"The church has never come out this way before... if you combed the country for two hundred miles around you would not muster up a congregation." "We do not expect them to come... Our work is to go to them. Here I am."
Ion Llewellyn Idriess, better known as Jack "in the bush," was an Australian author. His writing drew on his own experiences as a prospector, bushman and soldier. He travelled extensively around Australia, including the Torres Strait Islands, and fought in World War I.
Idriess was born at Waverley, NSW, in 1889. He authored more than 50 books over 43 years from 1927 to 1969 - an average of one book every 10 months. These could be loosely described as "Australiana", but that one word can cover a multitude of topics. He wrote books of travel, recollection, biography, history, anthropology and futurology. None of these were fiction, but all were written in a narrative, "story" style. Many of the historical works interwove documented and oral history with cultural research and imagination. He also wrote political pamphlets and text books for miners and soldiers. His life has been documented in Ion Idriess, by Beverley Eley (ETT Imprint, Sydney, Australia, 1995). He was awarded an OBE in 1968 for his services to publishing.
Got a question? Read the frequently asked questions below.
See below for an outline of the bibliography, including notes about most of the books.
Read trivia and more about Ion Idriess and Beverley Eley on this page.
This may be my last book (though I'll keep going while I have a kick left in me) and I have written it above all for the younger generation of Australians ... there are unlimited possibilities and untold rewards and satisfactions for those who devote their brains and skills to Australia's development.
The next hundred years beckon with wonders to be discovered ... You, the younger generation, and your sons and your daughters, must adventure into new fields ... Good health and questing minds to you.
Where can I buy Idriess books? All Idriess titles from 1931 were published by the publisher Angus and Robertson (split off from the bookseller of the same name in 1977, and merged into HarperCollins in 1989). As Idriess was so popular, there are many second-hand copies still in circulation. Try any good second-hand bookshop, online or on the street. All good second-hand bookshops in Australia should have a separate Idriess section. I have found many of his books by shopping through abebooks.com. Ownership of Idriess copyright has changed from time to time, and some titles have been reprinted. Burnet's Books of Uralla, NSW issued a limited run of some excellent facsimile reprints of the hard-to-find titles under the Idriess Enterprises banner. This includes the Australian Guerilla series, Cyaniding for Gold and the original Madman's Island. Tom Thompson, of ETT Imprint (publisher of Eley's biography of Idriess), acquired a number of titles in 1995, and now controls, has published or is about to publish eight Idriess titles - Flynn of the Inland, The Red Chief, Nemarluk, Prospecting for Gold, Lasseter's Last Ride, The Desert Column, Lightning Ridge and The Silver City. Read more on the ETT Imprint Idriess page.
Some of the rarer titles (as above) can go for hundreds of dollars. There were also some issues that came out in series. Values for a full set are hard to estimate - see The National Edition for some examples. A good way to get an idea of worth is to check for your title at abebooks.com. Sort the catalogue by price, and see what condition the books are in.
Is my Idriess book a first edition? If your copy merely gives a publishing date with no further details, then I am afraid that it is not necessarily a first edition. Many of Angus & Robertson's Idriess editions only quoted the printing date for the edition, without any reference to previous printings. Some titles were printed many, many times. See the bibliography section below for links to all the original publishing dates. Even if you have a signed copy, it is not necessarily a first edition.
What pen-names did Idriess use? John Connell asked in Jul 2005 whether "Ion Idriess" was a pen-name. As above, this was actually his birth name. You can read more of his family background in Beverley Eley's book. He used the name of "Jack" when he was travelling to save the trouble of explaining the spelling of "Ion", but he always wrote his books as Ion Idriess. His early articles for The Bulletin were written under the pen-name of "Gouger" - this was when he was opal-mining. He apparently also wrote as "Up North" and "Emucrest".
Where were his books published other than in Australia? Idriess's work was obviously most popular in Australia, which in his earlier days was an oddity in itself. Most Australians then still saw themselves as a British people, and to write about Australia at all was viewed as "quaint". Eley notes in her timeline that Lasseter's Last Ride was published in England in 1936, and a Swedish translation of Men of the Jungle was presented to Prince Wilhelm in 1939. In her book, she notes that by 1935 Lasseter's Last Ride was published in Swedish, Dutch and French. I have heard of a German copy of Gold Dust and Ashes, and a French copy of Men of the Jungle. There were likely many Idriess titles published in other countries, and translated into a number of languages, but there doesn't seem to be any readily-available detailed information on this topic.
Where is Ion Idriess buried? Tania Wallace asked me this one in May 2003. Eley does not seem to mention it at all. Idriess died at the Mona Vale nursing home in Sydney on 6 June 1979, at the age of 90. Tanya reported back around the end of 2003 - Ion Idriess was cremated at North Sydney Crematorium. There is a tree there dedicated to him - tree 1169, R L Wall.
Where can I find out more about Idriess? Read more on this page, and see the bibliography notes below. There are a few other Web sites of interest. John Tipper and Barbara Cooper at "Collecting Books and Magazines" have some good general info on their Idriess page, and have been very helpful in providing some graphics from their site. Rob Coutts has now set up a very detailed site, with lots of extra information. The Wikipedia page is also worth a look - although quite a lot of it has been drawn from this site!
There are 41 "story" titles - including one substantially re-written - two pamphlets, and two collections. There are also four text books for miners and prospectors, and six in the Australian Guerilla series for soldiers. This gives the total of 55 titles listed here. Most were printed over a large number of editions.
In addition to the titles counted above, there was a re-issue of 12 titles as The National Edition set in 1941. Thanks to a question from Wayne Gierke, I have now looked into this set, and added it to the bibliography here.
This should be a complete list of all Idriess titles. The title by-lines are also included. A brief description is included for most, and pictures of the covers where available. Contact me if you would like to add comments or a review to any title.
The order and publishing dates used here agree with that given by Beverley Eley in the Idriess "time-line" included in Ion Idriess's Greatest Stories, the 1986 two-volume set of six of Idriess's most popular titles. It is assumed that Eley's information is based on the publishing records.
All content Copyright - Keith De La Rue 1998-2016.


