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Jonathan Shapiro Quotations
Jonathan Shapiro
Jonathan Shapiro, born 1958 in Cape Town, is a South African cartoonist, famous as Zapiro, whose work appears in numerous South African publications and has been exhibited internationally on many occasions. He is the nephew of British magician David Berglas and cousin to Marvin Berglas, director of Marvin's Magic... (wikipedia)
↪ Nationality South African Quotes
↪ Profession Cartoonist Quotes
Certain Quotes
There are certain people within the new government who have a slightly disturbing tendency toward authoritarianism, but there are so many checks and balances that in that way their noises are just noises.
What's much harder is taking on people in your own community.
Mandela Quotes
Mandela once phoned me out of the blue while he was still president, and at first he played with me a bit.
Abide Quotes
She is a no-nonsense judge, and she doesn't abide by nonsense from the defense or the prosecutor. Being a former assistant U.S. attorney, she holds the government attorneys to a very high standard, which is as it should be. She is evidently very disturbed by the developments in this case, which is as it should be as well.
Came Quotes
On one occasion in 1987 the security police came looking for me because of a drawing that I'd published.
Antithesis Quotes
I am anti-Bush. A lot of what he stands for is the antithesis of what I stand for.
Cartooning Quotes
Certainly in cartooning I'm given huge free rein at the moment.
I eventually saw the satirical nature of caricaturing individuals.
He's a scholar. He has plans for the future, ... He has plans which may have to be reevaluated and for which he is grieving.
Arrested Quotes
I was also arrested a number of times.
Absurd Quotes
I would think a sense of the absurd is more important for a political cartoonist, because that could define things like a sense of hypocrisy or a sense of the things one has to be skeptical about.
Expose Quotes
I think the eyes are very revealing and can expose a lot about a persons mood or character.
Asked Quotes
I was very lucky all three newspapers approached me and asked me to draw their cartoons for them.
Act Quotes
Unless you pull the trigger, plunge the knife, unless your act is the homicidal act, you're not eligible for the death penalty.
Convention Quotes
We do, and there is a law in the United States - the Torture Convention - that prohibits the United States from deporting an individual to a country where there is a reasonable expectation that he will be subjected to torture - physical, mental or otherwise.
Ask Quotes
We don't intend to ask the reporters to reveal their sources,
Born Quotes
born into poverty, as a 3-year-old dealing with a mother dying of breast cancer, raised by a 12-year-old sibling.
Bit Quotes
Even people that I agree with can do something that would be a target for a bit of humor.
Cartoonist Quotes
I see the cartoonist as contributing to the content, being critical, because we do poke holes in some of the dialogue and find new ways of seeing things.
Belly Quotes
Primarily I'm a social commentator rather than someone who's out to get the belly laugh.
Arm Quotes
Sometimes I have to compromise my views, but I never compromise on issues like the death penalty and the arm trade laws, despite what the readers or letters may say.
Capable Quotes
a planner, a schemer, and one capable of deception and dangerous results on his own.
Boy Quotes
At which point he, very gently, without virtually saying a word, escorted the little boy from his seat.
There was a teacher who recognized that I was interested in cartooning and he was great.
I try not to change my political point of view from paper to paper.
Advocate Quotes
It's to be a person who's able to shoot little arrows into sacred cows and knock politicians off their pedestals, to look out for hypocrisy, advocate for all sorts of things from social justice to peace.
Bad Quotes
It may be a case of bad judgment bordering on stupidity. What Mr. Regan had with him was worthless. It wasn't even classified. It posed no harm to the United States.
It may be a case of bad judgment bordering on stupidity,
Phenomenal Quotes
It's phenomenal for me personally. I am still pinching myself about the award.
Events Quotes
It was not one of those preplanned events. It seemed to come out of nowhere.
Certainly Quotes
I' m not saying that I wouldn't focus my work on issues that the specific paper would consider important, I would certainly do that.
Catalogue Quotes
I normally keep a series of draft in a catalogue type of book in which I scribble, sketch and draw ideas.
Computers Quotes
Gee, I am a complete Luddite when it comes to computers, I can barely log on!
Baggage Quotes
The jury is going to carry the baggage of what happened in October back there (the jury room) with them. It is too much of a burden to carry.
Cartoons Quotes
The cartoons which I enjoy have caused some kind of out rage, but they have got people talking about these issues out in the open and in essence that's what its all about.
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FortisBC set to be first in North America to offer RNG made from wood waste
By Tyler Orton | May 3, 2020, 2:27pm
REN Energy will be using wood waste to create renewable natural gas for FortisBC customers | submitted
What happened: Utility announces plans to become first in North America to purchase renewable natural gas from wood waste
Why it matters: Initiative is part of an effort to reduce greenhouse gas emissions
FortisBC is poised to be the first utility company in North America to offer renewable natural gas (RNG) made from wood waste.
RNG derived from sawdust, wood chips and bark will be sourced from a $130-million production facility owned and operated by REN Energy International Corporation.
The facility outside Fruitvale, B.C., is expected to be in service by summer 2021, producing 1 million gigajoules of RNG annually.
"This will be our largest single source of supply in B.C. to date. And this will be the first time that anyone's commercially converted wood waste all the way to methane or renewable natural gas, which is interchangeable with our conventional natural gas," FortisBC RNG supply manager Scott Gramm told Business in Vancouver following the project's April 30 announcement.
The B.C. Utilities Commission gave the project the nod in March.
FortisBC has been purchasing RNG from conventional sources such as landfills, agricultural waste or municipal organics for about 10 years.
Gramm estimated that conventional organic waste would be able to account for about 5% of the utility's gas supply.
But wood waste could potentially account for 50-60% of FortisBC's gas supply, he added.
"It's probably one of the biggest bio-resources in the province," Gramm said, referring to wood waste.
"If this works and works well, I do think … it's going to be looked at very carefully across Canada and the U.S."
The initiative comes amid FortisBC's efforts to cut customers' greenhouse gas emissions 30% by 2030.
REN Energy's technology sees wood waste being fed into a gasifier that heats wood fibre to the point that it converts directly into gas.
The result is a mix of gases, which requires carbon dioxide to be separated out to leave only methane.
REN Energy president Philip Viggiani said in a statement he expects the launch of the facility in the Kootenay region to generate "hundreds of direct and indirect jobs."
B.C. regulations permit FortisBC to purchase RNG for up to $30 per gigajoule, while the agreement between REN Energy and FortisBC is set to run 20 years.
torton@biv.com
@reporton

redpajama_set_name: RedPajamaCommonCrawl


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Cesar Perez Tax Service, Inc.


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'If we come to power': Donald Trump Jr. suggested he would overturn anti-Russia law, Russian lawyer says
Donald Trump Jr. reportedly told Russian lawyer Natalia Veselnitskaya during the 2016 campaign that his family would consider overturning an anti-corruption law opposed by Russia "if we come to power." And she said that he also asked her to provide damaging information about Hillary Clinton.
Bloomberg reported on Monday that Veselnitskaya made the remarks during a television interview in Moscow.
Trump Jr.'s meeting with Veselnitskaya was first revealed by The New York Times in July. Trump initially said that the meeting was to talk about Russian adoptions in the U.S., which had been halted by Russian President Vladimir Putin after the U.S. passed an anti-corruption law called the Magnitsky Act.
The president's son later admitted that Veselnitskaya had promised to provide opposition research on then-Democratic presidential nominee Hillary Clinton.
"Looking ahead, if we come to power, we can return to this issue and think what to do about it," she recalled Trump Jr. telling her at the 2016 meeting. "I understand our side may have messed up, but it'll take a long time to get to the bottom of it."
According to Veselnitskaya, Trump Jr. also asked her to provide evidence that Clinton's campaign accepted illegal donations connected to tax evasion. She said that she did not have the evidence he requested "and described the 20-minute meeting as a failure," Bloomberg reported.
Veselnitskaya said that she would be willing testify before the U.S. Senate Intelligence Committee if they agreed to make the testimony public.


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California politics news feed
Welcome to Essential Politics, our in-the-moment look at California political and government news.
Sign up for our free newsletter for analysis and more, and subscribe to the California Politics Podcast. Don't miss our Essential Politics page in Sunday's California section.
L.A. billionaire Eli Broad donates $1.5 million to pro-charter school group supporting Villaraigosa for governor
By Seema Mehta
Billionaire Eli Broad and his wife, Edythe, stand for a photo amid Jeff Koons sculptures at "The Broad" museum in downtown Los Angeles.
(Richard Vogel / Associated Press)
Los Angeles billionaire and philanthropist Eli Broad donated $1.5 million on Thursday to a pro-charter school group supporting Antonio Villaraigosa's candidacy for governor.
The contribution came one day after Netflix chief Reed Hastings donated $7 million to the same group, Families & Teachers for Antonio Villaraigosa for Governor 2018, which is sponsored by the California Charter Schools Assn. Advocates, according to the California secretary of state's office.
Billionaire Eli Broad just chipped $1.5 million into the same pro-Villaraigosa group that is led by charter schools advocates. https://t.co/Y9CR4WQNyK
— Seema (@LATSeema) April 13, 2018
Broad and Hastings are wealthy backers of the education-reform movement. Villaraigosa is the most prominent California Democrat to back the effort to reform traditional protections for teachers that are a key priority for teachers' unions. His stance has made him a target of those unions and many other labor groups, in part because of his roots as a labor organizer.
It's unclear what the independent expenditure group plans to do with the millions of dollars in donations, but it could boost Villaraigosa's chances against Lt. Gov. Gavin Newsom, who leads in the polls and fundraising. Newsom is backed by the powerful California Teachers Assn. and other education unions.
