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

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

Art

Drawings by teen Queen Victoria to go up for auction

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

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

Art

"Looks nothing like her": Kate Middleton portrait ridiculed

<p>A painted portrait of Kate Middleton has gone viral for all the wrong reasons, after royal fans everywhere claimed the artwork "looks nothing like" the Princess of Wales. </p> <p>The image, created by artist Hannah Uzor, appeared on the front cover of UK magazine <em>Tatler</em>, as the artist recreated Middleton's appearance at a banquet held in South Africa in 2022. </p> <p>The Princess wore a white beaded Jenny Packham gown, and also donned her famous tiara, the Lover’s Knot, which was previously worn by Princess Diana.</p> <p>Uzor explained that in creating the artwork, she was inspired by the composure and bravery demonstrated by the royal mum-of-three in her emotional cancer diagnosis video in March.</p> <p>“A moment of dealing with something difficult, speaking from the heart, having the courage to tackle it head-on,” she explained in awe.</p> <p>However, many royal fans slated the artist on social media, simply asking, “are you kidding me?”.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/C7Qy93EtBeT/?utm_source=ig_embed&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></p> </div> </blockquote> <p>“This is just plain weird, looks nothing like her,” one person commented.</p> <p>“What have they done to her face,” asked another.</p> <p>A third agreed: “Doesn’t look like Catherine at all. If she wasn’t wearing that dress I’d have no clue as to who it’s meant to be.”</p> <p>“Are you kidding me? … You must be joking,” scorned someone else.</p> <p>Others slated the artwork by saying they believed it looked “like it was created by a child”.</p> <p>“It’s absolutely dreadful and should never have seen the light of day, let alone appear on the cover,” agreed another.</p> <p>Hannah Uzor defended her artwork, saying she had to draw on other sources as she was not able to meet the Princess directly to create her portrait. </p> <p>She said, “When you can’t meet the sitter in person, you have to look at everything you can find and piece together the subtle human moments revealed in different photographs: do they have a particular way of standing or holding their head or hands? Do they have a recurrent gesture?"</p> <p>“[Kate] has really risen up to her role – she was born for this. She carries herself with such dignity, elegance and grace."</p> <p><em>Image credits: Tatler Magazine / Chris Jackson/WPA Pool/Shutterstock Editorial </em></p>

Art

Royal artist reveals King Charles' reaction to official portrait

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

Art

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

<div class="theconversation-article-body"><em><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></em></p> <p>“She’s no oil painting”.</p> <p>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.</p> <p>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.</p> <p>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?</p> <p>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.</p> <p>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.</p> <p>Namatjira brushes with caricature even when depicting himself.</p> <h2>Can you control your image?</h2> <p>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.</p> <p>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.</p> <p>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).</p> <p>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).</p> <p>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.</p> <p>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.</p> <h2>And yet what about commissions?</h2> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>But no one is asking for Queen Bess to be removed from the National Gallery of Australia.</p> <p>As a mark of <em>noblesse oblige</em>, 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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>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:</p> <blockquote> <p>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" /></p> </blockquote> <p><a href="https://theconversation.com/profiles/roger-benjamin-119535"><em>Roger Benjamin</em></a><em>, Professor in Art History, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a></em></p> <p><em>Image credits: X (Twitter)</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/can-you-control-your-image-gina-rinehart-king-charles-and-moral-portraits-230297">original article</a>.</em></p> </div>