text:
Q: How do I export issues from a Google Code project to Github? I'm trying to move a project from Google Code to Github, and I can't find a way to migrate the issue tickets.
I found https://github.com/arthur-debert/google-code-issues-migrator which appears to be the top hit in a google search for "migrate issues from google code to github", but all I ever get when I attempt to use it is a 404.
It appears that I can export Google Code tickets as CSV, but a) I don't see a way to import CSV into github, and b) it only seems to be the barest data about each ticket.
Is there another way to migrate my issues from Google Code to Github?

A: I exported my google code issues into CSV (which sadly does not include comments), and then used the following script to import them into github:
#!/usr/bin/env ruby

# Based on https://gist.github.com/visnup/1117145

require 'rubygems'
require 'FasterCSV'
require 'httparty'
require 'json'

github_user = 'xxx'
github_repo = 'xxx'
gcode_repo = 'xxx'

class GitHub
  include HTTParty
  base_uri 'https://api.github.com'
  basic_auth "xxx", "xxx"
end

FasterCSV.open ARGV.shift, :headers => true do |csv|
  csv.each do |r|
    # title, body, assignee, milestone, labels
    body = {
      :title => r['Summary'],
      :body => "Issue Migrated from http://code.google.com/p/#{gcode_repo}/issues/detail?id=#{r['ID']}",
      :labels => [ "gcode"]
    }
    issue = GitHub.post "/repos/#{github_user}/#{github_repo}/issues", :body => JSON.generate(body)
    p issue
  end
end

Replace xxx with the appropriate values for your usage, and make sure you run it on a test repo first.
I then closed all the issues in google code with a comment pointing to the github issue list.  Using the advanced tab of the Admin menu in Google code, I replaced the Issues tab with a wiki page that also pointed people to the github issue list.