The charter school association has previously been successful in local elections, notably last year when its efforts led to the first Los Angeles Unified School District board majority of elected officials with major pro-charter financial support.
Petition drive to repeal California gas tax increase temporarily slows down
By Patrick McGreevy
A motorist prepares to gas up her vehicle in San Rafael, Calif., in 2015.
( (Justin Sullivan / Getty Images))
Paid signature-gatherers for a ballot measure that would repeal gas tax increases may be hard to find on the streets of California this week.
Organizers say it's not a money issue, adding that they needed to briefly halt paid signature-gathering to catch up on collecting petitions from volunteers.
The petition drive has so far collected more than 327,800 verified signatures of the 587,407 needed to qualify the measure for the November ballot, according to Dave Gilliard, the political strategist behind the drive.
"We knew it was popular but the incredible pace is even faster than we expected so we outran the capacity of our verification operation over the Christmas holiday and told our crew managers to slow down so we could catch up," Gilliard said. "We will be back up to speed by the end of this week."
The gas tax and vehicle fee increases signed by Gov. Jerry Brown are expected to raise $5.2 billion annually for road and bridge repairs and expanded mass transit. The gas tax jumped from 18 cents to 30 cents per gallon on Nov. 1, and vehicle fees of at least $25 kicked in Jan. 1.
"The gas tax repeal petition is breaking records for both paid and volunteer signatures and we're using the next two weeks to catch up on validation of signatures already received," said Carl DeMaio, a former San Diego City Councilman and conservative radio talk-show host. "As a grass-roots-funded effort we are also continuously raising funds and volunteer support. We are highly confident we'll qualify this Initiative for the November 2018 ballot."
State pot bureau ready to enforce California's new marijuana laws as license applications flood in
The state has issued 104 licenses for retail stores to sell marijuana for recreational use in California and 239 other applications for those permits are pending, officials said Tuesday.
An official with the state Bureau of Cannabis Control added that the agency is prepared to begin taking enforcement action against pot shops that are not properly licensed.
"The bureau's enforcement team is ready to respond to any complaints it receives and start doing compliance checks and site visits at any time," said Alex Traverso, a spokesman for the bureau.
Selling marijuana without a license is a crime punishable by up to six months in county jail and a fine of up to $500. Those convicted of engaging in any marijuana business activity without a license will also be subject to a civil penalty of up to three times the amount of the license fee for each violation.
A new report issued Tuesday indicated the bureau has issued 478 temporary licenses to firms to test, distribute and sell medical and recreational marijuana, which began Jan. 1 after voters approved a legalization initiative, Proposition 64, in 2016. Businesses have received 153 licenses to sell marijuana for medical use.
Another 1,458 firms have applied for licenses that are still being processed.
The state Department of Food and Agriculture has separately issued 207 licenses to marijuana growers.
Two possible instances of discrimination reported after California issues driver's licenses to immigrants here illegally
By Jazmine Ulloa
The California Research Bureau on Tuesday released its first report on incidents of discrimination under a 2015 state law that has provided driver's licenses for hundreds of thousands of immigrants here illegally.
Researchers found no complaints have been made against government agencies tasked with enforcing anti-discrimination laws. But two possible instances of discrimination were reported in focus group interviews conducted by Drive California, a coalition of advocates studying the impact of the new law.
In one case, a woman in Fresno was told her license was not a valid form of identification at a retail store, though it was unclear "whether the incident reflected intentional discrimination or simple ignorance of the license marking," the report states.
A MoneyGram clerk in another case denied a license holder the ability to cash a check. The same person was later rejected again at a bank.
The state Department of Motor Vehicles has issued 960,000 AB 60 driver's licenses as of Nov. 30. The state research bureau produced the report for the Legislature as part of the new law, which declares discrimination against an AB 60 license holder a violation of the Unruh Civil Rights Act.
California lawmaker proposes requiring panic buttons for hotel workers in response to widespread sexual harassment
More than half of hotel workers surveyed report being sexually harassed at some point.
(Gary Friedman / Los Angeles Times)
Alarmed by a survey indicating sexual harassment of hotel housekeepers is widespread, a California state lawmaker on Tuesday proposed requiring employers to provide "panic button" devices to their employees so they can summon help if abused by a guest.
The bill to be introduced Wednesday by Assemblyman Al Muratsuchi (D-Torrance) would also require individual hotels to impose a three-year ban on guests who engage in harassment on the property.
"We want to protect our most vulnerable women workers, hotel maids who are going into rooms alone, from sexual harassment," said Muratsuchi, who co-authored the bill with Assemblyman Bill Quirk (D-Hayward).
The legislation signals that concerns over sexual harassment that dominated the state Legislature last year will continue to be an issue for lawmakers as they begin the new legislative year Wednesday.
Harassment allegations against Hollywood producer Harvey Weinstein, comedian Louis C.K. and other high-profile men have involved sexual misconduct in hotel rooms.
A survey in July by Unite Here Local 1 found that 49% of female hotel workers in Chicago had experienced a guest answering the door naked or exposing himself. The report titled "Hands Off, Pants On," found 58% of hotel workers said they had been sexually harassed by a guest.
California's Unite Here Local 11 has been calling for the action proposed in the legislation.
"It is the intent of this measure to protect hotel employees from violent assault, including sexual assault, and sexual harassment, and to enable those employees to speak out when they experience harassment on the job," said the introduction to the legislation introduced by Muratsuchi.
In addition to requiring hotels to provide panic buttons to employees who work alone in rooms, the bill requires hotels to take written complaints from employees and keep them for five years. Any complaint backed by evidence including a statement given under penalty of perjury would result in a guest being banned from a hotel for three years.
Hotels would also be required to post a notice on the inside of hotel room doors warning guests about the consequences of sexual harassment.
Updated at 4:10 pm to include comment from Assemblyman Muratsuchi.


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Scrutiny and Affirmative Action. Polis and Market. The Concept of Equity.
Scrutiny and Affirmative Action
The three concepts of rational basis, heightened scrutiny, as well as strict scrutiny, are embedded deeply in our personal understanding of how equal protection operates. A law passes its basis test if there is a reasonable relationship between the legitimate government purpose and the law (Cahn, 2013). Strict scrutiny has demonstrated to be strict in theory, but in fact, it is fatal, but empirical research did demonstrate that the application of strict scrutiny in court is not so fatal as many scholars think. In this section, we shall examine and also assess how strict scrutiny has been used to analyze affirmative action cases.
Strict scrutiny presents an accurate description of the actions taken by the courts when they are faced with issues to do with racial discrimination by the government (Deo, 2013). Affirmative action is one of the heavily litigated issues that involve race and the constitution. It has overwhelmed a majority of cases especially in situations when the federal courts have applied strict scrutiny to a race-conscious action by the government, especially when race-conscious restricting represents a majority of the cases (Deo, 2013). There are two kinds of affirmative action programs; the remedial affirmative action programs that are designed to compensate for either direct or indirect government discrimination and diversity-based affirmative action that promote diverse dialogue, especially in educational institutions (Cahn, 2013).
The first remedial action upheld by the Supreme Court occurred during the 1986 decision in the case of Local 28 of the Sheet Metal Workers International Association v. EEOC, and also in 1987 in United States v. Paradise (Cahn, 2013). The cases involved job discrimination against the African Americans, but the case petitioners resisted the court orders to remedy discrimination. The court responded by imposing stringent affirmative action requirements to Local 28 and the Alabama Department of Public Safety (Deo, 2013). Application of strict scrutiny by the Supreme Court ensured that these orders were upheld. The Supreme Court has constantly held that the government has interest in remedying the past as well as the present discrimination, and the interest also includes rectifying the indirect discrimination that arises from the government (Deo, 2013).
The courts have constantly proven that it is quick to apply strict scrutiny to affirmative action other than racial restricting, as it requires a stronger evidence that there is an existence of compelling interest for the racial-conscious remedies (Deo, 2013). Several cases have demonstrated how high the court has set its bar regarding remedial affirmative action programs and also how different strict scrutiny in these cases is from the scrutiny that is applied in racial restricting cases (Cahn, 2013). Contrast to that, and the court has continuously held that it applies strict scrutiny to all cases where the government uses racial classification. In the case of City of Richmond v. Croson, the court agreed that the Fourteenth Amendment requires strict scrutiny to all race-based actions by either state or local governments (Deo, 2013). The court has never refused to apply strict scrutiny in the case that use of race in remedial action plan was not predominant. The court has however been adamant where there is no compelling reason to have a remedial affirmative action without of proof of intentional discrimination by the government or by money. Even in cases where racial discrimination from the government is severe and direct, the court requires temporary affirmative action plans (Cahn, 2013). It can be established that strict scrutiny tests have little substance because they address two different policy issues.
The diversity-based affirmative action is much oriented towards the future, and it helps graduates develop a wider understanding of the world. The first such affirmative case was in 1978 compelling the government interest for public universities (Garces, 2012). The case of Regents of the University of California v. Bakke was sued for rejecting a white applicant, Allan Bakke who had higher scores and averages compared to other students admitted to the medical program. The majority ruling was written by Louis Powell, stating that strict scrutiny applied to affirmative action programs, it rejected government interest that had been put forward by the government, for instance, compensating racial discrimination, but acknowledged achieving student diversity, and it also held that the affirmative action was held narrowly to achieve diversity if individual applicant was considered, with ethnic and race a plus factor (Garces, 2012). The Grutter case saw the court upholding affirmative action programs of the law school because Grutter challenged affirmative action plan by urging that to achieve a critical mass of minorities required the law to give a larger advantage to those minorities in gaining admission. In the Gutter case, the court mentioned the application of remedial affirmative action cases, and the review was closer to rational basis (Cahn, 2013).
