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Date: 11th-Sep-2017
Tinges of reds and oranges are always one of the most beautiful shades that could have ever been created. With one such hue, the bride looks astonishingly beautiful in her orange and red saree with an intricately worked blouse. We must admit that she is no less than a South-Indian princess. The Photo Today capturing her beautiful soul inside and out, rendered a brilliant job visually. With the right amount of makeup making her already beautiful self even more beautiful, her perfect attire, her complimentary looks and with her charming and wide smile from her heart, she is sure to steal so many hearts besides the one of the groom's.
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The Joy of Mentorship
For Psychologists
Complimenting Supervision & Peer Consultation
For many of my 17 years working as a psychologist I have been guided by, and received the unconditional support, from a long-term mentor. This mentor-mentee relationship helped me establish and retain a strong foundation upon which I could remain true to my own values as a psychologist, as well as my identity as a human being.
Within a professional field that can take it's toll on our sense of Self, our Hope Inspired Purpose, as well as our Psychological, Emotional, and at times, Physical Health, such a relationship has been immeasurable in its value. For this reason, I would now like to volunteer myself as a mentor, so that someone else might experience the joy of a mentorship.
How is mentoring different from supervision and/or peer consultation?
Generally, supervision is regarded as a professional, semi-structured, evaluative and performance-based relationship, where the supervisor will, in most cases, charge a fee for his or her services.
Peer consultation, I feel, has a similar flavour, albeit without an associated fee or charge; it is a compulsory process and is fundamentally a professional process. Peer consultation is a meeting of professional minds with a focus on consulting each other about client related difficulties, stuck points, insights, successes etc. Peer consultation does not include or encourage the introduction of personal challenges external to the professional context – the 10 hours of compulsory peer consultation within your annual 30 CPD hours is meant to be 'strictly business'.
Mentoring is neither performance nor task oriented, and is not evaluative of the individual's competence as a psychologist. It does not require a reporting process, neither does it require a formal structure – rather it is an open and intuitive process.
I came across the following definitions of mentoring (www.management-mentors.com), and feel they encompass the general spirit and my understanding of what mentoring is:
Mentoring is Relationship Oriented: It seeks to provide a safe environment where the mentee can share whatever critical issues affect his or her professional and personal success. Although specific learning goals or competences may be used as a basis for creating the relationship, mentoring's focus goes beyond these areas to include things like work/life balance, self-confidence, self perception, and how the personal influences the professional. Content expertise is not as critical for the mentor since he or she plays the role of facilitator rather than [supervisor or] coach
Mentoring is always long term: Mentoring, to be successful, requires time in which both [parties] can learn about one another and build a climate of trust that creates an environment in which the mentoree can feel secure in sharing the real issues that impact his or her success. At the beginning of a mentoring relationship, [we are] likely to discuss the more general and task issues rather than 'hot buttons' issues – that is until the mentor and mentee achieve a certain level of trust. Once achieved, however, mentoring truly begins.
Mentoring is development driven: Its purpose is to develop the individual not on the current job, but for the future. This distinction helps to differentiate the role of the [mentee's] manager [boss, supervisor, etc.] and that of the mentor. It also reduces the possibility of creating conflict between the [mentee's manager, boss, supervisor, etc.] and the mentor.
Mentoring is never remedial: Mentoring is not involved in saving a poor performer – that is the role of the supervisor and/or mentee's performance manager or boss.
Mentoring is concerned about personal transformation: This may or may not link to specific … competency or area(s) of expertise. Mentoring is concerned with assisting a mentee in maintaining his or her genuine identify as a member of the [profession].
[As a mentor I seek no financial compensation:] The most common reason mentors decide to mentor is because they wish to give something back to someone else and to the [profession]. Since they are not compensated for mentoring, their performance is not tied to the mentee's. This brings a certain objectivity that is missing in… [supervision].
How to start?
If you are interested, please contact me via my contact page so we can schedule some time for a brief telephone chat.
Where and when would we meet?
It could take the form of meeting up once or twice a month for an hour or two in an agreed upon location (cafe, park, office, etc.), dependent on need, availability, etc. Face to face is often preferred, however once a rapport is established and/or for those living further away, phone contact is an option.
Are we a good fit?
Given the general spirit of mentoring, it is, as you can imagine, good to be somewhat aligned with our values to facilitate greater compatibility and rapport. This might be established quickly by phone or, it might take a few face to face meetings.
I look forward to hearing from you.
Kind regards

subset: commoncrawl


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Going Beyond the Call
My company provides outsourced software support services for a variety of healthcare clients, most notably, home health aides, who travel from client to client in the course of their day. As such, we often speak with clinicians who are between clients or in a client's home and not at their agency facilities or personal residences.
Earlier this year, I took a call from a clinician who was in her car and needed assistance with her EHR software. As a safety precaution, I asked her to please pull off the road to talk and waited while she did so. While she was doing this, another driver rear-ended her! She sounded absolutely terrified! I stayed on the line with her, monitoring the situation and helping to keep her calm. A passerby who responded to the accident got on the line a few moments later and told me that she was pretty shaken up, but physically unhurt. She also told me that how I handled the situation was greatly helpful. I wondered how different would the outcome be if, for example, the woman were not calm enough to follow instructions or answer questions.
This was by far the most unusual call that I've received, and I called the woman a few times over the next several days to make sure that she was personally still doing well. This is but one example of how I'm committed to "going beyond the call" with all of the healthcare professionals that I help. #IHeartIT because I'm more than a support technician, I'm a partner in our customer's day-to-day lives.
Justin Larabee, Level 1 Support Technician, UnityBPO


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HA I fooled ya, been down in Tennessee for all the Rod Runs, but on the way back up North I stopped at the Gasket Goons hot rod show in Hellertown Pa!
I like the variety often seen at these kind of shows.
Old work horses with a new life
Interesting customs
Again much to my liking a MOPAR powered MOPAR
Big Block to boot
I am gonna let the cars speak in this one, recently someone told me I need to inform the readers of multi-part blogs
Have you noticed this one says part 1?
Do you read the blog?
I recently flowed a weeklong blog and from the lopsided view stats I see many only looked at a few?
Every blog mentioned there were more from the same event.
Well the paint job looks right anyway
Gotta love these Corvair Rampside trucks
That is towing this!
Look carefully at the front signal lamps
Wheres the Caddy?
Sometimes we gotta disown a MOPAR or two
Another MOPAR powered MOPAR-yeah!


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As i have continued to plow through material representing the New Perspective of Paul (hereafter NPP) interpretation of justification, specifically as it references the rejection of our Justification by the Imputation of Christ's righteousness, i have found (not surprisingly) that hermeneutics is where the argument rises and falls.
Don Garlington, as a representative of this perspective, notes that his primary hermeneutic is "a historia salutis (history of salvation)." This "salvation history" is his driving hermeneutic. Everything is interpreted in light of this. As he quotes EP Sanders, long-recognized cornerstone of the NPP, he shows that this hermeneutic is what the NPP is built upon.
This perspective, as touched on in previous posts, sees God as a covenantal God first and foremost. That is, He only relates to His creation in terms of Covenants. Therefore salvation itself is covenantal in nature. In fact, Sanders' perspective was that Israelite history was itself a picture of our salvation, and God's covenant-keeping in relation to Israel played a crucial role in interpreting our salvation. Concepts of salvation, justification, and righteousness in the Old Testament are used to interpret Pauline passages. For instance, at one point Garlington argues:
In biblical-theological perspective, the justification of the people of God [notice this phrase is used to unify Israel and the Church] is their vindication when they return to the land and resume their privileged position within the covenant. Thus "vindication from sin" [Rom. 6:7 – NKJV "freed from sin"; Gk "dedikaiotai apo tes hamartias"] would make fine sense as meaning that we have been absolved with regard to the charges of sin.
