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Malcolm Johnson, Deputy Secretary-General, talking to delegates at the ITU Plenipotentiary Conference 2022 (PP-22), Bucharest, Romania.
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Mr Claudio Araya
Undersecretary of Telecommunications
Undersecretariat of Telecommunications
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Mr Puthyvuth Sok
Secretary of State
Ministry of Post and Telecommunications
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
Yesterday, Wednesday 5 June 2013, over 120 officers from Lancashire, Merseyside, Cheshire and Greater Manchester Police, took part in a day of action to reduce criminality on the roads and improve road safety.
The operation, commanded by Superintendent Thompson and coordinated by Greater Manchester Police, saw vehicle check sites set up in Lancashire, Cheshire and Merseyside force areas, supported by partners from the Environment Agency, Trading Standards, RSPCA, VOSA and HMRC.
GMP's Anpr Intercept, Traffic Enforcement teams and Road Policing units conducted enforcement throughout the region, supported by Traffic PCSO's.
Officers from GMP's Tactical Aid and Tactical Dog Units were deployed at the sites to provide specialist search capability.
Highways Agency staff also supported the operation by providing assistance to officers and distributing road safety leaflets to motorists.
The operation generated a large volume of media interest, resulting in the several interviews being provided by Superintendent Thompson and Chief Inspector Buckle to ITV National and Regional News, Crime Watch Road Show and a number of local radio stations.
The day saw over 300 vehicles stopped, 7 offenders arrested for a variety of offences including, possession of a controlled drug with intent to supply, assault and theft of two motor vehicles.
192 motorists were breathalysed, contributing to the ACPO national drink drive campaign, 223 motorists dealt with under Road Traffic Act legislation and 19 vehicles seized for being driven without insurance, licence or in an anti social manner.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Beaded tribal statement necklace from Forever 21, worn once, great condition. Originally $12.80.
$3
If you are interested, email me at ahoweonenineninethreeatyahoodotcom (actual numbers- not spelled out). In the subject line put: Moving Sale 2015 , this is the only way I will see your email. I'll try to check this nightly. Please note exactly which item(s) you're interested in. Everything is final sale. I will not hold any items for more than a day, it is all first come first serve.
08/07/2020. London, United Kingdom. Summer Statement Cabinet. Chancellor of the Exchequer Rishi Sunak leaves the Cabinet Room after briefing members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
This photo is a view from one of the routes in the National Park Service (NPS) Preferred Alternative within the Draft Environmental Impact Statement (EIS), Special Flight Rules Area in the Vicinity of Grand Canyon National Park (GCNP), illustrating the high quality scenic views and grandeur of GCNP. This view is looking west at Vishnu Temple, Wotans Throne and Freya Castle. .
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The Draft EIS was developed to address the mandate of the 1987 National Parks Overflights Act to provide for substantial restoration of the natural quiet and experience of Grand Canyon National Park and for protection of public health and safety from adverse effects associated with aircraft overflights. Through the Draft EIS, the NPS is proposing a plan for managing helicopter and airplane flights over Grand Canyon. These flights currently carry more than 400,000 visitors above the canyon each year. Like all other uses in the park, air-tours play an important role in visitor enjoyment. But without better, more thoughtful management air-tour flights can interfere with the enjoyment of visitors on the ground. Air-tour flights also affect soundscape and other park resources of Grand Canyon's 1,902 square miles..
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The Draft EIS can be reviewed online at www.parkplanning.nps.gov/document.cfm?parkID=65&proje... Comments can be submitted online at the same Web address (the preferred method), or mailed to Superintendent, Grand Canyon National Park, Attention: Office of Planning and Compliance, P.O. Box 129, Grand Canyon, Arizona 86023, or provided at one of the public meetings. Comments will be accepted through Monday, June 20, 2011..
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NPS Photo
In maart 2020 meldde Duitse media dat DHL stopt met de productie van dit elektrische bestelvoertuig. Aandeelhouder Deutsche Post zou geen brood meer zien in de productie van het voertuig, dat in Nederland onder meer wordt ingezet door Post NL en Jumbo. Gesprekken met Ford en Volkswagen liepen op niets uit. In een statement meldt DHL zich te richten op het servicen van de rijdende vloot. "We hebben altijd gezegd geen fabrikant te willen zijn. Het opschalen van de activiteiten zonder de juiste partners is voor ons geen optie", aldus DHL, dat meldt tussen de 300 en 400 miljoen euro af te schrijven op de Streetscooter-activiteiten.
Bron: automotive-online.nl/management/laatste-nieuws/merkkanaal...
Spitalfields Market, City Of London This Stallholder in Spitalfields Market is such a character, and almost timeless. Camera:Nikon D90 Lens: Nikon 55-200
This tower seems to be to large for this tower, it must have been a statement to here neighbours in Liverpool.
No question as to who would win in a confrontation be me and this wave. Slight reach and height advantage on me ha!
When the 1906 Pure Food and Drug Act was enacted consumers were beginning to shift from buying food in bulk to buying smaller packaged goods. One key provision of the law forbid the adulteration of foods with ingredients that would deceive the purchaser or lessen the product’s value. Federal food and drug inspectors found that short-weighting or under-filling packages was a far bigger problem than adulterated ingredients. Indeed, at one point fully one-third of the products examined were short-weighted or under-filled.
