The Minister for Justice was a portfolio in the Australian government between 18 September 1987, when the post was held by The Honourable Michael Tate, 20 December 2017, when the last incumbent of the office was The Hon. Michael Keenan. Keenan was appointed to the post on 18 September 2013. Following a rearrangement of the Second Turnbull Ministry in December 2017, the post was subsumed into the newly-established portfolio of the Minister for Law Enforcement and Cybersecurity, part of the Home Affairs portfolio; the former minister was responsible for certain matters relating to criminal justice, law enforcement and national security including the Australian Federal Police and the Australian Criminal Intelligence Commission. The Minister for Justice was a junior minister who supported the Attorney-General, administered the portfolio through the Attorney-General's Department. From October 1998 to December 2007, the Minister for Justice was responsible for border control and the Australian Customs Service.
From September 2010 to September 2013 the Minister for Justice held the position of Minister for Home Affairs with broad responsibilities within the Attorney-General's Department. The following individuals were appointed as Minister for Justice, or any of its precedent titles
Jennifer Packer is an American painter living and working in New York, New York. Packer paints expressionist portraits, interior scenes, still lifes, she is interested in authenticity and exchanges in relation to her painting practice. The models for her portraits are friends or family members. Packer is an Assistant Professor in Painting at the Rhode Island School of Design. Packer's paintings are similar with the portraits, she uses limited colors for each paintings. She does this blends the portraits and the background, her works are not made to be straightforward. In 2012, Packer's work was included in the group show Fore, organized by curators, Lauren Haynes, Naima J. Keith and Thomas J. Lax, at The Studio Museum in Harlem. November 2018, in her solo show at Sikkema Jenkins & Co, Packer exhibited a large diptych titled Laquan, a colorful still life of palm fronds and fiery peonies, named after Laquan McDonald, a black teenager, killed by a Chicago policeman in 2014. Packer is set to show in the 2019 Whitney Biennial, curated by Jane Panetta.
In 2013, Packer was awarded the Rema Hort Mann Grant. In 2012-2013 Parker was an Artist-in-Residence at The Studio Museum in Harlem, from 2014 to 2016, a Visual Arts Fellow at The Fine Arts Work Center in Provincetown, Massachusetts. Artist Jennifer Packer on Black Female Subjectivity - The New York Observer Jennifer Packer - ContemporaryArtDaily.com Jennifer Packer - Sikkema Jenkin & Co
Limestone known as Limestone Plantation and Limestone Farm, has two historic homes and a farm complex located near Keswick, Albemarle County, Virginia. The main dwelling at Limestone Farm consists of a long, narrow two-story central section flanked by two wings; the main section was built about 1840, the wings appear to be two small late-18th-century dwellings that were incorporated into the larger building. It features a two-story porch; the house underwent another major renovation in the 1920s, when Colonial Revival-style detailing was added. The second dwelling is the Robert Sharp House known as the Monroe Law Office, it was built in 1794, is a 2 1/2-story and frame structure measuring 18 feet by 24 feet. On the property are a contributing shed, cemetery, a portion of a historic roadway, a lime kiln known as "Jefferson's Limestone Kiln". Limestone's owner in the late-18th century, Robert Sharp, was a neighbor and acquaintance of Thomas Jefferson; the property was purchased by James Monroe in 1816, after the death of Robert Sharp in 1808, he put his brother Andrew Monroe in charge of its administration.
The property was sold at auction in 1828. It was added to the National Register of Historic Places in 2006. Monroe Law Office, Limestone Plantation, Virginia Route 250, Albemarle County, VA: 8 measured drawings and 11 data pages at Historic American Buildings Survey
The Bluegrass region is a geographic region in the U. S. state of Kentucky. It makes up the northern part of the state bounded by the cities of Frankfort, Paris and Stanford; the Bluegrass region is characterized by underlying fossiliferous limestone and shale of the Ordovician geological age. Hills are rolling, the soil is fertile for growing pasture. Since the antebellum years, the region has been a center for breeding quality livestock thoroughbred race horses. Since the late 20th century, the area has become developed with residential and commercial properties around Lexington, the business center. Although Bluegrass music is popular throughout the region, the genre is indirectly named for the state rather than the region. Before European-American settlement, various cultures of Indigenous peoples of the Americas adapted to the region; the region had a savannah of wide grasslands, with interspersed enormous oak trees. The local indigenous peoples hunted its large herds of bison and other game near mineral licks.