Based on these arguments we can establish that strict scrutiny on both affirmative actions are similar in several ways because all tend to be labeled as strict scrutiny regardless the predominance of race. The court applied strict scrutiny in cases where government touched upon the ethnic or racial characteristics of an individual. It can be argued out that strict scrutiny, is mainly applied in cases where the government interests are involved in most cases hence it is not a sound policy for handling affirmative action cases because it is still subject to manipulations.
Polis and Market
In this section, we shall examine the difference between market and polis and make an argument on which model better understands public policy (Birkland, 2014). Policy politics starts from simple models, and Polis, a Greek word for city-states, fits the model of the political society as it conjures an entity that is small with simple organization forms, and large enough to embody simple political elements. A market, on the other hand, is a social system where individuals pursue their welfare, and exchange things with others during instances when trade is mutually beneficial. There are several differences between a market and polis (Birkland, 2014). In a market, individuals act to maximize their own self-interests, by self-interest, in this case, include the well-being of the family and friends. Competitiveness in the market drive one to maximize their own welfare hence making people creative, resourceful, productive, and clever. Competition raises the level of economic well-being of the society as a whole. In the market, the resources are scarce hence competition is the only means of success (Stone, 1997).
Polis, on the other hand, considers the community as a major unit of composition with the will, goals, ideas among others outside an individual. The interest of the public is beyond self-interest. The policy problems are considered problems of commons (Stone, 1997). The major forms of interactions arise from coercion, cooperation and loyalty. The organizations as well as groups are considered as the building blocks of a given community and information is never considered perfect. Some resources in the polis model are scare and rivalries, but a majority of these resources are abundant and anti-rivalrous (Birkland, 2014). The concept of public interest in the polis could mean several things include individual interests that are held in common, the things that people want for themselves, for instance, high standard of living. It could also mean the goals of consensus, or it could be programs and policies that favor a majority of individuals, and in this case, it would be the public interest. Public interests could mean things that favor a community (Stone, 1997).
Polis model bests understand public policy because the polis model considers the concept of public interest, which constitutes goals, common interests, and any other thing that is good for the society (Stone, 1997). The polis model possesses several advantages compared to the market model, that is the reason a majority of public policies are created based on the concept of communities and not mere individuals, as in the case of market model. Although the market model also considers the public interest as the net interest among individuals that ate pursuing self-interest. The polis model is characterized by special challenges, that is how to combine the concept of self and public interest, that is finding the balance between the public and private benefits (Stone, 1997). In situations where self-interest work against the public interest, then the problem becomes a commons problem. The common problems require collective problems, and that is where the development of a common solution through policy comes in (Birkland, 2014). The vast gap that exists between self-interest and public interest can be seal by inserting potent forces such cooperation, influence, and loyalty. Influence is inherent in communities, and where common problems exist, people can influence each other to create a suitable policy.
Just like competition, cooperation in the polis model is crucial because politics involves seeking allies, to solve an issue between competing opponents (Stone, 1997). Cooperation is critical for power in politics; therefore, it is easier to develop policies to exert power further when there is cooperation. Unlike the market model, competition drives the day, hence cooperation lacks (Stone, 1997). Loyalty is also crucial in the polis model because political alliances are not perfectly stable. The presumption of loyalty in polis model makes it easier for policies to be developed that possess few weaknesses to be developed unlike the market model, where such loyalties are not very evident due to competition (Birkland, 2014).
The Concept of Equity
The concept of equity has constantly been debated over the years by scholars. Equity takes different definitions based on the context that one is defining from. In our case, equity can be defined as the impartial and fair treatment of people, or fair and impartial distribution of resources among different parties (Birkland, 2014). In this section, we shall argue which dimensions are the proper way to distribute government benefits based on equity.
Stone uses an example of cake in her description of the membership-based forms of equity (Stone, 1997). She discusses, the concept of equal distribution of resources to unequal number of people, which is often the most common form of inequity in the society, and it is where the concept of corruption stems from; she also describes equal and unequal ranks, and in this case, she outlines the pay-scales that are used by government and the market-based pay structures that encourage discrimination (Stone, 1997). Regarding item-based forms of equity, and she outlines the distribution of unequal cake slices to equal meals as in the case of financial awards that are paid post-military service, unequal slices of the case given to equal value recipients as in the case of programs that serve people with disabilities, and welfare in the economic perspective. In process-based forms of equity, she provides examples of unequal slices, to programs with equal starting resources as in the case of the education system, unequal resources but equal statistical chances, unequal slices, but equal votes, and in the case of the logic behind democracy (Stone, 1997).
Based on these examples, stone identifies unequal outcomes in each case and even in the case where resources are distributed equally but only invited individually is close to equity, but it still represents a challenge (Birkla...
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Wallpaper Magazine, Victor Ekpuk and Prizm Art Fair 2020
ART | 1 DAY AGO | BY HARRIET LLOYD-SMITH
Prizm Art Fair gives a platform to African Diasporic perspectives
Coinciding with Miami Art Week, Prizm Art Fair is championing and examining the intersections of African cinema traditions and visual art
Sthenjwa Luthuli, Reaching For Stars (2020)
In spite of widespread coronavirus-related hurdles, 2020 has offered glimmers of hope for the art world, particularly in the steps taken to highlight, and rectify the lack of diversity across the industry.
One art fair, Prizm, has been spotlighting diverse voices in contemporary visual art since 2013, with a core mission to widen the scope of international contemporary art from Africa and the African Diaspora.
By carving out a space for cross-cultural exchange in Miami and beyond, the fair seeks to address socio-political and cultural issues pertinent to people of African descent, while educating and nurturing the city's inhabitants.
Victor Ekpuk, Mother Series #1 (2019) as seen at Prizm Art Fair. Image courtesy of Morton Fine Art
'African Diasporic communities have attempted repeatedly to blanket themselves from a host of incessant obstacles – systemic injustice, racism, economic disparity, gender inequality – while the goal post of progress stretched farther away with each giant leap made towards it,' says Mikhaile Solomon, founder and director of Prizm.
For its eighth edition, coinciding with an unsurprisingly scaled-down Miami Art Week, the fair's online programme will feature 47 artists in 'Noir, Noir: Meditations on African Cinema and its Influence on Visual Art', an exhibition curated and organised by Solomon and interdisciplinary artist William Cordova. Noir, Noir references the African avant-garde film tradition and encourages a deeper understanding of global African identities through the intersection of cinema and contemporary visual art. Elsewhere, highlights include a programme of film screenings and talks led by leaders in Diasporic Visual arts.
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John Baloyi, Lititha 4 (2020). Courtesy of Dyman Gallery
Participating galleries hail from eleven countries including the United States, Caribbean and the African continent including Barbados, Ethiopia, Haiti, Jamaica, Martinique, Saint Maarten, South Africa and Trinidad. Featured artists include Victor Ekpuk, Yanira Collado, Sthenjwa Luthuli, Alicia Piller, Justice Mukheli, Versia Harris and Milena Carranza Valcárcel. Prizm will also spotlight emerging Miami-based artists who engage in socio-political issues pertinent to people of African descent, and in the city's growth as a cultural hub.
Peter Wayne Lewis, Suite in Grey # 13 (2010)
Yanira Collado, Untitled (2020)
Justice Mukheli, Departure (2019). Courtesy of Dyman Gallery
Francisco Maso, Obtuse Exercises for Dissenting Bodies (2018 – ongoing)
Milena Carranza Valcárcel, Serie 'Afroperuvian Eggun' (2010)
Prizm Art Fair will be accessible online until 21 December 2020. prizmartfair.com
Link to Wallpaper* Article
Available Artwork by VICTOR EKPUK
Tags: Abstract Art, African Art, African Art Collector, African Diaspora, African Diaspora Art, Black Art, Black Artist, Contemporary African Art, Miami Art Week 2020, morton fine art, Nigerian Art, Nigerian Artist, Prizm Art Fair, Prizm Art Fair 2020, Victor Ekpuk, Wallpaper, Wallpaper Magazine
Categories Art Fairs, MFA Art News
VICTOR EKPUK- featured solo in Morton Fine Art's booth at Prizm Art Fair 2020
NOIR, NOIR:
MEDITATIONS ON AFRICAN
CINEMA AND ITS INFLUENCE
ON VISUAL ART
PRIZM 2020 – dedicated to exhibiting international artists from the African Diaspora – returns with its eighth edition, taking place from December 1 to 21, 2020. A VIP preview week will take place from November 24 to 30, 2020. PRIZM Art Fair 2020 will be available for online viewing through the PRIZM website and Artsy.net. Film screenings and PRIZM's panel talks program will be available through the fair's website.For its eighth edition, PRIZM will present a curated exhibition entitled Noir, Noir: Meditations on African Cinema and Its Influence On Visual Art curated and organized by William Cordova, and Mikhaile Solomon. The special section will include 45 artists from various global locales including, Congo, Haiti, Jamaica, Barbados, Nigeria, Trinidad and Tobago, Saint Maarten, Ethiopia, Sierra Leone, South Africa, and the United States.