Congress responded to these consumer “cheats” by enacting the little known Gould Net Weight Amendment in 1913. This statute required that packaged products be labeled with an accurate net weight statement or numerical count, and established FDA’s authority to require specified and standardized information on product labels. The law was later incorporated into the 1938 Food, Drug, and Cosmetic Act.
The pictured bottle is an extract bottle from the early 20th century. With a label on it, it would be impossible for the housewife to see the deception contained within. Although the bottle was the expected size and shape of a two-ounce extract bottle, it had been created to hold but a single ounce.
The net weight statement on product labels is a continuing reminder of consumer protections that food and drug legislation and regulation have provided since the earliest days of the agency.
A bright and bold statement necklace fit for a queen of fashion! Tutorial blogged here: erinsiegeljewelry.blogspot.com/2013/08/fashionista-statem...
This photo is a view from one of the routes in the National Park Service (NPS) Preferred Alternative within the Draft Environmental Impact Statement (EIS), Special Flight Rules Area in the Vicinity of Grand Canyon National Park (GCNP), illustrating the high quality scenic views and grandeur of GCNP. In this view the aircraft is heading east and the view is looking north towards Awatubi Crest, Kwagunt Butte, and Nankoweap Mesa..
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The Draft EIS was developed to address the mandate of the 1987 National Parks Overflights Act to provide for substantial restoration of the natural quiet and experience of Grand Canyon National Park and for protection of public health and safety from adverse effects associated with aircraft overflights. Through the Draft EIS, the NPS is proposing a plan for managing helicopter and airplane flights over Grand Canyon. These flights currently carry more than 400,000 visitors above the canyon each year. Like all other uses in the park, air-tours play an important role in visitor enjoyment. But without better, more thoughtful management air-tour flights can interfere with the enjoyment of visitors on the ground. Air-tour flights also affect soundscape and other park resources of Grand Canyon's 1,902 square miles..
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The Draft EIS can be reviewed online at www.parkplanning.nps.gov/document.cfm?parkID=65&proje... Comments can be submitted online at the same Web address (the preferred method), or mailed to Superintendent, Grand Canyon National Park, Attention: Office of Planning and Compliance, P.O. Box 129, Grand Canyon, Arizona 86023, or provided at one of the public meetings. Comments will be accepted through Monday, June 20, 2011..
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NPS Photo
Copyright: ©House of Commons
Parliament’s official photographer was in the House of Commons Chamber earlier to capture images of today’s Prime Minister’s Questions with First Secretary of State Rt Hon Dominic Raab MP and the Leader of the Opposition Sir Keir Starmer MP.
This was the first PMQs since the House approved a motion to allow participation in questions remotely (so-called “hybrid proceedings”) and follows a great deal of work by Parliament’s Broadcasting Unit and contractor NEP Bow Tie.
More info: www.craftivist-collective.com/Mini-Fashion-Statements
PRESS RELEASE 16.2.17:
Will you find a Mini Fashion Statement in your pocket this April?
As the world remembers the Rana Plaza disaster on 24 April, the Craftivist Collective will be launching a new craftivism kit to make and gently challenge people to think about how their clothing is made.
The collapse of a Bangladeshi factory in 2013 saw 1,138 garment workers killed and over 2,500 injured. There had been signs of structural failure the previous day, but workers were ordered to return to work regardless.
The Mini Fashion Statements kit is being launched in support of Fashion Revolution, a global movement born in the wake of the disaster, which calls for greater transparency, sustainability and ethics in the fashion industry.
The kit feature small scrolls on which makers all over the world are encouraged to write - slowly and in their neatest handwriting on their own or in groups - one of three provocative but not preachy messages designed to get both writer and reader thinking about the true cost of fashion and inspire them to play their part in improving the ugly side of the industry.
Shop-droppers not shop-lifters
The finished scrolls, tied with a pretty bow and featuring an invitation to “please open me”, a smiley face and a kiss, can then be ‘shop-dropped’ into the pockets of garments in fashion stores, or clothes worn by family, friends and colleagues.
This deliberately non-confrontational form of ‘guerilla activism’ using handcrafts is a designed as an alternative to some the more traditional aggressive types of activism.
Sarah Corbett, founder of the Craftivist Collective, said: “We help people learn the art of ‘gentle protest’. We want every part of the fashion industry to be beautiful, not just the clothes. Our pocket-sized scrolls are powerful and poignant little reminders of the role we can play as consumers. They’re designed to make us think about how the clothes we buy and wear are made, and how we might be able to help tackle problems like poor conditions for workers or the use of materials that are damaging to the environment.”
Asking #whomademyclothes
Orsola de Castro, co-founder and Creative Director of Fashion Revolution, said: “We want to unite the fashion industry and ignite a revolution to radically change the way our clothes are sourced, produced and purchased, so that what the world wears has been made in a safe, clean and fair way.
“The Craftivist Collective’s Mini Fashion Statements are a really simple, fun and creative way to be part of the Fashion Revolution. Made with love and placed into a pocket on a store's clothes rail, they surprise shoppers with a message that reminds us to be more curious about our clothes.
“They may be small, but they have the power to make shoppers stop and consider the people who make our clothes, their working conditions and human rights issues. This shows that activism doesn't need to shout from the rooftops, it can gently provoke from our pockets!”
