Art

How was Halloween invented? Once a Celtic pagan tradition, the holiday has evolved to let kids and adults try on new identities

<div class="theconversation-article-body"> <figure class="align-left "></figure> <a href="https://theconversation.com/profiles/linus-owens-457047">Linus Owens</a>, <a href="https://theconversation.com/institutions/middlebury-1247">Middlebury</a> “It’s alive!” Dr. Frankenstein cried as his creation stirred to life. But the creature had a life of its own, eventually escaping its creator’s control. Much like Frankenstein’s monster, traditions are also alive, which means they can change over time or get reinvented. Built from a hodgepodge of diverse parts, Halloween is one such tradition that has been continually reinvented since its ancient origins as <a href="https://press.uchicago.edu/ucp/books/book/distributed/T/bo46408548.html">a Celtic pagan ceremony</a>. Yet beneath the superhero costumes and bags of candy still beats the heart of the original. The Celts lived in what’s now Ireland as far back as 500 B.C. They celebrated New Year’s Day on Nov. 1, which they called <a href="https://www.loc.gov/folklife/halloween-santino.html">Samhain</a>. They believed that leading up to the transition to the new year, the door between the worlds of the living and the dead swung open. The souls of the recently dead, previously trapped on Earth, could now pass to the underworld. Since they thought spirits came out after dark, this supernatural activity reached its peak the night before, on Oct. 31. The Celts invented rituals to protect themselves during this turbulent time. They put on costumes and disguises to fool the spirits. They lit bonfires and stuck candles inside carved turnips – the first jack-o’-lanterns – to scare away any spirits looking for mischief. If all else failed, they carried a pocketful of treats to pay off wayward spirits and send them back <a href="https://global.oup.com/academic/product/halloween-9780195168969?cc=us&lang=en&">on their way to the underworld</a>. Sound familiar? <a href="https://theconversation.com/halloweens-celebration-of-mingling-with-the-dead-has-roots-in-ancient-celtic-celebrations-of-samhain-191300">Although focused on the dead</a>, Samhain was ultimately <a href="https://utpress.org/title/halloween-other-festivals/">for the living</a>, who needed plenty of help of their own when transitioning to the new year. Winter was cold and dark. Food was scarce. Everyone came together for one last bash to break bread, share stories and stand tall against the dead, strengthening community ties at the time they were needed most. When Catholics arrived in Ireland around A.D. 300, they opened another door between worlds, unleashing considerable conflict. They sought to convert the Celts by changing their pagan rituals into Christian holidays. They rechristened Nov. 1 “All Saints Day,” which today remains a celebration of Catholic saints. But the locals held on to their old beliefs. They believed the dead still wandered the Earth. So the living still dressed in costumes. This activity still took place the night before. It just had a new name to fit the Catholic calendar: “All Hallows Eve,” which is <a href="https://www.loc.gov/folklife/halloween-santino.html">where we got the name Halloween</a>. Irish immigrants <a href="https://www.irishpost.com/heritage/how-irish-great-famine-brought-halloween-to-america-161376">brought Halloween to America in the 1800s</a> while escaping the Great Potato Famine. At first, Irish Halloween celebrations were an oddity, viewed suspiciously by other Americans. As such, Halloween wasn’t celebrated much in America at the time. As the Irish integrated into American society, Halloween was reinvented again, this time as an all-American celebration. It became a holiday primarily for kids. Its religious overtones faded, with supernatural saints and sinners being replaced by generic ghosts and goblins. Carved turnips gave way to the <a href="https://www.merriam-webster.com/words-at-play/the-history-of-jack-o-lantern">pumpkins</a> now emblematic of the holiday. Though trick-or-treating resembles ancient traditions like guising, where costumed children went door to door for gifts, <a href="https://www.bakersfield.com/opinion/jack-santino-five-myths-about-halloween/article_6fe79e19-d106-52cc-a895-4a3a72d09c93.html">it’s actually an American invention</a>, created to entice kids away from rowdy holiday pranks toward more wholesome activities. Halloween has become a tradition many new immigrants adopt along their journey toward American-ness and is increasingly <a href="https://www.cambridgescholars.com/product/978-1-4438-0153-9">being exported around the world</a>, with locals reinventing it in new ways to adapt it to their own culture. What’s so special about Halloween is that it turns the world upside down. The dead walk the Earth. Rules are meant to be broken. And kids exercise a lot of power. They decide what costume to wear. They make demands on others by asking for candy. “Trick or treat” is their battle cry. They do things they’d never get away with any other time, but on Halloween, they get to act like adults, trying it on to see how it fits. Because Halloween allows kids more independence, it’s possible to mark significant life stages through holiday firsts. First Halloween. First Halloween without a parent. First Halloween that’s no longer cool. First Halloween as a parent. Growing up used to mean growing out of Halloween. But today, <a href="https://www.usatoday.com/story/money/business/2012/10/24/halloween-adults-costumes-elvira-mistress-of-the-dark/1593177/">young adults</a> seem even more committed to Halloween than kids. What changed: adults or Halloween? Both. Caught between childhood and adulthood, today’s young adults find Halloween a perfect match to their struggles to find themselves and make their way in the world. Their participation has reinvented Halloween again, now bigger, more elaborate and <a href="https://www.newsweek.com/halloween-prices-cost-more-expensive-pumpkin-candy-costumes-1754635">more expensive</a>. Yet in <a href="https://theconversation.com/why-has-halloween-become-so-popular-among-adults-104896">becoming an adult celebration</a>, it comes full circle to return to its roots as a holiday celebrated mainly by adults. Halloween is a living tradition. You wear a costume every year, but you’d never wear the same one. You’ve changed since last year, and your costume reflects that. Halloween is no different. Each year, it’s the same celebration, but it’s also something totally new. In what ways are you already reinventing the Halloween of the future today? <a href="https://theconversation.com/profiles/linus-owens-457047">Linus Owens</a>, Associate Professor of Sociology, <a href="https://theconversation.com/institutions/middlebury-1247">Middlebury</a> Image credits: Shutterstock 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-was-halloween-invented-once-a-celtic-pagan-tradition-the-holiday-has-evolved-to-let-kids-and-adults-try-on-new-identities-192379">original article</a>. </div>

