Art

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"Laughably bad": New sculpture of Queen Elizabeth and Prince Philip divides opinion

<p>A newly unveiled bronze sculpture of the late Queen Elizabeth II and Prince Philip has received somewhat mixed reviews from the public, with many criticising the piece for looking "nothing like" them. </p> <p>The artwork was unveiled at Antrim Castle Gardens in Northern Ireland on Friday, and was commissioned by Antrim and Newtownabbey Borough Council, which said the piece  “captures Her Majesty in a dignified pose, reflecting her grace, steadfastness and lifelong dedication to public service”.</p> <p>It also depicts two of her famous corgis at her feet and her husband, Philip standing behind her with his hands behind his back. </p> <p>While the local council told CNN that the bronze statue of the Queen "has been warmly received by most who have seen it in person," many have ridiculed the statue for looking nothing like them. </p> <p>One user wrote on X that it was "laughably bad", adding: "It doesn't even look an iota like her, does it? Am I blind, or is that just nothing like the Queen? Surely they pay a fortune for these commissioned pieces - is there no requirement that there actually be a likeness?"</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">It doesn't even look an iota like her, does it? Am I blind, or is that just nothing like the Queen? Surely they pay a fortune for these commissioned pieces - is there no requirement that there actually be a likeness?</p> <p>Why is everything so shit, now?</p> <p>— Dr Dani Sulikowski (@DrDaniS) <a href="https://twitter.com/DrDaniS/status/1832347891433927015?ref_src=twsrc%5Etfw">September 7, 2024</a></p></blockquote> <p>Another user on X wrote: “It is awful...It looks nothing like the Queen or the Prince.. Terrible..Dreadful..Melt it down and start again”. </p> <p>One person commented on the council's announcement of the artwork that while it was "beautiful" the statue didn't "look like our late queen or represent how she always dressed".</p> <p>"Even the corgi is confused," another user wrote.</p> <p>“Would you know this was the late Queen if I didn't tell you?" another wrote on X. </p> <p>Following the wave of criticism, the council acknowledged that at "art can sometimes spark diverse opinions" but said that it "was particularly pleased with how the (Elizabeth) sculpture complements its surroundings, standing adjacent to the statue of Prince Philip, Duke of Edinburgh, and accompanied by two lovingly crafted corgis."</p> <p><em>Images: Antrim and Newtownabbey Borough Council</em></p>

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Drawings by teen Queen Victoria to go up for auction

<p>A set of 19th century drawings made by a teenage Queen Victoria will be put up for sale at the Old Master, British and European Pictures auction in Roseberys, London next week. </p> <p>A few of the sketches were made when the royal - who reigned from 1837 until her death in 1901 - was still a princess and just 14 years old. </p> <p>Dated July 1833, the drawings depict a knight, a woman, and a veiled woman on a horseback. </p> <p>The fourth drawing was made a year after she ascended the throne, and depicted a woman sitting with a crown and sash, similar to herself, with the inscription: "by Her Majesty." </p> <p>Charlotte Russell, Head of Sales at the auction house, said: "These slightly early drawings show that maybe she was still learning a lot, that she was still honing her craft." </p> <p>"She was very curious and keen as an artist," Russell told <em>CNN</em>.</p> <p>Roseberys set an estimated sale price of £1,500 to £2,500 ($AU2853 to $4755) for the album with the four sketches, as well as works by other artists.  </p> <p>Russel added that the album was likely assembled by Augusta Hayter, daughter-in-law of George Hayter, who was the Queen's court painter and painted her coronation portrait. </p> <p>The album also features royal ephemera, including an invitation to the coronation of King George IV at Westminster Abbey in 1821.</p> <p>"I'm interested to see how it performs," Russell said. </p> <p>Queen Victoria was very passionate about art, receiving her first drawing lesson at just eight years old. </p> <p>She went on to be tutored by renowned artists like Edwin Landseer, William Leighton Leitch and Franz Xaver Winterhalter.</p> <p>"She is known to have experimented quite a lot with different subjects," Russel said, adding that Victoria would make "little sketches of costumes of people in the areas" where she travelled.</p> <p><em>Images: Roseberys Fine Art Auctioneers &amp; Valuers via CNN/ Shutterstock</em></p>

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Who really was Mona Lisa? More than 500 years on, there’s good reason to think we got it wrong

<p><em><a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a></em></p> <p>In the pantheon of Renaissance art, Leonardo da Vinci’s Mona Lisa stands as an unrivalled icon. This half-length portrait is more than just an artistic masterpiece; it embodies the allure of an era marked by unparalleled cultural flourishing.</p> <p>Yet, beneath the surface of the Mona Lisa’s elusive smile lies a debate that touches the very essence of the Renaissance, its politics and the role of women in history.</p> <h2>A mystery woman</h2> <p>The intrigue of the Mona Lisa, also known as <a href="https://archiv.ub.uni-heidelberg.de/artdok/4207/1/Zoellner_Leonardos_portrait_of_Mona_Lisa_1993.pdf">La Gioconda</a>, isn’t solely due to Leonardo’s revolutionary painting techniques. It’s also because the identity of the subject is unconfirmed to this day. More than half a millennium since it was first painted, the real identity of the Mona Lisa remains one of art’s greatest mysteries, intriguing scholars and enthusiasts alike.</p> <p>The painting has traditionally been associated with Lisa Gherardini, the wife of Florentine silk merchant Francesco del Giocondo. But another compelling theory suggests a different sitter: Isabella of Aragon.</p> <p>Isabella of Aragon was born into the illustrious House of Aragon in Naples, in 1470. She was a princess who was deeply entwined in the political and cultural fabric of the Renaissance.</p> <p>Her 1490 marriage to Gian Galeazzo Sforza, Duke of Milan, positioned Isabella at the heart of Italian politics. And this role was both complicated and elevated by the ambitions and machinations of Ludovico Sforza (also called Ludovico il Moro), her husband’s uncle and usurper of the Milanese dukedom.</p> <h2>Scholarly perspectives</h2> <p>The theory that Isabella is the real Mona Lisa is supported by a combination of stylistic analyses, historical connections and reinterpretations of Leonardo’s intent as an artist.</p> <p>In his <a href="https://www.bookstellyouwhy.com/pages/books/51791/robert-payne/leonardo-1st-edition-1st-printing">biography of Leonardo</a>, author Robert Payne points to <a href="https://emuseum.hydecollection.org/objects/94/study-of-the-mona-lisa?ctx=760b87fd-efbf-4468-b579-42f98e9712d2&amp;idx=0">preliminary studies</a> by the artist that bear a striking resemblances to Isabella around age 20. Payne suggests Leonardo captured Isabella <a href="https://emuseum.hydecollection.org/objects/94/study-of-the-mona-lisa?ctx=760b87fd-efbf-4468-b579-42f98e9712d2&amp;idx=0">across different life stages</a>, including during widowhood, as depicted in the Mona Lisa.</p> <p>US artist Lillian F. Schwartz’s <a href="https://www.sciencedirect.com/science/article/pii/0097849395000317">1988 study</a> used x-rays to reveal an initial sketch of a woman hidden beneath Leonardo’s painting. This sketch was then painted over with Leonardo’s own likeness.</p> <p>Schwartz believes the woman in the sketch is Isabella, because of its similarity with a cartoon Leonardo made of the princess. She proposes the work was made by integrating specific features of the initial model with Leonardo’s own features.</p> <p>This hypothesis is further supported by art historians Jerzy Kulski and <a href="https://www.youtube.com/watch?v=owjJWxcnKrE">Maike Vogt-Luerssen</a>.</p> <p>According to Vogt-Luerssen’s <a href="https://www.kleio.org/de/buecher/wer-ist-mona-lisa/">detailed analysis</a> of the Mona Lisa, the symbols of the Sforza house and the depiction of mourning garb both align with Isabella’s known life circumstances. They suggest the Mona Lisa isn’t a commissioned portrait, but a nuanced representation of a woman’s journey through triumph and tragedy.</p> <p>Similarly, Kulski highlights the <a href="https://www.academia.edu/40147186/The_Mona_Lisa_Portrait_Leonardos_Personal_and_Political_Tribute_to_Isabella_Aragon_Sforza_the_Duchess_of_Milan">portrait’s heraldic designs</a>, which would be atypical for a silk merchant’s wife. He, too, suggests the painting shows Isabella mourning her late husband.</p> <p>The Mona Lisa’s enigmatic expression also captures Isabella’s self-described state post-1500 of being “<a href="https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12683">alone in misfortune</a>”. Contrary to representing a wealthy, recently married woman, the portrait exudes the aura of a virtuous widow.</p> <p>Late professor of art history <a href="https://brill.com/display/book/edcoll/9789004304130/B9789004304130_014.xml?language=en">Joanna Woods-Marsden</a> suggested the Mona Lisa transcends traditional portraiture and embodies Leonardo’s ideal, rather than being a straightforward commission.</p> <p>This perspective frames the work as a deeply personal project for Leonardo, possibly signifying a special connection between him and Isabella. Leonardo’s reluctance to part with the work also indicates a deeper, personal investment in it.</p> <h2>Beyond the canvas</h2> <p>The theory that Isabella of Aragon could be the true Mona Lisa is a profound reevaluation of the painting’s context, opening up new avenues through which to appreciate the work.</p> <p>It elevates Isabella from a figure overshadowed by the men in her life, to a woman of courage and complexity who deserves recognition in her own right.</p> <p>Through her strategic marriage and political savvy, <a href="https://www.scopus.com/record/display.uri?eid=2-s2.0-85147429412&amp;origin=resultslist">Isabella played a crucial role in the alliances and conflicts</a> that defined the Italian Renaissance. By possibly choosing her as his subject, Leonardo immortalised her and also made a profound statement on the complexity and agency of women in a male-dominated society.</p> <p>The ongoing debate over Mona Lisa’s identity underscores this work’s significance as a cultural and historical artefact. It also invites us to reflect on the roles of women in the Renaissance and challenge common narratives that minimise them.</p> <p>In this light, it becomes a legacy of the women who shaped the Renaissance.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/220666/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, Historian, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a></em></p> <p><em>Image credits: Xinhua News Agency/Shutterstock Editorial </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/who-really-was-mona-lisa-more-than-500-years-on-theres-good-reason-to-think-we-got-it-wrong-220666">original article</a>.</em></p>