The Mini Fashion Statement kits were pioneered by Sarah during workshops at Stockholm Fashion Week and Helsinki Design Week, and are the first non-stitched Craftivist Collective project. Sarah will be holding further workshops in London and Lincoln in early April to introduce people to the kits and teach them how to do ‘shop drops’ to distribute their mini fashion statements.
[Subhead:] Editor’s notes
CRAFTIVIST COLLECTIVE: Founded in 2009, the Craftivist Collective produces projects, products and kits to help individuals and groups across the globe change the world one stitch (or sentence) at a time using slow, gentle, beautiful activism. You can find out more at www.craftivist-collective.com
FASHION REVOLUTION: Fashion Revolution is a global movement calling for greater transparency, sustainability and ethics in the fashion industry. Fashion Revolution Week runs from 24-30 April 2017. For more information visit www.fashionrevolution.org
RESOURCES / CONTACT: Logos and product imagery, as well as quotes and interview opportunities, are available on request - please email press@craftivist-collective.com.
MINI FASHION STATEMENT KITS: Each kit features: a roll of high quality scrolls, each with an embossed Craftivist Collective logo; three different colours of ribbon (enough for 10 scrolls) to help make your messages stand out; ‘Crafterthought’ questions to reflect on as you write; two small free gifts; tips and message templates. They will available from 24 April at <a href=www.craftivist-collective.com/shop.
EVENT: Hackney, London: Thursday 6th April, Showroom Studio, 6.30-8pm. £10 You will learn the art of gentle protest, create beautiful small fashion statements supporting the organisation Fashion Revolution to put into the world as catalysts for change and practice the skill of shopdropping (the opposite of shoplifting).
Director's statement:
Travel has been a central motif for me, ever since Boatman. Whether simply constant movementor a particular trajectory, travel provides their basic narrative structure. Circling the ring road around Rome in Sacro GRA, the deadly boat travel from North Africa to Lampedusa in Fuocammare, or in El Sicario the narco hitman retracing, and reenacting, the killings he carried out.
I first met Pope Francis after he saw Fuocammare and visited Lampedusa. We spoke briefly in the Vatican about the problem of forced migration, which was already a crucial issue for him. But I had no idea about the extent of his travels until I was interviewed for Notturno by the Vatican newspaper, the Osservatore Romano.
For Francis, travel is an intellectual and spiritual practice. The idea of this pope constantly in motion, circling the globe, fascinated me. I asked to see some of the footage from his trips and ended up with a sea of about 500 hours of material. Would it be possible to turn this sea of rough neutral reportage into a compelling portrait of this man? We were constantly rearranging, adding and cutting, feeling for a coherent sequence regardless of place or chronology or theme. Like chipping away at a block of stone to find the figure within.
The invasion of Ukraine changed our approach and forced the material into a different order. Chronology became essential. Francis had always spoken forcefully against all war. Now his warnings, and his analysis of the pattern of war, stood out.
Travel is where Francis the man becomes visible. Direct engagement with the people is clearly extremely important to him. You could say that his pontificate is a reverse pilgrimage, so rather than followers streaming from remote places to the Vatican, the pope himself travels to the people, meets them where they live and learns firsthand about their lives and woes.
I feel fortunate that I had the chance to accompany the Pope on two trips to Malta and Canada before finishing the film. Traveling with Francis, being there in person, immediately engaged the way I think as a cameraman and a director, and a completely different sense of the trips emerged. It forcefully made me aware that just like the Pope’s journeys, In Viaggio is necessarily inconstant evolution, and I tried to embed that concept as we included the material I shot. Any sense of closure would have gone against the evolutionary nature of the film, its orientation towards whatever comes next, the continuation of the process of encountering, learning, understanding. This open-endedness is the very essence of In Viaggio.
––Gianfranco Rosi
Financial statements for businesses usually include income statements, balance sheets, statements of retained earnings and cash flows. For more information please visit us our website.
The National War Memorial is a monument in the South Australian capital of Adelaide, commemorating those who served in the First World War. Opened in 1931, the memorial is
located on the corner of North Terrace and Kintore Avenue, in the heart of the central business district and adjacent to the grounds of Government House. Memorial services are held
at the site throughout the year, with major services on both Anzac Day (25 April) and Remembrance Day (11 November).
First proposed in 1919, the memorial was funded by the Parliament of South Australia, making it the first Australian state war memorial to be confirmed after the war. The design of
the memorial was selected through two architectural competitions. The first competition, in 1924, produced 26 designs—all of which were lost before judging could be completed after
fire destroyed the building in which they were housed. A second competition, in 1926, produced 18 entries, out of which the design by the architectural firm Woods, Bagot, Jory &
Laybourne-Smith was selected as the winner. The design—effectively a frame for two scenes depicted through Rayner Hoff's marble reliefs and bronze statues—shows the prelude
and the epilogue to war, depicting both the willingness of youth to answer the call of duty and the extent of the sacrifices which they made. In this, the work is not displaying a material
victory, but instead a victory of the spirit. Bronzes line the walls of an inner shrine, on which are listed the names of all South Australians who died during the Great War.
History
The obverse face of the National War Memorial, as viewed from the corner of North Terrace and Kintore Avenue.Almost 35,000 South Australians served in the First World War. This
number amounted to 8.5% of the South Australian population at the time, or 37.7% of men between the ages of 18 and 44. Of those who served, over 5,000 South Australians died. In
response to these deaths, Archibald Peake, the premier of South Australia, asked the state parliament to fund a memorial commemorating the victory and the sacrifice of those who
had fought and fallen. The motion was presented in March 1919, and it received unanimous support in the House of Assembly and the Legislative Council. With the passing of this
motion, the South Australian Government became the first in Australia to elect to build a memorial to the soldiers of the First World War.