As humans, we were exiled by our sin, but now have been restored to the land and the covenant by God's justification of us. This is the interpretation of salvation by the NPP. God's righteousness, then, is interpreted as "his saving activity to redeem Israel from her oppressors (Garlington, Response17)." "Justification in Paul signals deliverance from exile and freedom from bondage (Garlington, Justification by Faith62)." This view in general seems to lack much of the forensic nature of Paul's arguments. While no NPP author denies a forensic meaning in Paul, certainly it is at least secondary to their arguments.
What all this has to do with Dispensationalism should now be fairly obvious. The sine qua nonof Dispensationalism has often been noted to be a clear distinction between the Church and Israel. However, this historia salutis hermeneutic clearly opposes this by striving to interpret all of Paul's work through an Old Testament framework (which itself doesn't seem to be consistent with a Biblical covenantal framework). In his letters Paul never seeks to equate the church with Israel or declare Christians to be a "new Israel." God is not done with national Israel. The promises (covenants) made to them are yet intended to be filled by them, and can in no way be fulfilled by the church. The NPP, as well as Classical Covenant Theology, necessitates a covenantal hermeneutic which seeks to establish the Church as a "spiritual Israel." This reading of Scripture causes misunderstandings and misapplications of Scripture such as the NPP.
A specific aspect of this issue can be addressed accompanied by a rejoinder. Garlington, in his Response to John Piper, defines the term "apostate" covenantally by quoting Romans 1:25: "who…worshiped and served the creature rather than the Creator, who is blessed forever." All of humanity, then, according to Garlington, is apostate (29). In a covenantal interpretation, this necessitates all of humanity to be bound by covenant to God. However, in New Testament theology, there is a much different perspective on the word "apostate." Unlike its Old Testament interpretation referring clearly to one who had violated the Mosaic Covenant (cf. for example, Deut. 13), the New Testament, and Paul in particular, employs this word to refer to those who had left the Faith (I TIm. 4:2). The question then arises – "what is "the faith?" Doctrine answers these questions. First, these individuals cannot have been saved, or they would not have left the faith (Rom. 8:30). Therefore, second, "the Faith" must be a reference to the teachings, or doctrine, of Christ. This is bolstered by the context, in which Paul had just finished giving an early creed of sorts regarding the essentials of the Gospel. It is to these essentials, then, to which he refers as "the faith." Is this faith then, a covenant? There is absolutely no proof in New Testament literature, Paul included, that "the faith" is considered in terms of entering a covenant. Apostates are not leaving a covenant relationship, but are rejecting first a personal trust in Christ, then a set of doctrine which conforms to His Word and character.
Jude continues this thought of apostates and what it means to be apostate. The word he chooses over and over is "ungodly." Used some 6 times in this short book, "ungodly" is the primary way in which Jude thinks of apostates. The use of the word "ungodly" does not, however, indicate a covenant relationship. Rather, it indicates a failure to comply to the character and person of God, marking one out as a sinner (I John 3:4). Sin, in the New Testament, is not just the failure to adhere to a covenant. Rather, it is transgression of a moral code. This defines it as forensic in nature. This observation simply serves to bolster the "traditional" and "Protestant" interpretation of Pauline doctrine.
So what's the problem? What difference does it make if one believes the church is Israel or not? Doctrines such as those proposed by the NPP suffice as reason. When the theological structure (Covenant, Dispensational, etc.) forces a re-interpretation of doctrines such as justification to fit that particular schema, when your theological grid drives your hermeneutic rather than your hermeneutics driving your theological framework, there is an issue. The consequences will not necessarily be instantaneous, however. It may be that though current Covenant and NPP theologians rest their faith in Christ for salvation. However, the battle is for the generations. True doctrine will always cause future generations to fear God and worship Him properly. However, as these other doctrines continue, they will cause our children and our grandchildren to fall away from the faith, crawling out further and further on the branches until they break and our children fall into the apostasy we began. This is what is at stake. I'm no prophet and I can't see what NPP will morph into. I could take some guesses, but I don't know. But I do know that our children and grandchildren will not hold the line of faith because of these doctrines. Apostasy will be the end result of these doctrines, and history will have another lesson.


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Artist: Alexander Phimister Proctor
Date: 1918, installed 1919
This sculpture, located across from Johnson Hall, in between Friendly and Fenton Hall, was dedicated with great ceremony in May 1919. The sculptor, Alexander Phimister Proctor (1862-1950), used a trapper from near Burns, Oregon, as his model. The 1918 bronze statue, mounted on a base of McKenzie River basalt, was a gift of Joseph N. Teal, Portland attorney.
In the early twentieth century there was a movement across the country to install pioneer statues to valorize the achievements of pioneers. Proctor, the sculptor, made several of these monuments. He had the idea for this statue and searched for ten years to find the right model. After he found J.C. Cravens, he went to Joseph Teal, who agreed to fund the statue and it became the fist statue on campus.
In 1919, the President of the Oregon Historical Society made a speech at the dedication that extolled the virtues of the Anglo-Saxon race. In the speech he stated, "the Anglo-Saxon race is a branch of the Teutonic race. It was and is a liberty-loving race. It believes in the protection of life and of liberty an in the rights of property and the pursuit of happiness. This race has large powers of assimilation, and its great ideas of liberty and of the rights of mankind caused other races to become a part of it, so it became a people as well as a race."
Due to these controversial statements, various students and faculty have worked to bring awareness about this issue and reveal the history and statements surrounding the statue. See the "related sources" section below for a list of these articles and research projects.
As additional projects and reactions to the history of the statue are completed we will share them here on this project site.


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The brand:
American, chemical (in a good way), very well known for their range of exfoliators.
The product:
Salicylic acid toning liquid
Who can use it:
This is specifically for combination/oily skins. I would say it's gentle enough for anyone.
Aqua, Methylpropanediol (hydration), Butylene Glycol (hydration), Salicylic Acid (Beta Hydroxy Acid, exfoliant), Polysorbate 20 (stabilizer), Camellia Oleifera (Green Tea) Leaf Extract (skin calming/antioxidant), Sodium Hydroxide (pH balancer), Tetrasodium EDTA (stabilizer).
Not in the ingredients:
fragrance, alcohol, animal by-products
The classic size bottle is just a standard screw top lid. I dab it on my face like a cologne. However, BE WARNED if you buy the travel size bottle it will leak everywhere.
How to use:
As with any acid toner, after cleansing. I apply the liquid cologne style, by dabbing the liquid from my palms to face. I use morning and evening, several times a week. Avoid the eyes, of course. And follow with SPF.
How much:
£26 for 118ml. yer 118 ….. and £8 for 30ml. It works out more expensive for us in the UK. But a little of the liquid goes a long way.
The Good:
For an acne-prone oily skin, this product is great. It's a salicylic acid dedicated acid, meaning it specifically targets breakouts and blackheads. BHA's are designed to speed up the skins exfoliation process. It will encourage the skin to shed and take all the crap away with it. After a few uses I saw a significant difference in the blackheads on my nose and the spot scarring on my cheeks. This product continues to keep my spots at bay, whilst helping to repair scarred skin. It's not loaded with alcohol, so it doesn't dry out the skin either. I could not recommend it enough for my fellow combination/oily/acne skins. Lots of other people love it too, it's a bit of a cult favourite.