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"Looks nothing like her": Kate Middleton portrait ridiculed

<p>A painted portrait of Kate Middleton has gone viral for all the wrong reasons, after royal fans everywhere claimed the artwork "looks nothing like" the Princess of Wales. </p> <p>The image, created by artist Hannah Uzor, appeared on the front cover of UK magazine <em>Tatler</em>, as the artist recreated Middleton's appearance at a banquet held in South Africa in 2022. </p> <p>The Princess wore a white beaded Jenny Packham gown, and also donned her famous tiara, the Lover’s Knot, which was previously worn by Princess Diana.</p> <p>Uzor explained that in creating the artwork, she was inspired by the composure and bravery demonstrated by the royal mum-of-three in her emotional cancer diagnosis video in March.</p> <p>“A moment of dealing with something difficult, speaking from the heart, having the courage to tackle it head-on,” she explained in awe.</p> <p>However, many royal fans slated the artist on social media, simply asking, “are you kidding me?”.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/C7Qy93EtBeT/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/C7Qy93EtBeT/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Tatler (@tatlermagazine)</a></p> </div> </blockquote> <p>“This is just plain weird, looks nothing like her,” one person commented.</p> <p>“What have they done to her face,” asked another.</p> <p>A third agreed: “Doesn’t look like Catherine at all. If she wasn’t wearing that dress I’d have no clue as to who it’s meant to be.”</p> <p>“Are you kidding me? … You must be joking,” scorned someone else.</p> <p>Others slated the artwork by saying they believed it looked “like it was created by a child”.</p> <p>“It’s absolutely dreadful and should never have seen the light of day, let alone appear on the cover,” agreed another.</p> <p>Hannah Uzor defended her artwork, saying she had to draw on other sources as she was not able to meet the Princess directly to create her portrait. </p> <p>She said, “When you can’t meet the sitter in person, you have to look at everything you can find and piece together the subtle human moments revealed in different photographs: do they have a particular way of standing or holding their head or hands? Do they have a recurrent gesture?"</p> <p>“[Kate] has really risen up to her role – she was born for this. She carries herself with such dignity, elegance and grace."</p> <p><em>Image credits: Tatler Magazine / Chris Jackson/WPA Pool/Shutterstock Editorial </em></p>

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Royal artist reveals King Charles' reaction to official portrait

<p>Jonathan Yeo, who is known for his portraits of royal family members, has revealed the King and Queen's reaction to the most recent <a href="https://www.oversixty.com.au/entertainment/art/king-charles-unveils-first-post-coronation-portrait" target="_blank" rel="noopener">portrait of King Charles</a> which made headlines. </p> <p>The portrait, which was done in four sittings from 2020, featured the King in his crimson Welsh Guards uniform, with a butterfly hovering above his shoulder. </p> <p>"People don't know their own faces, so it's much more useful to see the reaction of someone who knows that person well because they know in a split second if you've captured them," he told <em>The Times</em>. </p> <p>"Sometimes they'll say it, but more often you see it in their face – amazement, pleasure or recognition."</p> <p>He recalled how during his and Charles' final sitting in November, Camilla told him: "Yes, you've got him," with a look of recognition across her face. </p> <p>Yeo also revealed that the King saw the portrait when it was half completed and despite the surprise at the intense colour, he smiled at the painting and said: "It is remarkable how it has turned out." </p> <p>The artist said that the King and Queen were prepared for the mixed reactions from the public. </p> <p>"They knew what to expect," he told the publication, before revealing that the King appeared in good health despite his recent cancer diagnosis. </p> <p>"[Our last sitting] was before his diagnosis. He didn't look remotely ill to me, and he looked amazingly well on Tuesday."</p> <p>"We already had a bit of a rapport and that definitely makes it easier," Yeo said of the painting process. </p> <p>"He was really relaxed and I think it helped that he is interested in the process. We spent a lot of time talking about art and artists, as well as the environment."</p> <p><em>Image: Aaron Chown-PA/POOL supplied by Splash News/ Shutterstock Editorial</em></p> <p> </p>

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Royal photographers weigh in on photo editing fiasco

<p>Royal photographers, brothers Zak and Samir Hussein have opened up about the realities of altering royal images - including what is and isn't allowed. </p> <p>"It's pretty clear what we're allowed to do – we're allowed to basically use darkroom techniques," Samir - who has also taken official portraits of members of the royal family - told <em>9Honey</em>. </p> <p>He then explained what darkroom techniques entail: "So what photographers in the days when they were shooting film used to do in the dark rooms.</p> <p>"We're pretty limited in what we can do, it's sort of a basic crop, maybe a bit of colour correcting and that's how we edit our photos basically.</p> <p>"Sometimes you look at picture and you think 'Oh, if I crop it like this, it will stand out more, this will be more impactful'. So it's usually, if I'm honest, when looking back at the picture that's taken, that's the first thing I look at – how can this be cropped to make it have the impact that it should really."</p> <p>Zak, who has taken many photos of Prince Harry and Meghan as well as other royal family members agreed and said that the photographers do their best to get the shot right to reduce the need for editing. </p> <p>"You try and get it right first time around when you're taking the picture," he told 9Honey. </p> <p>"Ideally, you don't want to have to do too much to the picture but yeah, it's very basic what we do.</p> <p>"I think cropping is really important because you're trying to find the best version of that picture, so if it means cropping in tighter to make it a nice portrait or keeping it wider to show more in what's going on in the event.</p> <p>"It's pretty basic what we do to the picture because it's all about when you take the picture, you're looking through the viewfinder [and] that's when you want to get it right."</p> <p>The topic of re-touching royal photos sensationally <a href="https://www.oversixty.com.au/lifestyle/family-pets/princess-kate-sensationally-speaks-out-over-photo-fiasco" target="_blank" rel="noopener">made headlines</a> over a manipulated image posted by Kate Middleton, and has now made its way back into the spotlight following the launch of the <a href="https://www.oversixty.com.au/entertainment/art/incredible-treasure-trove-of-unseen-royal-images" target="_blank" rel="noopener">new exhibition</a> at The King's Gallery exhibition in the Buckingham Palace.</p> <p>The exhibition which runs until October 6 has noted darkroom techniques including  cropping and framing out backgrounds or brightening up levels in a few of the negatives, including one label that read: "retouching is an essential part of photography.</p> <p>"Analogue retouching can occur at three stages: Modifying the negative, Manipulating the image during printing, direct retouching on the final print."</p> <p><em>Image: 9Honey/ </em><em>Royal Collection Trust / © His Majesty King Charles III 2024.</em></p>

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Incredible treasure trove of unseen royal images