It was decided by parliament that the new memorial should be referred to as the "National War Memorial", even though it was to be a purely South Australian monument, and in spite
of the term already being used to describe the memorial to the South African War of 1899–1902. There have been at least two perspectives offered as to why the term "National" was
employed. First, as Donald Richardson observed, the name may have been chosen to emphasis the Government's intention that the memorial should commemorate all who served
during the war, not just those who came from South Australia; and second, Ken Inglis argued that the name may have reflected the perception, (still held in spite of federation), that the
"province is a nation".
1924 competition
The National War Memorial Committee was formed in order to bring the proposal to fruition, and in February 1924 the committee announced an architectural competition to find the
design of the new memorial. In the preamble to the conditions of entry, it was stated that the new memorial was to serve the purpose of "perpetually commemorating the Victory
achieved in the Great War, 1914–1918, the Supreme and personal sacrifice of those who participated in that War, and the National effort involved in such activities".
Entry was open to South Australians who were British subjects, and those intending to submit designs were required to
file a Statement of Intent prior to 29 February 1924. The competition closed on 30 September 1924, and there was a one guinea entry fee. Three assessors were nominated to judge
the entries: the South Australian Architect-in-Chief, A. E. Simpson; local architect Herbert Louis Jackman (representing the South Australian Institute of Architects); and Sir William
Sowden.
The committee specified a budget of £25,000, (previously figures of both £5,000 and £100,000 had been discussed), and the conditions of entry stated that the memorial was to be
situated at the entrance to Government House on the corner of King William Street and North Terrace, placing it just behind the existing memorial to the South African War. This
location was counter to previous suggestions: a 1919 survey of architects had proposed that the memorial should be built on Montefiore Hill, while in 1923 the plans for the memorial
involved erecting it at the rear of Government House, rather than at the front.
Significantly, the committee left open the form that memorial would take, beyond stating that the memorial was not to be "utilitarian in character", and debate over the form led to
the emergence of a number of suggestions, many of which were covered in the media of the day. These included Dame Nellie Melba's proposal to build a carillon of bells; a
suggestion by Simpson Newland to turn Anzac Highway into a "Way of Honour" by adding triumphal arches to each end; and Walter Charles Torode's plan to build a 30 meter high
"metal and marble" monument on the top of Mount Lofty with an electric car to carry people to the summit.
In the end a total of 28 architectural firms registered their intent to submit entries to the competition—a lower number than expected, but Richardson suggests this may have been due
to work on proposals for the new Adelaide Railway Station. Out of those 28, a total of 26 firms submitted designs by the deadline. Unfortunately, on 10 November 1924, before
judging could be completed, the Richards Building in Currie Street was destroyed by fire, taking with it all 26 proposals.
Although most of the judging had been completed before the fire, suggestions at the time that the committee could use what they had learned from the entrants to propose a new
competition with greater clarity as to the requirements led to naught: a 1925 letter to the then Premier John Gunn reveals that there was little to be learned from the competition, as the
assessors had found that none of the designs were suitable.
1926 competition
Louis Laybourne Smith, the architect who (along with Walter Bagot and Rayner Hoff) was largely responsible for the winning design.Little progress had been made on the memorial by
1926. While some debate occurred in respect to the form that the memorial would take, the focus of the discussions concerned the location of the memorial, and this centered on
the future of Government House and the role of the Governor. A number of left-wing politicians argued that the grounds of Government House should be turned over to the State and
used to build the memorial while the conservatives desired to retain the status quo. By 1925 the National War Memorial committee was prepared to accept the Government House
grounds as the site of the memorial, but they delayed making an announcement. This proved to be fortuitous, as legal issues prevented the plan from going ahead. Instead a
portion of the grounds, located at the corner of North Terrace and Kintore Avenue, was put aside for the purpose. (The plan to move the Governor and to use the grounds as part of
a larger war memorial were revisited, over 80 years later, in 2007).
In 1926, after pressure from the returned soldiers, a second competition was announced. Once again the budget was set at £25,000. As per the first competition, all entrants had
to be South Australian British subjects, and all entries were to be judged anonymously, but this time there was to be only one assessor: John Smith Murdoch, the chief architect for the
Commonwealth of Australia. In deference to the previous competition, the top five entrants from 1924 were each given £75 upon the submission of a new design, and all of the
designs were insured by the government for £100 each.
With entries restricted to South Australians, only 18 designs were received—a figure that was "correspondingly fewer" than those received in other states where the competitions
were open to all Australians. Nevertheless, in his Assessor's Report, Murdoch acknowledged that the quality of some of the proposals were such that they "probably would not
have been exceeded had the competition been more open". After examining the submissions, on 15 January 1927, the design by Louis Laybourne Smith, (one of the principals at
the architectural firm Woods, Bagot, Jory & Laybourne–Smith), was selected by Murdoch as the winner.
Woods, Bagot, Jory & Laybourne-Smith had entered the 1924 competition with an arch designed by Walter Bagot, but in 1926 Bagot was away in Europe. Thus Laybourne
-Smith was responsible for drawing and submitting the final design, although he was clear to highlight the role Bagot played in the "architectural conception" of the monument.