Art

How you can get the official Australian portraits of The King and Queen

Royal fans nationwide can now request a special keepsake online for free. All Australians are entitled to their very own free portrait of King Charles and Queen Camilla. The way one can obtain the monarchy keepsake is through sending an email to their local federal MP requesting one. The initiative comes under the constituents' request program, which allows registered Australian voters to receive their own printed portrait of the royals. Official portraits of the King and Queen were provided to the Australian Government by Buckingham Palace in July and are available for public access. Photos available include a photo of the royal couple standing together, and seperate ones of the monarch and her majesty posing alone. In the photos the King and Queen both donned royal blue outfits and their Commonwealth Insignia, with the King wearing The Sovereign's Badge of the Order of Australia and the Queen wearing the Wattle Brooch. The portraits were taken by royal photographer Millie Pilkington in Buckingham Palace's White Drawing Room in June. The digital images can be downloaded for free from the Department of the Prime Minister and Cabinet <a href="https://www.pmc.gov.au/government/official-australian-portraits-king-and-queen" target="_blank" rel="noopener">website</a> for private use. Those who want a physical copy can request printed versions through their Federal Member of the House of Representatives or Senator in their state or territory via email. The government-funded program, introduced in the Parliamentary Entitles Act 1990, is available for Australian citizens only. Image: Department of the Prime Minister and Cabinet/ Millie Pilkington

Art

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

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. 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”. It also depicts two of her famous corgis at her feet and her husband, Philip standing behind her with his hands behind his back. 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. 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?" <blockquote class="twitter-tweet"> 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? Why is everything so shit, now? — Dr Dani Sulikowski (@DrDaniS) <a href="https://twitter.com/DrDaniS/status/1832347891433927015?ref_src=twsrc%5Etfw">September 7, 2024</a></blockquote> 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”. 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". "Even the corgi is confused," another user wrote. “Would you know this was the late Queen if I didn't tell you?" another wrote on X. 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." Images: Antrim and Newtownabbey Borough Council

Art

Drawings by teen Queen Victoria to go up for auction

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. 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. Dated July 1833, the drawings depict a knight, a woman, and a veiled woman on a horseback. 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." 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." "She was very curious and keen as an artist," Russell told CNN. 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. 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. The album also features royal ephemera, including an invitation to the coronation of King George IV at Westminster Abbey in 1821. "I'm interested to see how it performs," Russell said. Queen Victoria was very passionate about art, receiving her first drawing lesson at just eight years old. She went on to be tutored by renowned artists like Edwin Landseer, William Leighton Leitch and Franz Xaver Winterhalter. "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. Images: Roseberys Fine Art Auctioneers & Valuers via CNN/ Shutterstock

Art

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

<div class="theconversation-article-body"> <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> 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. 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. <h2>A mystery woman</h2> 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. 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. 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. 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. <h2>Scholarly perspectives</h2> 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. 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&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&idx=0">across different life stages</a>, including during widowhood, as depicted in the Mona Lisa. 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. 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. This hypothesis is further supported by art historians Jerzy Kulski and <a href="https://www.youtube.com/watch?v=owjJWxcnKrE">Maike Vogt-Luerssen</a>. 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. 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. 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. 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. 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. <h2>Beyond the canvas</h2> 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. 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. Through her strategic marriage and political savvy, <a href="https://www.scopus.com/record/display.uri?eid=2-s2.0-85147429412&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. 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. 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" /> <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> Image credits: Xinhua News Agency/Shutterstock Editorial 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>. </div>

