Jon Bannenberg, RDI was an English-Australian yacht designer. He was born in Sydney and educated at Canterbury Boys High School and at the Sydney Conservatorium of Music. In the early 1950s, he moved to London, by way of New Zealand and the Pitcairn Islands, during which time he worked for Ngaio Marsh's theatre company. From earning a living by playing the piano in bars and clubs, he developed an interest in design, establishing the fledgling Marble & Lemon decorative arts business in Cheval Place, Knightsbridge; this led to a partnership with the long-established New Bond Street dealer—Partridge Fine Arts—which began in 1957 and lasted well into the next decade. Bannenberg created the setting for the 3rd International Art Treasures exhibitions at the Victoria & Albert Museum in 1962—the design of, described by The Times on 2 March 1962 as "well adapted to facilitate appreciation by the planning of its series of compartments", his profile continued to rise and, in 1965, he was selected by Cunard as one of the interior designers for their new liner—known as Q4, but to be the Queen Elizabeth 2—under construction at the John Brown Shipyard in Glasgow.
Bannenberg was allocated to design the Double Room, the Card Room, some of the First Class suites. His first yacht commission was the sailing yacht Tiawana, built by the Camper & Nicholsons in Southampton and delivered in 1968. Shortly thereafter, he was commissioned to design a large motor yacht, Carinthia V, by German retail magnate Helmut Horten, she was shortly followed by the identical Carinthia VI, described as an icon of 20th century yacht design. In a career, to extend a further thirty years, Bannenberg designed two hundred yacht projects, as well as working on residential projects, aircraft interiors, car interiors, furniture design and hotels, his clients included Larry Ellison, Malcolm Forbes, Alan Bond, Bennett S. LeBow, Adnan Khashoggi, Robert Maxwell. Bannenberg would design both the exterior and interior of all his yacht projects. Once referred to as a'stylist' by Yachting Magazine, he was quick to write to the editor in trenchant terms: "Either one is a designer or not; the word'stylist' to me conjures up some kind of flimsy tweaking of a structure, whereas quite the opposite is true, at least in our own case.
Could you do me a great personal favour, either when compiling a new directory or when mentioning my name and refer to me as what I am: a designer—perhaps a nitpicking, irritating one, but not a stylist. That is a title I gratefully concede to Vidal Sassoon." He likened himself to the conductor of an orchestra: someone who could not play all the instruments, but knew the sound they should all be producing. Bannenberg worked with shipyards in the Netherlands, France and England, he rekindled the connection with the country of his birth with a collaboration with the Oceanfast yard in Perth, Australia. On two separate occasions he produced designs for a successor to HMY Britannia, he was appointed a Royal Designer for Industry in 1978, the first yacht designer to be so honoured since Charles E. Nicholson in 1934. Bannenberg died of an inoperable Brain tumour at his home in London on 26 May 2002. Bannenberg & Rowell Design continues to design yachts, under the direction of Jon's son Dickie Bannenberg and Creative Director Simon Rowell.
Jon's son Cam Bannenberg is a sustainable investor in the food and travel sectors, through investment company Bannenberg Invests. Footnotes SourcesJon Bannenberg: A Life of Design Memorial article at powerandmotoryacht.com Bannenberg & Rowell Design
Margaret Hannah Olley was an Australian painter. She was the subject of more than ninety solo exhibitions. Margaret Olley was born in New South Wales, she was the eldest of three children of Joseph Grace. She attended Somerville House in Brisbane during her high school years and was so focused on art that she dropped one French class in order to take another art lesson with teacher and artist Caroline Barker. In 1941, Margaret commenced classes at Brisbane Central Technical College and moved to Sydney in 1943 to enroll in an Art Diploma course at East Sydney Technical College where she graduated with A-class honours in 1945, her work concentrated on still life. In 1997 a major retrospective of her work was organised by the Art Gallery of New South Wales, she received the inaugural Mosman Art Prize in 1947. On 13 July 2006 she donated more works to the Art Gallery of New South Wales. Olley was twice the subject of an Archibald Prize winning painting, she was the subject of paintings by many of her artist friends, including Russell Drysdale and Danelle Bergstrom.