While the firm was to be awarded 6% of the cost of the memorial, they refused all but enough to cover their own expenses, asking instead that residues (approximately £1000) be
placed in a trust fund to pay for the upkeep of the work. While this is seen as an altruistic act, Richardson noted that Laybourne-Smith was both a member of the National War
Committee and sat on the sub-committee which drafted the rules of the competition, and thus it may have been considered "improper" to accept the money.
When announced to the public the design was "universally hailed as a masterpiece". Nevertheless, in writing his report on the result of the judging, Murdoch stated of the winning
architect that he "depends almost entirely on the sculptor to tell the story of the memorial, employing in his design no more architecture than that required to successfully frame and set
his sculptural subjects, and to provide accommodation to the extent asked for by the conditions". This view was echoed by Inglis, who described the architecture as "essentially a
frame for statuary"—an approach that he felt was "unusual" for an architect. As a result of this dependency on the sculpture, some of the other contestants expressed concerns,
arguing that the contest was about architectural works rather than sculptural ones, even though the conditions of the competition specifically allowed for sculpture in the proposals.
Construction
Construction of the memorial began in 1928 with the cut and placement of marble blocks from Macclesfield
and Angaston. The South Australian Monumental Works were chosen to work on the construction, with Alan Tillett as the principal. Although no sculptor was named in the winning
proposal, it did make mention of a possible candidate—who later proved to be Rayner Hoff, a Sydney-based sculptor born in England. Raynor Hoff produced the designs for the
sculptures from his Sydney studio, with the bronze castings from Hoff's plaster models being produced by the South Australian firm A. W. Dobbie and Company. (Hoff had expressed
reservations that a South Australian company would be capable of handling bronzes of the required size, but a test casting of the lion's head from the memorial was sufficient to
overcome his concerns). The two angel reliefs sculpted from the Angaston marble were produced by Julius Henschke in situ from Hoff's designs, expressed through one-third sized
plaster models which Henschke then scaled to suit.
Significant delays occurred during construction after a strike by the stonemasons. The stonemasons were demanding a 44 hour week and to be paid at "outside rates", (rates of pay
for stonemasons were based on whether or not the work was to be constructed on site in the open air, or inside under cover— Tillet was paying the lower "inside rates", even though
most of the work was to be conducted on the site). However, Tillet had tendered on the basis of a 48 hour week at inside rates, and paying extra would have caused significant
financial problems. Tillet eventually won after the dispute went before the courts, but the strike had caused considerable financial damage to Tillet's company, which went into
receivership in 1930 and stayed in that state until after the memorial was completed.
The South Australian Government had dedicated £25,000 for the memorial. It was estimated that bulk of the expense would be masonry at £15,300 with sculptural work and
landscaping requiring £8,500 and £1,200 respectively. However, the final cost of construction pushed this out to approximately £30,000.
Opening
The National War Memorial in South Australia became the fourth state World War I memorial to be opened when it was unveiled in 1931. Inglis notes that this is in keeping with the size of the constituency, arguing that
"the larger the constituency that each of these collective tributes had to represent, the later it was built". It was unveiled before a crowd of almost 75,000 on Anzac Day, 25 April
1931, (the 16th anniversary of the Gallipoli landing), by the Governor Sir Alexander Hore-Ruthven. The crowd, "as huge a crowd as anyone could remember assembling in the
city", was unable to fit in front of the memorial, so many thousands assembled at the Cross of Sacrifice in the Adelaide park lands to await a later ceremony. Hore-Ruthven was
introduced by the acting state premier, W. J. Denny, whose involvement in the unveiling, according to Inglis, was unusual for a Labor politician.
Restoration work
In 2001, the memorial's 70th anniversary year, a three-month remedial project was undertaken, restoring the bronze and stonework details and reinforcing the
foundations. The work was completed just days before the Remembrance Day services. In 2002 the architects responsible for the restoration, Bruce Harry & Associates, were
awarded a Heritage merit award for their work on the memorial by the Royal Australian Institute of Architects.
Design
The Spirit of Duty appearing before the youth of South Australia, as represented by the girl, the student and the farmer.The rules of the competition limited the space for the memorial
to the "one half acre" of land that was excised from the grounds of Government House.The design submitted by Woods, Bagot, Jory & Laybourne Smith easily met this
requirement, as the memorial was designed to fit on an ellipse with a major axis of 18.3 m (60 ft) in length and a minor axis of 15.5 m (51 ft).Standing at a height of over 14 m (46
ft), the structure was carefully placed back from North Terrace to provide space for "public gatherings of a ceremonial nature" and to allow for the proposed widening of the street.
The monument has two sides, referred to by the architects as the reverse and the obverse of the work, which they likened to the two sides of a coin. These two aspects represent
the prologue and the epilogue of war. Each side features a relief carved from Angaston marble and framed by the "rough-hewn" arch carved out of marble from Macclesfield,
while the granite steps leading up to the monument are constructed of Harcourt granite, as specified in the original proposal. (The architects had preferred the local West Island
granite, but acknowledged that the Harcourt granite was "the best available" unless the government would agree to reopen the quarry on West Island). The materials were chosen
in order to provide continuity with Parliament House, located a short distance away along North Terrace.