Art

"Looks nothing like her": Kate Middleton portrait ridiculed

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. The image, created by artist Hannah Uzor, appeared on the front cover of UK magazine Tatler, as the artist recreated Middleton's appearance at a banquet held in South Africa in 2022. 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. 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. “A moment of dealing with something difficult, speaking from the heart, having the courage to tackle it head-on,” she explained in awe. However, many royal fans slated the artist on social media, simply asking, “are you kidding me?”. <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&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&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Tatler (@tatlermagazine)</a> </div> </blockquote> “This is just plain weird, looks nothing like her,” one person commented. “What have they done to her face,” asked another. 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.” “Are you kidding me? … You must be joking,” scorned someone else. Others slated the artwork by saying they believed it looked “like it was created by a child”. “It’s absolutely dreadful and should never have seen the light of day, let alone appear on the cover,” agreed another. 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. 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?" “[Kate] has really risen up to her role – she was born for this. She carries herself with such dignity, elegance and grace." Image credits: Tatler Magazine / Chris Jackson/WPA Pool/Shutterstock Editorial

Art

Royal artist reveals King Charles' reaction to official portrait

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. 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. "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 The Times. "Sometimes they'll say it, but more often you see it in their face – amazement, pleasure or recognition." 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. 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." The artist said that the King and Queen were prepared for the mixed reactions from the public. "They knew what to expect," he told the publication, before revealing that the King appeared in good health despite his recent cancer diagnosis. "[Our last sitting] was before his diagnosis. He didn't look remotely ill to me, and he looked amazingly well on Tuesday." "We already had a bit of a rapport and that definitely makes it easier," Yeo said of the painting process. "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." Image: Aaron Chown-PA/POOL supplied by Splash News/ Shutterstock Editorial

Art

Can you control your image? Gina Rinehart, King Charles and ‘moral portraits'

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> “She’s no oil painting”. Those were the unkind words of a colleague commenting on the subject of Vincent Namatjira’s acrylic painting, Gina. Every one of the prominent Australians and cultural heroes in Namatjira’s ensemble <a href="https://theconversation.com/vincent-namatjiras-paintbrush-is-his-weapon-with-an-infectious-energy-and-wry-humour-nothing-is-off-limits-217361">Australia in Colour</a> (2021) is subject to his trademark distortions. When the painter gets to work interpreting the press photographs that his main source, resemblance is always stretched. No one comes out unscathed: Tony Abbott looks just as scary as Angus Young from AC/DC; a grimacing Queen Elizabeth as grisly as a roaring Cathy Freeman. Indeed, in the <a href="https://thamesandhudson.com.au/product/vincent-namatjira/">2023 volume on Namatjira</a> there are no fewer than four paintings of Gina Rinehart – and they look like four different people. Do we expect a portrait to be a moral <a href="https://en.wikipedia.org/wiki/Physiognomy">physiognomy</a>, the ancient pseudoscience that assumes the way someone has lived their life shapes their features and appearance? Roman emperors were shown to be ideal types: the heroic portrait. Who knows what these men actually looked like? In the case of King Charles III, whose <a href="https://www.bbc.com/news/entertainment-arts-68981200">new portrait</a> by Jonathon Yeo was unveiled this week, we can compare his likeness to the myriad photographic and filmic images. Newspaper caricature, <a href="https://firstamendmentmuseum.org/exhibits/virtual-exhibits/art-politics-300-years-of-political-cartoons/political-cartoons-part-1-1720-1800/">popular since the 1700s</a>, works hard to point out imperfections, posit animal likenesses, and exaggerate specific facial features to satirise public figures. Namatjira brushes with caricature even when depicting himself. <h2>Can you control your image?</h2> I think Rinehart should be flattered to be one of Namatjira’s favourites. The wits in the twittersphere have in the past 24 hours shown several more of his Ginas, and it turns out there are also at least half a dozen colour portraits of her by other artists. They range from <a href="https://scottmarsh.com.au/products/mothers-milk">Scottie Marsh’s mural</a> on a Sydney wall of a matronly Rinehart giving the breast to infant Barnaby Joyce (with apologies to Raphael), to Xavier Ghazi’s demonic hard-hatted Gina <a href="https://citynews.com.au/2023/bald-archy-prize-heading-for-immortality/">giving Australians the finger</a> – it’s in newspaper caricature mode, his entry in the Bald Archies competition for 2023. Although Rinehart has reportedly called for Namatjira’s painting to be taken down, the initiative <a href="https://www.theage.com.au/culture/art-and-design/gold-medallist-led-campaign-to-take-down-gina-rinehart-portrait-20240516-p5je1y.html">apparently comes</a> from members of the Australian swimming team and their former coach (Rinehart is that sport’s major private sponsor). I suspect their discomfort comes from reading Namatjira’s Gina as a moral portrait; that is, ugliness of appearance projects an ugly spirit (whereas for them she is the epitome of generosity). It’s an interesting idea that the fresh-faced teenage daughter of Lang Hancock in <a href="https://www.smh.com.au/entertainment/tv-and-radio/abcs-australian-story-focuses-on-gina-rineharts-bond-with-father-lang-hancock-20150706-gi6h1f.html">old news photos</a> has changed not just because times takes beauty away (as we all know), but because of the impact of things she inherited from her father: not just the extreme wealth and the jawline, but the conservative views, and the ways she has used her money and power. Her control of vast tracts of (unceded) grazing land across western and central Australia give reason to reflect on what Western Aranda man Namatjira might think of her. <h2>And yet what about commissions?</h2> When can a sitter control their portrait image? Only when they commission the work. Art history has plenty of cases in which a sitter has rejected their portrait. Monet in the 1860s painted his brother Leon, who so disliked the canvas he locked it in an attic, from which it emerged 150 years later. Portrait paintings have had to be altered, payment refused, or be paid for then destroyed. The commissioned portrait, it’s assumed, must flatter the sitter or at least offer a fair and non-judgemental likeness. The British royal family has historically been very forgiving about portraits, and has the sophistication to know it is futile to protest a likeness. Doing so invokes the perverse “<a href="https://en.wikipedia.org/wiki/Streisand_effect">Streisand effect</a>”, as we see happening with Namatjira’s Gina. There are dozens of depictions of Elizabeth II and Charles III in Namatjira’s pantheon – including one of the late queen alongside Rinehart in Australia in Colour. Namatjira has a family link to Elizabeth and Prince Philip, who met Albert Namatjira (the painter’s great grandfather) on their 1954 tour of Australia. But no one is asking for Queen Bess to be removed from the National Gallery of Australia. As a mark of noblesse oblige, King Charles has accepted the newly unveiled commissioned portrait of himself by Jonathon Yeo. It is an absolute shocker, and he should have sent it back. The King, de-aged by 20 years, looks pleasantly out at us from a floor-to-ceiling fog of strawberry- and cerise-coloured paint that covers his dress uniform. The joke, of course, is that the red colouration can be read as a reference to “<a href="https://time.com/6226657/crown-charles-camilla-tampongate/">tampongate</a>”, the product of an infamous case of tabloid phone-hacking in 1993. It’s a case of a portrait generating an unintended consequence – just as Namatjira surely did not expect to provoke international headlines today with his Gina, whom he’s been depicting for years. Fittingly, wise heads have rejected calls for the gallery to remove the canvas, starting with director Nick Mitzevich’s <a href="https://amp.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">measured statement</a>, seconded by the National Association for the Visual Arts whose <a href="https://visualarts.net.au/news-opinion/2024/nava-defends-vincent-namatjiras-artistic-freedom-amid-demands-removal-nga/">press release</a> insists on freedom of expression. Finally, late yesterday, Namatjira, resisting myriad calls for interviews, issued a statement in the pithy mode of his book texts. Let him have the last word: <blockquote> I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.<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/230297/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> </blockquote> <a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, Professor in Art History, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: X (Twitter) 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/can-you-control-your-image-gina-rinehart-king-charles-and-moral-portraits-230297">original article</a>. </div>