A: As per the issue mentioned in the original post, there has since been a pull request which supposedly fixes the 404 error.

redpajama_set_name: RedPajamaStackExchange


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Live Report: John Grant with The Royal Northern Sinfonia, at Royal Festival Hall, London
Nine Things You Need To Know About Olivia Rodrigo
A show to stay with you, forever…
ClashLive
John Grant, by Chiara Felice
ClashLive /
As snaps of brass burst into your face – loud, theatrical, exciting – mimicking the booming electro intro of one of John Grant's classics, you know this is one of those shows that will stay with you forever.
The pulsing bass of 'Pale Green Ghosts' then hits, and the brass escalates like a Bond theme. It's incredible, euphoric, and ingenious. It is everything.
John Grant and the Royal Northern Sinfonia play what could honestly be one the greatest gigs of all time at London's Royal Festival Hall – the last of a handful of UK dates by the former Czars frontman and orchestra.
This is so much more than Grant with live string arrangements. This is a perfect collaboration of musicians from either side of the tracks moulding and working together. There are dramatic, heart-thumping cellos and double basses making your seat vibrate with crescendos of swirling, Hitchcock-ian strings as projections illuminate the hall's impressive Giger-like organ pipes. The flute and oboe have starring roles, fluttering throughout like the magical touch of Brian Wilson or Sufjan Stevens. And the tympani – oh, the tympani. It just makes everything, rattling around the impeccable surroundings, pushing each song that little further into the wondrous.
The orchestra joins Grant's own Icelandic ensemble, which sounds fresh, energetic and note perfect, and brilliant piano- and synth-playing regular Chris Pemberton. This is not a band and orchestra on the same stage. This is one group. The music they create shows how far Grant has come in recent years, from the soothing indie of The Czars to the Midlake-backed folk psych of 'Queen Of Denmark' and the now electro-tinged lushness of 'Pale Green Ghosts'. It's a sound he has developed with the influence of some of the UK's greatest exports, who he dedicates tonight's show to. Holly Johnson, Alison Goldfrapp and Tracey Thorn are just some spotted in the audience.
Tracks from both of Grant's solo albums make the two-and-a-half-hour show fly by. 'It Doesn't Matter To Him' is exactly why live orchestral can be so incredible. It's cinematic and massive, ending with a cheer like it's the last song of the night. 'Queen Of Denmark' begins slow and subdued before strings burst like a 1950s thriller and bass and percussion hit you excitedly, accompanied by flashes from the vintage film set lights behind.
There are contrasts to the bigger numbers that make you feel like your brain's going to explode with glee. The Czars' oldie 'Drug' and 'Fireflies' from his 'Queen Of Denmark' period are heart-breakingly beautiful, with Grant and piano taking centre stage, while 'Glacier' is soft and enchanting before the orchestra swells into dramatic and wonderful chaos. His voice is strong, angelic and divine.
Hinting that this may be the last time 'Pale Green Ghosts' is performed on stage, Grant treats us to three new songs, each twisting electro and strings together in a way that is carving out his signature sound. In a tribute to American theatre actress Geraldine Page, 'Geraldine' is as sweet as a Carpenters song, with a Jimmy Webb melody and Glen Campbell guitar, while 'No More Tangles' is like Scott Walker singing about hair products. They're excellent.
No one would have complained if this night lasted another five hours, but it ends with 'Caramel' – quite honestly one of the most perfect and beautiful versions of this song that could ever be played. It concludes not only a special evening, but perhaps an era of John Grant that has seen him go from drug and depression-devastated failing musician to someone who embarked on a journey of recovery and self-discovery to become the treasured bear of a man we hold so dear. He seems the picture of happiness and health, even with 2012's HIV revelation. A new album is obviously in the pipeline, and if tonight is anything to go by, it will be amazing.
Words: Gemma Hampson
Photos: Chiara Felice
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Steve Lacy Is Coming To The UK
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Live Report: Field Day 2017