The Spirit of Compassion, bearing aloft the body of a dead soldier, symbolizes and commemorates the sacrifice of those who gave their lives in the war and the loss experienced by
those who loved them.To represent the prologue to the war, the obverse of the monument (the side facing North Terrace) features a relief of the Spirit of Duty appearing as a vision
before the youth of South Australia, represented in the work by a sculptural group consisting of a girl, a student and a farmer abandoning the "symbols of their craft". The three are
depicted in normal dress, as they are not yet soldiers and are currently unprepared for the war that is to come, and they are facing away from the world as they look to the vision
before them. In Bagot's original plan, submitted for the 1924 competition, there was to be but a single nude figure kneeling before the vision (for which Bagot posed while in
Europe), but Laybourne-Smith's 1926 submission became grander in its scope. In addition, Bagot's original designs were naturalistic, with the Spirit of Duty depicted as a female
figure, but under Hoff's direction the figure was changed to male, and the style of the reliefs was changed to Art Deco—a "radically new" art style for Australia at the time. Hoff,
however, presented the sculptural group in the original naturalistic style, thus providing a "bridge between the Renaissance-style architecture and the Art Deco of the reliefs".
On the reverse side of the monument, facing away from the traffic, is a relief carved into the marble representing the epilogue of the war and depicting the Spirit of Compassion as a
winged spirit of womanhood bearing aloft a stricken youth. Beneath the figure is situated the Fountain of Compassion, the flow of water representing the "constant flow of
memories", while the lion's head from which it emerges, (and which bears the Imperial Crown), is representative of the British Commonwealth of Nations.
The designers acknowledged that the symbolism—especially that of the reverse side—does not represent "victory" in the traditional sense. They stated that the "Arch of Triumph
which was built in honour of a Caesar, a Napoleon, no longer expresses the feelings of modern democracy after an international struggle". Instead, the memorial represented a
spiritual victory, in which was displayed a "willingness to serve and to sacrifice".
Detail of one of the bronzes inside the memorial, upon which is listed the names of the South Australians who died during the war.Within the memorial the architects added an inner
shrine, or Record Room, in which could be recorded the names of the South Australians who fell during the war. While the design did not specify the exact form that this would take,
in the completed memorial these names are inscribed in the bronzes that line the walls. The design also allowed for a cenotaph within the inner shrine, which the designers
suggested could either be used as a symbolic representation of the unknown soldier or as the marker to an actual grave, although this aspect was never realised.
The monument is designed to honour both the war dead and all who served in the war—one face being inscribed to those who died in the war, while the other is dedicated to "all who
served". On the obverse side is inscribed the words "To perpetuate the courage, loyalty, and sacrifice of those who served in the Great War 1914–1918", while the reverse states
"All honour give to those who, nobly striving, nobly fell that we might live". Above the two entrances to the inner shrine were to be inscribed the names of the major theaters in which
Australians served in the Great War. Originally it was suggested that this was to be Egypt, Gallipoli and Palestine on one side, with France on the other, but in the final work
Belgium was added to the list.
Although the central square mile of the City of Adelaide is designed to the points of the compass, the monument sits at a 45 degree angle to North Terrace. The architects
provided two reasons for this. First, it was observed that "monuments suffer materially from monotonous lighting" when they face to the south; and second, the placing of the
monument to face a north-west direction allows it to be in line with both the Cross of Sacrifice and St. Peter's Cathedral. In addition to these two arguments, Richardson also notes
that the diagonal positioning of the memorial permits the dawn sun to fall on the facade.
EOS Canon 5D, 24-70L. AEB
2014
IMG_3180_1_2
Made in Lland (Artist’s Statement)
My mind (Reason) says no, my Imagination screams “..and yes I said yes I will Yes."
Thus, I adopt the most famous utterance generated by my own race, the final words from James Joyce’s 'Ulysses', and pillage the masters of my adopted host (Vermeer, Van Gogh, and Rembrandt), hopefully combining Lyricism and Pragmatism, and generating an idea, and a plan, to reinvigorate the Silk Route between the City State of LLand and the People’s Republic of Ina.
By insinuating a note, written to himself in 1914, the Artist/Chess-master Marcel Duchamp, in a self-admonition, even - spawned a philosophy proffering the possibility of the Universal Equality of All Matter and Anti-Matter.
I am taken to a land of limitless possibilities and imaginative leaps, kaleidoscoping time and place, and choosing to ignore all boundaries. The note said simply:
“To use a Rembrandt as an ironing board”.
This pithy statement could lead to nihilistic despair or it could lead in the other direction entirely. I choose the latter.
"..perhaps it will be the task of an artist as detached from aesthetic preoccupations and as intent on the energetic as Marcel Duchamp, to reconcile art and the people."
Guillaume Apollinaire , Les Peintre Cubistes (published 1913).
This exhibition is the beginning of a foray into that realm, the notion of, through the prism of Duchamp’s statement, initially introducing that most impressive manifestation of the collective consciousness, China, to three of the most venerated Individuals of the Western (Dutch) Canon, through the commonplace vehicle of Duchamp’s ironing board.
‘Maid in Lland’ represents the first phase of this endeavour; the journey of developing Pragma and the Rembrandt board itself. The show collapses time and visualises the painting of the boards in Dafen, a township on the Chinese mainland totally devoted to the copying of European masterpieces.
The second and third phases, the Vermeer and Van Gogh boards, have already been developed over six years, in 4,000 images on the Internet. This body of work presented here has been drawn from that same source.