On 10 June 1991, in the Queen's Birthday Honours list, Olley was made an Officer of the Order of Australia "for service as an artist and to the promotion of art". On 12 June 2006, she was awarded Australia's highest civilian honour, the Companion of the Order, "for service as one of Australia's most distinguished artists, for support and philanthropy to the visual and performing arts, for encouragement of young and emerging artists". In 2006, Olley was awarded the degree Doctor of Fine Arts honoris causa by the University of Newcastle. Of the last paintings that Olley did before her death, 27 were exhibited at Sotheby's Australia in Woollahra in an exhibition entitled The Inner Sanctum of Margaret Olley that opened on 2 March 2012. Olley had put the final touches on the show the day before she died and Philip Bacon, who had exhibited her work for decades, had prepared a catalogue to show her that weekend; the opening night was attended by about 350 people among whom were the Governor-General of Australia, Quentin Bryce, who gave an address, in which she said that Olley's work was just like the artist, "filled with optimism".
Other attendees at the opening included Penelope Wensley, the Governor of Queensland, Edmund Capon, Ben Quilty and Barry Humphries. Olley died at her home in Paddington in July 2011, aged 88, she never had no children. Her Paddington home sold for over three million dollars in July 2014. After Olley's death, the Art Gallery of New South Wales used funds donated by its Collection Circle to purchase Nasturtiums, a painting by E. Phillips Fox as a memorial to her, her ideas about art were explored in conversations held between 19 October 2009 and 22 September 2010 with author Barry Pearce, whose book based on them was published in the year of her death. Part of Olley's Paddington house, well known for its items that the painter collected and used as subject matter for her art, described as "her lifelong installation", has been recreated at the Tweed River Art Gallery, an area not far from where the artist was born; the architect of the Tweed's new Margaret Olley Centre, Bud Brannigan, said that it would be faithful to Olley's house, "in all of its glory".
There is a comprehensive photographic record of her studio and work, shot on the morning she died, by artist photographer Greg Weight. This suite of prints, has been donated to the Tweed River Art Gallery. A documentary by Catherine Hunter, Margaret Olley — A Life in Paint follows Olley as she completes her last – and many believe her finest – works, those painted in the 18 months leading up to her death; the critically acclaimed film interprets Olley's style and artistic evolution through the reflections of her peers, including former National Gallery of Australia director Betty Churcher, curator Barry Pearce and Ben Quilty, whose portrait of Olley won the 2011 Archibald Prize. Margaret Olley paintings at google.com Phillip Bacon Galleries, Margaret Olley: Biographical notes Margaret Olley: Biography Margaret Olley at the Art Gallery of New South Wales Margaret Olley Australian Government Cultural and Recreational Portal Tyranny of the tape recorder by Brenda Niall ABR of Margaret Olley: Far from a Still Life by Meg Stewart Margaret Olley & Donald Friend, 21 January – 19 March 2006 S H Ervin Gallery Margaret Olley review by Grafico Topico's Sue Smith Obituary of Margaret Olley, The Daily Telegraph, 31 July 2011 Design and Art Australia Online Biographical Record
Forced displacement or forced immigration is the coerced movement of a person or people away from their home or home region and it connotes violent coercion. Someone who has experienced forced displacement is a "forced immigrant", a "displaced person" also a "displacee", or if it is within the same country, an internally displaced person. In some cases the forced immigrant can become a refugee, as that term has a specific legal definition. A specific form of forced displacement is population transfer, a coherent policy to move unwanted groups, for example, as an attempt at ethnic cleansing. Another form is deportation. Forced displacement has accompanied persecution, as well as war, throughout human history but has only become a topic of serious study and discussion recently; this increased attention is the result of greater ease of travel, allowing displaced people to flee to nations far removed from their homes, the creation of an international legal structure of human rights, the realizations that the destabilizing effects of forced immigration in parts of Africa, the Middle East and central Asia, ripple out well beyond the immediate region.