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Becoming a private investigator is surprisingly easy, in Queensland. If you want a good, experienced Townsville private investigator, though, including ex-Police, to investigate phone 07 47788970 for a free quote.
Becoming a good private investigator is far harder, to survive as an investigator, and earn a living is even harder still. To become an investigator you do a course (which is a short course), generally a certificate III. You submit your details for a criminal history check (nothing recent I hope), then you pay the Government a fee for a licence, which gives you the right to TRY and earn a living.
We have seen many come, and go. I could introduce you to an experienced investigator, locally, who earns more, for less stress with more fresh air and exercise, mowing lawns, or another who drives a truck from time to time, for spare money. I have over 35 years investigative experience, a Police background including roles such as OIC CIB, and OIC station, investigating all types of unusual criminal incidents, and deaths. There are other investigators with similar backgrounds around. Some have moved on to working as private investigators, private detectives, with varying levels of success.
Townsville itself has seen financial ups and downs, which have also affected the amount of money available for investigations. When times were good people could afford to investigate a cheating spouse, their child access issues, their criminal defence needs, their civil actions. Even the number of Townsville WorkCover and Workers Compensation investigations has fallen. This impacts the viability of employment for private investigators, who are basically self employed, in a feast and famine industry, where people have to charge a reasonable rate to survive.
There is good money being made training private investigators, for some big companies, who keep coming up with new and innovate 'qualifications' for investigation, such as the 'Government investigator' course, and churning out 'qualified' people. When considering training look for value for money, look for a trainer who actually has worked in the industry, who knows what they are talking about. They don't offer you the work, just the course. Once you have a licence watch out for the 'employers' who offer you 3 hours a day surveillance, and break off if nothing seen for 3 hours; earning 3 hrs a day, when these will be the prime 3 hrs for private investigator surveillance, plus the time it took you to set up, get everything ready, read the instructions, and report back etc means you are paid for 3 hours but work 6, and didn't earn any other money for the day. You won't survive like that, unless you have a lot of files. Townsville doesn't get a lot of files. Also watch out for those that won't pay you anything to travel to other places, for work.
Another issue is poor or none payers. I was just speaking to someone who has folded up, because of lack of work, and the inability of people who provided jobs, to pay. It is a common industry problem. Some are slow payers, some big companies want to take 3 months to pay you. You will see times when all companies can be slow, but you have to keep onto them. If the bill gets large, or old, or they stop talking to you, consider taking action to get your money, because there is an issue.
Some people start out cutting everyone else's throats with their offers, others go bust, then so do they, because they cut corners. You will find some less than honest operators, as well. We have been here for many years because we don't try and be cut price, we try to provide a service, and stay within the law. We won't always succeed in achieving the clients objectives; sometimes they cannot be achieved, or financial restrictions (a fact of life) get in the way. If you need a good, experienced, discreet, Townsville private investigator, contact us for a free quote.


Who are you receiving mail from? Who's recruiting you? : UGA, Auburn, Alabama, Tennessee, Vanderbilt, NC state, Troy, Maryland, Tulane, GA Southern, Texas ATM, Miss State, Ole Miss and UNC.
Who are your favorites? What stands out about your favorites? Tennessee, Vanderbilt and UGA when I'm there is feels like home.
List any unofficial visits: Alabama, Auburn, Tennessee, NC State, Vanderbilt, GA Southern, Clemson and UGA.
Where did you camp last summer? Tennessee, Auburn and Alabama.