"Noir Noir…" revisits and contemplates the layered rendering of complex communal histories through the lens of African/Diasporic filmmakers past and present, seeking a deeper understanding of global African identity through an evaluation of its intersections with contemporary visual art. Noir, Noir will examine how these films have functioned as harbingers of global African/Diasporic liberation movements and expound on the intersections between contemporary art practice and the spectrum of African/Diasporic film traditions. Noir, Noir references the African avant-garde film tradition as well as contemporary African/Diasporic filmmakers to explore how visual artists have created bodies of work inspired by narratives, aesthetics, cultural notes, and social commentaries poetically rendered in the various cinematic modalities.
Woman in the Mirror, 2019, 36″x28″x6, powder coated steel, edition of 8
The Politician 2018, 36″x28″x6, powder coated steel, edition of 8
Fish For Lunch, 2020, 48″x40″, acrylic on panel
Royals and Goddesses, 2019, acrylic on canvas, 60″x48″
The Prophet, 2019, 36″x28″x6, powder coated steel, edition of 8
Woman Dancing in the Mirror, 2019, 36″x28″x6, powder coated steel, edition of 8
Hip Sista #11, 2015, 60″x48″, acrylic on canvas
Mother Series 1, 2019, 25.5″x20″, acrylic, graphite and collage on paper
Mask Series 1, 2018, 24″x18″, acrylic on canvas
Victor Ekpuk is a Nigerian-American artist based in Washington, DC.
His art, which began as an exploration of nsibidi "traditional" graphics and writing systems in Nigeria, has evolved to embrace a wider spectrum of meaning that is rooted in African and global contemporary art discourses.
Guided by the aesthetic philosophy nsibidi, where sign systems are used to convey ideas, Ekpuk re-imagines graphic symbols from diverse cultures to form a personal style of mark making that results in the interplay of art and writing.
Ekpuk's art reflects his experiences as a global artist – "The subject matter of my work deals with the human condition explained through themes that are both universal and specific: family, gender, politics, culture and Identity".
Mr. EKPUK's artwork can be found the permanent collection of the following museums and institutions:
Smithsonian National Museum of African American History & Culture, Washington, DC
Smithsonian Museum of African Art, Washington DC, USA
Krannert Art Museum, USA
Hood Museum, USA
Brooks Museum, USA
Arkansas Art Center, USA
Newark Museum, New Jersey, USA
The World Bank, Washington DC, USA
University of Maryland University College Art Collection, USA
The U.S. Department of State
He has been represented by Morton Fine Art in Washington, DC since 2012.
CLICK HERE TO VIEW AVAILABLE ARTWORK BY VICTOR EKPUK
Morton Fine Art, 52 O St NW #302, Washington, DC 20001
(202) 628-2787, info@mortonfineart.com, http://www.mortonfineart.com
Tags: 2020, African Art, African Art Collecting, African Diaspora Art, African Sculpture, Artsy, Contemporary African Art, dc, Miami Art Week, morton fine art, Nigerian Art, Nigerian Artist, Prizm 2020, Prizm Art Fair, Prizm Miami, Victor Ekpuk, Virtual Art Fair, washington
Categories Art Fairs, Artist Profiles
NATALIE CHEUNG featured in PHOTOFAIRS Shanghai : Cyanotype
PHOTOFAIRS Shanghai PRESENTS: Cyanotype
August 3 to September 4, 2020
Live from 10am (BST)
photofairs.org/cyanotype
We are delighted to announce that artist NATALIE CHEUNG has been invited to take part in the online exhibition PHOTOFAIRS Shanghai PRESENTS: Cyanotype. Stemming from a variety of backgrounds and disciplines, the 16 chosen artists all explore the cyanotype process by breaking away from convention to help further the photographic medium.
Contact the gallery for additional information and acquisition.
PHOTOFAIRS Shanghai online exhibition is on view until September 4th, 2020.
Tags: Alternative Process Photography, alternative process photos, Art Fair, Art Fair Shanghai, contemporary art, Contemporary Photography, Cyanotype, morton fine art, Natalie Cheung, PHOTOFAIRS, Photofairs Shanghai
AMBER ROBLES-GORDON's series "Place of Breath and Birth" created in her birth country of Puerto Rico
Series, Collage, 2020
Botánica del Amor, Autorreflexión y Espiritualidad, 18 x 24, 2020
Solo Exhibition at Universidad del Sagrado Corazón, San Juan, Puerto Rico
As my first opportunity to exhibit in the Caribbean and to deepen my relationship with my birthplace, San Juan, Puerto Rico – la Isla del Encanto (the enchanted island) – I have titled this solo exhibition at Galleria de Arte, Universidad del Sagrado Corazón in Santurce, Puerto Rico, Place of Breath and Birth. My artwork is about my personal narrative and the intersections of womanhood, patriarchy, hybridism, and Americanism. My intention is to further contextualize my narrative and artwork within the political, socioeconomic, and environmental threads that define and are often in my opinion used to control, alienate and or mistreat Puerto Ricans in generally and Afro-Puerto Ricans in particular.
The intention of this exhibition is to empower my five-year-old self. To give her the strength to fight for herself, her language and culture. I was born in San Juan, Puerto Rico and raised in Arlington, Virginia. My first language was Spanish, yet at about five years old, I came home one day and told my mother: "I was not speaking Spanish anymore". From then on, I responded to my Spanish/English speaking mother in English only. Later, I came to understand that I had surrendered my Spanish tongue—a critical part of my cultural identity— so that I could "fit" a version of myself that could possibly coincide with the prescribed box that others had for a brown-skinned girl such as myself. Although in time, the name calling ceased, however, the micro-aggressions, insensitive questions, assumptions, and judgments about my brownness lingered. Throughout this life, time-after-time, I have had to choose to identify with my brownness/blackness over the other cultural ties that bind other Spanish speaking people with their culture.
My Caribbean family—with roots in Puerto Rico, the US Virgin Islands, the British Virgin Islands, and Antigua— has long been impacted and splintered, by the search or pursuit of education, better income, and greener pastures. As with all achievement, there are gains and losses. The fruit includes a well-educated family with greater exposure to the world and economic and social opportunities. Yet, the primary sacrifice is our distance from the thickened knotted roots of Caribbean Black and Latino heritage and culture that living at home might have provided. – AMBER ROBLES-GORDON, 2020
Visiting Puerto Rico:
In preparation for this exhibit, my mother and I spent two weeks in September 2019 Puerto Rico. My mother was returning to her childhood home and I was visiting for the first time as an adult. Since then, I have returned to PR to give an artist talk as part of Sagrado de Corazon's visiting art program and to live in PR for extended period to produce the artwork for this exhibition. Due to the impact of continuing earthquakes in Puerto Rico from 2019 unward and the COVID 19 epidemic, the format and focus of this artwork has shifted. On July 10, 2020, Place of Breath and Birth will be featured online by the Galleria de Arte, Universidad del Sagrado Corazón on its website at https://www.sagrado.edu/visitingartist/. Additionally, please check out the interview with myself and Norma Vila, Directora de la Galería de Sagrado at https://insagrado.sagrado.edu/las-recientes-iniciativas-de-la-galeria-de-sagrado/?fbclid=IwAR3omEVgPUlcm67lRRBbaliuhimPu6GK-PwK4toQS7CNH0y5IxsidHs9kUw to find out additional details about the residency and my experiences in Puerto Rico.
The Artwork:
Upon its completion, Place of Breath and Birth, will include ten (10) mix-media collages. This digital exhibit includes the first four collage works of the series. Included in this virtual exhibition are the following works: Botánica del Amor, Autorreflexión y Espiritualidad (Botany of Love, Self-reflection and Spirituality), La Island del Encanto (The Island of Enchantment), and Tendedero, Comunidad y Energía Eterna (Clothesline, Community and Eternal Energy). Each collage measures 18 X 24 inches and is made of acrylic paint, magazine paper, permanent ink line drawings, fabric, and other mixed media items.
A foundational symbology of this body of work is the Fiscus Elastica commonly known as the Rubber Tree, rubber fig or rubber plant. I was introduced to the Rubber Tree while in Puerto Rico on the grounds of the Universidad de Sagrado de Corazón (University of the Sacred Heart) campus. Among its extensive botanical collection of indigenous plants of Puerto Rico; I found a large banyan tree whose broad canopy sheltered smaller versions of itself growing at its feet. This tree appeared to be a literal fusion of past, present and future state of creation or sustaining an ecosystem. In La Isla del Encanto (pictured below) and throughout this series are abstracted representations of the rubber tree– an entanglement of strong roots – as a example of its resiliency this tree most recently stood-fast to its native soil while 155 mph winds that battered the campus.
Isla del Encanta, 18 x 24, 2020
The second most important symbolic layer of the work are the depictions and interpretations of the transitions of day to night and night to day. I intentionally choose a studio and apartment on the third floor in Puerto Nuevo with three-dimensional exposure to light. I then surrounded myself with plants to create an internal garden a reflection of the thousands of "porch gardens" featured throughout PR neighborhoods. From this perch, I could see the changing environment as the light increased or waned and how the varying aspects of weather altered each day. Depending on where I stood, and the time of day, I had a virtual window into the varying socioeconomics aspects of diversity of the island. The combination of the verdant and vibrant nature of the island landscape, my internal garden and the third floor weather allowed for the feeling of creating an atmosphere.
As I progressed through researching, photographing, living and ultimately creating after the beginning of COVID 19 quarantine the cylinder abstracted rubber tree forms expanded to circular ecospheres to convey a spiritual and ethereal connections to and within my immediate environment. Throughout some of the artworks I am a figure, a witness to the beauty and complexity of the Puerto Rican landscape – tropical jungle, 1,000 of miles of carreteras, the co-mingling and isolation of three major ethnic/racial groups – Taino, the Spanish and Africans, the strangle hold of the United States and the impact of the Caribbean Sea, with its threat of hurricanes, scorching summer heat and lush landscape.