The ‘story’ is interwoven with personal details, of self-love recovered after a history of abuse; these chart an individuation process which has proceeded to the point where I can say, with confidence, that anything is possible.
If a pinch of spice or a tulip bulb could generate a ‘Golden Age’, then anything can - even a Duchamp ironing board. It is simply a matter of determined people, who believe this is possible, coming together and focussing on pushing it through - with some humour and beauty.
All of these ideas and works generated are copyright free, so that anyone can use any of it, without fear of litigation. I would be more than pleased, indebted even, if anyone can take any of these ideas further.
---------------
Royal Irish Academy
Ireland’s Academy for the Sciences and Humanities
Catherine Marshall
5 Saint Kevin’s Road
Portobello
Dublin 8
Reference: Billy Quinn
23 June 2009
To Whom It May Concern
I came to know the artist Billy Quinn and his work in 1995/6 when he returned from New York to do a residency at the Irish Museum of Modern Art where I was Head of Collections. I was impressed then, both by his work and by his commitment to social engagement through his art practice. I was equally impressed, as were my colleagues, by his knowledge of art history, literature and philosophy, which, along with his social commitment, provides a deep well of sources from which the conceptual underpinnings of his work derive. Later I had the pleasure of working with him more closely when the Museum purchased some of his work, and several exhibitions in Ireland, the United States and Finland included it.
Quinn is an Irish artist but his vision has never been limited by the constraints of life on a small island. He has chosen to work in New York, London, Berlin and Amsterdam, but his gaze encompasses artistic, political and religious events as far away as China and Afghanistan. Much of his work in the past decade has been digital and is disseminated through the internet, using this contemporary medium to comment on outmoded traditions of art making and the artmarket, on connoisseurship and elitism. He has a particular preference for Flickr because it is an egalitarian platform, which excludes nobody. Appropriation is seminal to his practice, and so it is entirely consistent that he now wants the opportunity to make artwork based on his own digital work, which in turn references Rembrandt, Vermeer, Van Gogh and Marcel Duchamp. His new project refers also to the work of Jeff Koons and Andy Warhol, as he searches for a painter to paint an ‘original’ Quinn/Rembrandt painting. He intends to travel to Dafen in China, where paintings are mass-produced, tantalisingly hand painted but entirely devoid of the aura traditionally associated with the hand of the artist. The project questions authorship, connoisseurship and notions of the elite art collector, since the painting and multiple hand-painted reproductions of it will be offered for sale as mass produced objects for consumption in key tourist locations in Amsterdam. The universality and circularity of this process is reminiscent also of the Dutch history of trade with the east, while the hand-painted reproductive process derives, similarly, from good 17th century practice.
The value of this new body of work lies in its scale and ambition. It transcends time and place and breaks down divisions between east and west, between fine art and popular culture. It questions the privileged position of the traditional collector and empowers those previously excluded. Above all it acknowledges the continuity of time and space, hero and follower, matter and idea and does so in a way that is accessible without diminishing its complexity. Like Baudrillard’s simulacrum it obliges the viewer to commit to a position in relation to the ‘reality’ of the work on every level.
From my previous knowledge of his career, as a working artist and as a successful doctoral candidate in Fine Art Practice, I have had reason to respect Billy Quinn’s professionalism and to admire the courage and perseverance with which he tackles his self-imposed tasks. He is not motivated by financial reward but would like to present his art in a very democratic public arena. He holds all ideas to be universal property and does not copyright his work focussing instead on notions of universal equality in a manner that is both beautiful and humourous. I very much hope that this project, his most exciting and ambitious to date, will meet with the support, financial and artistic, that it deserves.
Catherine Marshall
Co-Editor Vol V
Art and Architecture of Ireland
Royal Irish Academy
On secondment from the Irish Museum of Modern Art
----------------
Billy Quinn
william.quinn11@btinternet.com
Mobile Phone: 06 2734 6635
Education
1997-2000Professional Doctorate in Studio Practice, University of East London.
1980-82 B.A. Hons. Fine Art (Film), University of East London.
1973-74National College of Art and Design, Dublin. Foundation Course.
Solo Exhibitions
October 2007 Artist in Residence Studio Exhibition at M4 Gastatelier, Amsterdam
2002 March/April
Postcards From the Wedge (The Thick End),
The Fridge Gallery, London.
2000 More Life : Minor Wounds, The East London Gallery, London E13.
1999 Work in Progress, The East London Gallery, London E 13.
1998The Diet of Worms, The East London Gallery, London.13.
1998 Denial of Burial and Other External Crosses, Ko Raw Gallery, London
1998 Quinn's Da, The Temple Bar Gallery, Dublin.
1997 Traditional Family Values, Goldstrom Gallery, New York City.
1997The Icon Series, WWW.plexus.org/quinn/plague.
1996Traditional Family Values The Temple Bar Gallery, Dublin.
1994Traditional Family Values , Mindy Oh Gallery, Chicago IL
1994A Show of Hands, Andre Zarre Gallery, New York City.
1993A Plague of Angels, Mindy Oh Gallery, Chicago IL.