Art

Royal photographers weigh in on photo editing fiasco

Royal photographers, brothers Zak and Samir Hussein have opened up about the realities of altering royal images - including what is and isn't allowed. "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 9Honey. 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. "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. "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." 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. "You try and get it right first time around when you're taking the picture," he told 9Honey. "Ideally, you don't want to have to do too much to the picture but yeah, it's very basic what we do. "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. "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." 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. 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. "Analogue retouching can occur at three stages: Modifying the negative, Manipulating the image during printing, direct retouching on the final print." Image: 9Honey/ Royal Collection Trust / © His Majesty King Charles III 2024.

Art

Incredible treasure trove of unseen royal images

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". 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. 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. 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. 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. The exhibition also pays homage to the enduring allure of Princess Anne through her striking appearances on Vogue 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. 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. 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. "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. Images: Royal Collection Trust / © His Majesty King Charles III 2024.

Art

“I paint the world as I see it": Artist responds to Gina Rinehart's demand

Acclaimed Aboriginal artist Vincent Namatjira has found himself at the centre of controversy following criticism from mining magnate Gina Rinehart over his portrait of her displayed at the National Gallery of Australia in Canberra. Rinehart reportedly <a href="https://www.oversixty.com.au/entertainment/art/gina-rinehart-demands-for-national-gallery-to-remove-her-portrait" target="_blank" rel="noopener">demanded the removal of the painting</a>, which she deemed unflattering, sparking a debate on artistic expression and the portrayal of power in contemporary art. Namatjira's artistic style is characterised by caricatures that border on the cartoonish, portraying influential figures such as Queen Elizabeth II, AFL player Adam Goodes and former Prime Minister Julia Gillard. His work challenges viewers to question the societal constructs surrounding power and influence, inviting them to delve deeper into the underlying messages within his art. In response to the removal request from Rinehart, Namatjira released a statement saying: “I paint the world as I see it. People don’t have to like my paintings, but I hope they take the time to look and think, ‘why has this Aboriginal bloke painted these powerful people? What is he trying to say?’" "I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.” Through his art, Namatjira confronts the complexities of privilege, wealth and authority, presenting a perspective that may not always align with mainstream perceptions. Despite objections raised by some, the National Gallery of Australia has stood by its decision to retain the painting, reaffirming its commitment to fostering dialogue and engagement with art in all its forms. Reports of complaints, including accusations linking the portrayal to political agendas, underscore the broader societal divisions that art can sometimes expose. However, the NGA's refusal to yield to external pressure reaffirms the institution's role as a custodian of artistic expression, providing a platform for diverse voices to be heard and interpreted. Namatjira's exhibition, "Australia in Colour", serves as a testament to the power of art to provoke, challenge and inspire. Through his unique lens, he invites audiences to reconsider notions of power and influence, urging them to look beyond the surface and engage with the deeper narratives embedded within his work. In a world where influence is often wielded unequally, his paintings serve as a catalyst for reflection, inviting viewers to confront uncomfortable truths and embrace the diversity of perspectives that define our collective experience. Images: Getty \ X (Twitter) \ National Gallery of Australia