Art

5 reasons art therapy is great for your mental health as you age

<p><span style="background: white;">We know how important it is to look after our<strong> </strong></span><a style="color: blue;" href="https://www.betterhealth.vic.gov.au/health/servicesandsupport/healthy-and-active-ageing"><strong><span style="color: black; background: white; text-decoration-line: none;">physical health</span></strong></a><span style="background: white;"> as we age, but our mental health is equally important. </span><a style="color: blue;" href="https://aifs.gov.au/resources/short-articles/normalising-mental-illness-older-adults-barrier-care"><strong><span style="color: black; background: white; text-decoration-line: none;">Studies have shown</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">that besides the immediate impact on wellbeing, older people with untreated mental ill health are at risk of poorer overall health, increased hospital admissions, and an earlier transition into aged care.</span></p> <p><span style="background: white;">Art therapy is an excellent way to boost our mental wellbeing. In a nutshell, this type of therapy is when visual art, such as drawing, sculpting, or collage, is used in a<strong> </strong></span><a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/"><strong><span style="color: black; background: white; text-decoration-line: none;">therapeutic context</span></strong></a><span style="background: white;">. And don’t be put off if you haven’t picked up a paintbrush since you were a kid. Art therapy is not about creating works of beauty but about the process. It’s a completely </span><a style="color: blue;" href="https://cata.org.au/faqs-myth-busters/#:~:text=The%20focus%20of%20Creative%20Art,%2C%20growth%20and%20self%2Dawareness.&text=Reality%3A%20Creative%20Art%20Therapy%20does,to%20affect%20change%20and%20growth."><strong><span style="color: black; background: white; text-decoration-line: none;">judgement free zone</span></strong></a><strong><span style="background: white;">!</span></strong></p> <p><strong><span style="background: white;">Emotional release:</span></strong></p> <p><span style="background: white;">Growing up, many of us were never taught that it was okay to express how we’re feeling, especially emotions like anger and sadness. In that way, art therapy can be ideal us older folks who often feel stuck when it comes to expressing ourselves. Art therapy provides the opportunity to express our<strong> </strong></span><a style="color: blue;" href="https://creativityintherapy.com/2017/06/expressing-emotions-creativity-6-step-art-process/"><strong><span style="color: black; background: white; text-decoration-line: none;">inner experiences</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">in a visual way. Through the act of creation, we can release pent-up feelings, reduce stress, and experience emotional release.</span></p> <p><span style="background: white;">Another challenging emotion that art therapy can help with is grief. As we age, we are more likely to experience the<strong> </strong></span><a style="color: blue;" href="https://www.nari.net.au/the-impact-of-prolonged-grief-in-older-people"><strong><span style="color: black; background: white; text-decoration-line: none;">loss of a loved one</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">and we don’t get ‘used to it’. The hole it leaves in our hearts is just as dark. Through<strong> </strong></span><a style="color: blue;" href="https://www.vivianpaans.com.au/blog/healing-through-art-how-art-therapy-can-help-with-grief-and-wellbeing"><strong><span style="color: black; background: white; text-decoration-line: none;">creating art</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">we can explore the feelings of grief and sadness in a safe, judgement-free space. It can also foster a sense of self-compassion and when we have more compassion for ourselves, it becomes easier to accept our emotions.</span></p> <p><strong><span style="background: white;">Stress relief:</span></strong></p> <p><a style="color: blue;" href="https://www.sane.org/information-and-resources/facts-and-guides/facts-mental-health-issues"><strong><span style="color: black; background: white; text-decoration-line: none;">Anxiety, depression, and past traumas</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">can heavily impact on our daily lives. Risk factors over our lifespans may change but they don’t magically disappear once we hit a certain age. Illness, grief, financial stress, social isolation, and life transitions such as menopause can all be </span><a style="color: blue;" href="https://www.healthdirect.gov.au/older-people-and-mental-health"><strong><span style="color: black; background: white; text-decoration-line: none;">contributing factors</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">of poor mental health for older adults. Creating art can ease symptoms as we refocus on what we’re creating and move thoughts away from overthinking and worry.<strong> </strong>Creating art releases </span><a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/"><strong><span style="color: black; background: white; text-decoration-line: none;">dopamine</span></strong><span style="color: black; background: white; text-decoration-line: none;">,</span></a><span style="background: white;"> the chemical responsible for allowing us to feel pleasure and satisfaction. This further reduces bothersome symptoms of anxiety and depression.</span></p> <p><span style="background: white;">Also, participating in art therapy leads to a more creative brain. A creative brain is better equipped to create stress-relieving techniques for other areas of our lives. Through creating art, we draw the fears that are inside our minds. This takes them out of our heads and places them away from us, helping us feel more in control.</span></p> <p><span style="background: white;">Recovering from<strong> </strong></span><a style="color: blue;" href="https://www.interrelate.org.au/news-media/blogs/november-2021/how-art-can-heal-trauma"><strong><span style="color: black; background: white; text-decoration-line: none;">trauma</span></strong></a><strong><span style="background: white;"> c</span></strong><span style="background: white;">an be a lifelong process for many, and it’s important for someone dealing with it to find tools that will help this process. Art therapy can be one of those as it can give a sense of agency and self-understanding through the ability to express feelings symbolically. This can give </span><a style="color: blue;" href="https://anzacata.org/About-CAT"><strong><span style="color: black; background: white; text-decoration-line: none;">new perspectives</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">of ourselves and our worldview which is essential in the recovery process. It can also help connect with deeply stored emotions and help process them.</span></p> <p><strong><span style="background: white;">Self-discovery:</span></strong></p> <p><span style="background: white;">When we are younger we are often so busy working, socialising, and raising a family many of us never get a chance to take the time out for<strong> </strong></span><a style="color: blue;" href="https://www.visionpsychology.com/starting-the-process-of-self-discovery/"><strong><span style="color: black; background: white; text-decoration-line: none;">self-discovery</span></strong></a><span style="background: white;">. Self-discovery is important in our lives as it gives us a clearer sense of purpose and direction in life. In turn, this leads to making better decisions that lead to our overall happiness.</span></p> <p><span style="background: white;">Some of us see our kids leave home and suddenly we’re left wondering, who am I when I don’t have a family to care for? Creating art can help us acknowledge and recognise feelings that have been suppressed in our subconscious. Through learning to use different techniques of art our minds open up to thinking more freely. Self-discovery comes from both the finished product we create as well as the process of making it.</span></p> <p><strong><span style="background: white;">Self-esteem:</span></strong></p> <p><span style="background: white;">As we age, it’s easy to look in the mirror and struggle to recognise the person we see. Our bodies are changing, and it can often feel like society doesn’t value us as much as when we were young. It can be a major shift in the way we view ourselves and lead to poor self-esteem. Art therapy teaches us how to use a variety of media to create something new. We can develop talents and see strengths as we master new materials and see the completion of projects. This sense of accomplishment can be a big leg up to our<strong> </strong></span><a style="color: blue;" href="https://artbusinessnews.com/2022/01/benefits-of-art-therapy/"><strong><span style="color: black; background: white; text-decoration-line: none;">self-esteem.</span></strong></a></p> <p><strong><span style="background: white;">A sense of community:</span></strong></p> <p><a style="color: blue;" href="https://likefamily.com.au/blog/what-is-loneliness-and-how-does-it-affect-someone/"><strong><span style="color: black; background: white; text-decoration-line: none;">Loneliness</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">is a big contributor to poor mental health.<strong> </strong></span><a style="color: blue;" href="https://www.psychiatrist.com/news/study-why-older-people-feel-so-lonely/"><strong><span style="color: black; background: white; text-decoration-line: none;">Studies</span></strong></a><strong><span style="background: white;"> </span></strong><span style="background: white;">show two groups of people are most at risk: young adults and older people. With factors at our age such as children leaving home, not working as much or at all, living alone, and chronic illness, it’s easy to see how loneliness can creep into our lives. Group art therapy is a wonderful way to connect with others. We share a space with those who have similar interests, and it gives us a sense of belonging. For those who can't make a session in person due to distance or illness, some therapists offer </span><a style="color: blue;" href="https://www.artandplaytherapytraining.com.au/art_therapy"><strong><span style="color: black; background: white; text-decoration-line: none;">online group art therapy</span></strong></a><strong><span style="background: white;">.</span></strong></p> <p><span style="background: white;">You don’t need to see an art therapist to get the mental health benefits of creating art. But the advantage of that is they have the skills to work out what best suits your needs. They’ll also work with you through any tough emotions that may arise from your art therapy.</span></p> <p><span style="background: white;">So maybe it’s time to hide those new coloured pencils from the little ones, crack them open, and enjoy them yourself!</span></p> <p><span style="background: white;">If you’d like to find out more about art therapy sessions, the links below are helpful. They offer online, in person and group sessions.</span></p> <p><a style="color: blue;" href="https://www.zevaarttherapy.com/" target="_blank" rel="noopener"><span style="background: white; text-decoration-line: none;">https://www.zevaarttherapy.com/</span></a></p> <p><a style="color: blue;" href="https://www.alliedarttherapy.com.au/" target="_blank" rel="noopener"><span style="background: white; text-decoration-line: none;">https://www.alliedarttherapy.com.au/</span></a></p> <p><a style="color: blue;" href="https://www.solacecreativetherapies.com.au/" target="_blank" rel="noopener"><span style="background: white; text-decoration-line: none;">https://www.solacecreativetherapies.com.au/</span></a><span style="background: white;"> </span></p> <p><a style="color: blue;" href="https://cata.org.au/programs-ndis/online-creative-art-therapy/" target="_blank" rel="noopener"><span style="background: white; text-decoration-line: none;">https://cata.org.au/programs-ndis/online-creative-art-therapy/</span></a><span style="background: white;"> </span></p> <p><span style="background: white;">And for some more ideas on dabbling in art therapy on your own (or with a friend), check out Shelley Klammer’s amazing resources. She is US-based but has some online workshops that are also amazing:</span></p> <p><a style="color: blue;" href="https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/" target="_blank" rel="noopener"><span style="background: white; text-decoration-line: none;">https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/</span></a></p> <p><em>Article written by Kylie Carberry</em></p> <p><em>Image: Shutterstock</em></p>

Mind

Royal photographers weigh in on photo editing fiasco

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

Art

Gina Rinehart demands for National Gallery to remove her portrait

<p>Gina Rinehart has demanded that her portriat be removed from the National Gallery of Australia in Canberra because she doesn't like it. </p> <p>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.</p> <p>Namatjira's works are known for having cartoon-like qualities, as he often paints famous figures as caricatures. </p> <p><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. </p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">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></p> <p>— Maurie Mulheron (@maurie_mulheron) <a href="https://twitter.com/maurie_mulheron/status/1790621641502036239?ref_src=twsrc%5Etfw">May 15, 2024</a></p></blockquote> <p>One complaint allegedly accused the NGA of “doing the bidding of the Chinese Communist Party” with the portrait of Ms Rinehart. </p> <p>On the NGA website, Ms Rinehart is listed as a “friend” of the gallery, as she historically has donated up to $9999.</p> <p>The NGA has refused to take the painting down, and the artwork will be on display until July 21st.</p> <p>“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. </p> <p>“We present works of art to the Australian public to inspire people to explore, experience and learn about art.”</p> <p>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?’"</p> <p>"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.”</p> <p><em>Image credits: Getty Images / X (Twitter)</em></p>