<p>In a mesmerising blend of history and artistry, Buckingham Palace's newly christened King's Gallery has unveiled a captivating journey through time and royalty with the debut of "Royal Portraits: A Century of Photography".</p> <p>Opening its on May 17, this groundbreaking exhibition delves into the illustrious lineage of the Royal Family through more than 150 carefully curated portraits – some never before seen by the public eye.</p> <p>A highlight among these treasures is a poignant snapshot capturing a rare familial moment: Queen Elizabeth II, Princess Margaret, Princess Alexandra, and The Duchess of Kent cradling their newborns. Lord Snowdon, Princess Margaret's husband, immortalised this touching scene as a token of gratitude to Sir John Peel, the esteemed royal obstetrician responsible for delivering all four babies within a mere two-month span.</p> <p>In this heartfelt image, Queen Elizabeth II tenderly holds Prince Edward, her youngest offspring, while Princess Margaret, Princess Alexandra and The Duchess of Kent embrace their own bundles of joy. Accompanying this snapshot is a handwritten letter penned by Princess Margaret to her sister, affectionately addressed as "Darling Lilibet", requesting a signature on a print destined as a cherished memento for the esteemed doctor.</p> <p>The exhibition transcends mere family portraits, delving deep into the evolution of royal portraiture over the past century. Visitors are treated to a visual feast of iconic images captured by renowned photographers, including Dorothy Wilding, Annie Leibovitz, David Bailey and Rankin. Notably, the legendary Cecil Beaton's immortalisation of Queen Elizabeth II's coronation remains a cornerstone of the collection, offering a timeless glimpse into history.</p> <p>The exhibition also pays homage to the enduring allure of Princess Anne through her striking appearances on <em>Vogue</em> covers and a celebrated coming-of-age portrait by Norman Parkinson, commemorating her 21st birthday. From the timeless elegance of Princess Anne to the radiant charm of Prince William and Kate Middleton, and the spirited grace of Zara Tindall, the exhibition showcases a diverse tapestry of royal personalities spanning generations.</p> <p>Yet, it is not merely the portraits themselves that captivate visitors, but the untold stories and intimate moments woven into each frame. Delving into the depths of royal history, the exhibition reveals unseen wartime images by Cecil Beaton, illustrating King George VI and Queen Elizabeth's unwavering resolve amidst the chaos of conflict.</p> <p>As visitors explore the gallery, they are guided by a free multimedia experience narrated by Dame Joanna Lumley, offering a behind-the-scenes glimpse into the artistry and craftsmanship behind these timeless portraits. From Hugo Burnand's vivid recollections of photographing the royal coronation to the candid insights of royal photographers such as Rankin and John Swannell, the multimedia guide adds depth and dimension to the exhibition, inviting visitors to immerse themselves fully in the rich tapestry of royal history.</p> <p>"Royal Portraits: A Century of Photography" is not merely an exhibition; it is a testament to the enduring legacy of the British monarchy, captured through the lens of some of the most esteemed photographers of our time. From the grandeur of coronations to the tender embrace of a mother cradling her newborn, each portrait tells a story – a story of tradition, resilience and the timeless allure of royalty.</p> <p><em>Images: Royal Collection Trust / © His Majesty King Charles III 2024.</em></p>

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King Charles unveils first post-coronation portrait

<p>King Charles has unveiled his first post-coronation portrait in a special ceremony at Buckingham Palace. </p> <p>The painting by Jonathan Yeo - known for portraits of celebrities including Nicole Kidman, Paris Hilton and Grayson Perry - was commissioned in 2020 to celebrate the then Prince of Wales’ 50 years as a member of charitable institution The Drapers’ Company. </p> <p>Yeo had four sittings with the King, with the first sitting when Charles was still Prince of Wales in June 2021 at his country home in Highgrove, and the last sitting in November 2023 at Clarence house. </p> <p>The portrait  – approximately 2.6 metres by 2 metres framed – depicts King Charles wearing the uniform of the Welsh Guard. </p> <p>“It was a privilege and pleasure to have been commissioned by The Drapers’ Company to paint this portrait of His Majesty The King, the first to be unveiled since his Coronation,” the artist said.</p> <p>“When I started this project, His Majesty The King was still His Royal Highness The Prince of Wales, and much like the butterfly I’ve painted hovering over his shoulder, this portrait has evolved as the subject’s role in our public life has transformed.</p> <p>“I do my best to capture the life experiences etched into any individual sitter’s face.</p> <p>“In this case, my aim was also to make reference to the traditions of Royal portraiture but in a way that reflects a 21st century monarchy and, above all else, to communicate the subject’s deep humanity,” said Mr Yeo.</p> <p>“I’m unimaginably grateful for the opportunity to capture such an extraordinary and unique person, especially at the historic moment of becoming King.”</p> <p>The King and Queen met The Master of The Drapers’ Company, Tom Harris and Past Master, William Charnley on Tuesday at Buckingham Palace. </p> <p>The portrait will go on public display for a month at the Philip Mould Gallery in London, from May 16 until June 14 and will be displayed at Drapers’ Hall from the end of August.</p> <p><em>Images: news.com.au</em></p> <p> </p>

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2023 Drone Photo Awards fly high as winners are revealed

<p dir="ltr">The winners of the 2023 Drone Photo Awards have been announced, with photographers all around the world recognised for their commitment to aerial photography in the fierce international competition.</p> <p dir="ltr">Thousands of submissions were received for the annual contest across nine different categories: photo of the year, urban, wildlife, sport, people, nature, abstract, wedding, series, and video. </p> <p dir="ltr">The Drone Photo Awards are open to both aerial photography and video, with platforms including “fixed-wing aircraft, helicopters, unmanned aerial vehicles, balloons, blimps and dirigibles, rockets, kites, and parachutes.”</p> <p dir="ltr">The competition’s top award, Photo of the Year, went to a shot by Israeli photographer Or Adar. </p> <p dir="ltr">His submission, ‘Must resist’, presents the image of “protesters holding banners during a demonstration again Israeli Prime Minister Benjamin Netanyahu’s judicial overhaul plans” from an aerial perspective, capturing the moment in Tel Aviv when “tens of thousands of protesters took to the streets of Israeli cities for the ninth straight week, on Saturday March 4th, to fight a government plan to overhaul the country's court system.” </p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">🏆“𝐃𝐫𝐨𝐧𝐞 𝐏𝐡𝐨𝐭𝐨 𝐀𝐰𝐚𝐫𝐝𝐬 𝟐𝟎𝟐𝟑” 𝐏𝐡𝐨𝐭𝐨 𝐨𝐟 𝐭𝐡𝐞 𝐘𝐞𝐚𝐫 🏆</p> <p>Congrats to Or Adar for his stunning image “Must resist”. 👏👏👏<a href="https://t.co/leaZw2sazu">https://t.co/leaZw2sazu</a><a href="https://twitter.com/hashtag/sienawards?src=hash&ref_src=twsrc%5Etfw">#sienawards</a> <a href="https://twitter.com/hashtag/dronephotoawards?src=hash&ref_src=twsrc%5Etfw">#dronephotoawards</a> <a href="https://twitter.com/hashtag/photocontest?src=hash&ref_src=twsrc%5Etfw">#photocontest</a> <a href="https://twitter.com/hashtag/dronephotography?src=hash&ref_src=twsrc%5Etfw">#dronephotography</a> <a href="https://t.co/pyReGOTMC9">pic.twitter.com/pyReGOTMC9</a></p> <p>— Siena Awards (@SIPAContest) <a href="https://twitter.com/SIPAContest/status/1671458317472866313?ref_src=twsrc%5Etfw">June 21, 2023</a></p></blockquote> <p dir="ltr">Polish photographer Sebastian Piórek took home the win in the Urban category for his shot of Chorzów in southern Poland, which was described by The Siena Awards as a photo that “beautifully juxtaposes the colourful ambiance and harmony of the playground against the backdrop of the city.”</p> <p dir="ltr">Indian photographer Danu Paran won the Wildlife category with his shot of a napping elephant, where “the elephant’s grey and wrinkled skin perfectly merges with the natural landscape, creating a harmonious composition that showcases the beauty of wildlife.”</p> <p dir="ltr">French photographer David Machet won for Sport with his photo of tightrope walker Nathan Paulin in the French Alps, as Paulin traversed a ‘highline’ almost 2.5 km in the air. </p> <p dir="ltr">The People category went to British photographer Simon Heather’s picture of people in Portugal enjoying a sunny day by the sea, while the Series award went to American photographer George Steinmetz for his photo series of farmland.</p> <p dir="ltr">Indian photographer Thomas Vijayan took home the Nature award for his photo of Svalbard, with Vijayan sharing that “it was surprisingly sad to see that the ice had already melted in June, and we were able to reach the ice cap with our ship.”</p> <p dir="ltr">The Abstract winner was Spanish photographer Ignacio Medem for a shot demonstrating how drought and poor water resource management has impacted a river in the American West.</p> <p dir="ltr">Polish photographer Krzysztof Krawczyk found success in the Wedding category, with his snap of newlyweds on a boat in the middle of a lake, while “they are enveloped by voluminous clouds and surrounded by thousands of dry leaves, resembling stars and creating gentle waves.”</p> <p dir="ltr">And last but not least, Bashir Abu won the Video category with “Why I Travel the World Alone”.</p> <p><iframe title="YouTube video player" src="https://www.youtube.com/embed/Z6t4y3A28uA" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p> <p dir="ltr">And for anyone hoping to check the winners out for themselves, Adar’s image - as well as the top photographs from the other winning categories - will be available for viewing in the Above Us Only Sky exhibition set to take place for the first time at Italy’s San Galgano Abbey from July 8 to November 19. </p> <p dir="ltr"><em>Images: Drone Photo Awards</em></p>

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Transgress to impress: why do people tag buildings – and are there any solutions?