Art

Gina Rinehart demands for National Gallery to remove her portrait

Gina Rinehart has demanded that her portriat be removed from the National Gallery of Australia in Canberra because she doesn't like it. The portrait of Australia's richest woman appears alongside many others, including Queen Elizabeth and former Prime Minister Julia Gillard, in an exhibition by acclaimed Archibald Prize-winning Indigenous artist Vincent Namatjira. Namatjira's works are known for having cartoon-like qualities, as he often paints famous figures as caricatures. <a title="www.smh.com.au" href="https://www.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">Nine Newspapers </a>have the National Gallery of Australia (NGA) have been flooded with a dozen complaints about the portrait of Rinehart, including some from athletes she sponsors through her company Hancock Prospecting. <blockquote class="twitter-tweet"> Australia’s richest person, Gina Rinehart, has demanded the National Gallery of Australia remove a portrait of her from an exhibition by Archibald Prize-winning Indigenous artist Vincent Namatjira. THAT’S A GOOD REASON TO SHARE THE PORTRAIT WIDELY. <a href="https://t.co/pYoMh6vQcW">pic.twitter.com/pYoMh6vQcW</a> — Maurie Mulheron (@maurie_mulheron) <a href="https://twitter.com/maurie_mulheron/status/1790621641502036239?ref_src=twsrc%5Etfw">May 15, 2024</a></blockquote> One complaint allegedly accused the NGA of “doing the bidding of the Chinese Communist Party” with the portrait of Ms Rinehart. On the NGA website, Ms Rinehart is listed as a “friend” of the gallery, as she historically has donated up to $9999. The NGA has refused to take the painting down, and the artwork will be on display until July 21st. “Since 1973, when the National Gallery acquired Jackson Pollack’s Blue Poles, there has been a dynamic discussion on the artistic merits of works in the national collection, and/or on display at the gallery,” the NGA said in a statement. “We present works of art to the Australian public to inspire people to explore, experience and learn about art.” In response to the demand to have the painting removed, Namatjira released a statement saying, “I paint the world as I see it. People don’t have to like my paintings, but I hope they take the time to look and think, ‘why has this Aboriginal bloke painted these powerful people? What is he trying to say?’" "I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.” Image credits: Getty Images / X (Twitter)

Art

15,000 squares, 500 hours, 19 months: how I used embroidery to make sense of Australia’s catastrophic fires