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"><em><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></em></p> <p>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.</p> <p>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?”</p> <p>I always sigh and think enviously of plumbers. I am 100% sure hardworking tradies are never asked to justify the point of <em>their</em> work.</p> <p>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.</p> <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><span class="caption">The last stitch!</span> <span class="attribution"><span class="source">Tracey Clement</span></span></figcaption></figure> <p>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.</p> <p>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.</p> <h2>Doomscrolling an emergency</h2> <p>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.</p> <p>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>.</p> <p>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.</p> <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><span class="caption">Viewing the world through the phone.</span> <span class="attribution"><span class="source">Tracey Clement</span></span></figcaption></figure> <p>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).</p> <h2>Slowing it down</h2> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <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><span class="caption">The artist with Impossible Numbers.</span> <span class="attribution"><span class="source">Tracey Clement</span></span></figcaption></figure> <p>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</p> <p>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.</p> <p>In this way it points to the future; a future in which we are not fighting nature. And this is good news too.</p> <p>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.</p> <p>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.</p> <p><em>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.</em></p> <hr /> <p><em>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" /></em></p> <p><em><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></em></p> <p><em>Image credits: Instagram </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/15-000-squares-500-hours-19-months-how-i-used-embroidery-to-make-sense-of-australias-catastrophic-fires-227907">original article</a>.</em></p> </div>

Art

King Charles unveils first post-coronation portrait

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

Art

Why don’t Australians talk about their salaries? Pay transparency and fairness go hand-in-hand

<div class="theconversation-article-body"> <p><em><a href="https://theconversation.com/profiles/carol-t-kulik-150471">Carol T Kulik</a>, <a href="https://theconversation.com/institutions/university-of-south-australia-1180">University of South Australia</a></em></p> <p>In Australia, it’s not the done thing to know – let alone ask – what our colleagues are paid. Yet, it’s easy to see how pay transparency can make pay systems fairer and more effective.</p> <p>With more information on how much certain tasks and roles are valued, employees can better understand and interpret pay differences, and advocate for themselves. When pay is weakly aligned with employee contributions, pay transparency can be embarrassing for firms.</p> <p>As the government continues to <a href="https://www.smh.com.au/business/workplace/think-your-male-colleagues-earn-more-than-you-soon-you-ll-know-for-sure-20240104-p5ev7i.html">legislate for pay transparency</a>, wise employers should move to identify – and correct – both real and perceived inequities.</p> <h2>The salary taboo</h2> <p>At one extreme, imagine that you work for California-based tech company Buffer, which develops social media tools.</p> <p>Buffer lists the salary of every company employee, in descending order, on its <a href="https://buffer.com/salaries">website</a>. Salaries are non-negotiable and all Buffer employees receive a standard pay raise each year. Prospective job applicants can use Buffer’s online <a href="https://buffer.com/salary-calculator/senior-data-engineer/intermediate">salary calculator</a> to estimate their pay.</p> <p>Does Buffer’s pay system make you cheer – “yay, no uncomfortable salary negotiations!”, or squirm – “what, my salary is on the website?”</p> <p>Most probably, both. There is a persistent social norm researchers call the <a href="https://www.sciencedirect.com/science/article/pii/S0047272723000725">salary taboo</a>. We want to know, but we don’t like to ask, and we definitely don’t want anyone to know that we’re asking.</p> <p>In Norway, an app that enabled users to <a href="https://www.aeaweb.org/articles?id=10.1257/aer.20160256">access neighbors’ tax-reported income</a> was enormously popular – but only while the user could remain anonymous.</p> <h2>The problem with not knowing</h2> <p>Historically, companies have given employees only minimal information about their pay systems, and some have even prohibited them from sharing their own pay information.</p> <p>Such non-transparency creates two big problems.</p> <p>First, managers place <a href="https://sloanreview.mit.edu/article/achieving-meritocracy-in-the-workplace/">too much trust</a> in organisational systems. The more managers become convinced that pay decisions accurately reflect employee contributions, the less diligent they become about monitoring their own personal biases. Without accountability, it’s easy for an organisation’s pay system to drift into inequity.</p> <p>Second, in the absence of comparative information, employees often suspect they are being underpaid – even if they aren’t.</p> <p>In a <a href="https://www.payscale.com/research-and-insights/fair-pay-impact/">survey</a> of over 380,000 employees by data firm Payscale, 57% of employees paid <em>at</em> the market rate and 42% of people paid <em>above</em> the market rate all believed they were being underpaid.</p> <p>However, unfounded it might be, a nagging sense of inequity can drive people out the door. Payscale estimates that people who <em>think</em> they are underpaid are 50% more likely than other employees to seek a new job in the next six months.</p> <h2>Pay transparency is trending</h2> <p>Broadly speaking, pay transparency policies see companies report their pay levels or ranges, explain their pay-setting processes, or encourage their employees to share pay information.</p> <p>Some companies voluntarily share pay information in response to workforce demand, but there’s also a trend toward mandating pay transparency.</p> <p>In Australia, pay secrecy terms are <a href="https://theconversation.com/pay-secrecy-clauses-are-now-banned-in-australia-heres-how-that-could-benefit-you-195814">banned</a> from employment contracts and the Workplace Gender Equality Agency is <a href="https://www.wgea.gov.au/about/our-legislation/publishing-employer-gender-pay-gaps">publishing employers’ gender pay gaps</a>.</p> <p>The European Union’s <a href="https://ec.europa.eu/commission/presscorner/detail/es/ip_22_7739">Pay Transparency Directive</a> already publishes gender pay gaps and requires employers to provide comparative pay data to employees upon request. Several US states and cities now require employers to <a href="https://www.govdocs.com/pay-transparency-laws/">include salary ranges</a> in their recruitment materials.</p> <h2>Pay transparency usually has positive effects</h2> <p>In equitable pay systems, pay differences align with the differential values employees bring to the business. When pay systems are transparent, it’s easy for employees to recognise when they – and their coworkers – are being appropriately rewarded for their contributions.</p> <p>Evidence is building that such transparency is often a good thing.</p> <p>For one, it can increase employee <a href="https://journals.sagepub.com/doi/10.1177/002224377801500204">performance and job satisfaction</a>. People also generally <a href="https://www.journals.uchicago.edu/doi/10.1086/717891">underestimate their bosses’ salaries</a>, so pay transparency can inspire employees to aspire to higher-paid senior positions. And pay transparency identifies staff with unique expertise, so <a href="https://psycnet.apa.org/record/2016-01521-001">employees seek help</a> from the right coworkers.</p> <p>Pay transparency has also been shown to help narrow gender pay gaps. As pay transparency rules spread across public academic institutions in the US, the pay gap between male and female academics <a href="https://www.nature.com/articles/s41562-022-01288-9">dramatically narrowed</a> (in some states, it was even eliminated).</p> <p>In Denmark, where firms are now required to provide pay statistics that compare men and women, the national gender pay gap has <a href="https://onlinelibrary.wiley.com/doi/abs/10.1111/jofi.13136">declined by 13%</a> relative to the pre-legislation average.</p> <h2>But it can still be risky</h2> <p>Every pay system has pockets of unfairness, where managers have made <a href="https://psycnet.apa.org/record/2001-01537-002">special arrangements</a> to attract or retain talent. Pay transparency exposes these exceptions, so they can be immediately explained or corrected.</p> <p>But if there are too many such pockets, managers need to brace for a productivity downturn. When pay transparency reveals systematic inequities – for example, disparities based on gender – overall organisational <a href="https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4341804">productivity declines</a>.</p> <p>Over the long run, pay transparency leads to <a href="https://onlinelibrary.wiley.com/doi/abs/10.1111/jofi.13136">flatter and narrower</a> pay distributions, but distributions can also be too flat and too narrow. Managers making pay decisions are aware that their decisions will be directly scrutinised and may <a href="https://journals.aom.org/doi/10.5465/amj.2020.1831">become reluctant</a> to assign high wages even for high performance.</p> <p>If pay <a href="https://www.nature.com/articles/s41562-022-01288-9">loses its motivating potential</a>, employees can become disheartened, especially <a href="https://onlinelibrary.wiley.com/doi/abs/10.1111/peps.12054">star performers</a>.</p> <h2>Proceed with caution</h2> <p>As stakeholders on this issue demand more transparency, employers would be wise to stay ahead of legislative moves.</p> <p>Independently making the first move is a show of good faith and can unfold in stages. A good first step is to reveal the pay ranges associated with groups of related roles, giving employers time to conduct internal audits, communicate with employees and systematically correct inequities as they surface.</p> <p>In contrast, having to reveal pay data because of a government mandate can publicly expose patterns of inequity and cause permanent damage to a company’s reputation.<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/224067/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/carol-t-kulik-150471">Carol T Kulik</a>, Research Professor, <a href="https://theconversation.com/institutions/university-of-south-australia-1180">University of South Australia</a></em></p> <p><em>Image credits: Getty Images </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/why-dont-australians-talk-about-their-salaries-pay-transparency-and-fairness-go-hand-in-hand-224067">original article</a>.</em></p> </div>