<p><em><a href="https://theconversation.com/profiles/flavia-marcello-403040">Flavia Marcello</a>, <a href="https://theconversation.com/institutions/swinburne-university-of-technology-767">Swinburne University of Technology</a></em></p> <p>In 1985 photographer Rennie Ellis <a href="https://trove.nla.gov.au/work/8707788">defined graffiti</a> as “the result of someone’s urge to say something – to comment, inform, entertain, persuade, offend or simply to confirm his or her own existence here on earth”. Since the mid-1980s, graffiti has crossed from vandalism to an accepted form of art practice through large murals or “pieces” and stencil art aimed at informing, entertaining and persuading us.</p> <p>But these are outnumbered by the tags you see everywhere. These stylised icon-type signatures define a hand style and confirm their author’s existence on Earth. These, for many of us, remain an eyesore. If you walk through an urban environment filled with tags, you may feel less safe. Heavily tagged areas can suggest the area is not cared for or surveilled.</p> <p>So why are Australian cities so full of tags? The problem is, the main solution proven to work is expensive. When tags go up, paint over them – and keep doing it. While anti-graffiti paint exists, it’s not widely used at present.</p> <h2>Why do people tag?</h2> <p>Graffiti in urban centres is often tied to the world-wide proliferation of hip-hop culture. Along with DJing, rapping and breakdancing, “Graf” or “writing” is considered one of its <a href="https://www.britannica.com/art/hip-hop">four pillars</a>.</p> <p>Posturing (or showing off) is a big part of tagging. When you see a tag on a freeway overpass or seemingly inaccessible building parapet, it’s not only confirming the tagger’s existence, it’s bragging. See how high I climbed! See what crazy risks I took!</p> <p>As one tagger in Sydney’s outer south-western suburb of Campbelltown <a href="https://www.aic.gov.au/sites/default/files/2020-05/vandalism-graffiti-state-rail-authority-nsw.pdf">told researchers</a> in the 1980s:</p> <blockquote> <p>If you get on a train and see your name and know you’ve been here before that’s real good. Like, I was here. Or you see your mate’s name and you can say, hey, I know him […] It’s really good if you can get your name up in a difficult place where nobody else has. Other kids look at that and think, great!</p> </blockquote> <p>So why do people tag?</p> <ul> <li> <p>it boosts self-esteem and a sense of belonging to a social network, particularly for teens experiencing alienation at school</p> </li> <li> <p>it demonstrates bravado. Risky places have the added advantages of being both highly visible and harder to remove</p> </li> <li> <p>it gives graf artists practice for bigger pieces. You have to work quickly and accurately, especially in precarious positions where you could get caught at any moment.</p> </li> </ul> <p>While cities like Melbourne <a href="https://www.timeout.com/melbourne/art/where-to-find-the-best-street-art-in-melbourne">have embraced</a> larger murals and pieces as street art – even making them a tourist attraction – tagging isn’t regarded the same way.</p> <p>So why do non-taggers hate it? On a broader level, tagging can signify a sense of social degradation which makes people feel less safe.</p> <p>There’s no clear link between <a href="https://www.aic.gov.au/publications/rip/rip6">more graffiti and more crime</a>. Even so, the public perception is that tagging is a sign warning of the presence of <a href="https://www.aic.gov.au/sites/default/files/2020-05/vandalism-graffiti-state-rail-authority-nsw.pdf">disaffected and potentially violent</a> people in gangs.</p> <p>Asked to picture a tagger and you will most likely come up with a stock photo stereotype: a male teenager in a hoodie from a seedy area. But you would not be completely right. It is true just under half (46%) of graffiti damage and related offences are committed by 14 to 16 year old males, but the largest percentage of offenders actually come from <a href="https://www.goodbyegraffiti.wa.gov.au/Schools/Facts-for-Students/Who-are-the-most-likely-offenders-of-graffiti">middle- to high-income families</a>.</p> <p>So what tools do we have to manage it?</p> <h2>Punishment</h2> <p>It’s perfectly legal to commission a graf artist to paint a wall of a building you own. Many people do this to avoid a street-facing wall being tagged. For it to be illegal, tagging or graffiti has to be done without the owner’s permission.</p> <p>Since the majority of taggers are under 18, if they’re caught, punishment will usually include a caution, fines (presumably paid by bemused but cashed up parents) and cleaning off tags.</p> <p>But punitive measures only go so far because the appeal of graffiti is the transgression. Other measures include keeping spray paint locked away or not for sale to under 18s as well as zero-tolerance rapid removal. This can work for a while, but taggers know their tags are temporary. It’s a constant game of cat and mouse a committed tagger will eventually win.</p> <h2>Technical solutions</h2> <p>If you’ve walked past workers scrubbing or pressure washing tags off walls, you may have wondered why there are no coatings which don’t let paint stick.</p> <p>These actually <a href="https://www.ipcm.it/en/article/anti-graffiti-paints-what-are-they-and-how-they-work.aspx">do exist</a>, and can work well. When in place, you can remove graffiti with a solvent rather than having to repaint. But they’re not widely used.</p> <p>Unless paints such as <a href="https://interestingengineering.com/innovation/7-inventions-from-mexico-that-would-go-on-to-change-the-world">Deletum 3000</a> are used everywhere this approach is unlikely to be effective.</p> <h2>Prevention</h2> <p>The problem with punitive and technical measures is the limited reach. The vast majority of unwanted graffiti <a href="https://www.aic.gov.au/publications/rip/rip6">goes unreported</a>. That’s why prevention is becoming more popular.</p> <p>How do you prevent tagging? By making it easier to report. By setting aside areas for taggers and graf artists. By commissioning pieces to deter graffers from illegal modes. And by talking directly to taggers about strategies. But these behaviour change efforts take time.</p> <p>People who hate tagging often believe taggers are motivated by negative emotions such as <a href="https://www.aic.gov.au/publications/rip/rip6">boredom and rebelliousness</a>. For them it’s vandalism, a criminal act associated with gangs, petty crime, broken windows and a less attractive environment to live in.</p> <p>But the truth is, taggers are often motivated by positive emotions. Tagging, for them, brings pride, pleasure, enjoyment and community. That’s why behaviour change approaches can be hard.</p> <h2>So what’s the best way forward?</h2> <p>In the 1990s, many cities declared war on skateboarders, using punishment and installing metal stoppers on well-skated urban areas. But the real solution was simpler: create skate parks.</p> <p>For taggers, the answer may be similar. Give them spaces such as little-used alleyways to practise their art. And for the rest of us, the solution may be to look at tags with different eyes. Not as a sign of crime and the collapse of civilisation, but as a need for validation, for transgression, for community and all the other things you probably wanted when you were a teenager.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/205492/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/flavia-marcello-403040">Flavia Marcello</a>, Professor of Design History, <a href="https://theconversation.com/institutions/swinburne-university-of-technology-767">Swinburne University of Technology</a></em></p> <p><em>Image credits: Getty Images</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/transgress-to-impress-why-do-people-tag-buildings-and-are-there-any-solutions-205492">original article</a>.</em></p>

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How drag as an art form sashayed from the underground and strutted into the mainstream