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News | Careers
Inclusive Workplaces Create Highly Effective and Satisfied Employees
Thursday, 23rd November 2017 at 1:57 pm
New research has highlighted the importance of inclusion in Australia's workplaces, with inclusive workplace employees found to be 10 times more likely to be highly effective and almost 20 times more likely to be very satisfied at work.
Thursday, 23rd November 2017
Diversity Council Australia (DCA) led the Suncorp-sponsored Inclusion@Work Index 2017-2018 report, which surveyed a nationally representative sample of 3,000 Australian workers and found that inclusion is good for both customers and employees.
"Over the past decade, there has been a marked shift in focus in business circles from discussing diversity to diversity and inclusion," the report said.
"Organisations are increasingly recognising that if they wish to experience the benefits of diversity, they need to cultivate not just a diverse workforce, but importantly, also an inclusive one."
The survey showed that 75 per cent of people supported inclusion programs in the workplace, and other key findings included that employees in inclusive work teams were:
19 times more likely to be very satisfied with their job compared to employees in non-inclusive workplaces (58 per cent to 3 per cent);
10 times more likely to be highly effective in the workplace (58 per cent to 6 per cent);
nine times more likely to innovate (45 per cent to 5 per cent); and
four times more likely to stay with their employer over the coming year (62 per cent to 16 per cent).
Suncorp CEO and managing director Michael Cameron, said inclusive workplaces were important to foster greater diversity and facilitate better business performance.
"We sponsored this research because we know the value of having an inclusive work environment and the positive impact it can have across industries. The findings will start important conversations that lead to more inclusiveness in all types of organisations," Cameron said.
"Our businesses perform at their best when leaders provide an environment where people feel included, connected and valued."
DCA CEO Lisa Annese, told Pro Bono News that inclusive workplaces were strong drivers of business performance.
"We defined inclusion as feeling connected in the workplace, feeling respected, feeling valued and feeling that they can progress in the workplace. If people feel all those four things, they're more likely to be engaged and loyal to their employer," Annese said.
"This has [strong] outcomes in terms of business performance."
While Annese believed feeling a connection to others in the workplace was important, she said it was "only one part" of a truly inclusive workplace.
"Sometimes people can feel connected with their team members, but not valued by their leader. There they might not progress in an organisation, so while having those personal connections is an important part of it, it's also really important that connection also enables you to be your authentic self," she said.
"People want to be noticed by leaders, to be valued and to have opportunities to progress. This is why it's so important for leaders to be on board with this."
While Australians were found to strongly support inclusive work programs, lower levels of support was more evident "among men from Anglo-cultural backgrounds, men who were older, and men who had no caring responsibilities".
Annese said this was probably due to a perception that inclusion initiatives did not benefit them, but she stressed that this was actually not the case.
"I think perhaps the reason is that they don't see any particular benefit for them. They may have benefitted from an historical legacy where men have been the natural leaders of organisations and they feel this will no longer be the case. So there may be a fear they're missing out," she said.
"However the research actually reveals that despite the fears that some men have, they benefit just as much as women… so it's a win-win situation."
While things are heading in the right direction, progress to achieve change is slow according to Annese.
"Certainly in Australia it is positive but [change] is very slow. We still have very low levels of women represented in leadership in Australia and a very Anglo-Celtic workforce in terms of power and decision making," she said.
"We still have unacceptable levels of discrimination and harassment against Indigenous Australians and LGBTI Australia. So while it's heading in the right direction, we still have a long way to go."
Annese said there were a number of practical ways for workplaces to become more inclusive.
"We always believe that a lot of this work begins with the leaders in the organisation. So being open about it and actually focusing on it as one of the pillars of change in the workplace," she said.
"You need to make sure you have the frameworks set up right, regarding policies and the way you do business. All of this doesn't exclude people… [But] sometimes you need special measures for excluded groups to support them to become part of the conversation in the workplace.
"Then the hard part is trying to focus on cultural issues within an organisation. So the day-to-day ways in which people can interact with each other. That really creates the culture of inclusion or exclusion. And anything that [facilitates] cultural change will really help."
Luke Michael | Journalist | @luke_michael96
Luke Michael is a journalist at Pro Bono News covering the social sector.
Tags : diversity, Diversity Council Australia, inclusion, Jobs, Lisa Annese,
Five candidate red flags you should be paying attention to
Maggie Coggan
Does the perfect candidate exist? Here's some tips on how to find the right person for the job
Friday, 28th June 2019 at 5:07 pm
Inclusion is everybody's business
Thursday, 23rd May 2019 at 8:00 am
An Angelic Troublemaker
Tuesday, 12th March 2019 at 8:56 am


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Q: What can a 'const' method change? C++ methods allow a const qualifier to indicate that the object is not changed by the method. But what does that mean? Eg. if the instance variables are pointers, does it mean that the pointers are not changed, or also that the memory to which they point is not changed?
Concretely, here is a minimal example class
class myclass {
  int * data;

  myclass() {
    data = new int[10];
  }

  ~myclass() {
    delete [] data;
  }

  void set(const int index) const {
    data[index] = 1;
  }
};

Does the method set correctly qualify as const? It does not change the member variable data, but it sure does change the content of the array.

