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I used to visit the Palm House in Liverpool as a child, The delightful scent of the inside always contrasted with the severe marble and bronze statues of Henry Yates Thompson outside.
Returning today I noted that several of the figures are now rather more colorful.
I learn they have been subjects of artistic interventions aimed at recontextualizing their historical narratives. In 2021, fashion designer Taya Hughes adorned the statues of Christopher Columbus shown here and those of Captain Cook, and Henry the Navigator with elaborate Elizabethan-style ruffs made from fabrics associated with indigenous populations in Africa, New Zealand, and Australia. This "Statues Redressed" project sought to prompt discussions about the legacies of these historical figures, many of whom were involved in colonialism and the transatlantic slave trade.
The project aimed to engage the public in conversations about how we should respond to statues that were built to honor individuals now viewed in a different light. Whatever, they are certainly less scary than I recall.
[ clancy warner, ‘whitewashing history’, seventh palmer sculpture biennial, mt lofty ranges, south australia ]
how goes the colonial project in its 187th year?
The 1,100 square meter relief above the representative staircase depicts a figure in the center representing the Roman goddess of abundance Abundantia and at the same time the French nation as a colonial power. The building, designed in the Art Deco style by Albert Laprade (1883-1978), was erected in 1931 on the occasion of the Paris Colonial Exhibition near the Bois de Vincennes (12e). Today it houses the Cité nationale de l'histoire de l'immigration CNHI and a tropical aquarium in the basement.
Paris, France 23.08.2023
monument.palais-portedoree.fr/en
www.histoire-immigration.fr/en
www.aquarium-tropical.fr/en/programmation/l-exposition-pe...
Das insgesamt 1.100 Quadratmeter große Relief über dem repräsentativen Aufgang zeigt im Zentrum eine Figur, die die römische Göttin des Überflusses Abundantia und zugleich die französische Nation als Kolonialmacht darstellt. Der im Art-déco-Stil von Albert Laprade (1883-1978) gestaltete Bau wurde 1931 anläßlich der Pariser Kolonialausstellung nahe des Bois de Vincennes errichtet (12e). Heute beherbergt er die Cité nationale de l’histoire de l’immigration CNHI und im Untergeschoss ein tropisches Aquarium.
Paris, Frankreich 23.08.2023
www.palais-portedoree.fr/programmation/evenement/les-merc...
In my previous photograph of the gallery you'll see how Robert Dowling's "Aborigines of Tasmania 1859" takes pride of place in the main room of the QVMAG at Launceston. That's because it is the most historically significant work in the entire collection.
The story is a massive one and I can only give you an outline, with links for those who wish to follow up the many important trails that lead to greater awareness of Tasmanian history.
When I first saw this painting years ago my reaction was typical of many. I was in awe of the sheer beauty and sympathetic portrayal of significant indigenous figures in the landscape. It was painted at the mid-point of what had been a disastrous century for the original people who populated the island of Lutruwita.
Previously, I've also featured an album which looks at the permanent display of First Nations history and culture in Lutruwita (Tasmania) which can be viewed at the QVMAG. www.flickr.com/photos/luminosity7/albums/72157719166799616
So please bear with me and I hope that you'll take the time to read this description. More than ever we need to be educated in the past so that we do not repeat the error of our ways.
There are several facts about this work:
1. It was painted by Robert Hawker Dowling (1827-1886) in 1859. Dowling was the son of a clergyman who arrived in Launceston in 1839 and set up his own studio painting colonial portraits. Between 1859 and 1882 he exhibited 16 paintings at the Royal Academy in London (no small feat for a colonial painter of the time). nga.gov.au/exhibitions/robert-dowling/
2. Dowling made at least two versions of this painting - set in completely different landscapes. An earlier rendition (1857) is found in the National Gallery of Victoria. www.ngv.vic.gov.au/explore/collection/work/5514/
3. The former convict artist Thomas Bock (1790-1855) assisted Dowling in the arrangement of the tableau of people. Although Bock died before these paintings were completed, he had already made portraits of some of the principal figures and his sketches helped Dowling, who had never met the people concerned. You'll see the Bock sketch identifying the figures in the detail of my photograph. I also have a soft spot for Thomas Bock, as he was one of the very first people in Van Diemen's Land to adopt the camera. In 1843 he essentially gave up portrait painting to set up one of the first commercial studios in Australia making Daguerreotypes. tasmaniantimes.com/2022/08/thomas-bocks-notes-on-photogra...