Money & Banking

Two-up, Gallipoli and the ‘fair go’: why illegal gambling is at the heart of the Anzac myth

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/bruce-moore-291912">Bruce Moore</a>, <a href="https://theconversation.com/institutions/australian-national-university-877">Australian National University</a></em></p> <p>Two-up is an Australian gambling game in which two coins are placed on a small piece of wood called a “kip” and tossed into the air. Bets are laid as to whether both coins will fall with heads or tails uppermost. It is one of the core activities of Anzac Day celebrations - and a beloved tradition.</p> <p>The word <a href="https://www.britannica.com/topic/ANZAC">ANZAC</a> was created in 1915 as an acronym from Australian and New Zealand Army Corps. By 1916 it was being used emblematically to reflect the traditional view of the virtues displayed by those in the <a href="https://www.britannica.com/event/Gallipoli-Campaign">Gallipoli campaign</a>, especially as these are seen as national characteristics. This cluster of national characteristics includes mateship, larrikin daredevilry, anti-authoritarianism, and egalitarianism.</p> <p>The game of two-up became indicative of these qualities. Mateship was evident in the way the game brought together people of disparate backgrounds. Larrikinism was evident in the defiant rejection of authority and convention.</p> <p>Two-up was always illegal, because the game is an unregulated form of gambling (although from the 1980s it became legal in most Australian states on Anzac Day). But in spite of the illegality, it was widely regarded as the fairest of gambling games, and at the time of the First World War the verbal command for the coins to be spun was not “come in spinner” (as it is now) but “fair go”. Indeed, the important Australian concept of the “fair go” was in part cemented by its role in the game.</p> <p>Two-up was the common pastime of the urban working-class man, and it feeds into the elements of egalitarianism and anti-authoritarianism that are central to both the Anzac myth and the Australian myth.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/458543/original/file-20220419-17-6mgarp.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/458543/original/file-20220419-17-6mgarp.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/458543/original/file-20220419-17-6mgarp.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=466&fit=crop&dpr=1 600w, https://images.theconversation.com/files/458543/original/file-20220419-17-6mgarp.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=466&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/458543/original/file-20220419-17-6mgarp.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=466&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/458543/original/file-20220419-17-6mgarp.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=585&fit=crop&dpr=1 754w, https://images.theconversation.com/files/458543/original/file-20220419-17-6mgarp.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=585&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/458543/original/file-20220419-17-6mgarp.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=585&fit=crop&dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Two original 1915 Australian pennies in a kip from which they are tossed.</span> <span class="attribution"><span class="source">Roland Scheicher/ Wikimedia</span></span></figcaption></figure> <h2>Two-up and wartime life</h2> <p>From the very early period of the First World War, two-up assumed great importance among the Australian troops. Soldiers reported that two-up was played on the battlefield during the Gallipoli campaign, even when under shellfire. As the war dragged on, numerous stories were told about Australian soldiers’ obsession with playing it.</p> <p>In 1918 the <a href="https://www.awm.gov.au/collection/P10676229">war correspondent Charles Bean</a> studied the daily life of a company of Australian soldiers stationed at a brewery in Querrieu in northern France.</p> <p>He places great emphasis on two-up, writing in his diary in 1918: "Two-up’ is the universal pastime of the men. … It is a game which starts in any quarter of an hour’s interval or lasts the whole afternoon. The side road outside becomes every evening a perfect country fair with groups playing these games in it - a big crowd of 70 or 80 at the bottom the street, in the middle of the road; a smaller crowd of perhaps twenty on a doorstep further up. … The game is supposed to be illegal, I think; but at any rate in this company they wink at it."</p> <p>Two-up was important not just in taking soldiers’ minds off the realities of the war, but also in creating a strong sense of community. Photographs from the war that show the men playing two-up reveal how it brought them together physically in a communal activity.</p> <p>This helps explains why men, who in civilian life may have had little or no interest in gambling, joined in the camaraderie and fun of the two-up fair, and by so doing blotted out the boredom, isolation, and loneliness of much wartime experience.</p> <h2>Anzac Day and tradition</h2> <p>Playing two-up became an integral part of the diggers’ memories of the experience of war, especially when commemorated on Anzac Day. By the 1930s the playing of two-up outdoors after the Anzac Day march had become an entrenched tradition.</p> <p>As the ranks of diggers from the two world wars declined, so the structure of Anzac Day changed in emphasis. In recent years the Dawn Service has increased greatly in popularity, while the Anzac Day march has <a href="https://www.abc.net.au/news/2019-04-07/concern-over-australias-dwindling-number-of-world-war-veterans/10911602">suffered from dwindling numbers</a> of veterans. The streets of Sydney and similar cities are no longer dotted with two-up games in the afternoon. The games have shifted to pubs and clubs, and they are largely played by people with no experience of war.</p> <p>Those people who play the game on this day do so not for any deep-seated gambling impulse or because they would love to play the game on every other day of the year. They play two-up because it has become part of the meaning of Anzac Day.</p> <p>Anzac Day has always combined solemnity and festivity. The Dawn Service commemorates the landing at Gallipoli, and the sacrifices that ensued. Its mood is solemn.</p> <p>In the past, returned soldiers reminisced, told war yarns, drank, and played two-up. The soldiers have passed on, but their larrikinism survives in the tradition of the game they have bequeathed to their descendants.</p> <p>We should not underestimate the significance of rituals of this kind—the playing of two-up is a way in which Australians can become not just observers of, but participants in, their history and their myths. Two-up is a ritual that links the present with the past on this one day of the year.<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/181337/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/bruce-moore-291912">Bruce Moore</a>, Honorary Associate Professor in the School of Literature, Languages, and Linguistics, <a href="https://theconversation.com/institutions/australian-national-university-877">Australian National University</a></em></p> <p><em>Image </em><em>credits: Getty Images </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/two-up-gallipoli-and-the-fair-go-why-illegal-gambling-is-at-the-heart-of-the-anzac-myth-181337">original article</a>.</em></p> </div>

Money & Banking

50 years on, Advance Australia Fair no longer reflects the values of many. What could replace it?