The Bad:
Paula's Choice is a bit more expensive for us Brits. But really, a great product, it does what it says on the bottle.
For someone who really hates their spots, blackheads and acne – completely.
I will be trying out her other acids, I'm sure!
Avaliable: at Paula's Choice, and Look Fantastic.
Disclaimer; non spon


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If you've forgotten your password, click on this link and follow the instructions:
Please note the combination of email address and password is the one used when registering for the driver's account.
If you're still having trouble logging in or answering your security question, please email us at firstname.lastname@example.com. Remember to include the following information:
- Driver's Full Name
- Driver's Driving Licence Number
- Driver's Date of Birth
- Driver's Postcode


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• The National Army Museum in Chelsea is joining with the Royal Air Force Museum, the National Museum of the Royal Navy and the Commonwealth War Graves Commission to mark the 75th anniversary of VJ (Victory over Japan) Day, this Saturday, 15th August, with a series of free events including online talks. Among those taking part are World War II veteran Captain Sir Tom Moore, recently knighted by the Queen for his efforts in helping raise funds for the NHS during the coronavirus pandemic, author and explorer Levison Wood (who explores the story of his grandfather's service in Burma), and Professor Tarak Barkawi, author of Soldiers of Empire: Indian and British Armies in World War II, as well as General Lord Richards, Grand President of the Royal Commonwealth Ex-Services League who's involved in a conversation about the contribution of Commonwealth soldiers during the Far East campaign. For the full programme of events, head to www.nam.ac.uk/series/vj-day-75.
• Steve McQueen is back at Tate Modern. The exhibition, which reopened last Friday following the reopening of all Tate galleries, spans 20 years of McQueen's work and features 14 major pieces spanning film, photography and sculpture. The exhibition adds to the three visitor routes already in place at the Tate Modern and coincides with McQueen's latest artwork Year 3, an epic portrait of London's Year 3 pupils created through a partnership between Tate, Artangel and A New Direction which can be seen at Tate Britain until 31st January. Visitors must prebook. For more, head to tate.org.uk/visit.
Beyond London (a new regular feature in which we include sites around Greater London)
• The East Terrace Garden at Windsor Castle – commissioned by King George IV in the 1820s – has opened to weekend visitors for the first time in decades. Overlooked by the castle's famous east facade, the formal garden features clipped domes of yew and beds of 3,500 rose bushes planted in a geometric pattern around a central fountain. It was originally designed by architect Sir Jeffry Wyatville between 1824 and 1826 on the site of an old bowling green made for Charles II in the 1670s. Plants, including 34 orange trees sent by the French King Charles X, were specially imported for the garden and statues were brought from the Privy Gardens at Hampton Court, including a set of four bronze figures by Hubert Le Sueur which were made for Charles I in the 1630s and which remain in the garden today. Prince Albert is known to have taken a particular interest in the garden and the Queen, then Princess Elizabeth, and her sister Princess Margaret grew vegetables there during World War II. As well as the opening of the East Terrace Garden on weekends, visitors with young children on Thursdays and Fridays in August are being given special access to the Castle's Moat Garden beneath the iconic Round Tower, thought to have dated from the period of King Edward III and believed to be the setting for Geoffrey Chaucer's The Knight's Tale, the first story in Canterbury Tales. Pre-bookings essential. For more, see www.rct.uk.
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This Week in London – Cecil Beaton and the 'Bright Young Things'; 'The Enchanted Interior'; and Andy Warhol at the Tate…
March 12, 2020
• World famous British photographer Cecil Beaton's portraits from the "golden age" of the 1920s and 1930s are being celebrated in a shiny new exhibition at the National Portrait Gallery. Cecil Beaton's Bright Young Things features some 150 works, many rarely exhibited, which Beaton took in the 1920s and 1930s depicting the "extravagant world of the glamorous and stylish". The subjects include the likes of artists Rex Whistler and Stephen Tennant, modernist poets Iris Tree and Nancy Cunard, the glamorous socialites Edwina Mountbatten and Diana Guinness (née Mitford), and actresses Tallulah Bankhead and Anna May Wong as well as less well-known figures like eccentric composer and aesthete Lord Berners, the artist and Irish patriot Hazel, Lady Lavery, and Lady Alexander, whose husband produced Oscar Wilde's comedies and who became an early patron of Beaton's. Beaton's own life story and his relationship with the sitters is woven into the exhibition including through self-portraits and images of him taken by contemporaries. Runs until 7th June. Admission charges apply. For more, see www.npg.org.uk. PICTURE: The Bright Young Things at Wilsford by Cecil Beaton, 1927. © The Cecil Beaton Studio Archive.
• The theme of female subjects depicted in ornate, enclosed interiors – one prevalent in 19th century British painting – is at the centre of a new exhibition opening at the Guildhall Art Gallery on Friday. The Enchanted Interior, being presented in partnership with Laing Art Gallery in Newcastle, showcases works in styles ranging from the high Victorian through to Art Nouveau, Aestheticism, Surrealism, and pieces by contemporary female artists which 'speak back' to the historic tradition. Artists whose work is represented include Edward Burne-Jones, Evelyn De Morgan, James Abbot McNeill Whistler, Emily Sandys, Jessica Woodman, Fiona Tan, John William Waterhouse and Clementina Hawarden. Admission charge applies. Runs until 14th June. For more, follow this link.
• The works of iconic 20th century American artist Andy Warhol are being showcased in a new exhibition at Tate Modern. Andy Warhol, the first exhibition on the artist at the gallery in 20 years, features more than 100 works. Among them are key pieces from the pop period – Marilyn Diptych (1962), Elvis I and II (1963/1964) and Race Riot (1964) – as well as Screen Tests (1964–6), the floating Silver Clouds (1966) installation, and a recreation of the psychedelic multimedia environment of Exploding Plastic Inevitable (1966) originally produced for the Velvet Underground rock shows. Also included are later works like his 1975 Ladies and Gentlemen series and Sixty Last Suppers (1986). Runs until 6th September. Admission charge applies. For more, see www.tate.org.uk.
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This Week in London – 'Woburn Treasures' at the Queen's House, and, Steve McQueen at the Tate Modern…
February 13, 2020
• Significant works from the private art collection of the Duke and Duchess of Bedford – including art by Anthony van Dyck, Joshua Reynolds and Thomas Gainsborough – goes on show at the Queen's House in Greenwich from today. Woburn Treasures will see more than 20 works from the collection hanging alongside the collection of Royal Museums Greenwich with highlights from the Woburn collection including a full-length portrait of Anne of Denmark – the Queen Consort of King James I and the person who commissioned Inigo Jones to build the Queen's House – by Flemish artist Gheeraerts the Younger (the painting is pictured). There's also a full-length portrait of Lady Elizabeth Keppel by Sir Joshua Reynolds and Canaletto's large-scale Regatta on the Grand Canal, one of 24 paintings by the Italian artist commissioned for Lord John Russell, the fourth Duke of Bedford, following his visit to Venice in 1731. The paintings are accompanied by a selection of sculptures, ceramics and a silver-gilt toilette set from the Woburn collection, spanning the period from the 17th to 19th centuries. The display has been made possible due to the 18 month closure of Woburn Abbey, seat of the Earls and Dukes of Bedford since the 1620s, as a result of the biggest refurbishment and conservation project since the property first opened to the public in 1955. The exhibition can be seen at The Queen's House until 17th January, 2021. Admission charge applies. For more, see www.rmg.co.uk/woburntreasures. PICTURE: Anne of Denmark 1611-14 by Marcus Gheeraerts the Younger Oil on canvas From the Woburn Abbey Collection.