Ultimately, I hope this narrative and artwork gives voice to others who walk in brownness—who breathe within a female form, and or—- who do not quite fit the norms…yet are Bold and Proud. – AMBER ROBLES-GORDON, 2020
Tendedero, Comunidad y Energía Eterna, 18 x 24, 2020
Elemental: Tierra, Aire, Agua, Fuego, 18 x 24, 2020
Available Artwork by AMBER ROBLES-GORDON
Tags: African Diaspora Art, Amber Robles Gordon, Artist Residency, Botanica del Amor, contemporary art, homecoming, morton fine art, Place of Breath and Birth, Puerto Rican artist, Universidad del Sagrado Corazon
Categories Art Fairs, Uncategorized
Morton Fine Art exhibits MICHAEL BOOKER & AMBER ROBLES-GORDON at Prizm Art Fair 2019
Morton Fine Art at Prizm Art Fair this December during Miami Art Week
December 2 – 8, 2019
Prizm Art Fair
Morton Fine Art – Booth 3
Alfred I. DuPont Building
169 East Flagler St.
Morton Fine Art will be introducing fine liner ink drawings of MICHAEL BOOKER alongside mixed media artworks by AMBER ROBLES-GORDON.
MICHAEL BOOKER, Show Me the Wisdom In Your Movements, 2019, 30″x22″, fineliner pen, watercolor and collage on paper and Yupo
Available Artwork by MICHAEL BOOKER
AMBER ROBLES-GORDON, Their Eyes of God, 2018, 36″x36″, ink drawing and collage on paper
Tags: 2019, African American Art, African Diaspora, Alfred I. Dupont Building, Amber Robles Gordon, Black Art, contemporary art, dc, Miami Art Week, Michael Booker, morton fine art, original art, Prizm Art Fair, washington
Hyperallergic, Prizm and Morton Fine Art's Osi Audu and Amber Robles-Gordon
In Miami, a Fair for Artists from Africa and the African Diaspora Shines Again
The Prizm Art Fair, which consistently shows great work, has finally been given the room to breathe.
Charo Oquet, "Like an arrow, like a tree, like a mountain" (2018), mixed media-installation (image courtesy the artist)
MIAMI — Construction of the Alfred I. duPont Building was completed in 1939, when its primary tenant was the Florida National Bank. I have been there three times in the last two years — once to see Trina perform on an old vault for a Borscht Film Festival party, then for an anticlimactic ghost tour, and last night, for Prizm Art Fair. The space is sweeping and beautiful and very appropriate for Prizm — a fair that consistently shows great work in spaces that never did it justice. It always shone through, but here, in this building, with all its breadth and light, the feeling was a sigh of relief. Work like this needs space. Room to breathe.
Left: Patrick Quarm, "Dada," oil paint, African print, 33 x 34 1/4 inches; Right: "Mama ba," oil paint, African print fabric on canvas, 42 x 32 1/2 inches (photo by the author for Hyperallergic)
Now in its sixth edition, Prizm features talks, performances, and 63 artists across several participating galleries and three specifically curated sections. Dr. Jeffreen M. Hayes's section, The Diaspora Currency: Black Women, focuses on work by or featuring black women, a means of centering their voices as valuable, actual currency. That's a real through-line in the fair: reparations, or that which is reparative. Curative. Transforming the forces of capitalism and white supremacy into systems and imaginaries that empower those forced to live under it. "Renegotiation," says Mikhaile Solomon, Prizm's founder.
Jamele Wright, "In Transit Number 9" (2018), on display at September Gray (photo by the author for Hyperallergic)
Solomon has curated her own section, The Dark Horse, which refers to the archetype of the same name — the unforeseen visitor, or here, powerful retaliation. She's included work like Dáreece J. Walker's charcoal drawings of die-ins, entitled "The Die-Ins: Can I live" (2018), and a video of Dread Scott's 2010 performance, "Money to Burn," in which he burned $250 on Wall Street and invited traders to do the same. Nearby, in the gallery section, Tahir Carl Karmali's draped raffia robes shine with inlaid cobalt — your phone battery is probably made with it, and a child might've mined it. There's a cost to these hard truths, and one for learning them: willful suspension of disbelief. But knowledge can be reclamation, too.
Christa David, "When the Smoke Clears" (2018) (image courtesy the artist and TILA Studios Gallery)
The work at Prizm also channels the spirit of embodiment — the literal, manifested act of being fully inside one's body. Presence, people call it. Reimagining the self is some form of transformation as well; it's everywhere at Prizm: Osi Audu's graphite self-portraits that look like voids, their sheen a suggestion of what's inside. Amber Robles-Gordon's works that look like mandalas, decorated with her belongings — cowrie shells, jewels — and entrail-like snakes. Adriana Farmiga's watercolor acrylic nails, painted rainbow-pastel. Jamele Wright's big, gorgeous tapestries of fabric, repeated patterns — a reference to the mingling of identities, recycling, even in hip-hop — and red dirt from the earth.
Osi Audu, "Self Portrait after Dogon Bird Mask II" (2018), graphite and pastel on paper mounted on canvas, 15 x 22 inches (image courtesy the artist and Morton Fine Art)
Amber Robles-Gordon, "South and of the Fire" (2016), mixed media on canvas, 34 x 35 inches (image courtesy the artist and Morton Fine Art)
The artist William Cordova curated the third section: Transceivers: channels, outlets and forces. It's the first you see, and the one I went to last. Experiencing Prizm in a circle — in a cycle — feels right, because the works speak to each other, and the conversation is continuous. Ritual is prominent in Cordova's section, specifically the ritual of transmitting history, maybe rewriting it. Khaulah Naima Nuruddin's graphite drawings of Eatonville homes, intimate and distant from the very paper they're portrayed on, reference the formerly all-black town in Orlando.
Purvis Young at William Cordova's Transceivers: channels, outlets and forces, installation view (image by Victoria Ravelo)
Prizm's video works were my favorite of all. Ezra Wube's animated video, "Hidirtina/ Sisters" (2018), in Solomon's section, is part of a story collection Wube started in 2004, when he sent out an open call for folklore to a Habesha diaspora community in New York City. His animation is based on a volunteer's short story, which centers on a group of seven immortal sisters, one of who falls in love with a hunter. Against the sisters' warning, he murders a deer, whose sudden listlessness is rendered slowly; his beloved instructs him to climb a tree to protect himself from subsequent cosmic retaliation. Onajide Shabaka's one-minute "Henry Meade Leighton 1881" (2018), located in Cordova's section, tells the story of a man's body, discovered in a river, covered in the muck of swamps. Though his pockets were "officially said to be empty," says the narrator, "a woven knot of long, black hair was found … inside one pocket of his overalls. Some said, a naked woman of light complexion with long black hair, had been seen swimming in the area. But every search for her ended with no evidence of the woman being found."
Tahir Carl Karmali, "STRATA I," raffia, cobalt, oxide, copper and aluminum, 69 x 52 inches (photo by the author for Hyperallergic)
The body of the earth is, I think, another thread in Prizm — its ills and treasures, its destruction, the way its losses mirror human loss, the way it grows, enchants, and flourishes anyway.
Prizm Art Fair continues at the Alfred I. DuPont Building (169 East Flagler Street, Miami) through December 9.
Tags: Alfred I. Dupont Building, Amber Robles Gordon, Charo Oquet, Christa David, Dareece J. Walker, Dr. Jeffreen M. Hayes, Dread Scott, Ezra Wube, Hyperallergic, Jamele Wright, Khaulah Naima Nuruddin, Miami, Miami Art Week, Mikhaile Soloman, Monica Uszerowicz, morton fine art, N'Namdi Contemporary, Onajide Shabaka, Osi Audu, Patrick Quarm, Prizm, Prizm Art Fair, Purvis Young, September Gray, Tahir Carl Karmali, TILA Studio, William Cordova
Preview of Morton Fine Art's Booth at Prizm Art Fair in Miami
Sneak Preview of Morton Fine Art's Booth at Prizm Art Fair in Miami
Contact the gallery for complimentary passes.
Morton Fine Art will be closed 12/5-12/8 during our time in Miami, however we are available by phone (202) 628-2787 or mortonfineart@gmail.com if you need to reach us!
OSI AUDU
THE TANGIBLE AND INTANGIBLE
I explore the light sheen of graphite, the matte, light absorbing quality of black pastel, the white of paper and canvas, as well as the visually affecting interactions of colors to investigate form and its evocative potential to suggest or hint at something about the shape of the head. I am interested in the dualism of form and void, and the ontological relation between the tangible and intangible, something and nothing, light and dark, body and mind, the dual nature of being – the self in portraits.
The construction of a sense of self is a very complex process, perhaps even more so in our increasingly global age, in which the boundaries between race, nationality, gender and sexuality are getting more and more blurred. I am interested in issues of self identity, and in concepts of the self rooted in my cultural experiences growing up in Nigeria, as well as global metaphysical, scientific, and social concepts of the self. There is a Yoruba thought that consciousness, referred to as the "head", has both a physical dimension called the "outer head" and a non-physical one: "the inner head". It is the visual implications of concepts like this that I find intriguing. The title, Self-Portrait, in my work, is more about the portrait of the intangible self, rather than a literal portrait of the artist. – OSI AUDU
Smithsonian Museum of African Art
The Newark Museum
Horniman Museum
Wellcome Trust Gallery
Available Artwork by OSI AUDU
OSI AUDU, Self-Portrait after Dogon Bird Mask II, 2018, 15″x22″, graphite and pastel on paper mounted on canvas
OSI AUDU, Self Portrait after Igbo Mask, 2018, 11″x15″, acrylic on canvas
KESHA BRUCE
KESHA BRUCE, The Sky Opened for Her, 2016, 60″x48″, mixed media on canvas
KESHA BRUCE, Fight Fire with Fire, 2017, 40″x30″, mixed media on canvas
Artwork is spiritwork.