The concept of forced displacement envelopes demographic movements like flight, evacuation and resettlement. The International Organization for Migration defines a forced migrant as any person who migrates to "escape persecution, repression and human-made disasters, ecological degradation, or other situations that endanger their lives, freedom or livelihood"; the International Association for the Study of Forced Migration defines it as "the movements of refugees and internally displaced people as well as people displaced by natural or environmental disasters, chemical or nuclear disasters, famine, or development projects."According to Alden Speare, "in the strictest sense migration can be considered to be involuntary only when a person is physically transported from a country and has no opportunity to escape from those transporting him." Movement under threat the immediate threat to life, contains a voluntary element, as long as there is an option to escape to another part of the country, go into hiding or to remain and hope to avoid persecution."
However this thought has been questioned by Marxians, who argue that in most cases migrants have little or no choice. Causes for forced displacement can include: Natural disaster: Occurrence of a disaster – such as floods, landslides, earthquakes or volcanoes – leads to temporary or permanent displacement of population from that area. In such a scenario, migration becomes more of a survival strategy, as natural disasters cause the loss of money and jobs. For example, Hurricane Katrina resulted in displacement of the entire population of New Orleans, leaving the community and government with several economic and social challenges. Environmental problems: The term environmental refugee has been in use representing people who are forced to leave their traditional habitat because of environmental factors which negatively impact his or her livelihood, or environmental disruption i.e. biological, physical or chemical change in ecosystem. Migration can occur as a result of slow-onset climate change, such as desertification or sea-level rise, of deforestation or land degradation.
Man-made disasters: Examples are industrial accidents and accidents that involve chemicals or radioactivity, such as in Chernobyl, Bhopal or Fukushima. War, civil war, political repression or religious conflicts: Some migrants are impelled to cross national borders by war or persecution, due to political, ethnic, religious reasons; these immigrants may be considered refugees. Development-induced displacement: Such displacement or population transfer is the forcing of communities and individuals out of their homes also their homelands, for the purposes of economic development, it has been associated with the construction of dams for hydroelectric power and irrigation purposes but appears due to many other activities, such as mining and transport. The best-known recent example of such development-induced displacement may be that resulting from the construction of the Three Gorges Dam in China; this type of forced migration disproportionately affects ethnic minorities. According to estimates, between 90 and 100 million people were forced to leave their homes due to development projects in the 1990s.
Human trafficking and human smuggling: Migrants displaced through deception or coercion with purpose of their exploitation fall under this category. The data on such forced migration are limited since the activities involved are clandestine in nature. While migration of this nature is well covered for male migrants, same cannot be said for their female counterparts as the market situation for them might be unscrupulous; the International Labour Organization considers trafficking an offence against labor protection and denies them the opportunity of utilizing their resources for their country. ILO’s Multilateral Framework includes principle no. 11 that recommends, "Governments should formulate and implement, in consultation with the social partners, measures to prevent abusive practices, migrant smuggling and people trafficking. Slavery: History's greatest forced migration was the Middle Passage of the Atlantic slave trade during the 15th through the 19th centuries. Of the 20 million Africans captured for the trade, half died in their forced march to the A
Sir William Dobell was a renowned Australian portrait and landscape artist of the 20th century. Dobell won Australia's premier award for portrait artists on three occasions; the Dobell Prize is named in his honour. Dobell was born in Cooks Hill, a working-class neighbourhood of Newcastle, New South Wales in Australia to Robert Way Dobell and Margaret Emma, his father was a builder and there were six children. Dobell's artistic talents were evident early. In 1916, he was apprenticed to Newcastle architect, Wallace L. Porter and in 1924 he moved to Sydney as a draftsman. In 1925, he enrolled in evening art classes at the Sydney Art School, with Henry Gibbons as his teacher, he was influenced by George Washington Lambert. He was gay and never married, while several of his works carried strong homoerotic overtones. In 1929, Dobell was awarded the Society of Artists' Travelling Scholarship and travelled to England to the Slade School of Fine Art where he studied under Philip Wilson Steer and Henry Tonks.