• The work of Turner Prize-winning British artist Steve McQueen is the subject of a new exhibition opening at the Tate Modern today. Steve McQueen features 14 major works spanning film, photography and sculpture and includes his earliest film shot on Super 8 camera – Exodus (1992/97) as well as 7th Nov. (2001), in which the artist's cousin Marcus recounts the tragic day he accidentally shot and fatally injured his own brother, large-scale video installations such as Western Deep (2002) and Static (2009) and the two-channel video installation Ashes (2002–15). Also on display is End Credits (2012–ongoing), McQueen's homage to the African-American singer, actor and civil rights activist Paul Robeson (1898–1976) and the exhibition, which coincides with the display of McQueen's latest artwork Year 3 at Tate Britain, also features Weight (2016), a sculpture first exhibited by Artangel at the recently closed Reading Gaol, where Oscar Wilde had been imprisoned and wrote De Profundis in 1897. Runs until 11th May. Admission charge applies. For more, see www.tate.org.uk.
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This Week in London – Christmas at the Royal Palaces; Aldgate Lantern Parade; and, Dora Maar
December 5, 2019
• Hampton Court Palace is once again holding its 'Festive Fayre' this weekend. More than 80 stalls will fill the palace's historic courtyards serving Christmas-related treats like mince pies and mulled wine. Included in entry price. Hampton Court will also host carol singing in the courtyards between 6pm and 7pm, 8pm and 9pm on 16th, 22nd and 23rd of December. Meanwhile, Kensington Palace is offering the visitors on select dates between 7th December and 5th January to take part in Princess Victoria's Christmas by assisting her in staging a Christmas panto, joining in the type of seasonal crafts she enjoyed as a child and discovering the history of the festive food Victoria would have enjoyed growing up at Kensington. Included in palace admission. And, of course, the ice rinks at Hampton Court Palace and in the Tower of London's moat are now open. For more, see www.hrp.org.uk.
• More than 500 lanterns made by local children and adults will feature in this year's Aldgate Lantern Parade tomorrow afternoon. The parade will launch from Sir John Cass's Foundation Primary School at about 4.45pm and through streets north of Aldgate High Street to the beat of the Barbican's Drum Works ending in a festive fete in the new Aldgate Square. A Winter Fair will simultaneously take place between Aldgate Square and St Botolph without Aldgate, complete with an array of performances, art, food, drink and festive activities.
• On Now: Dora Maar. The first UK retrospective of the artist Dora Maar (1907-97) whose provocative photographs and photomontages became celebrated icons of surrealism is on at the Tate Modern. It features more than 200 works spanning the six decades of her career. Among highlights are The years lie in wait for you (c1935), Portrait of Ubu (1936), photomontages 29, rue d'Astorg (c1936) and The Pretender (1935), rarely seen works like The Conversation (1937) and The Cage (1943), and a substantial group of camera-less photographs that she made in the 1980s. Runs until 15th March. Admission charge applies. For more, see www.tate.org.uk.
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This Week in London – Prince Albert explored; sheep at Hampstead Heath; and, the Tate's own show their works…
August 29, 2019
• More than 17,500 photographs, prints and private and official papers relating to Prince Albert, consort of Queen Victoria, have been published online. Launched last week, the new website Prince Albert: His Life and Legacy sheds fresh light on Albert's role as Queen Victoria's unofficial private secretary and as guide and mentor to some of the greatest national projects of his day as well as his various roles as a university chancellor, art historian, collector, and art and architecture patron. The website is part of the Prince Albert Digitisation Project which, by the end of 2020, will see some 23,500 items from the Royal Archives, the Royal Collection and the Royal Commission for the Exhibition of 1851 published online. PICTURE: After Roger Fenton, Prince Albert, May, 1854, 1889 copy of the original (Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019).
• Sheep have returned to Hampstead Heath for a week-long trial of an initiative aimed at replacing mowing with more natural grazing. The pilot project, which is being managed by the City of London Corporation in partnership with Heath & Hampstead Society, Heath Hands, Historic England, Mudchute Park & Farm and Rare Breeds Survival Trust, involves five sheep and will focus on The Tumulus on the Heath, an ancient Roman monument. If successful, the sheep – which include Oxford Down and Norfolk Horn – will take their grazing talents to other areas.
• Staff from the Tate galleries are showcasing their own artworks in a new free exhibition at the Tate Modern. The first Tate Staff Biennale, which can be seen for free in Tate Exchange on level five of the Blavatnik Building, features the work of 133 staff members from all four Tate Galleries – Tate Britain, Tate Modern, Tate Liverpool and Tate St Ives – and has been curated by the Inside Job Collective – a group of Tate staff dedicated to championing the work of colleagues who are also practicing artists. The biennale is inspired by 'movement', the theme of this year's Tate Exchange, an experimental platform at the Tate Modern and Tate Liverpool which brings together the public, artists and associate partner organisations. Can be seen until 3rd September. For more, see www.tate.org.uk.
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This Week in London – Women in the British Army; communications secrets exposed; and, cinema at Somerset House…
August 1, 2019
• An exhibition exploring the changing roles of women in the British Army from 1917 to the present day has opened at the National Army Museum in Chelsea. Rise of the Lionesses, which is being held in partnership with the WRAC Association, charts the major contributions women have made to the Army's history as well as how perceptions of "appropriate" roles for females have affected these contributions and how women have fought to redefine those roles. Highlights include the combat shirt and medical kit belonging to Sergeant Chantelle Taylor – the first female British soldier to kill in combat, the first Army-issue bra, and the vehicle chassis used to train Princess Elizabeth (now Queen Elizabeth II) while she served in the Auxiliary Territorial Service during World War II (pictured above). The free display can be seen until 20th October and is accompanied by a programme of public events. For more, head to this link. PICTURE: Courtesy of National Army Museum.
• Communications intelligence and cyber security are explored in an exhibition at the Science Museum, making the centenary of UK intelligence, security and cyber agency, GCHQ. Top Secret: From ciphers to cyber security features more than 100 objects including cipher machines used during World War II, secure telephones of the type used by British Prime Ministers, and an encryption key used by the Queen. There's also encryption technology used by Peter and Helen Kroger who, until their arrest in the 1960s, were part of the most successful Soviet spy ring in Cold War Britain, and the remains of the crushed hard drive alleged to contain top secret information which was given by Edward Snowden to The Guardian in 2013 while the work of GCHQ's National Cyber Security Centre is also explored with visitors able to see a computer infected with the WannaCry ransomware which, in 2017, affected thousands of people and organisations including the NHS. Runs until 23rd February. Admission is free. For more, head to www.sciencemuseum.org.uk.
• The pioneering work of Hungarian avant garde artist Dóra Maurer goes on show at the Tate Modern on South Bank next Monday in the first UK exhibition celebrating her five decade career. The free display brings together 35 of her works – from conceptual photographic series and experimental films to colourful graphic works and striking geometric paintings – with highlights including Seven Foldings (1975), Triolets (1981), Timing (1973/1980) and the six-metre-long Stage II (2016). The year-long display is one of several free displays opening at the Tate Modern this month. Others include an exhibition of Sol LeWitt's graphic woodcut prints, a show featuring photograms, films, painting and drawings by Polish émigré artists Franciszka Themerson and Stefan Themerson, and photography displays by Mitch Epstein, Naoya Hatakeyama and David Goldblatt. For more, see www.tate.org.uk.