4. The painting presents representatives of the various tribal regions on the island before the land clearances of the 1820s and 30s. In other words they represent an idealised past at least a generation before the painting was made. There are four figures specifically named in the sketch: Trugernana, also known as Truganini; her husband Woureddy (the supposed chief of Bruny Island); Larratong, a tribal elder from Cape Grim (the area around Stanley where the Van Diemen's Land Company ruthlessly cleared the land of its original inhabitants); and, Manalargenna from the east coast. These were people known to Thomas Bock and Benjamin Duterrau, despite the fact Dowling had never met them. www.flickr.com/photos/luminosity7/50574273352/in/album-72...
It can be argued that the artists (more so than most colonists) in fact represented a very sympathetic portrayal of indigenous people. I've already documented the work of radical stonemason Daniel Herbert, and the sympathetic way he presented Aborigines on the Ross Bridge. www.flickr.com/photos/luminosity7/50373696306/in/album-72...
And in Herbert's case, he wanted nothing less than divine retribution for the dark deeds that had been done in the so-called Black Wars.
Perhaps there is no figure more misunderstood in Tasmanian history than Trugernana-Truganini (c.1812-1876). The tragic myth that developed around her life was that she was the "last representative of her race". This was a patent lie, and the many Tasmanian people today who can claim indigenous ancestry to the Palawa people is evidence of this. The photographer Ricky Maynard has well documented this photographically. www.flickr.com/photos/luminosity7/53071846594/in/dateposted/
There is a beautiful portrait of Truganini by Benjamin Duterrau in 1834:
www.flickr.com/photos/luminosity7/50574362547/in/album-72...
She was indeed a formidable woman. A real survivor and one can imagine how legends grew up around her story. In fact a recent book by Cassandra Pybus gives us as much of the truth as she was able to muster. www.allenandunwin.com/browse/book/Cassandra-Pybus-Trugani...
The book also has on its cover one the the truly great photographs of Peter Dombrovskis. www.flickr.com/photos/luminosity7/50599865728/in/album-72...
I'd love to tell you the story of Truganini and Woureddy, but far better for you to listen to Cassandra Pybus tell the tale.
"Truganini: Journey through the apocalypse - Cassandra Pybus"
www.youtube.com/watch?v=x582BOeo0Ec
In short then (because there is so much more that could be said), Robert Dowling's, "Aborigines of Tasmania 1859" seeks to restore a measure of dignity to a people who were so desperately mistreated. Just one terrible example: Truganini's skeleton was on display at the Tasmanian Museum in Hobart until as recently as 1951!
Any true reconciliation can only come about when we deal with the facts of history and move forward together into a future of redemption, forgiveness and restitution.
Armour used by the Kelly Gang (possibly Steve Hart), worn by a police officer, Police Barracks, 7 April 1941, photograph by Newby, from original negative, State Library of New South Wales, 388/Box 054/Item 167 collection.sl.nsw.gov.au/record/1wNrGw2n/wldPDBzxXONVB
Have a great new week !
One of thousands of fascinating masks from all over the world.
Tropenmuseum, Amsterdam, The Netherlands
View of two houses at Kolmanskop, (Kolmannskuppe). I still have a few more images to post, but i will stretch them out over the next few weeks.
Please don't use any of my images on websites, blogs or other media without my explicit written permission. © All rights reserved
Another (particularly) haunting and haunted face, representing just one of the countless people who suffered during Ireland’s Great Famine in the 19th century. It’s part of the Famine Memorial, to be found on the quayside in Dublin. There’s more information about both the sculpture and the Famine here.
