like a greatest hits compilation, and not a single piece disappoints.

The exhibition ends in ten days—March 31, 2017—so be quick. See it before it ends.

Read more here…

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Leslie-Lohman Museum reopens with 250-work Exhibition

A bit less conventional for some, perhaps is a new exhibition which opened this month at the Leslie-Lohman Museum of Gay and Lesbian Art in New York’s SoHo neighbourhood.

Clair Wang writes: The large, wooden cross hibernating in the back corner of the spacious studio resembles a cactus from afar. Pinned against a white wall, its body is punctured by dozens of colorful glass vials, each containing an assortment of objects that represent a day in the life of mixed-media artist Edward A. Hochschild.

The “Vial Cross” is one of roughly 250 works displayed at the Leslie-Lohman Museum of Gay and Lesbian Art’s current exhibition, “Expanded Visions: Fifty Years of Collecting,” which opened March 10. The exhibit is the Wooster Street museum’s first following an expansion that nearly doubled the size of its original space. The effort, begun in October, will allow the museum to operate year-round, offering a mix of ongoing and future exhibitions, film screenings and artist lectures.

IF YOU GO

The Leslie-Lohman Museum…

26, Wooster Street, New York City

Ph: +1 212-431-2609

U.S. Capitol Building Tour

During my all too brief five night stay in Washington DC, I managed to squeeze in a tour of the Capitol building, and I do mean squeeze. I got into the last tour of the day, and within minutes realized my mistake. At the end of a long day, tour guides and security staff just wanted to go home, and our one hour tour - that included the awe-inspiring Rotunda and National Statuary Hall - lasted at most 45-minutes, as we were rushed from room to room with barely enough time to admire the Capitol's internal architecture, or time to pause and appreciate the wonderful collection of monumental paintings and the vast sculpture collection.

Sadly, those of us in the tour group who wanted to spend more time visiting the numerous displays and exhibition spaces in the Visitor Center had no time at all to do that. Clearly, visitors will need to allow another hour or two for this, and time their visit accordingly.

A Day In The Life of The U.S. Capitol Visitor Center

The two minute time-lapse video below, depicts a day in the life of the Capitol’s Visitor Center, and shows a constant stream of large school and veterans groups, along with thousands of other visitors pouring in and out of the building on what I assume is a typical day at the Capitol. So while joining the last tour group of the day may not be the best idea, visiting during the morning rush or mid-afternoon may not be such a great idea either.

Watching Congress In Session

The Senate and House galleries are open to visitors whenever either legislative body is in session, however the galleries are not included as part of the U.S. Capitol tour. Passes are required to enter either gallery at any time. American citizens can obtain gallery passes from the offices of their Senators or Representative. International visitors must inquire about gallery passes at the House and Senate Appointment Desks on the upper level of the Capitol Visitor Center.

Do Your Research

This student orientation video provides a good introduction to the Capitol Visitor Center and is worth watching, as are the numerous video on the U.S. Capitol’s YouTube channel here…

The official Capitol Visitor Center website has vast array of useful information that can either be examined online, or downloaded if visitors want to read through the numerous brochures highlighting different aspects of the building and its facilities. 

Permanent and temporary exhibitions at the Capitol

Last Thoughts On My Visit

Despite the rush through the Capitol Building, it was fascinating to hear some of the stories behind the works of art and the significant rooms in the building, and since the tour was free I can't complain about not getting my money's worth,.

 and despite my caveat about the obvious crowds of visitors during the day, I recommend that if you are planning a visit, go early, take a tour, and then allow plenty of time to wander on your own through the building, taking as many photos as you want—but only in areas where photography is permitted, of course.

Having given my truncated visit some serious thought, my recommendation would be to book a late afternoon tour, when the crowds have started to thin out, but get to the Visitor’s Center two to three hours before the tour begins if you want to view the exhibitions, visit the Senate and House galleries, or join one of the separate Specialty Tours or Activities, that also take place throughout the year.

Click here to download a .PDF map of the Capitol site…

IF YOU GO

East Capitol St NE & First St SE, 
Washington DC, DC 20004

Phone Number: +1 202-226-8000
U.S. Capitol Visitors Center...

Shrine of Remembrance, Melbourne

This imposing memorial to the men and women of Australia's armed forces stands on a hill overlooking the Melbourne skyline. A recent rebuilding program has added a huge underground exhibition space which contains detailed histories of Australia's involvement in international conflicts, ranging from the First and Second World Wars, to Korea, Vietnam, and to more recent (and still ongoing) conflicts in Afghanistan and Iraq.