• Cinema is being celebrated at Somerset House this month with the launch of Film4 Summer Screen at Somerset House. The event includes courtyard screenings, specially curated DJ sets and live performances, and panel discussions from industry insiders. Actor Antonio Banderas will join Spanish director Pedro Almodóvar to introduce the festival's opening night premiere, Pain and Glory, with other special guests including the cast of Shane Meadows' BAFTA-award winning film This is England, Francis Lee, the director and writer of God's Own Country, and the film's lead actor Josh O'Connor as well as Peter Webber, director of Inna de Yard. Runs from 8th to 21st August. For more, see www.somersethouse.org.uk.
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This Week in London – Queen Victoria at Buckingham Palace; royal etchings; and, Ed Ruscha at Tate Modern…
July 25, 2019
• The impact of Queen Victoria on Buckingham Palace, transforming what was empty residence into "the most glittering court in Europe", is a special focus of this year's summer opening of Buckingham Palace. Marking the 200th anniversary of the birth of the Queen, the exhibition Queen Victoria's Palace recreates the music, dancing and entertaining that characterised the early part of the Queen's reign using special effects and displays. Highlights include the Queen's costume (pictured) for the Stuart Ball of 13th July, 1851, where attendees dressed in the style of King Charles II's court. There's also a recreation of a ball held in the palace's newly completed Ballroom and Ball Supper Room on 17th June, 1856, to mark the end of the Crimean War and honour returning soldiers which uses a Victorian illusion technique known as Pepper's Ghost to bring to life Louis Haghe's watercolour, The Ball of 1856. The table in the State Dining Room, meanwhile, has been dressed with items from the 'Victoria' pattern dessert service, purchased by the Queen at the 1851 Great Exhibition, and the room also features the Alhambra table fountain, a silver-gilt and enamel centrepiece commissioned by Victoria and Albert in the same year, and silver-gilt pieces from the Grand Service, commissioned by the Queen's uncle, King George IV, on which sit replica desserts based on a design by Queen Victoria's chief cook, Charles Elme Francatelli. The summer opening runs until 29th September. Admission charges apply. For more, see www.rct.uk/visit/the-state-rooms-buckingham-palace. PICTURE: Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019
• The Victorian reign is also the subject of a new exhibition at the British Museum where rare etchings by Queen Victoria and Prince Albert have gone on display. At home: Royal etchings by Queen Victoria and Prince Albert features 20 artworks that they created during the early years of their marriage and depict scenes of their domestic lives at Windsor Castle and Claremont including images of their children and pets. The display includes three works donated to the museum by King George V, Queen Victoria's grandson, in 1926, and it's the first time they've gone on public display. Prince Albert introduced the Queen to the practice of etching soon after their wedding and under the guidance of Sir George Hayter they made their first works on 28th August, 1840. They would go on to collaborate on numerous works together. The display can be seen in Room 90a until mid-September. Admission is free. For more, see www.britishmuseum.org. PICTURE: The Princess Royal and Prince of Wales, 1843, by Albert, Prince Consort (after Queen Victoria) © The Trustees of the British Museum.
• American artist Ed Ruscha is the subject of the latest "Artist Rooms" annual free display in the Tate Modern's Blavatnik building on South Bank. The display features works spanning Ruscha's six-decade career, including large, text-based paintings and his iconic photographic series. There is also a display of Ruscha's artist's books – including Various Small Fires 1964 and Every Building on the Sunset Strip 1966 – as well as some 40 works on paper gifted to Tate by the artist. Highlights include his series of photographs of LA's swimming pools and parking lots, paintings inspired by classic Hollywood cinema, and works such as DANCE? (1973), Pay Nothing Until April (2003) and Our Flag (2017). Runs until spring 2020. Admission is free. For more, see www.tate.org.uk.
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This Week in London – Culture, heritage and war at IWM; Sir Arthur Pearson honoured; and, Takis at the Tate Modern…
July 4, 2019
• Exhibitions exploring why culture and heritage are attacked during times of war and how cultural treasures in British museums and galleries were protected during World War II open at London's Imperial War Museum on Friday. What Remains – which highlights both historic and contemporary instances in which buildings, places, art and artefacts have been deliberately targeted during times of conflict as well as examples of resistance, protection and restoration, and, Art in Exile – which looks at the role UK cultural organisations have played in wartime, are both part of Culture Under Attack, a free season of events that explore how war threatens cultural heritage. Also launching as part of Culture Under Attack this week is Rebel Sounds, an immersive exhibition that reveals how music has been used to resist and rebel against war and oppression with examples from Nazi Germany in the 1930s, Northern Ireland in the 1970s, Serbia in the 1990s and present day Mali. All three displays run until 5th January. For more, see www.iwm.org.uk/seasons/culture-under-attack. PICTURE: British Army poster from 1943, created to educate and inform its soldiers of the importance of respecting property, including cultural heritage (© IWM)
• Sir Arthur Pearson, newspaper publisher and founder of St Dunstan's (Blind Veterans UK), has been remembered with an English Heritage Blue Plaque. The plaque was unveiled at his now Grade II*-listed home on Portland Place in Marylebone last week, the place where he lived with his wife and some of the blinded servicemen supported by St Dunstan's in the later years of World War I and those following. Pearson had made a fortune as a press magnate, founding the Daily Express in 1900 and later purchasing The Evening Standard but his attention turned to campaigning for the blind after he was told he would lose his sight in 1913. For more on English Heritage Blue Plaques, see www.english-heritage.org.uk/visit/blue-plaques/.
• The largest ever exhibition of the work of pioneering Greek artist Takis (Panayiotis Vassilakis) has opened at the Tate Modern this week. Takis features more than 70 works by the self-taught artist – renowned as a "sculptor of magnetism, light and sound" – including a rarely-seen Magnetic Fields installation, a series of musical devices generating resonant and random sounds, and forests of his antenna-like Signals. Can be seen until 27th October. Admission charge applies. For more, see www.tate.org.uk.
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This Week in London – Leonardo's notebooks; London's "lost" rivers; Africa celebrated; and, Natalia Goncharova…
June 6, 2019
• Three of Leonardo da Vinci's notebooks are being displayed together in the UK for the first time as part of a new exhibition at the British Library marking 500 years since the artist's death. Leonardo da Vinci: A Mind in Motion, which opens Friday and is being held in partnership with Automobili Pininfarina, will feature a selection of notes and drawings from the Codex Arundel, owned by the British Library, the Codex Forster, owned by the V&A, and the Codex Leicester, owned by US billionaire Bill Gates (and being displayed in the UK for the first time since Gates purchased it in 1994). They reveal Da Vinci's close observations of natural phenomena and how these explorations of nature and motion directly informed his work as an inventor and artist. The exhibition, which runs to the 8th September, is being accompanied by a series of events and until Sunday, Automobili Pininfarina will be exhibiting a 1,900 hp, zero-emissions Battista hypercar on the British Library Piazza. Admission charge applies. For more, see www.bl.uk/events/leonardo-da-vinci-a-mind-in-motion. PICTURE: Part of the exhibition/courtesy British Library.