<p><a href="https://theconversation.com/profiles/wendy-hargreaves-1373285">Wendy Hargreaves</a>, <em><a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a></em></p> <p>On April 8 1974, Prime Minister Gough Whitlam announced to parliament the nation’s new national anthem: <a href="https://www.pmc.gov.au/honours-and-symbols/australian-national-symbols/australian-national-anthem">Advance Australia Fair</a>.</p> <p>Australia was growing up. We could stop saving “<a href="https://en.wikipedia.org/wiki/God_Save_the_King">our gracious Queen</a>” and rejoice in being “young” and “girt”.</p> <p>Finding a new anthem hadn’t been easy. There were unsuccessful <a href="https://www.naa.gov.au/help-your-research/fact-sheets/australias-national-anthem">songwriting competitions</a> and an unconvincing opinion poll. Finally, we landed on rebooting an Australian favourite from 1878.</p> <p>After Whitlam’s announcement, Australians argued, state officials declined the change and the next government reinstated the British anthem in part. It took another ten years, another poll and an official proclamation in 1984 to adopt the new anthem uniformly and get on with looking grown-up.</p> <p>Advance Australia Fair was never the ideal answer to “what shall we sing?”. The original lyrics ignored First Nations people and overlooked women. Like a grunting teenager, it both answered the question and left a lot out.</p> <p>On its 50th anniversary, it’s time to consider whether we got it right. Advance Australia Fair may have helped Australia transition through the 1970s, but in 2024, has it outstayed its welcome?</p> <h2>How do you pick a national anthem?</h2> <p>A national anthem is a government-authorised song performed at official occasions and celebrations. It unifies people and reinforces national identity. Often, governments nominate a tune by searching through historical patriotic songs to find a <a href="https://dictionary.cambridge.org/dictionary/english/golden-oldie">golden oldie</a> with known public appeal.</p> <p>For example, the lyrics of the Japanese anthem <a href="https://en.wikipedia.org/wiki/Kimigayo">Kimigayo</a> came from pre-10th-century poetry. Germany’s anthem <a href="https://www.britannica.com/topic/Deutschlandlied">Deutschlandlied</a> adopted a 1797 melody from renowned composer <a href="https://www.britannica.com/biography/Joseph-Haydn">Joseph Haydn</a>. An enduring song or text offers star quality, proven popularity and the prestige of age.</p> <p>In the 1970s, Australia’s attempt at finding a golden oldie was flawed. In that era, many believed Australia’s birth occurred at the arrival of explorer <a href="https://www.britannica.com/biography/James-Cook">James Cook</a> in 1770. Hence, we narrowed our search to hymns, marches and fanfares from our colonial history for possible anthems.</p> <p>With 2020s hindsight (pun intended), <a href="https://theconversation.com/our-national-anthem-is-non-inclusive-indigenous-australians-shouldnt-have-to-sing-it-118177">expecting First Nations</a> people to sing Advance Australia Fair was hypocritical. We wanted to raise Australia’s visibility internationally, yet the custodians of the lands and waterways were unseen by our country’s eyes. We championed “history’s page” with a 19th-century song that participated in racial discrimination.</p> <h2>Changing anthems</h2> <p>With a half-century on the scoreboard, are we locked in to singing Advance Australia Fair forever? No.</p> <p>Anthems can change. Just ask <a href="https://en.wikipedia.org/wiki/James_Morrison_(jazz_musician)">James Morrison</a>. In 2003, the Australian trumpeter played the Spanish national anthem beautifully at the <a href="https://www.daviscup.com/en/home.aspx">Davis Cup</a> tennis final. Unfortunately, he <a href="https://www.abc.net.au/news/2003-11-28/spanish-angry-over-anthem-mix-up/1516684">played the old anthem</a> that heralded civil war.</p> <p>Morrison’s accidental performance incited a fist-shaking dignitary and an enraged Spanish team who temporarily refused to play. Morrison did, however, to his embarrassment, later receive some excited fan mail from Spanish revolutionists.</p> <p>If we want to change our anthem, where could we begin? We could start by revisiting the golden-oldie approach with a more inclusive ear. Perhaps there’s a song from contemporary First Nations musicians we could consider, or a song from their enduring oral tradition that they deem appropriate (and grant permission to use).</p> <p>If we have learnt anything from Australian history, it’s that we must include and ask – not exclude and take.</p> <p>We could also consider Bruce Woodley and Dobe Newton’s 1987 song <a href="https://www.nfsa.gov.au/collection/curated/asset/101146-i-am-australian-various">I Am Australian</a>, which reached golden-oldie status last year when the <a href="https://www.nfsa.gov.au/slip-slop-slap-i-am-australian-join-sounds-australia">National Film and Sound Archive</a> added it to their registry. The lyrics show the acknowledgement and respect of First Nations people that our current anthem lacks. The line “we are one, but we are many” captures the inclusivity with diversity we now value.</p> <figure><iframe src="https://www.youtube.com/embed/KrLTe1_9zso?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>I Am Australian wouldn’t be a problem-free choice. Musically, the style is a “light rock” song, not a grand “hymn”, which could be a plus or minus depending on your view. Lyrically, romanticising convicted killer <a href="https://adb.anu.edu.au/biography/kelly-edward-ned-3933">Ned Kelly</a> is controversial, and mispronouncing “Australians” could be considered inauthentic (fair dinkum Aussies say “Au-strail-yins”, not “Au-stray-lee-uhns”).</p> <p>That said, Australians are quite experienced at patching holes in our anthem. Advance Australia Fair required many adjustments.</p> <p>If the golden-oldie approach fails again, how about composing a new anthem? We could adopt <a href="https://nationalanthems.info/ke.htm">Kenya’s approach</a> of commissioning an anthem, or could revive the good ol’ songwriting competition. Our past competitions weren’t fruitful, but surely our many talented musicians and poets today can meet the challenge.</p> <h2>It’s time to ask</h2> <p>Fifty years on, we acknowledge Advance Australia Fair as the anthem that moved our nation forward. That was the first and hardest step. Today, if Australians choose, we can retire the song gracefully and try again with a clearer voice.</p> <p>Changing our anthem begins with asking whether the current song really declares who we are. Have our values, our perspectives and our identity changed in half a century?</p> <p>Australia, it’s your song. Are you happy to sing Advance Australia Fair for another 50 years? <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/226737/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><a href="https://theconversation.com/profiles/wendy-hargreaves-1373285">Wendy Hargreaves</a>, Senior Learning Advisor, <em><a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/50-years-on-advance-australia-fair-no-longer-reflects-the-values-of-many-what-could-replace-it-226737">original article</a>.</em></p> <p><em>Images: Shutterstock | Wikimedia Commons</em></p>

Music

Who will look after us in our final years? A pay rise alone won’t solve aged-care workforce shortages