A: There are two aspects to this question:

*

*what does const mean to the compiler?

*how does const apply when it cannot be validated by the compiler?

Question 1
The first is rather simple.  The compiler validates that no data members are modified (unless they are qualified as mutable).  It validates this recursively: for any user-defined types, it checks that no non-const methods are invoked.  For built-in types, it validates that they are not assigned.
The transformation for pointers is T* to T*const (const pointer), not const T* (pointer to const).  This means that the compiler does not validate that the object pointed to is not modified.  Obviously, this leads to question 2.
Question 2
How does const apply when not validate by the compiler?  It means whatever it should mean to your application.  This is usually referred to as logical const.  When to use const with respect to logical const-ness is subject to debate.

A:
What can a 'const' method change?

Without explicitly casting away constness, a const member function can change:

*

*mutable data members, and

*any data the class has non-const access to, irrespective of whether that data's accessible:

*via member variables that are pointers or references,

*via pointers or references passed as function arguments,

*via pointers or references returned by functions,

*directly in the namespace or class (for static members) containing it.

These restrictions apply to operations of data members and bases (in the OO sense) too.  More explicitly, a const member function operating on *this's data members or bases, when they're of class/struct/union type, can only call their const member functions (if any), and can only write to their mutable data members (if any).
(A const member function can also change any non-const local variables and by-value parameters, but I know that's not what you're interested in).
const data members can call other const member functions, which will have these same abilities and restrictions.

Eg. if the instance variables are pointers, does it mean that the pointers are not changed, or also that the memory to which they point is not changed?

It means the pointers can't be (easily/accidentally) changed.  It does not mean that the pointed-to memory can't be changed.
What you've stumbled on is the logical incorrectness of a const function changing pointed-to or referenced data conceptually owned by the object.  As you've found, the compiler doesn't enforce the const correctness you may want or expect here.  That's a bit dangerous, but means constness doesn't need to be explicitly removed for pointers/references to other objects which may be changed as a side-effect of the const function.  For example, a logging object.  (Typically, such objects are not logically "owned" by the object whose const function is operating on them.)  The key point is that the compiler can't reliably distinguish the type of logical ownership an object has over pointed-to data, so it's got to guess one way or the other and allow the programmer to either override, or not be protected by const-ness.  C++ forgoes the protection.
Interesting, I've heard Walter Bright's D language flips this default, making pointed-to data const by default in const functions.  That seems safer to me, though it's hard to imagine how often one would end up needing to explicitly cast away constness to allow wanted side-effects, and whether that would feel satisfyingly precise or annoyingly verbose.

A: Most succinctly, it means that the type of this is const T * inside const member functions, where T is your class, while in unqualified functions it is T *.
Your method set does not change data, so it can be qualified as const. In other words, myclass::data is accessed as this->data and is of type int * const.

A: const when applied to a method means:
This means that the state of the object will not be changed by the method.
This means any members that are part of the objects state can not be modified, nor can any functions that are not also const be called.
As this relates to pointers. It means the pointer (if it is part of the state) can not be changed. But the object the pointer points at is part of another object so that means you can call non cost methods on this object (as it is not part of the state of this object).

A: const basically prevents changing the class instance members' values inside the function. This is useful for more clearer interface, but pose restrictions when using inheritance for example. It's sometimes a little bit deceiving (or a lot actually), as in the example you posted.
const would be most appropriate for Get functions, where it is obvious that the caller is reading a value and has no intentions of changing the object state. In this case you would want to limit the inherited implementations as well to adhere to constness, to avoid confusion and hidden bugs when using polymorphism.
For example
class A{
     int i;
   public:
     virtual int GetI() {return i;};
}

class B : public A{
   public:
     int GetI() { i = i*2; return i;}; // undesirable
}

changing A to:
virtual int GetI() const {return i;};

solves the problem.