Information also shows Australia's participation in United Nations peacekeeping operations, which are arguably even more important, given that these operations can help stop local conflicts from escalating into major international wars.

History

Patriotism statuary

The Shrine of Remembrance was created to meet the needs of a grieving community after the extensive loss of lives in the First World War (1914 –18). 114,000 Victorians enlisted in the First World War. Of the 89,000 of them who served abroad 19,000 were killed. They were buried in distant graves far from home at a time when most Australians did not travel abroad. The Shrine provided a place where Victorians could grieve as individuals, as families or as a community. It also served to honour the courage of the men, women and children who remained at home. 

The Shrine of Remembrance was designed by two Melbourne returned-soldier architects, Philip Hudson and James Wardrop. The inspiration for the external outline came from one of the seven wonders of the ancient world—the mausoleum at Halicarnassus to Mausolus, King of Caria in South West Asia Minor.

The Shrine is composed of a number of elements consisting of exterior and interior features, a Crypt, a World War Two Forecourt, Visitor Centre, and the Remembrance Garden and Shrine Reserve. All are brought together by the grand design and the bold architectural elements that are each worth examining closely.

The Exterior

The east and west sides of the Shrine are marked at the corners by four groups of statuary representing Peace, Justice, Sacrifice and Patriotism. In addition, visitors can see sixteen stone ‘battle honours’ discs, commemorating Australia’s involvement in World War One battles at Gallipoli, Villers Bretonneux, Amiens, Ypres, and many others.

Western wall inscription: Let all men know...

The western wall of the Shrine bears the inscription: LET ALL MEN KNOW THAT THIS IS HOLY GROUND. THIS SHRINE, ESTABLISHED IN THE HEARTS OF MEN AS ON THE SOLID EARTH, COMMEMORATES A PEOPLE’S FORTITUDE AND SACRIFICE. YE THEREFORE THAT COME AFTER, GIVE REMEMBRANCE.

The Sanctuary

As visitors enter the Shrine of Remembrance they enter the main Sanctuary inside of which are the Stone of Remembrance. This is set into the floor and contains the inscription; GREATER LOVE HATH NO MAN. This is part of a verse from the Bible (John 15:13), “Greater love hath no man than this, that a man lay down his life for his friends.” The stone is aligned with an opening in the roof of the Sanctuary so that a ray of sunshine illuminates the word LOVE, on the Stone of Remembrance at exactly 11:00 am each year on November 11, Remembrance Day.

Crypt memorial: Father and Son

RAAF Display

At left: Located beneath the Sanctuary in the Crypt, stands a large bronze statue of a father and son representing the two generations who served in the both world wars. 

There is much else to see and do here, including examining the numerous displays in the exhibition space deep below the Shrine. In the grounds surrounding the Shrine visitors will find the Cenotaph and Eternal Flame, the Remembrance Garden and Shrine Reserve containing important statues and memorials—such as the one to John Simpson Kirkpatrick who is commonly known as “The Man With The Donkey”.

Finally, if visitors  to Melbourne and are able to visit the Shrine of Remembrance on the two most important days on the Australian memorial calendar—Anzac Day (April 25), and Remembrance Day (November 11), I’m sure they will find the experience to be both memorable and emotional, especially if they are up early for the Dawn Service.

Acknowledgements
Much of the information in this post is sourced from the official Shrine of Remembrance website and from Wikipedia…

Note: Click on images to see at full size.

My 52-Book-Year #2: The Broken Shore

Peter Temple is one of Australia's best crime writer’s. He is a five-time winner of the Ned Kelly Award, Australia's most prestigious prize for crime fiction, and his novels have been published in at least 20 countries. He is also the writer behind the Jack Irish series that screened on Australian television last year—not that I had connected the two things (author/TV series) before I started to read The Broken Shore.

As per the standard tropes of the genre, our hero, Joe Cashin is plagued by the usual lawman's deficiencies: a failed relationship, smokes and drinks too much, is something of a loner, and has a hard-assed superior who thinks he alone has all the right answers, and who also thinks the crime at the heart of the book has been quickly solved and neatly wrapped up. Of course, Cashin does not agree and continues to follow up loose ends and new leads on his own. Needless to say, Cashin is proved right.

The story revolves around the brutal murder of a rich, elderly white man, at the (possible) hands of three Aboriginal youths. There is plenty of intrigue, false leads, dark secrets, small Australian country town politics, and seamy murders to keep lovers of the genre happy and guessing throughout the book.  