• The mysteries of London's hidden rivers are revealed in an exhibition at the Museum of London Docklands. Secret Rivers brings together art and archaeology along with photography, film, and mudlarking finds to show how the city has been shaped by the Thames and its tributaries – and how they in turn have been shaped by Londoners. It explores how rivers including the Effra, Fleet, Neckinger, Lea, Tyburn, Walbrook, Wandle and Westbourne have all been "exploited for transport and industry, enjoyed and revered, and have influenced artists and writers". Among items on display are rare surviving fragments of the 13th century Blackfriars Monastery which were used to line a well, a medieval fish trap, and drawings and prints depicting rivers – including James Lawson Stewart's watercolour Jacob's Island (1887) which depicts an artificial island located in the Neckinger at Bermondsey. The free exhibition runs until 27th October. A series of talks is accompanying the display. For more, see www.museumoflondon.org.uk/museum-london-docklands.
• All things African will be celebrated at the Open the Gate Festival in Shoreditch this weekend. The festival, one of a number of monthly key partner events being held in conjunction with the city's new Africa in London festival – a summer long celebration of African culture and creativity, will be held at Rich Mix on Saturday and features live music, an African Market, family workshops and African street food. For more on the event and the Africa in London initiative, head to www.london.gov.uk/AfricaLDN.
• The UK's first ever retrospective of Russian avant-garde artist Natalia Goncharova has opened in the Tate Modern's Eyal Ofer Galleries this week. The exhibition brings together more than 160 international loans – including from Russia's State Tretyakov Gallery, home of the largest collection of Goncharova works in the world – and features, at its heart, a room designed to evoke Goncharova's remarkable 1913 retrospective at the Mikhailova Art Salon in Moscow which featured more than 800 works. Highlights of this show include Peasants Gathering Apples (1911), the monumental seven-part work The Harvest (1911) and nude paintings which led to her trial for obscenity as well as the four panel religious work Evangelists (1911), examples of her forays into fashion and interior design including Spring (1928) and Bathers (1922), a reunion of her ground-breaking works Linen, Loom + Woman (The Weaver) and The Forest (1911), and her collaborations with Ballets Russes including her costume designs for Le Coq d'or (The Golden Cockerel) and Les Noces (The Wedding) – performed on London stages in the 1920s and 1930s. Runs until 8th September. Admission charge applies. For more, see www.tate.org.uk.
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This Week in London – Princess Eugenie's wedding dress on show; Dorothea Manning; and, the impact of photographic reproductions explored…
March 7, 2019
• The wedding dress and tiara worn by Princess Eugenie at her wedding in October last year has gone on display in a new exhibition at Windsor Castle, just to the west of London. A Royal Wedding: HRH Princess Eugenie and Mr Jack Brooksbank also features groom Jack Brooksbank's morning suit and the maid-of-honour outfit worn by Princess Beatrice of York. But the star is the wedding dress, designed by Peter Pilotto and Christopher De Vos, which features fabric interwoven with symbols including the White Rose of York. The exhibition also includes the Greville Emerald Kokoshnik Tiara, lent by Queen Elizabeth II and on public display for the first time, Princess Eugenie's diamond and emerald drop earrings – a wedding gift from the groom, a replica of the bridal bouquet, and the Zac Posen-designed evening gown worn by the princess for the reception. The display can be seen as part of visits to Windsor Castle until 22nd April. Admission charge applies. For more see www.rct.uk. PICTURE: Royal Collection Trust / © All Rights Reserved.
• The work of pioneering artist Dorothea Manning is the subject of a new exhibition at the Tate Modern on South Bank. Opened last week, Dorothea Tanning is organised in collaboration with the Museo Nacional Centro de Arte Reina Sofía in Madrid and is the first large scale exhibition of her work for 25 years. It brings together some 100 works, a third of which are being shown in the UK for the first time, including ballet designs, stuffed textile sculptures, installations and large scale pieces. Highlights include the self-portrait Birthday (1942), Children's Games (1942), Insomnias (1953), Etreinte (1969),Tango Lives (1970) and the room-sized installation Chambre 202, Hôtel du Pavot (1970-73). Runs until 9th June. Admission charge applies. For more see www.tate.org.uk.
• A new exhibition on the impact photographic reproduction had on illustrative art at the end of the 19th century has opened at the Heath Robinson Museum in Pinner. The Beardsley Generation looks at how a new generation of artists versed in process engraving replaced the craft wood engravers of the past and how the new technology led to an expansion in the production of illustrated books and periodicals. The work of Aubrey Beardsley, Charles Ricketts, Laurence Housman and the Robinson brothers will be on display in the form of original drawings, books and periodicals drawn from public and private collections. Runs until 19th May. Admission charge applies. For more, see www.heathrobinsonmuseum.org.
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This Week in London – City of London's biggest rooftop viewing platform opens; Rembrandt at the British Museum; and, Franz West at the Tate…
February 21, 2019
• The City of London's largest rooftop viewing space – The Garden at 120 – has opened atop the newly opened Fen Court office building in Fenchurch Street. The viewing platform – located 15 storeys above the street – offers 360 degree views of the City and features a pergola planted with fruit trees and Italian wisteria, a water feature and coffee hut. Entry is free and access is between 10am and 6.30pm weekdays until 31st March (5pm on weekends) and between 10am and 9pm from 1st April to 30th September. For more, see www.thegardenat120.com. PICTURE: diamond geezer (licensed under CC-BY-NC-ND 2.0)
• Rembrandt's drawing and prints are the subject of a new free exhibition at the British Museum. Marking 350 years since the death of Rembrandt van Rijn in 1669, Rembrandt: thinking on paper features more than 60 of the Dutch artist's works ranging from quick sketches to fully realised compositions with subject matter including self-portraits, landscapes and Biblical scenes. Works include Young woman sleeping (Hendrickje Stoffels?) (c1654), his printing plate for Reclining female nude (1658), the pen-and-ink Sketches of an old man and child (c1639-40), Self-portrait, bareheaded, bust in frontal view (1629), Self-portrait drawing at a window (1648), the Raising of Lazarus (c1632) and his late, large drypoints the Three Crosses (1653) and Ecce Homo (1655). Runs until 4th August in Room 90. Entry is free. For more, see www.britishmuseum.org.
• The first posthumous retrospective of the work of Franz West (1947-2012) ever staged in the UK has opened at the Tate Modern. Franz West spans the artist's career over four decades and includes examples from his series of early abstract small sculptures like Passstücke (Adaptives), furniture work first displayed in the artist's pivotal 1989 exhibition at the Haus Lange Museum, as well as later, large-scale installations such as Auditorium (1992) and Epiphany on Chairs (2011). The artist's works in papier-mâché – Legitimate Sculptures – are also featured and there's a room devoted to Redundanz (1986), a three-part ensemble accompanied by text that stresses "the difference between language and art as ways of understanding the world". The display finishes with an array of West's dramatic aluminum works and a collection of maquettes for the artist's outdoor sculptures, five of which are installed in the South Landscape. Runs until 2nd June. Admission charge applies. For more, see www.tate.org.uk.
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This Week in London – Recalling Sir Joseph Bazalgette; Pierre Bonnard retrospective; and Bill Viola meets Michelangelo…
January 24, 2019
• A plan of the Deptford Pumping Station signed by Sir Joseph Bazalgette is going on display at the City of London Heritage Gallery on Saturday to mark 200 years since the Victorian engineer's birth. Other items in the new display include the Shakespeare Deed – only one of six documents to bear the signature of William Shakespeare, and one of the City of London's earliest charters – granted by King Richard I in 1197. Admission to the gallery, located in the Guildhall Art Gallery, is free. Runs until 16th May. For more, follow this link.