<p><a href="https://theconversation.com/profiles/stephen-duckett-10730">Stephen Duckett</a>, <em><a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a></em></p> <p>Aged-care workers will receive a significant pay increase after the Fair Work Commission <a href="https://www.fwc.gov.au/documents/decisionssigned/pdf/2024fwcfb150.pdf">ruled</a> they deserved substantial wage rises of up to 28%. The federal government <a href="https://ministers.dewr.gov.au/burke/fair-work-decision-aged-care">has committed to</a> the increases, but is yet to announce when they will start.</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">Tens of thousands of aged care workers will receive a major pay rise after the Fair Work Commission recommended the increase. <a href="https://t.co/NeNt1Gvxd9">https://t.co/NeNt1Gvxd9</a></p> <p>— SBS News (@SBSNews) <a href="https://twitter.com/SBSNews/status/1768557710537068889?ref_src=twsrc%5Etfw">March 15, 2024</a></p></blockquote> <p>But while wage rises for aged-care workers are welcome, this measure alone will not fix all workforce problems in the sector. The number of people over 80 is expected to <a href="https://treasury.gov.au/sites/default/files/2023-08/p2023-435150.pdf">triple over the next 40 years</a>, driving an increase in the number of aged care workers needed.</p> <h2>How did we get here?</h2> <p>The Royal Commission into Aged Care Quality and Safety, which delivered its <a href="https://www.royalcommission.gov.au/aged-care/final-report">final report</a> in March 2021, identified a litany of tragic failures in the regulation and delivery of aged care.</p> <p>The former Liberal government was dragged reluctantly to accept that a total revamp of the aged-care system was needed. But its <a href="https://www.health.gov.au/ministers/the-hon-greg-hunt-mp/media/respect-care-and-dignity-aged-care-royal-commission-452-million-immediate-response-as-government-commits-to-historic-reform-to-deliver-respect-and-care-for-senior-australians#:%7E:text=Minister%20for%20Senior%20Australians%20and,%2C%20dementia%2C%20food%20and%20nutrition.">weak response</a> left the heavy lifting to the incoming Labor government.</p> <p>The current government’s response started well, with a <a href="https://theconversation.com/anthony-albanese-offers-2-5-billion-plan-to-fix-crisis-in-aged-care-180419">significant injection of funding</a> and a promising regulatory response. But it too has failed to pursue a visionary response to the problems identified by the Royal Commission.</p> <p>Action was needed on four fronts:</p> <ul> <li>ensuring enough staff to provide care</li> <li>building a functioning regulatory system to encourage good care and weed out bad providers</li> <li>designing and introducing a fair payment system to distribute funds to providers and</li> <li>implementing a financing system to pay for it all and achieve intergenerational equity.</li> </ul> <p>A government taskforce which proposed a <a href="https://theconversation.com/what-will-aged-care-look-like-for-the-next-generation-more-of-the-same-but-higher-out-of-pocket-costs-225551">timid response to the fourth challenge</a> – an equitable financing system – was released at the start of last week.</p> <p>Consultation closed on a <a href="https://media.opan.org.au/uploads/2024/03/240308_Aged-Care-Act-Exposure-Draft-Joint-Submission_FINAL.pdf">very poorly designed new regulatory regime</a> the week before.</p> <p>But the big news came at end of the week when the Fair Work Commission handed down a further <a href="https://www.fwc.gov.au/documents/decisionssigned/pdf/2024fwcfb150.pdf">determination</a> on what aged-care workers should be paid, confirming and going beyond a previous <a href="https://www.fwc.gov.au/documents/sites/work-value-aged-care/decisions-statements/2022fwcfb200.pdf">interim determination</a>.</p> <h2>What did the Fair Work Commission find?</h2> <p>Essentially, the commission determined that work in industries with a high proportion of women workers has been traditionally undervalued in wage-setting. This had consequences for both care workers in the aged-care industry (nurses and <a href="https://training.gov.au/Training/Details/CHC33021">Certificate III-qualified</a> personal-care workers) and indirect care workers (cleaners, food services assistants).</p> <p>Aged-care staff will now get significant pay increases – 18–28% increase for personal care workers employed under the Aged Care Award, inclusive of the increase awarded in the interim decision.</p> <figure class="align-center "><figcaption></figcaption>Indirect care workers were awarded a general increase of 3%. Laundry hands, cleaners and food services assistants will receive a further 3.96% <a href="https://www.fwc.gov.au/documents/decision-summaries/2024fwcfb150-summary.pdf">on the grounds</a> they “interact with residents significantly more regularly than other indirect care employees”.</figure> <p>The final increases for registered and enrolled nurses will be determined in the next few months.</p> <h2>How has the sector responded?</h2> <p>There has been no push-back from employer groups or conservative politicians. This suggests the uplift is accepted as fair by all concerned.</p> <p>The interim increases of up to 15% probably facilitated this acceptance, with the <a href="https://theconversation.com/what-does-the-budget-mean-for-medicare-medicines-aged-care-and-first-nations-health-192842">recognition of the community</a> that care workers should be paid more than fast food workers.</p> <p>There was <a href="https://www.accpa.asn.au/media-releases/accpa-welcomes-further-aged-care-wage-rises">no criticism from aged-care providers</a> either. This is probably because they are facing difficulty in recruiting staff at current wage rates. And because government payments to providers reflect the <a href="https://www.ihacpa.gov.au/">actual cost of aged care</a>, increased payments will automatically flow to providers.</p> <p>When the increases will flow has yet to be determined. The government is due to give its recommendations for staging implementation by mid-April.</p> <h2>Is the workforce problem fixed?</h2> <p>An increase in wages is necessary, but alone is not sufficient to solve workforce shortages.</p> <p>The health- and social-care workforce is <a href="https://www.jobsandskills.gov.au/data/employment-projections">predicted</a> to grow faster than any other sector over the next decade. The “care economy” will <a href="https://theconversation.com/care-economy-to-balloon-in-an-australia-of-40-5-million-intergenerational-report-211876">grow</a> from around 8% to around 15% of GDP over the next 40 years.</p> <p>This means a greater proportion of school-leavers will need to be attracted to the aged-care sector. Aged care will also need to attract and retrain workers displaced from industries in decline and attract suitably skilled migrants and refugees with appropriate language skills.</p> <p>The <a href="https://theconversation.com/demand-driven-funding-for-universities-is-frozen-what-does-this-mean-and-should-the-policy-be-restored-116060">caps on university and college enrolments</a> imposed by the previous government, coupled with weak student demand for places in key professions (such as nursing), has meant workforce shortages will continue for a few more years, despite the allure of increased wages.</p> <p>A significant increase in intakes into university and vocational education college courses preparing students for health and social care is still required. Better pay will help to increase student demand, but funding to expand place numbers will ensure there are enough qualified staff for the aged-care system of the future. <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/225898/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><a href="https://theconversation.com/profiles/stephen-duckett-10730">Stephen Duckett</a>, Honorary Enterprise Professor, School of Population and Global Health, and Department of General Practice and Primary Care, <em><a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/who-will-look-after-us-in-our-final-years-a-pay-rise-alone-wont-solve-aged-care-workforce-shortages-225898">original article</a>.</em></p> <p><em>Image: Getty</em></p>

Retirement Income

The art of ‘getting lost’: how re-discovering your city can be an antidote to capitalism