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/tracey-clement-1518268">Tracey Clement</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> I slip the needle through a small loop of black thread, pull it tight and snip. Done. I have just tied off the very last stitch on an embroidered scroll that has taken me more than 500 hours across 19 months to complete. All of my artwork is extremely labour-intensive. But I have to admit, this is a bit excessive, even for me. It’s not surprising that I have been asked more than once “why not just outsource the labour?” and even “what is the point?” I always sigh and think enviously of plumbers. I am 100% sure hardworking tradies are never asked to justify the point of their work. Why do I work so hard? There is no one easy answer, it’s different every time. The labour intensity of my processes adds time into the equation and this both carries meaning and can change the meaning of the work as it goes on (and on and on). I always learn something unexpected. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=800&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=800&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=800&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1005&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1005&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1005&fit=crop&dpr=3 2262w" alt="A finger points to a knot on the back of a messy abstract embroidery done in black, red, orange and yellow" /></a><figcaption>The last stitch! Tracey Clement</figcaption></figure> I put my little scissors down and, before busting out the bubbles, I snap a picture for Instagram because #selfpromotion, but also because this is news, albeit of a very slow-breaking kind. This is what I’ve learned after stitching for seemingly endless hours: while no news may be good news, “slow news” is even better. My embroidered scroll is titled Impossible Numbers. It started as my attempt to memorialise <a href="https://wwf.org.au/what-we-do/australian-bushfires/in-depth-australian-bushfires">the estimated 3,000,000,000 non-human lives lost</a> in the devastating bushfires of 2019–20, a number impossible to actually comprehend. <h2>Doomscrolling an emergency</h2> During that long and awful summer Sydney was often shrouded in an eerie orange haze. You could smell smoke. Ash fell. But, like many Australians, I experienced the worst of it by <a href="https://dictionary.cambridge.org/dictionary/english/doomscrolling">doomscrolling</a> fast news. I was both horrified and fascinated by images of fires so huge and hot they generated their own weather, by pictures of houses reduced to smoking skeletal outlines that somehow remained standing, by headlines comparing the fires to <a href="https://www.theguardian.com/australia-news/2019/dec/31/mallacoota-fire-mayhem-armageddon-bushfires-rage-victoria-east-gippsland">armageddon</a> and <a href="https://www.theguardian.com/australia-news/2020/oct/30/australia-must-prepare-for-future-shaped-by-extreme-climate-bushfire-royal-commission-report-warns">the apocalypse</a>. This hyperbolic language implies we are locked in a war of good versus evil. Even headlines in the vein of “Firefighters battle blazes” pit us (people) against them (the forces of nature). And in the heat of the moment the language of war feels right. <a href="https://traceyclement.com/2020/04/21/apocalypse-now">I’ve succumbed to it myself</a>. But it is dangerous. This language reinforces the idea we can dominate nature; it frames the fires as a conflict that we can end by winning. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=1432&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=1432&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=1432&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1800&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1800&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1800&fit=crop&dpr=3 2262w" alt="A hand holds a phone taking a picture of a long abstract embroidery in black, red, orange and yellow." /></a><figcaption>Viewing the world through the phone. Tracey Clement</figcaption></figure> I will admit watching a goat-toting woman <a href="https://www.abc.net.au/news/2020-01-03/scott-morrison-got-bushfire-welcome-he-deserved-says-liberal-mp/11838476">berate a sitting prime minister</a> left me with a short-lived, but mildly satisfying, feeling of shared righteous indignation. But mostly doomscrolling just fuelled my sorrow and left me feeling impotent as, inevitably, the fast news cycled on to the next crisis (and the next, and the next). <h2>Slowing it down</h2> In October 2022, I finally stopped trying to process the bushfires, and all their terrifying implications, through the fast-news language of war. I picked up a needle instead. Of course 3,000,000,000 stitches would be too many, even for me, so I decided to stitch a grid of some 15,000 squares, which I filled with innumerable stitches – a nod to the endless stream of pixels that usually deliver our news. I started wanting to honour the 3 billion dead, that impossible number, but after months of stitching I realised I was “writing” a kind of slow-news story. It may sound ridiculous, but this tactic has been used before. The <a href="https://www.bayeuxmuseum.com/en/the-bayeux-tapestry">Bayeux Tapestry</a> is a slow-news story that documents the Norman conquest of England through embroidery. It took years to stitch, and some 950 years later it is still in circulation. As an alternative to doomscrolling easily digestible fast-news stories of good triumphing (or not) over evil, I have created an actual fabric scroll which depicts a stylised firestorm building in intensity until it becomes all-consuming. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=799&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=799&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=799&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1004&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1004&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1004&fit=crop&dpr=3 2262w" alt="A middle-aged white woman peeks out from behind a very long abstract embroidery in black, red, orange and yellow." /></a><figcaption>The artist with Impossible Numbers. Tracey Clement</figcaption></figure> Despite mimicking pixels, Impossible Numbers is resolutely handmade. It is too messy, too crude, to be anything else. It is bleedingly obvious (and there was blood) the will of a person is inextricably stitched into this image of devastating fire. Human labour is literally entangled in this artwork; it shows us as part of the picture, part of nature. And this is good news Impossible Numbers doesn’t have a victorious ending, or any ending at all. The scroll is not fully unrolled. There is no end in sight: the story isn’t over, it’s ongoing. In this way it points to the future; a future in which we are not fighting nature. And this is good news too. If you don’t have a spare 500 hours to process the news into slow news, don’t worry. By the time I finally tied my last knot, I found I had transformed my fear and rage into something tangible, something both magnificent and beautiful (if I do say so myself), no longer about me. It is now a slow-news story that is no longer about a particular event; something everyone can share. This is why I do the work. Impossible Numbers is on display as part of <a href="https://www.casulapowerhouse.com/prizes/the-blake-art-prize">The Blake Prize</a> at the Casula Powerhouse, Sydney, until July 7. <hr /> This article is part of <a href="https://theconversation.com/au/topics/making-art-work-126611">Making Art Work</a>, our series on what inspires artists and the process of their work.<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/227907/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/tracey-clement-1518268">Tracey Clement</a>, Lecturer in Visual Art and McGlade Gallery Director, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Instagram 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/15-000-squares-500-hours-19-months-how-i-used-embroidery-to-make-sense-of-australias-catastrophic-fires-227907">original article</a>. </div>

Art

King Charles unveils first post-coronation portrait

King Charles has unveiled his first post-coronation portrait in a special ceremony at Buckingham Palace. 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. 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. The portrait – approximately 2.6 metres by 2 metres framed – depicts King Charles wearing the uniform of the Welsh Guard. “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. “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. “I do my best to capture the life experiences etched into any individual sitter’s face. “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. “I’m unimaginably grateful for the opportunity to capture such an extraordinary and unique person, especially at the historic moment of becoming King.” The King and Queen met The Master of The Drapers’ Company, Tom Harris and Past Master, William Charnley on Tuesday at Buckingham Palace. 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. Images: news.com.au