• The first major retrospective of French painter Pierre Bonnard in 20 years has kicked off at the Tate Modern on South Bank. The CC Land Exhibition, Pierre Bonnard: The Colour of Memory, features about 100 of his most celebrated works from public and private collections spanning the period from 1912 to his death in 1947. Bonnard, like his friend Henri Matisse, had a profound impact on modern painting and went on to influence the likes of Mark Rothko and Patrick Heron. Works on show include Dining Room in the Country (1913), The Lane at Vernonnet (1912-14), Coffee (1915), Summer (1917), Piazza del Popolo, Rome (1922), Nude in an interior (c1935), and Studio with Mimosa (1939-46). Runs to 6th May; admission charge applies. For more, see http://www.tate.org.uk. PICTURE: Pierre Bonnard (1867–1947), Coffee (Le Café), 1915, Oil paint on canvas (via Tate Modern)
• The work of pioneering video artist Bill Viola has been brought together with drawings buy Michelangelo in a new exhibition opening at the Royal Academy on Saturday. Bill Viola/Michelangelo features 12 major video installations by Viola, an honorary Royal Academician, which span the period 1977 to 2013 as well as 15 works by Michelangelo including 14 highly finished drawings as well as the Academy's Taddei Tondo. It proposes a "dialogue" between the two artists with Viola, who first encountered Michelangelo's works in the 1970s in Florence, considered an heir to the long tradition of spiritual and affective art which uses emotion to connect viewers with the subject depicted. Runs until 31st March. Admission charge applies. For more, see www.royalacademy.org.uk.
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This Week in London – V&A's new Photography Centre; 'Women in Jazz'; and, Anna Albers retrospective…
October 11, 2018
• The world's first photographic experiments and earliest cameras, pictures by everyone from pioneer Julia Margaret Cameron to 20th century great Cecil Beaton, and a series of newly commissioned works by German photographer Thomas Ruff and American artist Penelope Umbrico are among attractions at the V&A's new Photography Centre, the first phase of which opens tomorrow. Designed by David Kohn Architects, the new centre spans four galleries and more than doubles the space dedicated at photography at the South Kensington institution. The initial display, Collecting Photography: From Daguerreotype to Digital, includes more than 600 objects from across the world including seminal prints and negatives by pioneers like William Henry Fox Talbot and Cindy Sherman, 20th century greats like Alfred Stieglitz, Walker Evans and Irving Penn, and contemporary photographers like Hiroshi Sugimoto, Mary McCartney and Martin Parr. There's a pioneering botanical cyanotype by Anna Atkins, images by the world's first female museum photographer – Isabel Agnes Cowper, and motion studies by Eadweard Muybridge as well as camera equipment, photographic publications, original documents and a "digital wall" to showcase cutting-edge photo imagery. The opening is being accompanied by a three week 'spotlight' on photography across the V&A including talks, screenings, courses, workshops and other events. Entry to the new centre in the V&A's North East Quarter is free. A second phase, including a teaching and research space, browsing library and studio and darkroom for photographer residencies, will open in 2022. For more, see www.vam.ac.uk. PICTURES: Top – Rendering of Gallery 99 in the new Photography Centre (© David Kohn Architects); Right – Hiroshi Sugimoto, Lightbody Fields 225, 2009, Gelaton silver print form a photogram (© Hiroshi Sugimoto, Victoria and Albert Museum).
• The role women have played in the development of jazz music is the subject of a new exhibition at the Barbican Music Library in the City of London. Women in Jazz explores how social and political changes in the 20th century played a significant role in encouraging more female involvement in jazz and highlights the new generation of performers. The display includes photographs, journals, video and memorabilia from the National Jazz Archive. Opens on Tuesday and runs until 31st December. For more, follow this link.
• The first major retrospective of textile artist Anna Albers (1899-1994) opens at the Tate Modern today. Anna Albers features her most important works – many shown in the UK for the first time – in a display including more than 350 objects including small-scale studies, large wall-hangings, jewellery made from everyday items, and textiles designed for mass production. It explores the many aspects of Albers' practice including the intersections between art and craft hand-weaving and machine production as well as the artist's writings, including The Pliable Plane: Textiles in Architecture (1957), On Designing (1959) and On Weaving (1965). Berlin-born Albers was a student at the Bauhaus in the 1920s and there began working with textiles – later taking her talent to the US and making many visits to Central and South America. The exhibition in the The Eyal Ofer Galleries runs until 27th January. Admission charge applies. For more, see www.tate.org.uk.
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This Week in London – The Ranger's House reopens; dragons return to Kew; and the art of the Weimar Republic…
July 26, 2018
• The Ranger's House in Greenwich – home to a world class art collection known as the Wernher Collection – reopened to the public this week after a makeover by English Heritage. The property – a Georgian villa located on the edge of Greenwich Park – displays the collection – which includes more than 700 works gathered by diamond magnate Julius Wernher in the late 1800s – across 11 period rooms. Highlights include a gold earring in the shape of Victory (the Greek goddess of war) which dates from 2BC, a carved pendant in the shape of a skull from around 1500, a silver gilt, steel and nautilus shell cup dating from 1660 (pictured) and an enamelled jug depicting the Greek god Triton. The collection was originally displayed at Wernher's London townhouse – Bath House in Piccadilly – and at his country estate, Luton Hoo in Bedfordshire, but after Luton Hoo closed in the 1990s, English Heritage agreed to display the collection at the Ranger's House (which it had acquired in 1986) on a 125 year loan. Photographs showing how Wernher displayed his collection in his own homes have informed how the objects are presented in the house today. The house is open from Sunday to Wednesday until the end of September. Admission charge applies. For more, see www.english-heritage.org.uk/rangershouse. PICTURE: © English Heritage
• The Great Pagoda at Kew has been reopened to visitors for the first time in years following a four year restoration project. Built in 1762, the pagoda was used by the Georgian Royal Family to entertain visitors and was for the first 20 years famously adorned with 80 brightly coloured wooden dragons (until, that is, they disappeared in the 1780s when they were rumoured to have been used as payment for the Prince Regent's gambling debts). Thanks to a major restoration project by Historic Royal Palaces in conjunction with the Royal Botanic Gardens, Kew, dragons have returned to the structure and for the first time in decades visitors are being allowed access to the upper floors from where they can gain a birds-eye view of the gardens. They will also be able to learn about the role the pagoda played in planning for the D-Day landings and try out the automata on the ground floor for a tour in miniature of Kew's Georgian 'royal route'. Admission charge applies. For more, see www.hrp.org.uk.
• The art of Germany's Weimar Republic goes on show at Tate Modern on South Bank from Monday. Magic Realism: Art in Weimar Germany 1919-1933 features about 70 paintings and works on paper drawn from The George Economou Collection – some of which have never seen in the UK before – and the Tate's own collection. The display explores the "paradoxes" of the Weimar era, a time when liberalisation and anti-militarism flourished amid political and economic uncertainty (the title draws on the coining of the phrase 'magic realism' – today often associated with the literature of Latin America – by artist and critic Franz Roh in 1925 in an effort to describe the shift from the emotional art of the expressionist era, toward the unsettling imagery of this inter-war period). Works by artists like Otto Dix, George Grosz and Max Beckmann will be presented alongside those of under recognised artists such as Albert Birkle, Jeanne Mammen and Rudolf Schlichter and others whose careers were curtailed thanks to the rise of Nationalist Socialism and its agenda to promote art that celebrated its political ideologies. Admission is free. Runs until 14th July, 2019. For more, see www.tate.org.uk.