Group Exhibitions
Feb 2010 Bittersweet- Expressions of Love and Hate,
The Doswell gallery, West Cork
June30
-Aug 25, 06 Selfportraitr A Virtual show of images from Flickr.com
The Pace/MacGill Gallery, NYC
June 2005 Incantations. Nun’s Chapel, Douglas Street, Cork
June 2004 Mediators. Fordham Gallery, Princlet Street, London
Sept 2002-May 2003
Something Else. Touring group show, opening in Turku travelling
To Helsinki, Oulu, and Joensuu in Finland
April 2002-May 2002
Ierse Kunst Uit de Collectie van het Museum of Modern Art te Dublin
Stedelijk Museum, Aalst, Belgium
Nov 14 –April 2002.
Irish art Now: From the Poetic to the Political.
Touring show of American Institutions from The Irish Museum of
Modern Art (I.M.M.A.), curated by Declan Mc Gonagle.
Irish Museum of Modern Art, Dublin.
July 14-Sept 23, 2001.
Irish art Now , Chicago Cultural Centre, Chicago.
May 6-June 25, 2000.
Irish art Now, Pittsburg Centre for the Arts, Pittsburg.
Jan 3 - April 9, 2000.
Irish art Now , Art Gallery of Newfoundland and Labrador, St Johns.
Oct 3- Dec 12, 1999
Irish art Now , The Mc Mullan Museum of Art, Boston.
1999 4 Irish Artists, The Irish Club, Eaton Square, London.
1998Künstler für die Insel IV, Frankfurt am Main, Germany.
1998 Documenta USA, The Museum of Contemporary Art, Pontiac,
Michigan.
1997Recent Acquisitions: work in Focus, I.M.M.A., Dublin.
1997Juno Moneta: For Your Eyes Only, Mindy OH Gallery, New York City.
1996Out Art, City Arts Centre, Dublin.
1995Summer Group Show, Foster Goldstrom Gallery, New York City.
1994 Cultured Pearl, Mindy Oh Gallery, Chicago, IL.
1994 The Annex Show, Mindy Oh Gallery, The Chicago Art Fair, IL.
1994Animal, Mineral, Vegetable, Andre Zarre Gallery, New York City.
1994Homage to Camus, Mindy Oh Gallery, Chicago IL.
1994 Healing Before Art, Mary Ryan Gallery, New York City
1993 Saints and Survivors in a Time of Plague, Three person show Lowinsky
Gallery, New York City.
1992New Acquisitions Show, Lightworks, Syracuse, New York City.
Related Work
2000-2003Lecturing in Dublin, Cork and Galway (Ireland) and Turku (Finland) and Winchester College of Art on the PhD course.
1999-2000 Extensive lecturing on development of work practice relative to Doctoral
research.
Guest lecturer at Goldsmiths, Leeds, Exeter, Central St. Martins,
The Royal Academy of Stockholm, and Winchester College of Art
1998Part-time lecturer in Fine Art at the University of East London.
1996CURSAI, R.T.E. Irish national television programme.
Guest lecturer, University of Belfast.
1995 Black Box, R.T.E. Television arts programme.
Guest lecturer, National College of Art and Design, Dublin.
Guest lecturer, The Dublin Institute of Technology.
1993Guest lecturer, The Illinois Institute of Technology and The Art Institute
of Chicago.
Selected publications
Eroticism and Art. Alyce Mahon, Lecturer in the History of Art at the University of Cambridge and Fellow of Trinity College. Oxford University Press 2005
The Irish Museum of Modern Art: The Permanent Collection. Catherine Marshall 2005
Something Else: Irish Contemporary Art. Valerie Connor, Maija Koskinen and Declan Mc Gonagle, Turku Art Museum 2002
Irish Art Now: From the Poetic to the Political.. Declan Mc Gonagle, Fintan O’ Toole and Kim Levin, Merrell Holberton Publishers.
The Art of Aids, Robert Barker, Continuum Publishing, New York City.
CIRCA. The Magazine of the Irish Arts. An 8 page insert "work in progress" with Catherine Harper. The Spring issue 1997.
Residencies
November 2007- January 2008: Artist Residency at Foundation B.A.D. Rotterdam
August - October 2007: Artist Residency at M4 Gastatelier, Amsterdam
1997 Helsinki International Artist’s Project (HIAP), Finland
2 month residency Nov-Dec.
1995-96 Artist's Work Programme. Irish Museum Of Modern Art.
1992Lightwork, Artist-in-Residence program, Syracuse, New York State.
Grants
New Work Award 2006. The Irish Arts Council: €35,000
Collections
Irish Museum of Modern Art, Dublin.
The Jonathan Stiles Collection, Helsinki.
Steven F Foster Collection, London.
Peter Kabcenell Collection, New York City.
Mindy Oh Collection, Chicago.
Monique Goldstrom Collection, New York City.
Tim Peterson and Richard Gerrig Collection, New York City.
Carl Miller Collection, Boston.
City of Galveston Collection, Texas.
Lightwork Collection, Syracuse.
Bela Majoros Collection, Budapest.
Chantal Boisgontier Collection, Paris.
John McBratney Collection, Dublin.
Alexander Tinti Collection, Vienna.
I wonder what this guy's political persuasions are? :-D
I'm sure he's glad how those runoff elections in Georgia turned out.
I still don't understand how this guy (I saw him get out of his car) is a liberal yet drives a crossover. Well, it is a Subaru, at least. But I think a Toyota Yaris would have been more appropriate.
Taken with my flip phone at the West Caldwell, New Jersey ShopRite.