In 1930, he won first prize for figure painting at Slade and travelled to Poland. In 1931 he moved on to Belgium and Paris, after 10 years in Europe returned to Australia – taking with him a new Expressionist style of painting as opposed to his earlier naturalistic approach. In 1939, he began as a part-time teacher at East Sydney Technical College. After the outbreak of war, he was drafted into the Civil Construction Corps of the Allied Works Council in 1941 as a camouflage painter. In 1944, he had his first solo exhibition including public collection loans at the inauguration of the David Jones Art Gallery, Sydney. In 1949, he visited New Guinea as a guest of Sir Edward Hallstrom with writers Frank Clune and Colin Simpson; the trip inspired a new series of brilliantly coloured landscapes. In 1950, he revisited New Guinea. Between 1960 and 1963 TIME magazine commissioned Dobell to paint four portraits for covers, one per year, of: Sir Robert Menzies, Prime Minister of Australia. In 1964, Dobell exhibited in a major retrospective at the Art Gallery of New South Wales and the first monograph of his work was written by James Gleeson.
In 1943, Dobell's portrait of Joshua Smith, titled "Portrait of an artist", was awarded the Archibald Prize. This was contested in 1944 by two unsuccessful entrants, who brought a lawsuit against Dobell and the Gallery's Board of Trustees in the Supreme Court of New South Wales on the grounds that the painting was a caricature and therefore not eligible for the prize. Public opinion was divided, with most viewers puzzled by the unexpected portrait. One art critic was laudatory: Creating a man in the simplicity of everyday existence, Dobell reaches profundity by his understanding of this life which, at this instant, is realised and merged with his own nature; the claim was dismissed and the award was upheld, but the ordeal left Dobell disturbed and he retreated in 1945 to his sister's home at Wangi Wangi on Lake Macquarie, where he began to paint landscapes. The Supreme Court opinion by Mister Justice Roper said: The picture in question is characterized by some startling exaggeration and distortion intended by the artist, his technique being too brilliant to admit of any other conclusion.
It bears a strong degree of likeness to the subject and is, I think, undoubtedly a pictorial representation of him. I find it a fact that it is a portrait within the meaning of the words in the will, the trustees did not err in admitting it to the competition. Dobell was a private man, known always as "Bill", he died on 13 May 1970 in the City of Lake Macquarie suburb of Wangi Wangi of hypertensive heart disease. The sole beneficiary of his estate was the Sir William Dobell Art Foundation, founded on 19 January 1971 and awards the Dobell Australian Drawing Biennial, named in his honour, he was cremated with Anglican rites and his ashes interred at Newcastle Memorial Park in Beresfield, New South Wales. A film of Dobell's life, titled Yours sincerely, Bill Dobell was made in 1981 by Brian Adams and Cathy Shirley for the Australian Broadcasting Commission and the William Dobell Art Foundation. Brian Adams' book Portrait of an Artist – A biography of William Dobell was first published in 1983 by Hutchinson Publishing Group and revised in paperback in 1992 for Random House Australia.