... of a gruesome and cowardly act against flight MH17,
shot down with 298 people above Ukraine on 17.07.2014 by ???
Dedicated to all the victims, their families and friends !
seen in Tropenmuseum, Amsterdam, The Netherlands
... still one week off work :-))
Have a good start to the new week !
One of thousands of fascinating masks from all over the world.
Tropenmuseum, Amsterdam
... what a nightmare ;-))
Have a good start to the new week anyway !
One of thousands of fascinating masks from all over the world.
Tropenmuseum, Amsterdam, The Netherlands
A British tourist seems to be pondering the past at the cellular jail. Port Blair, Andaman Islands, India. 2011
The cellular jail, a colonial prison built by the British between 1896 and 1906 must be one of the darkest deeds perpetrated by British rule in India. It was used for political dissidents who were shipped here from mainland India. Today, it is both a museum and a memorial with an impressive series of photos, including portraits of all the many freedom fighters who died here.
Santa Cruz Church, one of the many old Catholic churches in Bangkok, was built in 1770 during the reign of King Taksin (1867 – 1782). This Church of the Holy Cross is a legacy of Portuguese-Siamese relations that date back to the 16th century. Nestled among old houses on the river banks and newer buildings inland, the reddish dome of the old Catholic church is a prominent landmark on the Chao Phraya River. Descendants of the early Portuguese Catholics built the first Santa Cruz Church in 1770 after the fall of Ayutthaya.
With Ayutthaya destroyed, the Catholics from the old city moved south to start a village by the Chao Phraya near Wang Derm, King Taksin’s Palace. In recognition of their services, King Taksin granted the Portuguese a plot of land to build a church. This grant was made during his royal visit to this village on 14 September 1769.
An art deco stairs in Asmara - Konica Hexar shot, (bad scan, good atmosphere...)
Asmara Eritrea
see the exhibition at www.asmara-architecture.com/
© Eric Lafforgue
The famous Tagliero Fiat garage in Asmara, a real marvel...
The airplane-shaped Fiat Tagliero garage, built by architect Giuseppe Pettazzi in 1938, similar to Frank Lloyd Wright's work. The design of the Tagliero garage was revolutionary for its time. The building has 98-foot-long concrete wings extending above the ground on each side.
With a tilt shift fx
© Eric Lafforgue
Fremantle Prison, sometimes referred to as Fremantle Gaol or Fremantle Jail, is a former Australian prison and World Heritage Site in Fremantle, Western Australia. The six-hectare (15-acre) site includes the prison cellblocks, gatehouse, perimeter walls, cottages, and tunnels. It was initially used for convicts transported from Britain, but was transferred to the colonial government in 1886 for use for locally-sentenced prisoners. Royal Commissions were held in 1898 and 1911, and instigated some reform to the prison system, but significant changes did not begin until the 1960s. The government department in charge of the prison underwent several reorganisations in the 1970s and 1980s, but the culture of Fremantle Prison was resistant to change. Growing prisoner discontent culminated in a 1988 riot with guards taken hostage, and a fire that caused $1.8 million worth of damage. The prison closed in 1991,
Another haunting and haunted face, representing one of the countless people who suffered during Ireland’s Great Famine in the 19th century. It’s part of the remarkable and poignant Famine Memorial on the quayside in Dublin. There’s more information about both the sculpture and the Famine here.
Nestled on a gentle hill in Harpers Ferry, West Virginia, this white-painted house exudes historic charm and small-town grace. Its simple yet elegant architecture features a pitched metal roof, a central chimney, and a welcoming front porch adorned with classic railings and lattice skirting. The path leading to the house is lined with rugged, rustic stone steps that echo the area’s rich history, each one telling a story of resilience and craftsmanship. These timeworn steps, stacked with character, invite visitors to pause and appreciate the subtle details of this historic town.