Art

Experience a unique glimpse into the private life of Princess Diana

When you think of the royal family, most people picture their most high profile moments and the same anecdotes that have been recycled for years. But there is much more to them as a family, and as an institution, than meets the eye. For many royal fans, they have their favourite members of the family who they share an unspoken affinity with, and are often yearning to find out more about the princes and princesses. Around the world, there are few members of the royal family who are as fiercely loved as Princess Diana. Now, for the first time in Sydney, royal fanatics can take a never-before-seen look at the emotional private journey of the People’s Princess through the lens of one of her most trusted confidants: official royal photographer Anwar Hussein. <a href="https://princessdianaexperience.com/sydney/" target="_blank" rel="noopener">Princess Diana: Accredited Access Exhibition</a>, launching in Sydney on Wednesday April 10th, reveals the inside look at royal life from Diana’s perspective, while exploring the deep personal relationships between a princess and her photographer. Royal fans will learn about all sides of the late Princess of Wales, from how she portrayed herself in the public eye, to how she interacted with her inner circle behind closed doors. While the one of a kind exhibition covers all things Princess Diana, royal fans will also see the parallels of Anwar’s relationship with Diana, compared to Anwar’s sons, who went on to photograph Diana’s sons Prince William and Prince Harry, and their lasting relationships with the royal family at large. Throughout the exhibit, Anwar Hussein and his sons Samir and Zak, share their first-hand accounts of the stories behind the world-famous moments of Princess Diana and her family, recounting experiences they shared with the royals over their collective four decades working side-by-side with the royal family. Named one of the "Top 12 Immersive Experiences Around the World You Need to Visit” by CNN, the Princess Diana: Accredited Access Exhibition has sold out in Los Angeles, Chicago, Toronto, and Puerto Rico, and recently wowed audiences in Melbourne. Guests of the Princess Diana: Accredited Access Exhibition will embark on a captivating exploration through various themed sections covering all aspects of royal life, and will be guided by an easy to use audio guide. When arriving at the exhibit (which is housed in an accessible building for those with mobility issues), guests will be instructed to download an audio guide on their smartphone, letting guests move through the exhibition at their own pace. After being provided headphones, guests control the easy to use audio guide at their own speed, with each photograph corresponding to a number on the guide where the audience can learn the inside story behind each captured moment. If guests are hard of hearing, fear not. Each part of the audio guide also features the written script of the Hussein’s commentary, making sure visitors don’t miss any vital information. <img src="https://oversixtydev.blob.core.windows.net/media/2024/04/Diana-instructions.jpg" alt="" width="1280" height="720" /> Working your way through the exhibit can take anywhere up to one hour, with royal fans bound to leave with a new sense of connection and understanding to princess Diana’s private life, and the royal family at large. Princess Diana: Accredited Access Exhibition, presented by leading entertainment discovery platform<a href="http://feverup.com/sydney" target="_blank" rel="noopener"> Fever</a>, in partnership with global entertainment agency, SBX Group is a family-friendly experience that will leave visitors with a new perspective on royal life. Sessions run from 9am to 3pm on Wednesday to Friday, and 9am to 6pm on Saturday and Sunday, with the exhibition running until the end of May 2024. This is not a story you have heard before. Whether you are a hard-core fan or new to her legacy, you will be blown away by the fascinating depth and detail shared by the Hussein family. To purchase tickets, head to<a href="http://princessdianaexperience.com/sydney" target="_blank" rel="noopener"> princessdianaexperience.com/sydney</a>, to not miss out on this incredibly unique insight into the behind the scenes world of the royal family. Image credits: Supplied