The quality of writing is a big step above most of the crime fiction I have read over the past couple of years. Temple writes were others fear to tread. He makes liberal and frequent use of the coarsest of everyday language such as c - - t, f - - k, and Australia’s versions of the ’N’ word, abo and boong. His police officers are believable, and their talk rings true, and happily, Temple doesn't waste a lot of time with filler of the sort I dislike so much in crime fiction—extended descriptions of landscape, streets, nature, and the back stories of his lead characters. When he does mention these elements they are brief and too the point. 

South African born, Peter Temple turned to fiction writing in the 1990s with the publication of his first Jack Irish novel, Bad Debts. This, and his subsequent Jack Irish novels (Black Tide, Dead Point, and White Dog) are set in Melbourne, and feature a protagonist who is both a lawyer and a gambler. In 2012, an ABC Television and German ZDF coproduction produced two full-length films of the first two Jack Irish books, with the international film star, Guy Pearce in the title role. How he juggles the two potentially conflicted occupations (law and gambling), is what helped to make the television programs, at least, great viewing.

Temple has also written An Iron Rose, Shooting Star, and In the Evil Day (known as Identity Theory in the US), as well as The Broken Shore and its semi-sequel, Truth. Based on this one story, I would be more than happy to seek out more of Peter Temple's work, and there is a lot of it, apart from the four Jack Irish novels.

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Luna Park, Melbourne, Victoria

Melbourne's Luna Park may have seen better days, but try telling that to the hundreds of thousands of children, teenagers and adults who flock to this fun park throughout the year. Entry is free, but of course the rides and attractions are not. I visited on a Monday afternoon, and the place was buzzing with activity, and excitement. The rides and attractions are somewhat 'old school', and small in scale  compared to large, modern fun parks, but it is very popular just the same.

Overlooking Port Phillip Bay, this historic park—now in its 105th year—has been a favourite destination for generations of Melbourne families, and visitors alike. NOTE: Luna Park is open every weekend, and every public holiday except Christmas Day. However, it is not open during the week during school terms—or to put it another way, it is only open during the week when school’s out for summer, and other mid-year vacation periods!

Having said that, just to confuse the issue, the Park does open for the occasional special event during school terms, so I highly recommend readers check the Luna Park Opening Hours page to see if it is open for just such a special occasion.

The Ride of Your Life?

Luna Park offers 18 attractions which are suitable for a wide range of ages. However, all rides carry a minimum height restriction (and in some cases a maximum height restriction). Very young children may have to be accompanied on some rides by an adult.

Check Luna Park’s Rides and Attractions page to see a complete list of rides and which restrictions (if any) apply to them. Speaking of which, among the more exciting attractions Luna Park features the Circus of Screams, Power Surge, Twin Dragon, and Spider rides, and those ever present fair ground staples, the Sky Rider Ferris Wheel and of course—Dodgem Cars.

Life is a Carousel, Old Chum…

Luna Park’s wonderful Carousel is said to be the largest and most elaborate in the Southern Hemisphere. Visually stunning, its 68 horses and chariots are individually hand painted and intricately decorated in brilliant colours. Each horse is unique and even has its own name.

The Carousel was built in 1916 by the Philadelphia Toboggan Company, and was number 30 out of a total of 80 carousels built by the company.

The Great Scenic Railway

With the Great Scenic Railway roller coaster, Luna Park lays claim to “the oldest operating roller coaster of its kind in the world,” although how they substantiate that claim, is unspecified. I assume the “of its kind” part of the claim relates to the fact that the Great Scenic Railway was originally built entirely of wood! Even more improbably is the fact that the carriages are still controlled by a brakeman who stands in the centre of each carriage and controls…what? Speed? Ascent and descent? Oncoming traffic? Okay, don’t panic. I’m only joking. That crack about oncoming traffic was put there to see if you are paying attention. 

Mummy, I’m Hungry!

The food franchises are of the fast food 'pie and chips' variety, along with the ubiquitous Fairy-floss (or Cotton Candy as Americans like to call it), pop-corn, snow-cones, and hot-dogs. While the prices are quite reasonable the choices on offer leave much to be desired.

Café Luna is a little more upscale, and sells gourmet pizzas, deli-style sandwiches and burgers. Apparently the café also caters for vegetarians as well. Personally, if you are planning a long visit—and given that entry is free—I would recommend patronizing one of the local cafés or restaurants nearby where the meal choices are broader and healthier.

Visitors with Special Needs

While the main Luna Park site is accessible for visitors with special needs and disabilities, many of the rides and attractions are not able to accommodate people with major disabilities, or who are wheelchair-bound. Check Luna Park’s Special Needs page for a complete breakdown of what visitors with disabilities can expect when they visit the park.