The vibrant green lawn contrasts beautifully with the soft white of the house, creating a picturesque foreground for the home’s colonial-inspired facade. The cozy front porch, complete with a modest wreath and rocking chairs, offers a perfect perch for enjoying the peaceful rhythms of Harpers Ferry life. A black cat graces the stone path, adding a touch of local color and a nod to the town’s warm, lived-in ambiance.
Beyond the house, mature trees and carefully maintained landscaping frame the scene, capturing the timeless beauty of this Appalachian gem. The cloudy sky hints at the region’s ever-changing weather, adding a dynamic backdrop to the serene setting.
Harpers Ferry’s layered history—from Civil War significance to its modern-day preservation—echoes in every detail of this charming residence. The stone steps, worn but sturdy, symbolize the town’s endurance through centuries of change. This house is more than just a home; it’s a testament to the resilience and warmth of a community that cherishes its past while embracing the present.
Whether you’re a history buff, an architecture enthusiast, or a traveler drawn to small-town Americana, Harpers Ferry offers a glimpse into a slower, more thoughtful way of life—where every stone step holds a story.
Trinidad is a Cuban town of about 75,000 inhabitants in the province
central Sancti Spíritus. Together with the nearby Valle de los Ingenios is
listed as a World Heritage site by UNESCO since 1988.
Trindidad was founded by Diego Velázquez de Cuéllar in 1514 as
Villa De la Santísima Trinidad. It is one of the best preserved city of
the Caribbean, from the time when sugar was the main
Trade in these places. They own the remains of that period
colonial slavery, which flourished in Trinidad, to be the largest
attraction of visitors and the very reason of the prestigious
recognition that UNESCO has given the city and the whole area
surrounding most directly interested in the cane growing
sugar (Valle de los Ingenios). Today the primary entry
economy of these places is the processing
tobacco.
The oldest part of town is the best preserved and is the subject
sightseeing by organized tours. In contrast, other
areas outside the tourist part, also very central, pay
in a state of semi-neglect and are a reflection of a widespread unease in the
and cities across the country.
Outside the city is the famous Peninsula Ancon with a well known and
wide sandy beach (Playa Ancon) on which stands a complex
Tourism, one of the first born after the revolution of 1959.
_________________
Italiano
Trinidad è una città cubana di circa 75.000 abitanti della provincia centrale di Sancti Spíritus. Insieme alla vicina Valle de los Ingenios è un sito indicato come Patrimonio dell'umanità dall'UNESCO fin dal 1988.
Trindidad fu fondata da Diego Velázquez de Cuéllar nel 1514 con il nome di Villa De la Santísima Trinidad. È una delle città meglio conservate di tutti i Caraibi, dall'epoca nella quale lo zucchero era il principale commercio in questo luoghi. Sono proprio i resti di quel periodo coloniale e schiavista, nel quale fiorì Trinidad, ad essere la principale attrazione dei visitatori e il motivo stesso del prestigioso riconoscimento che l'UNESCO ha conferito alla città e a tutta l'area circostante più direttamente interessata alla coltivazione della canna da zucchero (la Valle de los Ingenios). Oggi la voce principale dell'economia di questi luoghi è costituita dalla lavorazione del tabacco.
La parte più vecchia della città è quella meglio preservata ed è oggetto di visite turistiche da parte di tour organizzati. Al contrario, diverse zone al di fuori della parte più turistica, anche molto centrali, versano in stato di semi-abbandono e sono lo specchio di un disagio diffuso nella città e in tutto il Paese.
Fuori dalla città c'è la famosa penisola di Ancón con una rinomata e ampia spiaggia di sabbia (Playa Ancón) sulla quale sorge un complesso turistico, fra i primi nati dopo la rivoluzione del 1959.
Beautiful art deco stairs that you can find in Asmara, built under the italian colonial times...