A book on the life and art of William Dobell, William Dobell: An Artist's Life by Elizabeth Donaldson, was compiled in 2010 with the support of the Sir William Dobell Art Foundation and Dobell House, in Wangi Wangi. It is published by Exisle Publishing. A biography, Bill: The Life of William Dobell, was published in 2014 by Scott Bevan. Dobell's style is unique in being able to adapt to suit the character of his subject; this was best described by James Gleeson. If the character of his sitter is broad and generous, he paints generously. If the character is contained and inward looking, he uses brushstrokes. In his portraits one has only to look at a few square inches of a painted sleeve to know what sort of person is wearing it." Among private and other public holdings, examples of Dobell's work are exhibited in the Newcastle Region Art Gallery, the Art G
Sali Herman was a Swiss-born Australian artist, one of Australia's Official War Artists for the Second World War. Herman arrived in Melbourne in 1937 and enlisted in the Australian Army in 1941. In 1945, he was appointed an Official War Artist, painting at several places in the Pacific such as Rabaul, he submitted 26 paintings to the Australian War Memorial. Sali Herman was known for paintings of inner city slums in Sydney, he was awarded the Sulman Prize in 1946 for Natives carrying wounded soldiers, in 1948 for The Drovers. He won the Wynne Prize four times. Aspects of Australian Figurative Painting 1942-1962: Dreams and Desires, S. H. Ervin Gallery, part of the 5th Sydney Biennale, painting exhibited: Reconstruction Swiss Artists in Australia: 1777-1991 Art Gallery of New South Wales, paintings exhibited: Surry Hills Backyards, Fremantle Brewery, Surry Hills Lane, The Red House, Balmain, B. H. P. Summer Night, Forum, Sydney 1942, My World. Sali Herman by Daniel Thomas, Collins OCLC No. 37079520 Swiss Artists in Australia 1777-1991 pp67-84, Art Gallery of NSW ISBN 9780730579816 Australian War Memorial listing of Herman's works at the National Gallery of Australia listing of Herman's works at the Art Gallery of NSW listing of Herman's works at the Australian War Memorial listing of Herman's works at the National Gallery of Victoria Australian Dictionary of Biography Herman entry
The Canberra Times
The Canberra Times is a daily newspaper in Canberra, published by Fairfax Media part of Nine Entertainment Co.. The Canberra Times was launched in 1926 by Thomas Shakespeare along with his oldest son Arthur Shakespeare and two younger sons Christopher and James; the newspaper's headquarters were located in the Civic retail precinct, in Cooyong Street and Mort Street, in blocks bought by Thomas Shakespeare in the first sale of Canberra leases in 1924. The newspaper's first issue was published on 3 September 1926, it was the second paper to be printed in the first being The Federal Capital Pioneer. Between September 1926 and February 1928, the newspaper was a weekly issue; the first daily issue was 28 February 1928. In June 1956, The Canberra Times converted from broadsheet to tabloid format. Arthur Shakespeare sold the paper to John Fairfax Ltd in 1964, on the condition that it continue to advocate for Canberra. Soon after, in July 1964, the format was switched back to broadsheet and printing was moved to Fairfax's newly installed press in Fyshwick.
Offices remained open in the civic retail precinct until April 1987 when The Canberra Times moved its entire operation to the new office of The Federal Capital Press of Australia in Fyshwick. The paper was sold to Publishing and Broadcasting Limited, which in turn sold it to Kerry Stokes in 1989 for $110 million. Rural Press Limited bought the paper from Stokes in 1998 for $160 million; the Times rejoined the Fairfax stable in 2007. The paper first went online on 31 March 1997. In 2008, The Canberra Times printed a formal apology after the paper published an essay in which Irfan Yusuf falsely accused American historian Daniel Pipes of suggesting that Muslims deserved to be slaughtered as Jews were during the Holocaust. On 17 October 2008, The Canberra Times was distributed with a sticker advertising the ACT Labor Party on the front page. Complaints about the sticker prompted Ken Nichols, to issue an explanation. In October 2013, Fairfax Media announced that The Canberra Times would be restructured to join the Australian Community Media Group of regional and community newspapers, shifting from the metropolitan news division of Fairfax.