When I pray, I ask my ancestors for the bravery to follow and make manifest the deepest truths and longings of my heart. Every artwork I create is an answered prayer.
In this current political and social moment my prayers are especially urgent: Where can Black women feel safe? Where can we feel free? How do we protect our spirits from those who mean to destroy us?
As an artist, these questions always lead me back to my work. In my experience, the most powerful weapon for spiritual warfare is joy. I'm not being hyperbolic when I tell you that the process of making artwork has saved my life many, many times. Art is a refuge for the spirit. It offers us a way to understand and heal ourselves. I am of the mind that something absolutely prophetic can be revealed in both the act of making and the act of looking at art.
Art objects embody spiritual power.
I believe this so firmly now, that it seems almost surreal to think back to a time, not so long ago, when I was afraid to speak about my work in spiritual terms for fear of being called less serious or less intellectually rigorous. It's clear to me now that often our fears show us the parts of ourselves that are desperately waiting to be revealed. To be set free.
So, I present this new work with the firm knowledge that what I am creating is an important and worthy contribution to the current cultural dialogue. More importantly, I consider my work a part of a strategy for resistance. Even as we steel ourselves for battle ahead, we must remember to leave room for joy.
Joy is sacred and so it is worth fighting for.
Remember to fight.
-KESHA BRUCE
Smithsonian National Museum of African American History and Culture (14 pieces), Washington, DC
The Amistad Center for Art and Culture, Hartford, CT
The Museum of Modern Art, Franklin Furnace Artist Book Collection, New York, NY
The University of Iowa Women's Center, Iowa City, IA
The En Foco Photography Collection, New York, NY
The Museum of Modern Art/Franklin Furnace Artist Book Collection, New York, NY
NATHANIEL DONNETT
African textiles, Gee's Bend Quilts, and the everyday aesthetic within
the historic African American neighborhoods of Houston, Texas inspire "Boom". This
work acts as a reminder to the extrinsic value of these neighborhoods through the
lens of its spatial geography and relationship to gentrification, along with objects
and form in terms of cultural iconography, and the everyday aesthetic. Drum
notations and Houston's hip-hop car culture formulate the abstract patterns. These
patterns act as a response to the marginalization of Black American identity, the black spatial imaginary, and contemporary art. During the times of American slavery, it was said that southern quilts communicated warnings to the slaves.
Although this was found to be a myth, this contemporary makeshift quilt does
communicate moments of neighborhood erasure and the silencing of its cultural
contributions. It also simultaneously celebrates the neighborhood's cultural socio-
consciousness and overall complexity.
-NATHANIEL DONNETT
The Ulrich Museum, Wichita, KS
The McColl Center, Charlotte, NC
The American Museum, Washington, DC
The Kemper Contemporary Arts Museum, Kansas City, MO
The Theresa Hotel, Harlem, NY
Harvey B Gantt Art Center for African American Arts and Culture, Charlotte, NC
The Community Artist's Collective
The Mattatuck Museum, Waterbury CT
The Contemporary Arts Museum Houston, Houston, TX
Project Row Houses, Houston, TX
The University Museum, Houston, TX
The New Museum, New York, NY
NATHANIEL DONNETT, Boom, 2018, 40″x46″, duct tape, plastic and photographs on paper
Available Artwork by NATHANIEL DONNETT
VICTOR EKPUK, Head 4, 2015, 45″x48″, acyrlic on panel
VICTOR EKPUK, Mask Series 1, 2018, 24″x18″, acrylic on canvas
Ekpuk's art reflects his experiences as a global artist. "The subject matter of my work deals with the human condition explained through themes that are both universal and specific: family, gender, politics, culture and Identity" -Victor Ekpuk
Smithsonian National Museum of African American History and Culture
Brooks Museum
Krannert Art Museum
Arkansas Art Center
The U. S. Department of State
MAYA FREELON
Maya Freelon is an award-winning visual artist whose work was described by the late poet Maya Angelou as "visualizing the truth about the vulnerability and power of the human being." Cosmopolitan Magazine featured her in June 2015 in "Art Stars" calling her one "of the most badass female artists in the biz." She was commissioned by Google to design original art for their OnHub router, by Cadillac to create a live-sculpture for their Dare Greatly creative campaign, and by the North Carolina Museum of Art to create a collaborative tissue paper sculpture celebrating the opening of their African Art wing. Her unique tissue paper art, praised by the International Review of African American Art as "a vibrant, beating assemblage of color," has been exhibited internationally, including shows in Paris, Jamaica, Madagascar, and Italy. She was selected by Modern Luxury Magazine as Best of the City; by Huffington Post as "Black Artists: 30 Contemporary Art Makers Under 40 You Should Know"; and by Complex magazine as "15 Young Black Artists Making Waves in the Art World." Maya has completed residencies at the Skowhegan School of Painting and Sculpture in Maine, the Korobitey Institute in Ghana, and the Brandywine Workshop in Philadelphia. She earned a BA from Lafayette College and an MFA from theSchool of Museum of Fine Arts, Boston.
U.S. Embassy in Madagascar
U.S. Embassy Swaziland
U.S. Embassy Rome
The University of Maryland (David C. Driskell Center)
Rocketship Rise Academy;
The Museum of the National Center of Afro-American Artists
The Reginald F. Lewis Museum
The School of the Museum of Fine Arts The University of North Carolina at Chapel Hill
The Brandywine Workshop
The Experimental Printmaking Institute
The Williston Northampton School
The Kokrobitey Institute
Lewis Tanner Moore
Dr. Maya Angelou
Available Artwork by MAYA FREELON
photo credit: Christopher Charles
MAYA FREELON, Compression, 2017, 44″x34″, tissue ink monoprint
MAYA FREELON, Intuition, 2017, 46″x44″, tissue ink monoprint
AMBER ROBLES-GORDON, Awakening the Matrilineal: Calling in the West, 36″x36″, mixed media on canvas
AMBER ROBLES-GORDON, Awakening the Matrilineal: South and of the Fire, 2016, 34″x35″, mixed media on canvas
Awakening the Matrilineal
"My artwork is a visual representation of my hybridism: a fusion of my gender, ethnicity, cultural, and social experiences. I impose colors, imagery, and materials that evoke femininity and tranquility with the intent of transcending or balancing a specific form. I associate working with light, color, and energy as a positive means to focus on the healing power found in the creative process and within us all. It is my belief that colors have both feminine and masculine energies and each color represents a specific aspect of nature." -Amber Robles Gordon
Judith A. Hoffberg Archive Library
University of California, Santa Barbara, CA Masterpiece Miniature Art Exhibition, Kuala Lumpur,
Malaysia Capital One Bank, Mc Clean,Virginia District of Columbia's Art Bank, Washington, D.C.
Schomburg Center for Research in Black Culture, New York, NY
The Gautier Family Collection, Washington, DC
NATE LEWIS
In continuing my work with black figures I sculpt in unseen tensions of the past present and future on bodies with the idea of utilizing diagnostic lenses and contrast dyes to reveal erased and unknown histories and patterns.
Through the use of presence, absence, distortion and illusion and while in a time when the digital world has severe control of our information feeds I aim to challenge our lens', the powers that hold our attention, and create opportunities for questioning and perspective alteration.
In my time working as a critical care nurse, we would use a multitude of lenses to gain a broad understanding of what is going on with any given situation to find homeostasis. While facts and diagnostic information can inform us of any given situation, without empathy and perspective alteration, our hearts will remain unchanged.
– NATE LEWIS
Nate Lewis grew up in Beaver Falls, near Pittsburgh, Pa. He graduated from VCU with his BSN and was a practicing critical care nurse for five years as well as professional fine artist. He has been awarded prestigious residencies at Pioneer Works and Dieu Donne in NYC, Agora Culture on Martha's Vineyard and won a number of artist fellowship grants from the DC Commission of the Arts and Humanities.
Available Artwork by NATE LEWIS
NATE LEWIS, Spirit Suite, 2018, 21.5″x26″, hand sculpted photo paper print
NATE LEWIS, Traverse Suite, 2018, 26″x26″, hand sculpted photo paper print
Founded in 2010 in Washington, DC, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that anyone can become an art collector or enthusiast, MFA's mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice.
www.mortonfineart.com
For further information and images, please contact Amy Morton:
Tags: African Art, African Diaspora, Amber Robles Gordon, Black Art, contemporary art, dc, Kesha Bruce, Maya Freelon, Miami, Miami Art Week, morton fine art, Nate Lewis, Nathaniel Donnett, Osi Audu, Prizm, Prizm Art Fair, Victor Ekpuk, washington
Prizm Art Fair highlighted during Miami Art Week in South Florida Caribbean News
By South Florida Caribbean News November 19, 2018
African Diasporic Perspectives Get Their Due During Miami Art Week
PRIZM Art Fair, now in its sixth year, will present 63 artists and a series of thought-provoking programs, representing 15 countries and four continents in Downtown Miami
MIAMI – PRIZM Art Fair dedicated to exhibiting international artists from the African Diaspora returns to Miami with its sixth edition, taking place at the Alfred I. DuPont Building (169 East Flagler Street) from Dec. 3 to 9, 2018.