© Eric Lafforgue
The airplane-shaped Fiat Tagliero garage, built by architect Giuseppe Pettazzi in 1938, similar to Frank Lloyd Wright's work. The design of the Tagliero garage was revolutionary for its time. The building has 98-foot-long concrete wings extending above the ground on each side.
see the exhibition at www.asmara-architecture.com/
© Eric Lafforgue
Shark Island is a small peninsula adjacent to the coastal city of Lüderitz in Namibia. Formerly an island, it became a peninsula from 1906 on by the creation of a land connection. Now a campsite for tourists, from 1904 to 1907 it was the site of the Shark Island Concentration Camp. It was used by the German Empire during the Herero and Namaqua genocide of 1904 to 1908. The Herero and Namaqua genocide was a campaign of racial extermination and collective punishment that the German Empire undertook in German South-West Africa (modern-day Namibia) against the Herero and Nama people. It is considered as one of the first genocides of the 20th century. It took place between 1904 and 1907 during the Herero Wars. In January 1904, the Herero people, led by Samuel Maharero and Nama captain Hendrik Witbooi, rebelled against German colonial rule. In August, German general Lothar von Trotha defeated the Herero in the Battle of Waterberg and drove them into the desert of Omaheke, where most of them died of dehydration. In October, the Nama people also rebelled against the Germans, only to suffer a similar fate.
In total, between 24,000 and 100,000 Herero and 10,000 Nama died. The first phase of the genocide was characterized by widespread death from starvation and dehydration due to the prevention of the retreating Herero from leaving the desert by German forces. Once defeated, thousands of Herero and Nama were imprisoned in concentration camps, where the majority died of disease, abuse, and exhaustion. Between 1,032 and 3000 Herero and Namaqua men, women, and children died in the Shark Island Concentration Camp between its opening in 1905 and its closing in April 1907. Africa.https://en.wikipedia.org/wiki/Shark_Island_Concentration_Camp
atelier ying, nyc.
Starting the New Year with another design that brings an odd element to photography: food.
I used to read from a small set of books every Christmas season in order to get into the spirit of the holidays. One thin volume from this collection contains Martha Washington's authentic recipe for an Heirloom fruitcake. Recently, I came across another article about a private estate fruitcake that has been preserved and handed down from the time of Washington, and will continue to be edible. After reading this article, I knew that I had the good fortune of a design to set aside for a special occasion.
Any Fruitcake worth it's salt contains a variety of flours, sweetmeats and assorted ingredients, all minced to resemble some kind of rugged cereal. It is a windfall of goodwill, and certainly not a bargain in materials. The liquor used to help flavor and preserve this cake varied, but Scotch Whiskey is one of my personal choices, and spirit which points to the key design theme of grain. This Heirloom fruitcake becomes a ballast for the camera enclosure which should be of a large scale in order to ideologically balance its contents. This led my mind to an antique wooden grain elevator. The two silos contain matching bottles of a fine Scotch Whiskey blend. One is for topping the fruitcake perennially (a thermometer/hygrometer panel is one the back) and the other is reserved for drinking purposes, to complement the sweetness of the cake. Relics from Washington's time are not buried inside the cake, as was Christmas tradition, but are kept in separate chambers within the camera within small letter press drawers. The smaller house is a camera grip.
There's plenty of room for an internal viewer of a replica of the tavern room (Fraunces Tavern, Nyc.) where Washington met his officers at the end of the Revolutionary war. The side house also has a turtle shell container with dice and chips for a drinking game.
This fruitcake will easily outlast the camera which will be equally rare as it would contain organic fermenting matter and whose kit has:
1. a burlap bag should one want to store the camera in a cellar
2. a supply of specially treated plastic wrappings
3. an external airtight box with a brass label
4. a container of decanted 1974 Ladyburn, only because of its rarity
5. a 20-year old Macallum suffices for aging tank of the fruitcake.
A true heirloom.
Dedicated to Jan Normandie, who visits lots of wooden grain elevators.
Design, concepts, text and drawing are copyright 2015 by David Lo.