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Asa Hutchinson speaking with reporters Friday about his priorities for the 2019 session.
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text:
Left Bank Art Blog
By Charles Kessler
Jersey City Art News
Installation view, Material Tak; paintings by Jsun Laliberté on the left, and Anne Sherwood Pundyk on the right.
Material Tak, Panepinto Galleries, 371 Warren Street, Jersey City (Until July 15th)
Almost everything that's now happening with abstract painting is represented in this handsome exhibition located in what used to be the Warehouse District of Jersey City. The exhibition was curated and sensitively installed by Kara Rooney, who has brought some life into the moribund art scene here. The artists in the exhibition, Mark Dagley, Anne Sherwood Pundyk, Kati Vilim, Jsun Laliberté, and Peter Fox, are from Manhattan, Brooklyn and Jersey City; and all their work is accomplished and complex (in a good way).
Anne Sherwood Pundyk, Levels, 2012, acrylic and oil on panel, 14 x 11 inches (not including the painted background).
I was particularly interested in Anne Sherwood Pundyk's installation. By creating a wallpaper-like background for her paintings, Pundyk transformed this large, Chelsea-style space into a congenial environment — a more private, almost residential, space that allows you to slowly savor this rich work.
Two of my favorite Jersey City artists currently have exhibitions on view.
Nancy Cohen, whom I wrote about here, is in two shows: Accola Griefen Gallery, 547 W. 27th St #634 in Chelsea (until June 23rd), and Precarious Exchange at The Hunterdon Art Museum, 7 Lower Center Street, Clinton, NJ (until September 9th).
Nancy Cohen, Spill, 2011, glass, metal, wire, resin, handmade paper, wool, 77" x 16" x 9" -- and detail on the right (Accola Griefen Gallery).
And Edward Fausty will be showing photographs at the Mayson Gallery, 254 Broome Street on the Lower East Side, from June 13th until July 18th.
Art House Productions, one of the most active and vital cultural organizations in Jersey City, is presenting the original play Something to Remember Me By from June 14 - 23. It should be a real treat; their publicity states: ... Please join us at the Morris estate where your hostess, Ms Abigail Morris, will welcome her closest family and friends for an evening of celebration and forgiveness. ON THE MENU: An assortment of sweet memories, bitter grudges, and dark secrets. The audience will be sitting at the dining room table with the cast. Tickets are only $15 to $25 and you can buy them online here.
After their Saturday, June 23rd show, Art House will have their annual Summer Blowout, with live music, food, raffles and all kinds of silly fun. Tickets are $10.
If you took my advice and went to the Nimbus Dance Works Spring Season Dance Concert, you saw an enthralling performance that included new pieces by Artistic Director and Founder Samuel Pott, and by the Turkish choreographer Korhan Basaran. Hopefully next year Nimbus will install steeper risers so everyone will be able to see better. You can find photos of the concert here, on their Facebook page.
Museum news:
The Corcoran Gallery of Art in Washington, DC may sell its landmark building. Art blogger Tyler Green has been on this potentially scandalous story. The good Corcoran news is, beginning June 30th they will be presenting a retrospective of Richard Diebenkorn's Ocean Park series of paintings. It is a major show consisting of more than 80 paintings, drawings and mixed-media works that Diebenkorn made from 1967 to 1988. The Corcoran is the only place this travelling exhibition is going to on the East Coast. It will be there until September 23rd.
The Whitney Museum sent out an email updating the progress on its new museum near the High Line. Here's a video about it.
The New Whitney - Image courtesy of Renzo Piano Building Workshop in collaboration with Cooper, Robertson and Partners.
They are saying the new 200,000+ square foot facility will have three times the space as the old museum devoted to exhibiting their permanent collection; a 170-seat theater with double-height views of the Hudson River; a 13,000+ square foot space on a stepped roof facing the High Line for outdoor sculptures, installations, new media, and performance presentations; and an 18,000+ square foot special exhibition gallery— the largest column-free art museum gallery in NYC. Sounds good.
The New York Times reports on Dia: Chelsea's plans for a new building in Chelsea.