<p><em><a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a></em></p> <p>Do you remember what it was like to discover the magic of a city for the first time? Do you remember the noises, smells, flashing lights and pulsating crowds? Or do you mostly remember cities through the screen of your phone?</p> <p>In 1967, French philosopher and filmmaker Guy Debord <a href="https://files.libcom.org/files/The%20Society%20of%20the%20Spectacle%20Annotated%20Edition.pdf">publicised the need</a> to move away from living our lives as bystanders continually tempted by the power of images. Today, we might see this in a young person flicking from one TikTok to the next – echoing the hold images have on us. But adults aren’t adverse to this window-shopping experience, either.</p> <p>Debord notes we have a tendency to observe rather than engage. And this is to our detriment. Continually topping-up our image consumption leaves no space for the unplanned – the reveries to break the pattern of an ordered life.</p> <p>Debord was a member of a group called the <a href="https://www.britannica.com/topic/Situationist-International">Situationist International</a>, dedicated to new ways we could reflect upon and experience our cities. Active for about 15 years, they believed we should experience our cities as an act of resistance, in direct opposition to the (profit-motivated) capitalistic structures that demand our attention and productivity every waking hour.</p> <p>More than 50 years since the group dissolved, the Situationists’ philosophy points us to a continued need to attune ourselves – through our thoughts and senses – to the world we live in. We might consider them as early eco-warriors. And through better understanding their philosophy, we can develop a new relationship with our cities today.</p> <h2>Understanding the ‘situation’</h2> <p>The Situationist International movement was <a href="https://www.jstor.org/stable/j.ctt183p61x">formed</a> in 1957 in Cosio di Arroscia, Italy, and became active in several European countries. It brought together radical artists inspired by spontaneity, experimentalism, intellectualism, protest and hedonism. Central figures included Danish artist <a href="https://museumjorn.dk/en/">Asger Jorn</a>, French novelist <a href="https://mitpress.mit.edu/author/michele-bernstein-10219/">Michèle Bernstein</a> and Italian musician and composer <a href="https://en.wikipedia.org/wiki/Walter_Olmo">Walter Olmo</a>.</p> <p>The Situationists were driven by a <a href="https://encyclopedia.pub/entry/34141">libertarian form of Marxism</a> that resisted mass consumerism. One of the group’s early terms was “unitary urbanism”, which sought to join avant-garde art with the critique of mass production and technology. They rejected “urbanism’s” conventional emphasis on function, and instead thought about art and the environment as inexorably interrelated.</p> <p>By rebelling against the invasiveness of consumption, the Situationists proposed a turn towards artistically-inspired individuality and creativity.</p> <h2>Think on your own two feet</h2> <p>According to the 1960 <a href="https://hts3.files.wordpress.com/2010/12/situationist-international-manifesto.pdf">Situationist Manifesto</a> we are all to be artists of our own “situations”, crafting independent identities as we stand on our own two feet. They believed this could be achieved, in part, through “<a href="https://www.tate.org.uk/art/art-terms/p/psychogeography#:%7E:text=Psychogeography%20describes%20the%20effect%20of,emotions%20and%20behaviour%20of%20individuals">psychogeography</a>”: the idea that geographical locations exert a unique psychological effect on us.</p> <p>For instance, when you walk down a street, the architecture around you may be deliberately designed to encourage a certain kind of experience. Crossing a vibrant city square on a sunny morning evokes joy and a feeling of connection with others. There’s also usually a public event taking place.</p> <p>The Situationists valued drift, or <em>dérive</em> in French. This alludes to unplanned movement through a landscape during journeys on foot. By drifting aimlessly, we unintentionally redefine the traditional rules imposed by private or public land owners and property developers. We make ourselves open to the new unexpected and, in doing so, are liberated from the shackles of everyday routine.</p> <p>In <a href="https://link.springer.com/book/10.1007/978-981-10-8100-2">our research</a>, my colleagues and I consider cities as places in which “getting lost” means exposing yourself to discovering the new and taken-for-granted.</p> <h2>Forge your own path</h2> <p>By understanding the Situationists – by looking away from our phones and allowing ourselves to get lost – we can rediscover our cities. We can see them for what they are beneath the blankets of posters, billboards and advertisements. How might we take back the image and make it work for us?</p> <p>The practise of geo-tagging images on social media, and sharing our location with others, could be considered close to the spirit of the Situationists. Although it’s often met with claims of <a href="https://www.nationalgeographic.com/travel/article/when-why-not-to-use-geotagging-overtourism-security">over-fuelling tourism</a> (especially regarding idyllic or otherwise protected sites), geo-tagging could <a href="https://www.melaninbasecamp.com/trip-reports/2019/5/1/five-reasons-why-you-should-keep-geotagging">inspire us</a> to actively seek out new places through visiting the source of an image.</p> <p>This could lead to culturally respectful engagement, and new-found respect for the rights of traditional custodians as we experience their lands in real life, rather than just through images on our phones.</p> <p>Then there are uniquely personal and anarchistic forms of resistance, wherein we can learn about the world around us by interweaving ourselves with our histories. In doing so we offer a new meaning to a historical message, and a new purpose. The Situationists called this process <em><a href="https://www.theartstory.org/movement/situationist-international/">détournement</a></em>, or hijacking.</p> <p>For instance, from my grandfather I inherited a biscuit tin of black and white photographs I believe were taken in the 1960s. They showed images of parks and wildlife, perhaps even of the same park, and cityscapes of London with people, streets and buildings.</p> <p>I have spent many hours wandering the London streets tracking down the exact places these images were snapped. I was juxtaposing past with present, and experiencing both continuity and change in the dialogues I had with my grandfather. In this way, I used images to augment (rather than replace) my lived experience of the material world.</p> <p>Urban art installations can also be examples of detournment as they make us re-think everyday conceptions. <a href="https://www.cityartsydney.com.au/artwork/forgotten-songs/">Forgotten Songs</a> by Michael Hill is one such example. A canopy of empty birdcages commemorates the songs of 50 different birds once heard in central Sydney, but which are now lost due to habitat removal as a result of urban development.</p> <p>There are also a number of groups, often with a strong environmental or civic rights focus, that partake in detournment. <a href="https://popularresistance.org/dancing-revolution-how-90s-protests-used-rave-culture-to-reclaim-the-streets/">Reclaim the Streets</a> is a movement with a long history in Australia. The group advocates for communities having ownership of and agency within public spaces. They may, for instance, “invade” a highway to throw a “<a href="https://pasttenseblog.files.wordpress.com/2022/02/road-rave.pdf">road rave</a>” as an act of reclamation.</p> <figure><iframe src="https://www.youtube.com/embed/bUL0C_T-Sqk?wmode=transparent&start=999" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>As French avant-garde philosopher <a href="https://www.themarginalian.org/2014/07/24/the-poetics-of-reverie-gaston-bachelard/">Gaston Bachelard</a> might have put it, when we’re bombarded by images there is no space left to daydream. We lose the opportunity to explore and question the world capitalism serves us through images.</p> <p>Perhaps now is a good time to set down the phone and follow in the Situationists’ footsteps. <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/221606/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><a href="https://theconversation.com/profiles/stephen-dobson-1093706"><em>Stephen Dobson</em></a><em>, Professor and Dean of Education and the Arts, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a></em></p> <p><em>Image credits: Getty Images </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-art-of-getting-lost-how-re-discovering-your-city-can-be-an-antidote-to-capitalism-221606">original article</a>.</em></p>