The fair will open on Tues., Dec. 4 from 10 a.m. to 8 p.m., with a special public opening reception sponsored by the Miami DDA from 4 to 8 p.m.
PRIZM is presented in partnership with the Knight Foundation, the Alfred I. DuPont Building, Miami Downtown Development Authority and the Green Family Foundation.
For the sixth edition, PRIZM will present the work of 63 artists within two curated exhibitions, eight exhibitors, and five special events, representing 15 countries and four continents, including the Bahamas, Barbados, Costa Rica, Eritrea, Ethiopia, France, Ghana, Grenada, Haiti, Jamaica, Nigeria, Puerto Rico, St. Maarten, Trinidad & Tobago and the United States.
Participating galleries include Alaina Simone Inc, Tafeta + Partners, Emerson Dorsch, Morton Fine Art, N'Namdi Contemporary (Miami), N'Namdi Center for Contemporary Art (Detroit), September Gray, and TILA Studio.
Mikhaile Solomon
PRIZM Founding Director Mikhaile Solomon and artist William Cordova will present "The Dark Horse" and "Transceivers: channels, outlets and forces," respectively.
Solomon's "The Dark Horse" will consider how the disenfranchised negotiate, re-appropriate and reclaim the tactics used against them to build a future that is inclusive of prosperity for everyone. Cordova's "Transceivers: channels, outlets and forces" focuses on the intersections between futurism, ritual and the folkloric, three themes that are fluid and continuously transmitting, receiving, informing and forming the world around us.
PRIZM's programming initiatives
"PRIZM Preview," "PRIZM Panel," "PRIZM Film," "PRIZM Perform" and "PRIZM 6" boast an international experience in partnership with The Africa Center, Barbados Tourism & Marketing and Mount Gay Rum, as well as thought provoking conversations with industry leaders such as Dr. David C. Driskell and Curlee Holton, and performance works that defy and expand our conventional understanding of visual arts practice.
Additionally, PRIZM will feature emerging Miami based artists who are actively engaged in perpetuating the city's growth as a cultural hub. These artists also address sociopolitical and cultural issues pertinent to the people of African descent in Miami and beyond.
PRIZM Art Fair Participating Artists
PRIZM Art Fair will feature artwork by Olu Amoda, Stephen Arboite, Osi Audu, Nicole Awai, Lillian Blades, Alicia Brown, Nyame Brown, Kesha Bruce, Christopher Carter, Ify Chiejina, Taha Clayton, Yanira Collado, Victor Ekpuk, Adriana Farmiga, Maya Freelon, Alfred Conteh, Damon Davis, Morel Doucet, Shaunte Gates, Monique Gilpin, LaMont Hamilton, LaToya Hobbs, Wayne Hodge, Deborah Jack, Justin D. Johnson, N. Masani Landfair, Nate Lewis, Kelley-Ann Lindo, Daniel Lind Ramos, Tahir Carl Karmali, Jodie Lyn Kee Chow, T. Elliott Mansa, Mildred Beltré Martinez, Jared McGriff, Helina Metafari, Kishan Munroe, Marilyn Nance, Shervone Neckles, Khaulah Nuruddin, Nnenna Okore, Niyi Olagunju, Charo Oquet, Alexis Peskine, Robles Gordon, Marton Robinson, Phillip Robinson, Michael Roman, Tylonn Sawyer, Dread Scott, Frank Schroder, Onajide Shabaka, Stephon Senegal, Tariku Shiferaw, Nyugen Smith, Stanley Squirewell, Jean Marcel St. Jacques, Felandus Thames, Dareece Walker, Ronald Williams, Deborah Willis, Paula Wilson, Sephora Woldu and Ezra Wube.
PRIZM Art Fair Programming Highlights
PRIZM Press Preview (First view for press professionals only)
Mon., Dec. 3 from 12 to 4 p.m.
PRIZM VIP Preview (By invitation only)
Mon., Dec. 3 from 6 to 9 p.m.
PRIZM Preview VIP Dinner
In partnership with the Africa Center and Barbados Tourism, PRIZM welcomes guests for an experiential dinner event with Keynote Speaker Uzodinma Iweala, CEO of the Africa Center and Author of the award winning novel, Beasts of No Nation.
PRIZM Opening
Tuesday December 4 from 4 to 8 p.m.
Opening reception sponsored by the Miami Downtown Development Authority.
PRIZM Panel
Wed., Dec. 5 from 4 to 5:30 p.m.
The David C. Driskell Center at the University Maryland, College Park presents "The Living Legacy National Speaking Tour" event with Professors David C. Driskell and Curlee R. Holton.
This event will highlight Professor Driskell's legacy as an artist, scholar and cultural historian and his contributions as well as the contributions of other African American artists to the American artistic canon.
Professor Curlee R. Holton is an artist, master printer and the Executive Director of the David C. Driskell Center.
PRIZM Film
Thurs., Dec. 6 from 2 to 4 p.m.
Q&A 4 to 5 p.m.
Life is Fare is a Tigrinya/English feature film exploring three wildly different perspectives on the East African nation of Eritrea. The film's premise follows Sephora, an idealistic young Eritrean American pitching a well meaning but ludicrous film idea to her traditional mother about a man, Haile, who fled their home country and ended up in San Francisco.
PRIZM Perform
Fri., Dec. 7 from 5 to 8 p.m.
Challenging conventional modes of artmaking, performance art has long been a medium wherein artists can utilize a different format to explore, challenge and dissect a range of ideas and frameworks.
Sat., Dec. 8 at 9 p.m.
Special performance by a musical guest (to be announced), allowing guests to decompress after Miami Art Week.
⎯ VIP admission: $200 (includes fair catalog, tours, dinner event and access to all events)
⎯ General admission: Day pass: $15; Multi-day: $50; Students: $5
Fair Hours
⎯ Tuesday, December 4, 10 a.m. to 8 p.m.
⎯ Wednesday, December 5, 10 a.m. to 6 p.m.
⎯ Thursday, December 6, 10 a.m. to 6 p.m.
⎯ Friday, December 7, 10 a.m. to 6 p.m.
⎯ Saturday, December 8, 10 a.m. to 6 p.m.
⎯ Sunday, December 9, 10 a.m. to 6 p.m.
Link to full article
Tags: Alaina Simone Inc, Emerson Dorsch, Miami Art Week, Mikhaile Soloman, morton fine art, N'namdi Center for Contemporary Art, N'Namdi Contemporary, Prizm, Prizm Art Fair, September Gray, Tafeta + Partners, TILA Studio
Morton Fine Art participates in Prizm Art Fair in Miami December 3 – 9, 2018
Prizm Art Fair 2018
December 3rd – December 9th | Open Daily: 10 am – 6 pm
PRIZM is the producer of a cutting-edge cultural platform that is multidisciplinary in scope. Our goal is to expand the spectrum of exhibiting international artists from the African Diaspora and emerging markets.
Our mission is to promote the work of artists from Africa and global African Diaspora, who reflect global trends in contemporary art. Workshops and special events are organized throughout the year to advance critical dialogue and sharpen the lens through which we view and understand contemporary art. We are committed to the Miami cultural community and will work to expand its visual arts landscape, nurture and educate its constituents and provide forums for cross cultural exchange.
Prizm exhibits a dynamic group or contemporary artists during Art Basel/Miami Beach and beyond. Salient works are presented that highlight the diversity evident in contemporary visual art practices today, including painting sculpture and mixed media installations.
Morton Fine Art will be featuring the artwork of internationally renowned contemporary artists OSI AUDU, KESHA BRUCE, VICTOR EKPUK, MAYA FREELON, AMBER ROBLES-GORDON and NATE LEWIS.
Tags: Africa, African American, African Diaspora, Amber Robles Gordon, art collecting, Art Collector, contemporary art, dc, disapora, Kesha Bruce, Maya Freelon, Miami, morton fine art, Nate Lewis, Osi Audu, Prizm, Prizm Art Fair, Support Black Art, Victor Ekpuk, washington


The new gold standard for interventional pain management training.
BioTras is an emerging medtech company based in Dallas, Texas. We focus on the development of bio-anatomical training systems. Our patented spinal injection simulator creates a unique medical training device unlike anything currently on the market and takes the patient out of the training equation.
interventional pain management workshop held by the world-class Miami Anatomical Research Center. Thank you to all the physicians who worked with our revolutionary spinal injection training simulator.
Brandon is a former chiropractic physician and the strategic visionary behind multiple ventures in the medical industry including medical management, ancillary healthcare services, and now bio-med technology. Along with his business partner John East, Brandon has utilized his extensive knowledge of spinal anatomy to conceptualize, develop, and produce AsTris from its inception.
John is an interventional pain management physician, business strategist, and owner of multiple companies within the healthcare sector, including a highly successful multi-disciplinary medical practice with multiple locations in the Dallas metroplex. His experience at a cadaver training course in 2011 was the inspiration for the creation of AsTris.


Showing: 124831 to 124860 of 541816 .
Seat family and guests in charming rustic style around the dinner table with the Home Styles Americana Dining Chairs. Sturdy and handsomely aged worn design features a contoured seat and thick turned legs with an antiqued Black finish.
Evoking classic renaissance styling, the Home Styles Santiago Bed adds a regal element in any bedroom. Elegant design boasts heavily carved solid wood moldings, shaped posts and feet, plus beautiful book matched cathedral grained American Cherry veneers.