<p><em><a href="https://theconversation.com/profiles/jonathan-w-marshall-1195978">Jonathan W. Marshall</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a></em></p> <p>Recent protests against <a href="https://www.theguardian.com/culture/2022/aug/11/im-just-trying-to-make-the-world-a-little-brighter-how-the-culture-wars-hijacked-drag-queen-story-hour">drag queen story hours</a> are the latest in a series of actions targeting the increased prominence of displays of LGBTIQ+ culture in the public arena.</p> <p>But drag artists have been strutting their stuff in speakeasies, cabarets and films for a long time now.</p> <h2>The long history of cross-dressing</h2> <p>There is a long global history of cross-gendered performance. In the West, this included <a href="https://www.oxfordreference.com/display/10.1093/oi/authority.20110803105532521;jsessionid=B8A5B8C5FE0EBAEDAB763E0AC1405EEA">“travesty” roles</a>, “<a href="https://www.planethugill.com/2013/08/en-travestie-curious-tradition-of.html">breeches parts</a>”, pantomime dames and their cousins in <a href="https://digitalcommons.usu.edu/cgi/viewcontent.cgi?article=1429&amp;context=gradreports">blackface – “wench” – parts</a>, variety halls and Shakespearean performances.</p> <p>There’s also <a href="https://www.jstor.org/stable/j.ctvcwnjxz">Japanese kabuki (onnagata)</a>, Beijing opera, <a href="https://www.jstor.org/stable/1124189">Samoan fale aitu and fa’afafine performances</a> and more. All share something with drag – cross-dressing and various forms of gender play and/or reversal – but none is quite the same as what we know today.</p> <p>Legal restrictions on gendered clothing have existed in places like Europe, China and Japan through to modern times – though the focus was more on class than gender. The wearing of men’s pants by women was <a href="https://www.independent.co.uk/news/world/europe/at-last-women-of-paris-can-wear-the-trousers-legally-after-200yearold-law-is-declared-null-and-void-8480666.html">technically illegal in France</a> until 2013. Centuries earlier, it contributed to the <a href="https://www.youtube.com/watch?v=p-BYbasO034">prosecution of Joan of Arc by church courts</a>.</p> <figure><iframe src="https://www.youtube.com/embed/p-BYbasO034?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>The emergence of drag</h2> <p>Something like contemporary drag <a href="https://www.taylorfrancis.com/books/mono/10.4324/9780203411070/changing-room-laurence-senelick">appeared in the West from the late 18th century</a>, blending early burlesque (disrespectful comedy, not necessarily bawdy) with nascent queer culture (clubs, speakeasies and other semi-underground meeting places where same-sex-attracted individuals socialised).</p> <p>By the time the 20th century rolled around, drag artists, particularly in the US, offered beauty tips, attempted to engage in sponsorships or sold stylishly posed <a href="https://wislgbthistory.com/people/peo-l/leon_francis.htm">postcards</a> and <a href="https://ourcommunityroots.com/?p=13079">souvenirs</a>, closely recalling advertisements aimed at female consumers. Since much early drag made fun of women in general, and women of colour in particular, the form has hardly been a consistent force for good.</p> <p>Drawing on blackface minstrelsy, British panto and college revues, drag from the 1950s increasingly featured female impersonators offering hyperbolic, over-the-top and often disrespectful portraits of feminine characteristics.</p> <p>So called “glamour drag” was designed, in the words of artist Jimmy James, “to take people totally away from the ugly realities … and transport them to the realm of the magical” through fabulous dresses, hair and sequins. This became the dominant form of drag in the West, particularly in Australia – although there was also a vibrant counter-culture.</p> <p><a href="https://www.youtube.com/watch?v=e9dOrfO2gVs">Danny La Rue</a> camped it up on the stages of Britain and the US, touring Australia in the late 1970s, while <a href="https://dangerousminds.net/comments/ridiculous_a_little-known_drag_tv_role_by_charles_ludlam_1983">Charles Ludlam</a> made the difficult transition from outrageous drag to main stage theatre and back, losing none of his style.</p> <figure><iframe src="https://www.youtube.com/embed/e9dOrfO2gVs?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>From the queer underground to the straight mainstream</h2> <p>Key to the crossover of drag from an underground principally LGBTIQ+ phenomena to the cis mainstream was the increasingly flamboyant manifestation of popular music – such as glam, hair metal, disco and new wave.</p> <p>The exultant 1978 video for disco star Sylvester’s <a href="https://www.youtube.com/watch?v=gD6cPE2BHic"><em>You Make Me Feel (Mighty Real</em>)</a>, for example, introduced audiences to the concept of “<a href="https://www.telegraph.co.uk/tv/0/does-realness-actually-mean-surprising-heartbreaking-history/">realness</a>” as she inhabited different costumed personas. Sylvester was a former member of the avant-drag troupe the Cockettes and her clip was shot at London’s gay disco The Embassy.</p> <figure><iframe src="https://www.youtube.com/embed/gD6cPE2BHic?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>“Rock camp” performance found its perfect expression in <a href="https://youtu.be/4plqh6obZW4">The Rocky Horror Picture Show</a> stage show in 1973, directed by Australian queer theatre legend Jim Sharman. Its comedic celebration of gender fluid performance and sexuality helped make drag and related forms mainstream.</p> <p>Also crucial was Jennie Livingston’s 1990 film <em><a href="https://www.theguardian.com/film/2015/jun/24/burning-down-the-house-debate-paris-is-burning">Paris is Burning</a></em>, documenting the competitive balls (drag races) mounted by working class LGBTIQ+ African-Americans and Latinos in New York, some of whom (but not all) identified as trans. Performers at the balls competed to exhibit “realness” – not only in gender terms, but employment and social position: “executive realness”, “butch queer”, “banjee girl” and “military”.</p> <figure><iframe src="https://www.youtube.com/embed/4plqh6obZW4?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Madonna famously recruited performers from Paris is Burning (Jose Gutierez and Luis Camacho from House Xtravaganza) to assist in the choreography for her video <a href="https://www.youtube.com/watch?v=GuJQSAiODqI">Vogue</a> and then her Blond Ambition tour, skyrocketing the international renown of these practices.</p> <figure><iframe src="https://www.youtube.com/embed/9SqvD1-0odY?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Drag landmarks</h2> <p>Prior to The Rocky Horror Picture Show gracing the stages of London and Sydney, Kings Cross had seen the foundation of legendary drag revue <a href="https://www.youtube.com/watch?v=0G6aDpxhWlg">Les Girls</a>, running from 1963-93. This show was led by Carlotta, who took her girls on tour, and became the inspiration for <a href="https://www.youtube.com/watch?v=QgFDIinCeYI">Priscilla Queen of the Desert</a>.</p> <p>“Alternative cabaret” also thrived. Notables included Australia’s truly outrageous Reg Livermore, the bizarre fantasies of Lindsay Kemp or the incredible Moira Finucane. Finucane’s brilliant early “gender fuck” performance as <a href="https://nla.gov.au/nla.obj-765293824/view?sectionId=nla.obj-769278625&amp;partId=nla.obj-765310182#page/n6/mode/1up">Romeo</a> involved an arrogant, moustachioed and convincingly male performer who undressed to reveal Finucane, who then pleasured herself with a feather boa.</p> <p>Australians might also remember the wonderful Pauline Pantsdown’s drag satire <a href="https://www.youtube.com/watch?v=D4tZRZSGxcE">I Don’t Like It</a> in 1998.</p> <figure><iframe src="https://www.youtube.com/embed/0G6aDpxhWlg?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Topping it off was the huge success of <a href="https://www.imdb.com/title/tt1353056/"><em>RuPaul’s Drag Race</em> reality TV show</a> in 2009. Producers were onto a winner: fabulous clothes, the highs and lows of competition and a scintillating array of would-be stars, presided over RuPaul, looking never less than fabulous.</p> <figure><iframe src="https://www.youtube.com/embed/PDe8zJvyF54?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Lessons from the history of drag</h2> <p>The glamorous, hyper-feminine artist remains the most popular model of drag. Perhaps unsurprisingly it was these paragons of camp femininity who were chosen to read to children in libraries, first in <a href="https://www.dragstoryhour.org/about">San Francisco in 2015</a> and then internationally. These glitter, glam and <a href="https://www.researchgate.net/publication/340774905_Balirano_G_2020_Of_Rainbow_Unicorns_The_Role_of_Bonding_Queer_Icons_in_Contemporary_LGBTIQ_Re-Positionings">rainbow unicorns</a> seemingly conquered the globe.</p> <p>But more outré drag queens, drag kings and “genderfuck” performers never ceased toiling away in the underground. <a href="https://canadianart.ca/features/the-showstoppers/">Drag is changing</a>.</p> <p>If we are to look to history for lessons, I’d like to see story time presented by the successors to Divine (one of John Waters’ collaborators, whose <a href="https://www.youtube.com/watch?v=yfirqQJC3I0">1984 appearance on <em>Countdown</em></a> marks one of the strangest moments in Australian television) or transgender superstar <a href="https://revolverwarholgallery.com/superstars/warhol-superstar-candy-darling/">Candy Darling</a>. Now that would be a story time education to remember.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/205650/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/jonathan-w-marshall-1195978">Jonathan W. Marshall</a>, Associate Professor &amp; Postgraduate Research Coordinator, Western Australian Academy of Performing Arts, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a></em></p> <p><em>Image credits: Getty Images</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-drag-as-an-art-form-sashayed-from-the-underground-and-strutted-into-the-mainstream-205650">original article</a>.</em></p>