Travel Tips

"It's just not fair": Driver slams council for misleading parking fine

<p>A furious motorist has taken aim at a Sydney council's parking solution that resulted in an "outrageous" and "unjustified" fine. </p> <p>Ben drives to the Campbelltown train station in South West Sydney every day for his workday commute, and has recently been forced to find alternative parking plans due to a major disruption. </p> <p>A multi-deck carpark is being built near the station to accommodate the influx of traffic, but while the site is under construction, a makeshift parking lot has been set up. </p> <p>While the new car park will add 500 parking bays when completed, residents have claimed the council has drastically reduced the number of spaces in the meantime.</p> <p>Ben told <em><a href="https://www.9news.com.au/national/sydney-parking-rules-drivers-outrage-over-tiny-detail-in-parking-fine/4cfe4d45-c311-4587-b68a-fc1d017675fc" target="_blank" rel="noopener">9news.com.au</a></em> parking had become "a nightmare" since the temporary lot opened, leaving many motorists with no option but to park along the fence line. </p> <p>It's this act that saw Ben receive a $129 parking fine in the mail. </p> <p>He was outraged when he was issued a fine on February 9th for "not stand vehicle in a marked parking space" when he had no other parking option. </p> <p>"They've advertised that the temporary car park is the same amount of spaces lost during the construction, which is severely incorrect," he said.</p> <p>"I can only assume they are fining loads of drivers as that space along the fence line is always full of cars parked the same as mine was."</p> <p>Along with the fine itself, ticket inspectors supplied Ben a photo of a wordy and confusing sign located near the entrance to the lot, which only added to his frustration with the local council.</p> <p>He said while there were no marked bays along the fence line, signage was not clear enough to indicate to drivers they weren't allowed to park there.</p> <p>"I mean it's just not fair. It's a temporary gravel parking lot," he said.</p> <p>"They've created this mess and now they are targeting innocent commuters fighting to just leave their car somewhere to catch public transport into work."</p> <p>A spokesperson for Campbelltown City Council told <em>Nine News</em> they understood the construction of the new car park would "create some disruption".</p> <p>"A temporary 113-space parking lot has been opened adjacent to the existing parking lot in order to offset some of the parking loss," they said.</p> <p>The council was "actively monitoring and reviewing the current parking and signage arrangements as well as community feedback, to identify any further improvements that could be made and inform any additional community notification required".</p> <p>"While this review takes place, vehicles will only be fined where a safety risk to both other vehicles and/or pedestrians is identified," the spokesperson said.</p> <p><em>Image credits: Nine News</em></p>

Legal

Climate activists throw soup at Mona Lisa

<p>Two climate change activists have hurled soup at the bullet-proof glass protecting Leonardo da Vinci’s iconic painting, the Mona Lisa, at the Louvre Museum in Paris. </p> <p>On Sunday morning, local time, a video posted on social media showed two women throwing red and orange soup onto the glass protecting the painting to the shock of bystanders. </p> <p>The incident came amid days of protests by French farmers across the country demanding better pay, taxes, and regulations.</p> <p>The two women, with the words "FOOD RIPOSTE" or "Food Counterattack" written on their T-shirts, managed to pass under the security barrier and stood in front of the painting, while shouting slogans for a sustainable food system.</p> <p>“What is more important? Art or the right to healthy and sustainable food?” they asked. </p> <p>“Your agricultural system is sick. Our farmers are dying at work,” they added, before the security put black panels in front of the painting, and asked visitors to evacuate the space. </p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="fr">ALERTE - Des militantes pour le climat jettent de la soupe sur le tableau de La Joconde au musée du Louvre. <a href="https://twitter.com/CLPRESSFR?ref_src=twsrc%5Etfw">@CLPRESSFR</a> <a href="https://t.co/Aa7gavRRc4">pic.twitter.com/Aa7gavRRc4</a></p> <p>— CLPRESS / Agence de presse (@CLPRESSFR) <a href="https://twitter.com/CLPRESSFR/status/1751538762687893894?ref_src=twsrc%5Etfw">January 28, 2024</a></p></blockquote> <p>On its website, the "Food Riposte" group said that the French government is breaking its climate commitments, and they demanded a state-sponsored health care system to be put in to give people better access to healthy food, while providing farmers with a decent income. </p> <p>The protests comes after the French government announced a series of measures for agricultural workers on Friday, which they believe do not fully address their demands. </p> <p><em>Image: Twitter</em><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;"> </span></p>

Legal

Embracing the art of beauty without compromise

<p dir="ltr">When it comes to trying out the latest makeup products, people with sensitivities are often left behind. </p> <p dir="ltr">Whether it’s sensitive skin or allergies, makeup users can often find products that work for them and their limitations. </p> <p dir="ltr">But when it comes to having sensitive eyes, there are very few options for those who still want to partake in applying makeup. </p> <p dir="ltr">In answer to this gap in the market, an Australian ophthalmologist has developed a game-changing product that can give everyone the long lashes they deserve, even if they suffer from eye sensitivities. </p> <p dir="ltr">Enter: OKKIYO. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/C0xoSFPvHhl/?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/reel/C0xoSFPvHhl/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Beauty + Makeup for Sensitive Eyes - OKKIYO™️ (@okkiyoeyes)</a></p> </div> </blockquote> <p dir="ltr">The OKKIYO Eye-Care collection was crafted with expertise by Dr. Jacqueline Beltz, with each product being the perfect blend of aesthetics and eye health. </p> <p dir="ltr">The range offers meticulously formulated products to beautify sensitive eyes, ensuring you don't just look good but also feel great.</p> <p dir="ltr">From the transformative PRIORITEYES Mascara to the gentle Sensiteyes Cleansing System, every item is a promise of quality, safety, and confidence.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/Cvd68g8tBWE/?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/Cvd68g8tBWE/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Beauty + Makeup for Sensitive Eyes - OKKIYO™️ (@okkiyoeyes)</a></p> </div> </blockquote> <p dir="ltr">The <a href="https://www.okkiyo.com/products/protect-and-preserve-mascara">PRIORITEYES Mascara</a> is crafted with natural ingredients that will protect your eyes, while still doing all the things you want a mascara to do. </p> <p dir="ltr">The mascara is tailored for those with sensitive eyes, ensuring a comfortable, irritation-free experience, making it the perfect blend of medical-grade care and cosmetic elegance.</p> <p dir="ltr">Its clean formula boasts over 90% natural ingredients, including nourishing Australian Manuka honey and rejuvenating citrus extracts, while also promising no smudging, lasting through watery eyes and eye drops, all while being a breeze to remove.</p> <p dir="ltr">Another feature of the OKKIYO mascara is its accessible packaging, as the square tube prevents the product from rolling away and out of sight, with the tube also featuring braille, so those with low vision can identify the product. </p> <p dir="ltr">When it comes to removing eye makeup, cleansing the eyelid margins is one of the most important steps in looking after the delicate eye area, especially if you have sensitive eyes. </p> <p dir="ltr">Thankfully, <a href="https://www.okkiyo.com/products/okkiyo-cleansing-cloth">OKKIYO cleansing cloths</a> effectively remove all traces of eye make-up as well as any dried oil, bacteria and skin cells from the lashes and lids, all while being good for the environment. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/C14D7OrvSYd/?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/reel/C14D7OrvSYd/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Beauty + Makeup for Sensitive Eyes - OKKIYO™️ (@okkiyoeyes)</a></p> </div> </blockquote> <p dir="ltr">The reusable muslin cloths cleanse the lid margins allowing the oil glands to function properly, producing tears that naturally desensitise the eyes. </p> <p dir="ltr">OKKIYO is the first Australian beauty brand to cater to the over 2.2 billion people in the world with low vision, and now, after three years in the making, the OKKIYO range is available exclusively at <a href="http://www.okkiyo.com.au/">www.okkiyo.com.au</a>.</p> <p dir="ltr">A proportion of profits from each OKKIYO sale will go to supporting Aboriginal Eye Health, improvements for people with low vision and general eye health research.</p> <p dir="ltr">Given the ophthalmologist-created and tested formula, those with eye sensitivities no longer have to choose between protecting their vision and looking fabulous thanks to the revolutionary OKKIYO system. </p> <p dir="ltr"><em>Image credits: Getty Images</em></p> <p><span id="docs-internal-guid-5dc0b4d6-7fff-4672-607b-3530170c75c6"></span></p>

Beauty & Style

2023 Drone Photo Awards fly high as winners are revealed

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

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