The name "Kentucky" means "meadow lands" in several different Indigenous languages of the Americas, was applied to this region. Europeans adopted the name to apply to the state. "Bluegrass" is a common name given in the United States for grass of the Poa genus, the most famous being the Kentucky bluegrass. Americans settled in number in the region, during the decades which followed the American Revolutionary War, they migrated from Virginia. By 1800 these planters noticed that horses grazed in the Bluegrass region were more hardy than those from other regions. Within decades of increased settlement, the remaining herds of bison had moved west; the breeding of Thoroughbred horses was developed in the region, as well as of other quality livestock. Kentucky livestock was driven to other areas of the Ohio River valley for sale. Planters, supported by slave labor cultivated major commodity crops, such as tobacco and grapes; the first commercial winery in the United States was opened in the Bluegrass region in 1801, in present-day Jessamine County by a group of Swiss immigrants.
It was authorized by the Kentucky General Assembly. Since the late 20th century, the area has become developed with residential and commercial properties around Lexington, the business center. Farms are losing ground to development and disappearing. In 2006, The World Monuments Fund included the Bluegrass region on its global list of 100 most endangered sites; the Kentucky Bluegrass is bounded on the east by the Cumberland Plateau, with the Pottsville Escarpment forming the boundary. On the south and west, it borders the Pennyroyal Plateau, with Muldraugh Hill, another escarpment, forming the boundary. Much of the region is drained by its tributaries; the river cuts a deep canyon called the Kentucky River Palisades through the region, preserving meanders that indicate that the river was once a mature low valley, uplifted. Near the Kentucky River, the region exhibits Karst topography, with sinkholes and disappearing streams that drain underground to the river. Although Bluegrass music is popular throughout the region, the genre is indirectly named for the state rather than the region.
Klotter, James C. and Daniel Rowland, eds. Bluegrass Renaissance: The History and Culture of Central Kentucky, 1792–1852, Raitz and Nancy O'Malley, "The Nineteenth-Century Evolution of Local-Scale Roads in Kentucky's Bluegrass," Geographical Review, 94, 415–39 Bluegrass Heritage Museum Local Directory for Frankfort, the State Capital Slayman, Andrew. "A Race Against Time for Kentucky's Bluegrass Country". World Monuments Fund. Archived from the original on 2009-10-13. Retrieved 2009-11-07. Raitz, Carl. "Local-scale turnpike roads in nineteenth-century Kentucky". Journal of Historical Geography. 33: 1–23. Doi:10.1016/j.jhg.2005.12.003
Yvon Lambert is a Luxembourg photographer who has both worked as a freelance photojournalist and completed a number of international reportages on societal issues. After studying photography in Brussels in the 1980s, Lambert worked as a freelance photographer. In 1990 and 1991, he spent long periods in Naples under the framework of Pépinières européennes pour jeunes artistes in support of young artists; this led to his first book: Naples, un hiver. From 1993, he travelled to several Central European countries. In 1995, under the project: D'est en ouest, chemins de terre et d'Europe organized by the Centre Georges Pompidou in Paris, he was responsible for photographing rural scenes in Romania, his work was subsequently presented at the Pompidou Centre. The same year, participating in the Grand Prix de la Ville de Vevey, he received the Prix du Grand Format for his Histoires de Frontières. In Luxembourg, he published reportages on the last days of a steel production plant and on the decline of Luxembourg's mining district.
Other projects he has completed include Derniers feux, Retours de Roumanie. Photographies 1992–2003, Brennweiten der Begegnung. In the autumn of 2004, Lambert spent five weeks in New York photographing life in the city streets; this led to an exhibition presented by the Luxembourg authorities at the Maison du Luxembourg à New York titled Chroniques New-Yorkaises