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Even after his death, Rolf Harris’ artwork will stand as reminders of his criminal acts

<p><em><a href="https://theconversation.com/profiles/gregory-dale-1441894">Gregory Dale</a>, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a></em></p> <p>Australian entertainer and artist Rolf Harris has died at the age of 93.</p> <p>After a prominent career as an artist, particularly in the UK, in 2014 <a href="https://theconversation.com/rolf-harris-guilty-but-what-has-operation-yewtree-really-taught-us-about-sexual-abuse-28282">Harris was convicted</a> of 12 counts of indecent assault.</p> <p>For his victims, his death might help to close a painful chapter of their lives.</p> <p>However, what will become of the prodigious output of the disgraced artist?</p> <h2>Jack of all trades, master of none</h2> <p>Harris developed an interest in art from a young age. At the age of 15, one of his portraits was <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1946/">selected for showing</a> in the 1946 Archibald Prize. Three years later, he won the Claude Hotchin prize.</p> <p>These would be among the few accolades he would collect in the art world. In truth, he was never really recognised by his peers.</p> <p>The Art Gallery of Western Australia in Perth, from where he hailed, never added any of his artworks to its collection.</p> <p>Harris rose to prominence primarily as a children’s entertainer and then later as an all-round television presenter. There is a generation of Australians and Britons who grew up transfixed to their TV sets as Harris transformed blank canvases into paintings and cartoons in the space of just 30 minutes.</p> <p>His creativity also extended to music. He played the didgeridoo and his own musical creation, “<a href="https://en.wikipedia.org/wiki/Wobble_board">the wobble board</a>”. He topped the British charts in 1969 with the single Two Little Boys. However, he is probably more famous for the song Tie Me Kangaroo Down, Sport.</p> <p>Perhaps the ultimate recognition came in 2005, when he was invited to <a href="https://en.wikipedia.org/wiki/Her_Majesty_Queen_Elizabeth_II_%E2%80%93_An_80th_Birthday_Portrait">paint Queen Elizabeth II</a>. His audience with the queen was filmed for a BBC documentary starring Harris. His portrait of her majesty briefly adorned the walls of Buckingham Palace, before being displayed in prominent British and Australian galleries.</p> <h2>Criminal conviction and the quick retreat from his art</h2> <p>In 2014, Harris was found guilty of 12 counts of indecent assault against three complainants, aged 15, 16 and 19 years at the times of the crimes. These incidents occurred between 1978 and 1986.</p> <p>Before sentencing Harris to five years and nine months imprisonment, the sentencing judge <a href="https://www.smh.com.au/world/the-full-statement-from-the-judge-who-sentenced-rolf-harris-to-jail-20140704-3bee0.html">commented</a>:</p> <blockquote> <p>You took advantage of the trust placed in you, because of your celebrity status, to commit the offences […] Your reputation now lies in ruins.</p> </blockquote> <p>What followed was a public retreat from his artwork.</p> <p>It is worth asking why this was the public response, when the subject matter of his artwork was innocuous and unremarkable. Among his visual artworks were portraits and landscapes. None of them depicted anything particularly offensive or controversial.</p> <p>Nevertheless, many of those who owned his works felt the need to dissociate themselves with Harris. His portrait of the queen <a href="https://www.bbc.com/news/uk-28105318">seemed to vanish</a> into thin air. In the wake of his convictions, no one claimed to know of its whereabouts.</p> <p>Harris had also painted a number of permanent murals in Australia. Many these were <a href="https://www.theage.com.au/national/victoria/rolf-harris-mural-in-caulfield-to-be-painted-over-20140706-zsy3n.html">removed</a> or <a href="https://www.abc.net.au/news/2018-03-06/rolf-harris-mural-on-theatre-survives-vote-for-destruction/9518358">permanently obscured</a>.</p> <h2>The roles of guilt and disgust</h2> <p>Guilt seems to play a <a href="https://espace.library.uq.edu.au/view/UQ:d3f7264">prominent role</a> in explaining why owners remove such artworks from display.</p> <p>Art is inherently subjective and so it necessarily forces the beholder to inquire into the artist’s meanings. When an artist is subsequently convicted of a crime, it is perhaps natural to wonder whether their art bore signs that there was something untoward about them.</p> <p>Some artists even promote this way of thinking. In fact, Harris authored a book entitled <a href="https://www.goodreads.com/book/show/2883465-looking-at-pictures-with-rolf-harris">Looking at Pictures with Rolf Harris: A Children’s Introduction to Famous Paintings</a>.</p> <p>In it, he wrote:</p> <blockquote> <p>You can find out a lot about the way an artist sees things when you look at his paintings. In fact, he is telling us a lot about himself, whether he wants to or not.</p> </blockquote> <p>When facing the artwork of a convicted criminal, our subjective feelings of guilt persist because we have, in some tiny way, shared a role in their rise and stay as an artist. This makes it difficult to overcome the feeling that the artwork contains clues to the artist’s criminality. We can also feel guilty deriving pleasure from a piece of art whose maker caused others great pain.</p> <p>Disgust also plays a central role in our retreat from the criminal’s artwork.</p> <p>Disgust is a powerful emotion that demands we withdraw from an object whose mere presence threatens to infect or invade our bodily integrity.</p> <p>Related to disgust is a anthropological theory known as the “<a href="https://www.latimes.com/science/sciencenow/la-xpm-2014-feb-24-la-sci-sn-price-of-fame-celebrity-contact-boosts-value-of-objects-20140222-story.html">magical law of contagion</a>”. An offensive person leaves behind an offensive trace that continues to threaten us. It is not based on reason but instinct.</p> <p>In essence, the criminal has left their “negative” traces on their artwork.</p> <p>This explains why Harris’ paintings, although of innocuous images, suddenly became eyesores and their market value dropped. Owners of such artwork might also feel compelled to show their disgust openly, to publicly extricate themselves from the artist.</p> <p>No one wants to be seen to condone the behaviour of a sexual offender.</p> <p>Even after his death, Harris’ artwork will continue to stand as reminders of his criminal acts.</p> <p><em>If this article has raised issues for you, or if you’re concerned about someone you know, call <a href="https://www.1800respect.org.au">1800RESPECT</a> on 1800 737 732. In an emergency call 000.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/206282/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></em></p> <p><em><a href="https://theconversation.com/profiles/gregory-dale-1441894">Gregory Dale</a>, Lecturer, TC Beirne School of Law, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a></em></p> <p><em>Image credits: Getty Images</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/even-after-his-death-rolf-harris-artwork-will-stand-as-reminders-of-his-criminal-acts-206282">original article</a>.</em></p>

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Woman finds piece of art history on sale for $8