Art

Elevating tradition: La Traviata at the Sydney Opera House

Opera Australia is set to enchant audiences as it opens its highly anticipated 2024 season with the Sydney premiere of Sarah Giles’ acclaimed production of Verdi’s timeless masterpiece, La Traviata. The curtains will rise on January 2nd at the iconic Joan Sutherland Theatre in the Sydney Opera House, promising an unforgettable journey into the world of love, sacrifice and redemption. Hailed as "an absolute triumph" by The AU Review and described as "audaciously new" by InReview, this co-production by Opera Queensland, State Opera South Australia and West Australian Opera promises to deliver the quintessential glamour of La Traviata while offering a fresh, female perspective. Director Sarah Giles skilfully brings the inner turmoil of Violetta to the forefront, shedding light on the harsh realities and heartaches of her life as a courtesan. Enhancing the narrative, Charles Davis' masterful set design delves into Violetta's public and private spheres, while his costumes brilliantly capture the opulent world of lavish parties and extravagance synonymous with La Traviata. For the first time, the award-winning conductor Jessica Cottis will take the baton, leading the Opera Australia Orchestra and the celebrated Opera Australia Chorus through Verdi's emotionally stirring score. Audiences can anticipate spine-tingling renditions of iconic pieces such as the lively "Brindisi" and the achingly beautiful "Sempre libera". Taking centre stage as Violetta, Australian soprano Samantha Clarke, fresh from a string of successful debuts in prestigious venues worldwide, including Carnegie Hall and the Sydney Symphony Orchestra, is set to mesmerise audiences with her poignant portrayal. Joining her are the talented Australian-Chinese tenor Kang Wang, reprising the role of Alfredo, and New Zealand baritone Phillip Rhodes, making his Opera Australia debut as Giorgio Germont. As the season progresses, rising Australian soprano Sophie Salvesani will step into the shoes of Violetta, a role she previously captivated audiences with in 2022. Alongside her, Australian tenor Tomas Dalton returns as Alfredo, while baritone Luke Gabbedy, fresh from his acclaimed performance in OA's five-star production of the Ring Cycle in Brisbane, graces the stage as Giorgio Germont. Prepare to be swept away by the passion, drama, and timeless melodies of La Traviata, as Opera Australia invites you to experience this unforgettable journey of love and sacrifice, reimagined for a new era. Don't miss your chance to witness this exquisite production at the Sydney Opera House, from January 2nd to March 16th, 2024. For more information, <a href="https://www.sydneyoperahouse.com/opera-australia/2024-season/la-traviata" target="_blank" rel="noopener">click here</a>.

Art

2023 Drone Photo Awards fly high as winners are revealed

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. 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. 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.” The competition’s top award, Photo of the Year, went to a shot by Israeli photographer Or Adar. 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.” <blockquote class="twitter-tweet"> 🏆“𝐃𝐫𝐨𝐧𝐞 𝐏𝐡𝐨𝐭𝐨 𝐀𝐰𝐚𝐫𝐝𝐬 𝟐𝟎𝟐𝟑” 𝐏𝐡𝐨𝐭𝐨 𝐨𝐟 𝐭𝐡𝐞 𝐘𝐞𝐚𝐫 🏆 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> — Siena Awards (@SIPAContest) <a href="https://twitter.com/SIPAContest/status/1671458317472866313?ref_src=twsrc%5Etfw">June 21, 2023</a></blockquote> 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.” 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.” 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. 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. 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.” 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. 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.” And last but not least, Bashir Abu won the Video category with “Why I Travel the World Alone”. <iframe title="YouTube video player" src="https://www.youtube.com/embed/Z6t4y3A28uA" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> 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. Images: Drone Photo Awards

Art

Artist creates amazing images of celebrities with their younger selves

A talented artist has taken a step back in time by capturing photos of older celebrities with their younger selves. Dutch designer Ard Gelinck has helped fans envision what their favourite A-listers looked like when reunited with their past selves by cleverly photoshopping images together. The photos, which depict stars embracing their younger selves in different settings, show how these celebs have aged throughout the years while their careers have skyrocketed. The digital creator combines existing photos of famous faces into one seamless “then and now” shot, revealing how they’ve aged over time. The series of photos showcase celebrities such as Bruce Springsteen, Boy George, Madonna, Harrison Ford, Sylvester Stallone and many more. The artist also featured celebrities that have died, including Robin Williams, George Michael and Tony Bennett, giving fans a trip down memory lane. Image credits: Instagram

Art

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

<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> 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. 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. 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. <h2>Why do people tag?</h2> 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>. 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! 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: <blockquote> 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! </blockquote> So why do people tag? <ul> <li> it boosts self-esteem and a sense of belonging to a social network, particularly for teens experiencing alienation at school </li> <li> it demonstrates bravado. Risky places have the added advantages of being both highly visible and harder to remove </li> <li> 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. </li> </ul> 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. 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. 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. 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>. So what tools do we have to manage it? <h2>Punishment</h2> 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. 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. 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. <h2>Technical solutions</h2> 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. 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. 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. <h2>Prevention</h2> 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. 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. 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. 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. <h2>So what’s the best way forward?</h2> 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. 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" /> <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> Image credits: Getty Images 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>.

Art

DIY fabric-covered notebooks

This DIY fabric-covered notebook makes a lovely gift idea for friends and family. Using scraps of fabric (or even old items of clothing) and cheap plain notebooks, these customised notebooks cost next to nothing and will take you no time to make. What you will need: <ul> <li>Notebook</li> <li>Fabric of your choice </li> <li>Scissors</li> <li>Sharpie and ruler</li> <li>Mod podge</li> <li>Paint brush</li> </ul> How to: 1. Open your notebook flat over the fabric. Trace around notebook leaving a three centimetre border. Cut fabric. 2. Paint the outside of notebook with a layer of mod podge. Carefully press fabric onto notebook and smooth so there are no wrinkles. 3. Glue overhanging fabric edges on inside of the cover. Stick the first and last pages of notebook to covers so the fabric won’t show. Let dry. Top tip: Embellish your notebook with ribbons or twine. You can even use a few different materials to create a pattern on your notebook. Your imagination is your only limit! Images: Shutterstock

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