Getting There

Visitors without their own means of transport, can get to Luna Park with a minimum of fuss and expense from the CBD by taking either a number 3a East Malvern-bound tram, or a number 16 Kew-bound tram from the tram stops on St Kilda Road by Federation Square.

Another option is the number 96 St. Kilda Beach tram which runs along Collins Street, and also takes visitors directly past Luna Park.

Here’s a video compiled from multiple roller coaster rides that give you a good look at what a ride on the Great Scenic Railway entails.

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IF YOU GO

Address: 18 Lower Esplanade, St Kilda, Port Phillip, Victoria. Phone: +61 3 9525 5033

Opening Hours… 

Luna Park Online…

Yarra Trams… for public transport options.

William Turner: A Painter Of Light

Just last month I wrote about The Frick Collection, and spoke about the wonderful range of great art and artists that are represented in this small, but important museum.

Taking place at the Frick, from now through until mid-May 2017, is a special exhibition titled “Turner’s Modern and Ancient Ports: Passages Through Time,” at which three monumental paintings by Turner will be on show, along with thirty or so other works encompassing oil, watercolours, and prints. The three major paintings at the centre of the exhibition are Harbor of Dieppe: Changement de Domicile, Cologne; The Arrival of a Packet-Boat: Evening, and The Harbor of Brest: The Quayside and Château, which is on loan from Tate Britain. The three port scenes are being shown together for the first time.

From Wikipedia we learn that Joseph Mallord William Turner (1775–1851) was an English Romanticist landscape painter who was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an importance that rivalled the painting of historic themes which was a very common practice when he was working as an artist. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting, and is commonly referred to as "the painter of light”.

Many of Turner’s greatest paintings are characterised by his unique pallet, which used newly invented pigments such as chrome yellow, and chrome orange. These gave his most famous works a golden hue that captured the light from the sun at its most evocative point, either early in the morning or later in the evening.

Although Henry Clay Frick bought Harbor of Dieppe and Arrival of a Packet-Boat, more than a century ago, the first American to buy a Turner painting was the New Yorker, James Lenox, a private collector. In 1845, Lenox bought—sight-unseen—the 1832 atmospheric seascape Staffa, Fingal's Cave. On receiving the painting Lenox was baffled, and "greatly disappointed" by what he called the painting's "indistinctness". When his views were relayed back to William Turner, Turner is said to have replied, "You should tell Mr Lenox that indistinctness is my forte.”

In April 2006, Christie's New York auctioned Giudecca, La Donna Della Salute and San Giorgio, a view of Venice exhibited at the Royal Academy in 1841, for US$35.8 million, setting a new record for a Turner work.

If you can’t make to the exhibition itself, here is a short video produced by the Frick which takes a closer look at the three paintings, and some of the other works that form that exhibition.

“Turner’s Modern and Ancient Ports: Passages Through Time”

At The Frick Collection, 1 East 70th St.

On now through May 14, 2017

Online: www.frick.org 

More about Turner at Wikipedia… 

My 52-Book-Year #1: Apex Hides The Hurt

Apex Hides The Hurt, by Colson Whitehead, was the first book I read at the beginning of January to kick off my 52-Book-Year Challenge. For a book that spends a lot of time talking about the importance of names, it was clearly a deliberate choice to feature a central character who remains nameless throughout the book. The man, referred to throughout only as 'he', is a nomenclature specialist. That is, a person whose skill in the advertising and market world is the naming of product names.

Apex, an adhesive gauze in the style of Band-Aids is our anonymous heroes career-crowning glory, and the product 'hides the hurt' in more ways than one. In fact, it is so good at hiding the hurt, that he loses a toe because the product masks an injury that festers and putrefies beneath the product's secure covering (sorry, did I just give away an important plot point? Not entirely, but never mind). Luckily, this is only part of the story Whitehead carefully unravels.

The main plot centres around our anonymous main character and his contract to help the council of the small town of Winthrop resolve an internal fight to decide on a new name. The three main choices being New Prospera, favored by a local software magnate; or to keep the existing name, Winthrop, favoured by a descendant of the town’s namesake; or to revert to the original name of the town, Freedom, since the town was originally founded by free blacks.

Written into his contract before our specialist agreed to take on the contract, was a clause that stipulated the town elders must accept whatever name he decides on. By the end of the book he decides to name the town… — oh, okay then, I won’t give that away. Before making this decision our protagonist must learn the history of the town, and that of its leading citizens, while getting to know the contesting forces, and forging alliances where he can. The book is filled with wry humor, and much insight into the world of the nomenclature specialist.