<p dir="ltr">It’s every thrifter’s dream to find something in an op shop that is being sold for far less than it’s worth. </p> <p dir="ltr">Many frequent their local thrift shops to find hidden treasures from designer brands with a much more reasonable price tag, finally giving them the chance to own a piece of luxury. </p> <p dir="ltr">One experienced thrift shopper has taken this dream to the next level, after she found a series of ceramic dishes in her local Salvation Army store that are a piece of art history.</p> <p dir="ltr">Nancy Cavaliere, a native New Yorker, has shared the story of her ultimate thrifting experience, which began on her way home from work in the summer of 2017.</p> <p dir="ltr">Nancy recalled stopping by the store and browsing for a while before resigning herself to defeat after not snagging a bargain. </p> <p dir="ltr">“I see nothing. I almost leave,” she said in her now-viral TikTok.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/CqTY-WXJ4DM/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/CqTY-WXJ4DM/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Nancy Cavaliere (@casacavaliere)</a></p> </div> </blockquote> <p dir="ltr">However, one more peruse past the china aisle was all Nancy needed for something to catch her eye, as she spied four unusual black plates with geometric faces hand-painted on them, with each plate marked with a $1.99 sticker. </p> <p dir="ltr">“I was going to buy them to make a tablescape,” Cavaliere said in the video. </p> <p dir="ltr">She bought the plates and left the store happy, and began to research her purchase once she got home. </p> <p dir="ltr">The plates, it turned out, belonged to Picasso’s “<em>Visage Noir</em>” series of hand-painted ceramics, produced in a pottery studio in the southern French town of Madoura in the 1940s. </p> <p dir="ltr">“When I tell you I googled this set… and saw how much they were worth and almost cried, passed out—I’m not lying,” Cavaliere said. </p> <p dir="ltr">Nancy then contacted several auction houses in New York, such as Sotheby’s and Christie’s, to have the plates appraised and authenticated. </p> <p dir="ltr">She was told they were each worth $3,000 to $5,000, and the following year, she sold three of her four plates at Sotheby’s for roughly $12,000, $13,000, and $16,000, respectively.</p> <p dir="ltr">“I was in my office at my lunch break watching this live auction go down, crying my eyes out,” she said. </p> <p dir="ltr">The fourth piece, which bears Picasso’s signature, Nancy decided to keep and store in a safe deposit box. </p> <p dir="ltr">Cavaliere plans to sell it in 20 years and give the money to her daughter, perhaps for a trip around Europe. </p> <p dir="ltr">“It’s crazy,” she said, “that I actually own something that Picasso signed for himself.” </p> <p dir="ltr"><em>Image credits: Instagram </em></p>

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Italian historian makes major Mona Lisa breakthrough

<p dir="ltr">A small town in Tuscany is revelling in excitement after it was claimed that a bridge in the backdrop of the Mona Lisa belongs to the town. </p> <p dir="ltr">Italian historian Silvano Vinceti determined that the bridge in the background of the most famous portrait in the world is in fact the Romito di Laterina bridge in the province of Arezzo: about 80km southeast of Florence. </p> <p dir="ltr">Leonardo da Vinci painted the masterpiece in Florence in the early 16th century, and ever since, it has been subject to disputes over the inspiration for the portrait. </p> <p dir="ltr">The identity of the woman in the painting - who is widely believed to be Lisa del Giocondo – has triggered as much speculation as the distant backdrop.</p> <p dir="ltr">Past theories have identified the bridge as Ponte Buriano, close to Laterina, as well as Ponte Bobbio in the northern Italian city of Piacenza.</p> <p dir="ltr">Using historical documents and drone images, and by making comparisons between the painting and photographs of the area, Vinceti said he is confident it was “the Etruscan-Roman bridge, Romito”.</p> <p dir="ltr">Vinceti told reporters in Rome that the most telling detail of the bridge’s identity is the number of arches. </p> <p dir="ltr">The bridge in Leonardo’s painting had four arches, as did the Romito. Ponte Buriano, on the other hand, has six arches, while Ponte Bobbio has more than six.</p> <p dir="ltr">Another telltale sign, according to Vinceti, is the fact that the bridge was once a “very busy, functioning bridge”, that provided a shortcut between Florence and Arezzo.</p> <p dir="ltr">Simona Neri, the mayor of Laterina, said Vinceti’s theory had caused a lot of excitement in the town of just over 3,500 people. </p> <p dir="ltr">She said, “We need to try to protect what’s left of the bridge.”</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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A guide to affordable art

<p>The art world can seem intimidating from the outside, but buying striking pieces of art is one of life’s great pleasures and can transform a room instantly.</p> <p><strong>What’s your style?</strong></p> <p>Go and see as much art as you can to help determine the style you’re most drawn to. Look for student sales at art schools, auctions, antiques fairs and local galleries.</p> <p>Flick through art history books, go to museums and do some online research about any artists you like.</p> <p>Keep an open mind. When we think of art we tend to think of paintings, but look at photography and sculptures too. You might discover that’s where your art heart lies. </p> <p><strong>Prints vs originals</strong></p> <p>Many people write off prints as nothing more than posters, but a print is still an original work of art. The artist creates each print by hand, creating an original image on a surface such as wood, rubber, stone or metal, applies colour and then creates a print on paper. They make great entry-level art.</p> <p>Reproductions are more like inexpensive posters, and there’s nothing wrong with starting off with some posters you love, beautifully framed and well positioned.</p> <p>Original works are naturally the most expensive way to buy art as they are one of a kind. Imagine a best-selling author only allowing one person to own their book, or a director only letting one person see their movie. You are buying the art in its entirety: the idea, the craftmanship, the artists’ time, talent and the materials and any future gain in value. </p> <p><strong>How do I make a good investment?</strong></p> <p>Unless you’re planning to become a serious art collector, the most important two questions you should ask yourself when buying art are: do I love it? Can I afford it? Buying something in the hope its value might go up is risky. </p> <p>If there’s an emerging artist you like whose career trajectory seems to be on the up, then go for it and you might get lucky. But still don’t buy it unless you love it. </p> <p><strong>Should I buy online?</strong></p> <p>You’ll find an enormous choice online. Research the artist, try to see some of their work in the flesh before you take the plunge, and make sure you measure up so you know exactly the size of the artwork and whether it will look good in your space.</p> <p><strong>How do I display it?</strong></p> <p>If you buy from a gallery, ask them for framing advice or to frame it for you, or take it to a framer to make sure you’re making the most of it. Talk to them about whether UV glass would be suitable, to protect the art from sun damage. </p> <p>Always hang art at eye level and in a place where you will get the most enjoyment from it, and never in the bathroom where there’s too much moisture.</p> <p><em>Image credits: Getty Images</em></p>

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Astonishing new wax figure of Queen Camilla Consort unveiled

<p>A new tribute to King Charles and Queen Consort Camilla has been unveiled in London ahead of the highly-anticipated coronation.</p> <p>As the Queen Consort prepares for a crowning of her own, Madame Tussauds London has created a wax figure of the 75-year-old wearing a tiara, gown and sash.</p> <p>The statue was first shown on April 27, ahead of being displayed beside one of King Charles’ waxworks.</p> <p>Queen Camilla’s wax figure shows her in a midnight blue dress, made by one of her favourite designers, Anna Valentine, and decked with a royal blue sash and star of the Order of the Garter.</p> <p>The royal is also seen in a replica of the late Queen’s Belgian sapphire tiara and matching George VI sapphire necklace.</p> <p>The necklace was a wedding gift from her father, King George VI when she married Prince Philip in 1947.</p> <p>The Queen Consort was seen in the Belgian tiara at the first state banquet of King Charles’ reign, where they hosted South African President Cyril Ramaphosa at Buckingham Palace in November 2022.</p> <p>Both the royal’s Art Deco engagement ring and Welsh gold wedding band are seen on the figure.</p> <p>"Whilst for many people this will be their first experience of a coronation, the Coronation of King Charles III will be the eighth that Madame Tussauds London has celebrated," General Manager Tim Waters said.</p> <p>"We're incredibly proud of our centuries long link with The Palace and what better way to mark the official start of this new chapter in the history of the British Monarchy than with the creation of our brand new soon-to-be Queen Camilla to stand alongside her husband, The King."</p> <p><em>Image credit: Getty</em></p>

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How even the young Pablo Picasso was already foreshadowing cubism