The classic style of the Home Styles Santiago Bed adds a regal element in any bedroom. Elegant design boasts heavily carved solid wood moldings, shaped posts and feet, plus beautiful book matched cathedral grained American cherry veneers.
Evoking classic renaissance styling, the 4-pc. Santiago Headboard, Nightstands and Media Chest Set adds elegant regal elements to any bedroom. Boasting traditional shaped and carved wood detailing, set includes: headboard, 2 nightstands and drawer chest.
Evoking classic renaissance styling, the 4-pc. Santiago Headboard, Nightstands and Door Chest Set adds elegant regal elements to any bedroom. Boasting traditional shaped and carved wood detailing, set includes: headboard, 2 nightstands and door chest.
Evoking classic renaissance styling, the 3-pc. Santiago King Bed, Nightstand and Media Chest Set adds refined regal furnishings to any bedroom. Boasting traditional shaped and carved solid wood detailing, set includes: bed, nightstand and media chest.
Evoking classic renaissance styling, the 4-pc. Santiago King Bed, Nightstands and Door Chest Set adds refined regal furnishings to any bedroom. Boasting traditional shaped and carved solid wood detailing, set includes: bed, 2 nightstands and door chest.
Evoking classic renaissance styling, the 4-pc. Santiago King Bed, Nightstands and Media Chest Set adds refined regal furnishings to any bedroom. Boasting traditional shaped and carved solid wood detailing, set includes: bed, 2 nightstands and media chest.
Showing: 124831 to 124860 of 541816 products.


This popular herb with exceptionally flavorful leaves is perfect for flavoring meats, poultry and potatoes.
A very versatile and popular herb, rosemary makes a beautiful ornamental plant, as well as great culinary seasoning with exceptionally flavorful leaves. Clip individual rosemary leaves or stem tips as needed, and use for flavoring meats, poultry and potatoes.
Water as needed all season to keep soil evenly moist, keeping your eye out for the first sign of wilt. Wilting is a sure sign that your rosemary needs water. Feed with a vegetable fertilizer to ensure your bountiful harvest.


You can easily add a white, black, or colored border to any photo right within Lightroom. Watch the tutorial above, or read the step-by-step instructions below. Watch the tutorial above, or read the step-by-step instructions below.... To do that, right-click anywhere on the map (presumably where you took the photographs) and choose �Add GPS Coordinates to Selected Photos�. Alternatively, you can enter the information manually in the Metadata tab. Done! Now, go on and do that with the rest of your photographs.
Lightroom Keywords Keywording photos should be an important part of everyone's digital workflow in Lightroom. When keywords are added to images, those same keywords can later be used to search and find images in a Lightroom Catalog much more quickly - especially in a large catalog! Keywords are basically metadata (or information) in the form of words that you can add to an image file. This... Adobe evangelist Julieanne Kost shows how to download photos from a camera into Bridge, rename the files, add metadata, and view, rate, and label photos. She also shows how to share the best images with filters and collections, and showcase them in slideshows.
Lightroom will add GPS data to the image file. How to Create a Shoot Location Database With Lightroom If you are a busy photographer with frequent shoots, you might struggle to keep variety in your working locations. how to cook beef meatballs In this episode of Understand Photography, Joe Fitzpatrick will explain a Lightroom Classic CC Quick Tip, you will learn how to quickly and easily add a copyright to your photos� metadata.
21/09/2011�� If you also configure and enable "Add map url to shadow data" you get a clickable field in your metadata panel that will take you to the map coordinates. If you want to have the shadow GPS exported just enable the "Shadow GPS Injector" in your export dialog.
Adobe evangelist Julieanne Kost shows how to download photos from a camera into Bridge, rename the files, add metadata, and view, rate, and label photos. She also shows how to share the best images with filters and collections, and showcase them in slideshows.
IIn this article, you�ll learn how to edit a Metadata Preset, and how to use it when importing your photos into Lightroom. If you want to get paid (or at least get recognition) for your photos, it�s a really great idea to include your name and contact details in your photos.
If all you want is a scratch-pad for photo notes, consider the exif field: 'User Comment' Requires 'EXIF', 'EXIF and IPTC', or appropriate custom metadata viewing preset.


text:
Bethleem Farm West Cemetery
roll of honour L - Z
6856 Private
Oswald Leonard Briggs
10th Bn. Australian Inafntry, A. I. F.
17th December 1917, aged 29.
Row F. 12.
Son of Thomas and Emma Briggs, of Bowmans, South Australia.
His headstone bears the inscription; "In Memory Of The Dearly Loved Son Of Mrs. T. Briggs, Sth. Aust."
From Bowmans, SA. A farmer prior to enlistment, Pte Briggs embarked with 22nd Reinforcements from Adelaide aboard HMAT Afric (A19) on 7 November 1916.
Private A. F. Francis gave the following details:
"He was part of a L. G. (Lewis Gun) team and was looking over the parapet watching a minenwerfer coming, it struck the magazine of the gun, glanced off and struck him, killing him instantly. I was in the next bay and heard of it at once. The body would be removed in due course as we were holding the ground and were properly relieved when our four days were up. He was a well to do farmer in South Australia and came over with me and was in the same platoon."
289 Private
Frederick George Chadwick
42nd Bn. Australian Inafntry, A. I. F.
9th June 1917, aged 22.
Row A. 28.
Son of William John and Mary Chadwick, of 43, Blackstone Rd., London Fields, Hackney, London, England.
His headstone bears the inscription; "In Loving Memory Of Our Dear Beloved Son Fred, We Shall Meet Again."
Killed by a shell while holding the line at Messines.
Charles Major Cluett
33rd Bn. Australian Infantry, A. I. F.
15th July 1917.
Row B. 13.
15696 Private
William Edward Codd
2nd Bn. Wellington Regiment, N.Z.E.F.
16th August 1917, aged 26.
Row D. 4.
Son of Walter William and Alice Melvena Codd, of Brook St., Inglewood, Taranaki, New Zealand.
24345 Serjeant
John Francis Coyle
3rd Bn. 3rd New Zealand Rifle Brigade
Row D. 10.
20115 Rifleman
Alfred Stephen Henry Death
3rd Bn. 3rd New Zealand Rifle Brigade
Row D. 6.
Son of Oliver and Selina Death, of Pahautanui, New Zealand.
Thomas John Deeney
4th Bn. 3rd New Zealand Rifle Brigade
15th August 1917.
Son of John and Eliza Deeney, of Londonderry, Ireland.
William Dunn
35th Bn. Australian Infantry, A. I. F.
29th July 1917, aged 19.
Row C. 9.
Son of William and Leila Sarah Dunn, of Murrumbateman, New South Wales. Native of Jeir, Yass, New South Wales.
His headstone bears the inscription; "In Memory Of The Dearly Beloved Son Of Mr. & Mrs. Dunn, Of Jeir, Yass."
William was killed during a German raid by a shell bursting in his trench at Messines. Also killed in the incident was Tom Hunt who is also buried at Bethleem Farm Cemetery West in Row C. 12.
Albert James Hibbs Edmonds
Row C. 13.
Son of James H. and Sophia J. Edmonds, of Timor, Blandford, New South Wales.
His headstone bears the inscription; "He Gave His Life For His Country."
A labourer of Blandford NSW, he enlisted on 9 May 1916 and sailed with the 3rd Reinforcements aboard HMAT Anchises on 24 August 1916.
Cyril Gouge
12th June 1917.
8/1487 Serjeant
Roland Wallace Guy
1st Bn. Otago Regiment, N.Z.E.F.
Son of Andrew and Ellen Guy, of Palmerston North, New Zealand.
Albert Hay
Row C. 19B.
Son of Joseph and Ann Hay. Native of Tingha, New South Wales.
A miner prior to enlisting in January 1916, Private Albert Hay embarked from Sydney on board HMAT Marathon (A74) on 4 May 1916. He was killed in action at Messines, Belgium, on 26 July 1917, aged 24. Private Albert Hay was one of three brothers who enlisted: 1140 Pte James Alfred Hay, 33rd Battalion, was killed in action at Passchendaele, Belgium, on 12 October 1917 and is commemorated on the Menin Gate Memorial; and 1735 Driver Lewis Hay M. M, 10th Field Artillery Brigade, returned to Australia in 1919.
1139 Pte Marmion Alexander Hay, 33rd Battalion was a nephew and he returned to Australia in 1919.
Looking at the photograph the soldier on the left is MARMION HAY, centre is JAMES HAY and right side is ALBERT HAY. He is the one buried at Bethleem Farm West.
Picture courtesy of Marie Hunnam
581 Corporal
Andrew Johnston
42nd Bn. Australian Infantry, A. I. F.
John Victor Keen
31st Bn. Australian Infantry, A. I. F.
26th November 1917, aged 23.
Row F. 2.
Son of Henry and Elizabeth Keen, of Corce Rd. Artarmon, New South Wales.
His headstone bears the inscription; "He Answered The Call And Gave His Life."
Sergeant P. Bedford (31st Bn.) gave the following details of the incident leading to John Keen's death:
"Keen was in an advanced listening post in front of Warneton at Messines with Private E. Bennett of Townsville, Queensland, when at 11p.m., a shell landed on the post blowing Keen out. Bennett immediately reported to me who was in charge of listening post H.Q. 50 yards in the rear. We went out and found Keen 20 yards from his post, badly wounded having been hit all over the body, but mostly on the left side. He was unconscious and carried to Bethlehem Farm, where he died having lived only an hour after being found. Buried at Bethlehem Farm West Military Cemetery, a small cross was erected."