I was particularly taken with this sentence referring to the Hotel Winthrop where our consultant stays while working on the problem at hand; Whitehead observes—or is it our consultant—that, "It was a good place to make a bad decision, and in particular, a bad decision that would affect a great many people."

On its release, the book garnered mixed, but generally positive reviews with the New York Times placing it among its list of the 100 Most Notable Books of the Year. The Library Journal praised the book, noting that Whitehead does Shakespeare one better by posing the question, “What's in a name, and how does our identity relate to our own sense of who we are?” The San Francisco Chronicle gave the novel a mixed review, commenting, "It's pure joy to read writing like this, but watching Whitehead sketch out a minor character's essence with one stroke, while breathtaking, makes one wish the same treatment was afforded the people who ostensibly inhabit the novel's complex ideas." 

Finally, Jennifer Reese, writing for Entertainment Weekly, called the book "a blurry satire of American commercialism", adding, "it may not mark the apex of Colson Whitehead's career, but it brims with the author's spiky humor and intelligence." Ignoring the obvious pun in her comment, Jennifer was right about the book not being the high point in Whitehead’s career. That was to come ten years later when The Underground Railroad, his latest book, was published in 2016.

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Thanks to Wikipedia for providing some background information about Colson Whitehead, and for the various newspaper and magazine reviews quoted in this article.

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Readers interested in reading Apex Hides The Hurt, or The Underground Railroad may choose to do so by purchasing either the print or eBook versions via the links below. By doing so you will be supporting my blog at the same time. Thanks in anticipation.

Click here to purchase Apex Hides The Hurt…

Click here to purchase The Underground Railway…

The Ian Potter Centre: NGV Australia

Tree form (detail).
Click here to see the full work... 

During my stay in Melbourne in January, I paid a visit (as I always do), to the Ian Potter Centre: NGV Australia (the initials stand for National Gallery of Victoria).

This is one of the great Australian galleries, and its proximity to Federation Square and the heart of downtown Melbourne ensures that there is a constant stream of local and international visitors strolling the centre's wonderful galleries and excellent exhibitions. Entry to the general collection is free, while special exhibitions require paid entry.

The Ian Potter Centre is home to some of the most iconic works of Australian art from many of the country's most celebrated artists. Here you will find Russell Drysdale, Albert Tucker, Frederick McCubbin, Tom Roberts and many others.

Collins St, 5p.m. (detail).
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"In the early 1950s John Brack adopted Melbourne's urban environment as his subject, recording the shops, bars and workplaces of the city with an ironic edge. In Collins St, 5pm, Brack's depicts Melbourne's financial hub at the end of the working day, it's uniformly dressed office workers streaming homeward. By personalising each figure Brack points to the enduring presence of the individual."

"Shearing the rams, (see image below) by Tom Roberts, is a response to the nationalistic sentiment that developed in Australia during the late 19th century. It reflects the emergence of a national identity defined through heroic rural activity and the economic importance of the wool industry.

The painting is based on a number of preliminary sketches that Roberts completed on the spot at Brocklesby Station, Corowa, New South Wales, in the late spring of 1888. He returned during the following two spring periods (shearing season) to work on the painting."

Jarlu Jukarrpa (detail).
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Paddy Japaljarri Stewart was an Australian Aboriginal artist from Yuendumu, in the Northern Territory. Wikipedia provides this introduction to Mr. Stewart:

Paddy Japaljarri Stewart (circa 1940–2013) was an Australian Aboriginal artist from Mungapunju, south of Yuendumu. He was chairman of the Warlukurlangu Artists Committee. Stewart was one of the artists who contributed to the Honey Ant Dreaming mural on the Papunya school wall in 1971 - the very genesis of the modern Aboriginal art movement.

In 2004 Stuart Macintyre wrote in a A concise history of Australia that Paddy Japaljarri Stewart "...evokes the continuity of dreaming from Grandfather and father to son and grandson, down the generations and across the passages of time..."

Lost (detail).
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"The theme of the lost child in the bush had a long literary and artistic tradition in Australia and was still topical during the 1880s. Lost was the first of Frederick McCubbin's 'national' pictures: paintings of Australian subjects which culminated in 1904 with The pioneer."

There is much to see and enjoy here, and the Ian Potter Centre is one place I make sure I visit over and over again whenever I am in Melbourne. Don’t miss it.

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Location:
Federation Square: Cnr Russell and Flinders Streets
Melbourne, Victoria, Australia. 
Ph: +61 3 8620 2222
Online at Ian Potter Centre: NGV Australia... 

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Shearing the rams (detail).
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Note: unless otherwise noted, text in italics indicates content adapted from the information cards placed alongside each of the above works of art in the Ian Potter Centre.