<p>At the end of the 19th century, long before starting to speak, Pablo Ruiz Picasso (1881-1973) was already drawing – and he grew up “capturing” everything he saw with a pencil. </p> <p>Through several of the drawings and sketches in pencil made by the young man from Malaga during his formative years in A Coruña (1891-1895), in the North of Spain, we can see clear foreshadowing of what became a revolution that spanned the arts, the limits of perception, communication and expression. The young Picasso’s work was an early form of cubism, an artistic and stylistic movement that officially began in 1907 with the famous painting <a href="https://www.moma.org/collection/works/79766">Les Demoiselles d'Avignon</a>(The Young Ladies of Avignon – in reference to an old and well-known street in Barcelona with brothels), painted by Picasso. </p> <h2>The fourth dimension (and beyond)</h2> <p>Picasso made cubism official in 1907, but it was something that he had already been able to imagine and begin to represent in some drawings from his time and apprenticeship in A Coruña: the ability to create a new style, a new artistic way of seeing and representing reality.</p> <p>This made it possible to go beyond the creative limit set by the painters of the Italian Renaissance. They had managed to represent the perfectly consolidated third dimension in a scientific way in Italian Quattrocento paintings – with the first dimension being height, the second width, and the third depth (thanks to the geometric rules of perspective).</p> <p>Picasso went further and achieved the representation of another three dimensions. He depicted a fourth dimenson – the ability to represent the back – or what is not perceived but what we know is there, for example, the face and the nape of a single character in the same plane.</p> <p>The fifth dimension (or “depth” dimension) is, for example, the representation of a bare chest with a heart, normally invisible under the epidermis, or the lung. This, in the Renaissance, would have been unthinkable – what was not seen was not represented.</p> <p>The sixth dimension is the imagined or “dreamlike” dimension. This is what is not there or cannot be seen but what we know exists in the imagination or we have seen in a dream (thus, Picasso was also several years ahead of surrealism).</p> <h2>Cubism before a mirror</h2> <p>A good example of these dimensions is the painting Girl before a Mirror, from 1932, which is in the Museum of Modern Art in New York.</p> <p>In this portrait of his muse and lover, Marie-Thérèse Walter, we can see the fourth dimension thanks to the face in profile view and the same face in frontal-view. The horizontal black stripes on the left are Marie-Thérèse’s ribs and, therefore, they make reference to the fifth dimension, also present in the representation of a foreshadowed pregnancy in a circumference.</p> <p>The imagined (or dreamt) vision of Picasso – the sixth dimension – is portrayed in the way in which the mirror reflects an image back at the model of an ugly and decrepit woman who gazes at death. Picasso thus creates an exciting cubist piece with brilliant polychromy.</p> <p>All this exists and, according to Picasso, can be represented on a single canvas, board or two-dimensional paper.</p> <h2>From the beginning</h2> <p>Picasso was always talented and even unique. He never drew pictures like a child does – “not even when he was very young,” according to his own account. His viewpoint was always adult in nature.</p> <p>That is why it is so important to revisit Picasso’s drawings from his time in A Coruña (1891-1895). At first glance, they seem just children’s drawings like any others… but they are a lot more than that.</p> <p>It is necessary to examine them very carefully to truly notice how the birth of a genius came about and how the revolution that was cubism was born. How, from this point on, reality would be represented not always in a hyper-realistic way, as had more or less happened until then, but segmented into geometric, cubic, abstract planes. An incredible turn.</p> <h2>Indicative details</h2> <p>For example, in Double Profile Study of a Bearded Man, the geometric framing of the face is an analytical dissection that surpasses conventional academic work. At first glance, this is an ordinary exercise in the geometric composition of a male face, but the forcefulness of the lines used to mark proportions and the resolute manner of the dark spots (eyebrow, nose, and mouth) foreshadow elements that Picasso will explore further in later cubism.</p> <p>In Personaje con pipa (Person with a Pipe), the young Picasso incorporates the subtle white chalk technique to artistically accentuate the clothing of the character, as the crossing stripes on the lapel show. Pablo Ruiz was beginning to guide and lead his conceptual way of working towards the adult Picasso.</p> <p>The geometric compositional structure in Caserío gallego (Galician Homestead), elaborated with simple abstraction of space, is related with the rationalist exploration of forms that Picasso would undertake in the 20th century.</p> <p>In Houses on the Hill of Horta de Ebro, it becomes evident that the geometric and shadow play of this piece had already been foreshadowed in the previous homestead piece.</p> <p>Obviously, it cannot be said that there are glimpses of forms that point towards the Cubist revolution in all the drawings from A Coruña. </p> <p>But, if the previous pieces and some others are observed, we will see that something of what was to come was beginning to <a href="http://hdl.handle.net/10459.1/73016">take shape in the Galician city</a>.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/how-even-the-young-pablo-picasso-was-already-foreshadowing-cubism-203172" target="_blank" rel="noopener">The Conversation</a>. </em></p>

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Live art exists only while it is being performed, and then it disappears. How do we create an archive of the ephemeral?

<p>Live performance exists only in the moment it is being performed. Its ephemeral nature means it is transient and impermanent, and cannot be experienced again in precisely the same way. </p> <p>How do artists hold on to the works that they make? What of the invisible labour that is rarely acknowledged or named? </p> <p>Over the last ten years, performance artist Leisa Shelton has completed a series of participatory artworks which focus on the mutability of the archive: gathering audience testimonies and mapping artistic lineages. </p> <p>Now her new show, Archiving the Ephemeral, brings five works together in a beautifully curated installation. </p> <p>Archiving the Ephemeral is a celebration of the artist, the artistic process and the audience experience. </p> <p>Shelton’s expansive career, built on collaboration, care and conversation, grounds the exhibition. The show reflects her focus on curating and re-framing interdisciplinary work to address the limited opportunities for recognition of contemporary independent Australian performance.</p> <h2>Meticulous design</h2> <p>Marked by a spare, distinctive design, Archiving the Ephemeral is located in the Magdalen Laundry at the Abbotsford Convent. </p> <p>Rich with a bright green wooden industrial interior and aged painted walls, the laundry is a perfect background for the specifically placed items, the carefully lit tables and the long lines of patterned artefacts. </p> <p>Fragile ideas are framed and held within a crafted, artisan aesthetic. Objects are carefully made and remnants are meticulously gathered.</p> <p>Along one side of the space, 132 brown paper packets are laid out in a continuous line on the floor. Each package contains a set of archival materials, burned to ash, which corresponds to an artistic project from Shelton’s career.</p> <p>An accompanying video depicts Shelton’s meticulous process of burning, piece by piece, her entire performance archive to ash. </p> <p>In a methodical and meditative process, the ash is sifted and packaged into the hand-crafted paper bags. The bags are then hand-punched and sewn with twine, typed, labelled and categorised: a kind of devotional honouring of the materials even as they are brought to dust. </p> <h2>A living archive</h2> <p>The exhibition includes an opportunity for each of us to become part of the living archive through conversations with two ground-breaking elders of Australia’s performance art scene, <a href="https://abbotsfordconvent.com.au/news/in-conversation-with-stelarc-and-jill-orr/">Jill Orr and Stelarc</a>. </p> <p>On the night I attend, I sit with Stelarc. We discuss Kantian <a href="https://en.wikipedia.org/wiki/Immanuel_Kant">notions of time</a> as he tells me about his <a href="http://stelarc.org/?catID=20353">Re-Wired/Re-Mixed Event for Dismembered Body</a> (2015). It’s a delightful moment of personal connection with an artist I’ve admired for years.</p> <p>Across one wall are four large hanging papers listing the name of every artist on every <a href="https://www.artshouse.com.au/about-us/">Arts House</a> program from 2006-2016, laboriously typed. </p> <p>On the night I attend, these lists elicit lively conversations among the artists present as we study the names and dates (in my case, slightly desperately searching to see if my own name is there), and recall shows, people, events, stories and collaborations.</p> <p>Much of Shelton’s work is gathered from conversations with audience members about art and artists. </p> <p>In Mapping, a set of burnished stainless-steel canisters, beautifully marked with engraved identifications, sit on a bench underneath a suspended video screen on which artist names appear and disappear in an endless, floating loop. </p> <p>The canisters contain details of profoundly memorable artists and performances collected from 1,000 interviews, dated and stamped. They are hand-welded, sumptuous objects which hold the interview cards securely locked under fireproof glass designed to withstand cyclones, fires and floods.</p> <p>The many hand-written files of Scribe contain multiple documents which can be taken out and read. The sheer number of pages is overwhelming, and the breadth of audience commentary – joyful, moved, connected, inspired – is breathtaking.</p> <p>It’s a poignant reminder of the traces borne out beyond the artist’s own experience of performing a work: an often surreal and lonely moment once the audience has left the room.</p> <h2>A practice of care</h2> <p>Archiving the Ephemeral fosters a practice of care and acknowledgement which extends to the practical ways in which our trajectory through the room and engagement with the artworks is enabled. </p> <p>The Convent is an apt site for such a careful collection. Analogue processes and objects are foregrounded. Typewriters, brown paper, string, awls and aprons are part of the painstaking construction process. Attendants and scribes act as custodians in the space, facilitating a gentle holding of the material.</p> <p>We are given the opportunity to continue the archive as it evolves and devolves around us. As I make my way through the space, I notice my own embodied archival actions - taking notes, speaking to others - as I continue the trajectory of documenting the documents. We are not just witnessing one artist’s body of work. Archiving the Ephemeral focuses on the need for greater visibility, recognition and honouring of Australia’s experimental and independent artists, and speaks to the many collaborations, associations, and intricate connections that mark a significant – if unacknowledged – cultural legacy.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/live-art-exists-only-while-it-is-being-performed-and-then-it-disappears-how-do-we-create-an-archive-of-the-ephemeral-201939" target="_blank" rel="noopener">The Conversation</a>. </em></p>

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