Also from the Times is this: How the Art Market Thrives on Inequality.
Because each piece of fine art is unique and can't be owned by anybody else, it does a more powerful and subtle job of signaling wealth than virtually any other luxury good. High prices are, quite literally, central to the signal — you don't spend $120 million to show that you're a savvy investor who's hoping to flip a Munch for $130 million. You're spending $120 million, in part, to show that you can blow $120 million on something that can't possibly be worth that much in any marketplace.
Pacific Standard Time (PST) is a series of more than 60 exhibitions about the art history of Southern California that the Getty Foundation and the Getty Research Institute instigated. Once again they have shown leadership by putting their entire PST archives online. Not only that, but the Los Angeles Times reports the Getty Research Institute, partnering with several other major art institutions, has created The Getty Research Portal, an art history version of Google Books with about 20,000 titles already online and much more to come. What a resource!
Two Chelsea exhibitions I recommend:
Brice Marden's new paintings at Matthew Marks, 526 West 22nd Street, are small and tactile. Delicious work.
Brice Marden, Years 2, 2011, oil and graphite on marble, 21 ¼ x 11 ¼ inches.
And yet another sign of the positive influence of Richard Tuttle that I wrote about here is the work of Michelle Segre, Derek Eller gallery, 615 West 27th Street.
Michelle Segre, Let Me Love Your Brain, 1997-2011, mixed media, 83 x 69 x 41 inches.
And finally, From Dance Magazine, is a discussion with six choreographers about making work for film.
Posted by Charles Kessler at 4:01 PM
Maureen said...
Great roundup.
As was announced, the Corcoran is inviting the public to participate in a series the museum leadership is calling "listening sessions". Here's the pr about that:
http://www.corcoran.org/sites/default/files/press-releases/Corcoran%20Community%20Sessions_0.pdf
Charles Kessler said...
Maureen, what's your opinion on Tyler Green's posts about the Corcoran?
Art World Matters
How to Make a Living as an Artist
Art as a Gift
The Art World as a Subculture
Art and Government
Why I Quit Painting
Gallery and Museum Guides
Current Bushwick Exhibitions
Washington D.C. Museum Guide
Small Museums on Manhattan's East Side
Small Museums on Manhattan's West Side
The Philadelphia Museum of Art
The Barnes Foundation in Philadelphia
African Art at the Metropolitan Museum of Art
By Charles Kessler I was disappointed I didn't get to see the Tishman/Disney collection of African art when I went to Washington last week...
The Chauvet Cave Paintings
By Charles Kessler The other day, I saw Werner Herzog's new 3-D movie about the Chauvet cave paintings — Cave of Forgotten Dreams (now pl...
Peter Voulkos and the Ceramics Revolution of the 1950s
By Charles Kessler As I noted in a recent post , ceramics, as an art medium rather than a utilitarian craft, has become popular with arti...
Sculptures of Bulls at the Metropolitan Museum of Art
By Charles Kessler Often, as if there's a theme for the day, one thing or another seems to stand out when I visit a museum. I already ...
David Park: California Dreaming
By Carl Belz Writer's note: The following essay was written for the brochure of a 1983 David Park exhibition at the Salander-O'Reilly Ga...
Matisse's Cut-Outs as Environments
By Charles Kessler A major exhibition of Henri Matisse's cut-outs is now in London at the Tate Modern and will be traveling to the Mu...
Mithila Painting
Ranti Women's Art Coop By Charles Kessler There's a kind of art that has characteristics of folk art, tribal art, tourist art and ...
Washington — Day Two
By Charles Kessler FREER/SACKLER Museums of Asian Art What a classy museum the Freer is! It's the only museum I went to that didn'...
Dancing with the Devil
Lynne Cheney, wife of former (thank God) Vice President Dick Cheney, National Endowment for the Arts chair in the mid-1980's Most ...
The High Line -- WOW!
(Click on a photo to enlarge it) For those of you who don't know, the High Line is an elevated steel railway trestle built in the 1930's. I...
Charles Kessler (315)
Carl Belz (44)
Irene Borngraeber (25)
Kyle Gallup (12)
Art News, June 25, 2012
The Barnes Foundation's New Facility
Bushwick Open Studios - BOS 2012


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redpajama_set_name: RedPajamaGithub