A new editorial leadership team was appointed in November 2015, with Grant Newton as editor of the newspaper and Scott Hannaford as deputy editor and news director. In March 2016, staff at the newspaper were told there would be a restructure at The Canberra Times and that the paper would move from a broadsheet format to a tabloid. Fairfax Media announced they would be cutting 12 jobs from the newspaper's staff; the paper's editors have included Jack Waterford and Michelle Grattan, the first female editor of a metropolitan daily newspaper in Australia. A recent editor-in-chief, Peter Fray, left in January 2009 to edit The Sydney Morning Herald, he was succeeded by Rod Quinn, who announced the formation of a new senior editorial team in 2012. Editorial cartoonists have included David Pope and Pat Campbell. List of newspapers in Australia The Canberra Times The Canberra Times at Trove
Arthur Fleischmann was a Slovak-born, London-based sculptor, who pioneered the use of perspex in sculpture. He spent time in Bali, in Australia, where he was at the centre of the Merioola Group, before settling in London. Fleischmann was born in 1896 in Austria-Hungary, he studied medicine in Budapest and Prague, before turning to sculpture, winning a scholarship to the Master School of Sculpture at the Academy of Fine Arts Vienna. He left Europe in 1937, travelling to South Africa and Zanzibar before spending two years in Bali, where he converted from his native Judaism to Catholicism, with the encouragement of a Dutch colonial missionary, Father Buys; the forms of traditional Balinese dancers became a lifelong influence on Fleischmann’s work. Fleeing the Japanese occupation of the Dutch East Indies, Fleischmann moved to Australia in 1939, where he became the centre of the Merioola Group, named after his home in Rosemont Avenue, Woollahra, he was elected a member of the Society of Artists in Sydney, sculpting portraits of prominent Australians including Cardinal Gilroy, Governor-General Lord Gowrie, Sir Frederick Jordan, Sir John Butters, Sir Percy Spender, the pianist Gaultiero Volterra and violinist Jeanne Gautier.
His two best-known works from this period are the 1946 wishing tree memorial I wish for the Royal Botanic Gardens in Sydney. In 1948, Fleischmann settled in London, he married his wife Joy in 1959 and their son, the photographer Dominique Fleischmann, was born in 1961. Fleischmann produced sculptures of personalities of the day, including Lord Robens, the opera singer Kathleen Ferrier, the actress Joan Collins, the ballerina Svetlana Beriosova, his bust of Trevor Howard is in the collection of the National Portrait Gallery. Fleishmann pioneered the use of perspex including some notable public pieces. In 1956, the Pacific Steam Navigation Company commissioned The Birth of Aphrodite for their ship Reina del Mar. Fleischmann carved the piece from a half-ton block of clear perspex built up from laminated sheets. For the 1970 World Expo in Osaka, Japan, he created a perspex fountain for the British Pavilion, entitled Harmony and progress. In 1963, he featured in a British Pathe newsreel about perspex sculpture.
In 1977 his Crystal Crown, carved out of a massive block of acrylic, was unveiled by Queen Elizabeth II at St Katharine Docks in London, in celebration of her Silver Jubilee. The acrylic block had been commissioned by Stanley Kubrick as the alien monolith in the film 2001: A Space Odyssey, but Kubrick rejected it in favour of a piece made from black basalt. Fleischmann’s work was influenced by his Roman Catholic faith, his Tryptych of the Holy Rosary was commissioned for the Lady Chapel at Westminster Cathedral. It consists of three clear perspex panels carved in relief, his bronze of Pope John Paul II was unveiled at the Venerable English College in Rome by the Pope on the occasion of the 400th anniversary of the college in 1979. Other portrait subjects include Sir Charles Mackerras, the ballerina Doreen Wells, the actor Barry Humphries, his last work was a perspex water sculpture, Tribute to the Discovery of DNA. Fleischmann died on 2 March 1990 at Canary Islands. In 2001, the Arthur Fleischmann Foundation was formed.
Working with the Mestske Muzeum and the City of Bratislava Council, the Foundation helped set up a permanent museum in the house at #6 Biela ulica, Bratislava where Arthur Fleischmann grew up. He is commemorated with a plaque at his London home, 92 Carlton Hill, Westminster; the plaque was unveiled on 28 July 1998 by the Austrian and Slovak ambassadors, together with the Deputy Lord Mayor of Westminster, Joy Fleischmann, former Arts Minister, Lord Gowrie. Since 2004 there is a plaque at the house Favoritenstraße 12 in Vienna, where he lived and worked from 1934 to 1938. Official website