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This Week in London – 'Picturing Forgotten London'; 1968 recalled; and, a posthumous VC newly on display…
May 17, 2018
• From coaching inns to horse markets, riverside mansions to gin palaces – the 'lost' buildings of London form the focus of a new exhibition which opens at the City of London Corporation's London Metropolitan Archives in Clerkenwell on Monday. Picturing Forgotten London features drawings, engravings, photographs, maps, films and contemporary recollections displayed under themes including entertainment, food, commerce and trade, and transport. Through the exhibition, visitors will discover frost fairs (pictured), 'open-shout' trading floors, pleasure gardens, almshouses, cabmen's shelters, dockyards, farms and a 1960s supermarket. Among the highlights are a look at the notorious Westminster neighbourhood known as Devil's Acre and images of such lost landmarks as Euston Arch and Crystal Palace as well as Geoffrey Fletcher's observational drawings of 60s and 70s London and a large scale reproduction of an 1867 illustrated map of public buildings, theatres, music halls and other landmarks known as The Strangers Guide. Admission is free. Runs until 31st October. For more, follow this link. PICTURE: Courtesy of the City of London Corporation's London Metropolitan Archives.
• Marking 50 years since a series of significant protests took place around the world, a new display at Tate Britain in Millbank shows how artists responded to what it calls a "watershed moment in political and social history". London: 1968 features a series of iconic agin-prop posters by the Camden Poster Workshop who moved their studio into the London School of Economics during the student occupation in October. They provide a visual record of some of the key issues of the time including industrial strikes, the Vietnam War, and civil rights movements in Ireland, America and South Africa. There's also a Patricia Holland film looking at the occupation of the Hornsey School of Art and work by radical artists such as Barry Flanagan, Richard Long, Joseph Beuys and Mario Merz who all participated in a landmark exhibition at London's ICA in 1969. The display, which is free to see, coincides with another free display at Tate Modern – 1968: Protest and the Photobook – which brings together politically engaged photobooks made during this period. London: 1968 runs until 31st October. For more, see www.tate.org.uk.
• A posthumous Victoria Cross awarded to Corporal Bryan Budd for bravery in Afghanistan has gone on display at the Imperial War Museum London in Lambeth. Corporal Budd, who served in the 3rd Battalion, The Parachute Regiment, was awarded the VC on 14th December, 2006, for two separate acts of gallantry in Helmand Province – the first in an incident on 27th July that year when he initiated a daring attack on the enemy in order to evacuate a wounded comrade, and the second, on 20th August, when he led a surprise attack on a Taliban position, killing several enemy but sustaining wounds from which he died. The VC, which was purchased by Lord Ashcroft, is the most recent now in his collection – prior to its acquisition the most recent he had was awarded to Sergeant Ian McKay in October, 1982, for gallantry during the Falklands War. For more, see www.iwm.org.uk.
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This Week in London – Picasso's 1932; Bobby Moore's family photos; and, Ghika, Craxton and Leigh Fermor celebrated…
March 8, 2018
• Tate Modern is staging its first ever solo exhibition of Pablo Picasso's work with a focus on the pivotal year of 1932, described as the artist's 'year of wonders'. The EY Exhibition: Picasso 1932 – Love, Fame, Tragedy takes visitors on a month-by-month journey through the year with more than 100 paintings, sculptures and works on paper. Highlights include Nude Woman in a Red Armchair, a key painting in the Tate's collection, 13 seminal ink drawings of the Crucifixion, Girl before a Mirror and The Dream (pictured) as well as Nude, Green Leaves and Bust, Nude in a Black Armchair and The Mirror. During organised in collaboration with the Musée National-Picasso, Paris, the exhibition runs until 9th September in the Eyal Ofer Galleries. For more, see www.tate.org.uk. PICTURE: Le Reve (The Dream), 1932, Private Collection, © Succession Picasso/DACS London 2018.
• Family photographs of footballer Bobby Moore – who in 1966 famously captained the only English team to win the World Cup – can be seen in a new display which has opened at the National Portrait Gallery to mark this summer's FIFA World Cup tournament. Bobby Moore: First Gentleman of English Football features a series of portraits, with the earliest dating from 1962, and including a striking image of Moore (1941-93) winning the ball from George Best during a match against Northern Ireland in 1964 as well as images of Moore relaxing off the pitch, and with his children Roberta and Dean. The free display can be seen in Room 32 until next January. For more, see www.npg.org.uk.
• The influence of modern Greece upon and the enduring friendships between Greek painter Niko Ghika, British painter John Craxton and British writer, Sir Patrick Leigh Fermor are the subject of a new exhibition at the British Museum. Charmed lives in Greece: Ghika, Craxton, Leigh Fermor brings together their artworks, photographs, letters and personal possessions as it explores how their close friendship – which commenced at the end of World War II after which all three spent much of their subsequent lives in Greece – influenced their artistic output. Highlights include Ghika's Black Sun and Craxton's Still Life with Three Sailors as well as Craxton's original artwork for the book covers of Leigh Fermor's travel classics, A Time of Gifts and Between the Woods and the Water. Many of the artworks and objects on show are on loan from the Benaki Museum in Greece, to which Ghika bequeathed his house and works. Runs in Room 5 until 15th July. Admission is free. For more, see www.britishmuseum.org.
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This Week in London – China and South Asia gallery reopens at British Museum; Historic US letters on show at Heritage Gallery; and, two new works for Tate's Tanks…
December 21, 2017
• The renovated Sir Joseph Hotung Gallery of China and South Asia has reopened at the British Museum, bringing the displays for China and South Asia up-to-date. The gallery presents the histories of China from 5000BC to the present with objects on show including Ming dynasty dragon tiles and the earliest scroll to reach Britain (it arrived at the end of the 18th century). The South Asia exhibition, meanwhile, includes a new display covering the Mughal period, the Rajput rulers, India under British rule and the region since independence in 1947. Featured objects include the stone sculptures from the Buddhist shrine at Amaravati and newly acquired works of art including a 6th century sculpture of Lakshmi from Kashmir. Entry to the gallery in Room 33 is free. For more, see www.britishmuseum.org. PICTURE: Courtesy of British Museum.
• Historic letters sent between the City of London and the United States of America during the American War of Independence have gone on show at the City of London's Heritage Gallery within the Guildhall Art Gallery. The letters include some authored by notable Americans John Hancock and Isaac Roosevelt, written at a time when, in defiance of the British Government, the City championed the cause of the colonists. Also on show are documents relating to the life and work of Elizabeth Garrett Anderson – the first women to qualify as a surgeon and physician in Britain and to serve as a magistrate and mayor – and, in a nod to the approaching centenary of the Royal Air Force, a display on the career of World War II pilot Cy Grant. The documents, which are all drawn from the collection of the London Metropolitan Archives, can be seen until 18th April. For more, follow this link.
• Two major new works have been opened in the Tanks at the Tate Modern. Emeka Ogboh's, The Way Earthly Things Are Going 2017 – on display for the first time in the UK after debuting in Athens – fills the subterranean East Tank in the Blavatnik Building while Indian artist Amar Kanwar's The Lightning Testimonies 2007 can be seen in the South Tank. Both works are on display until 4th February. For more, see www.tate.org.uk.
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This Week in London – New early 20th century galleries at the NPG; Modigliani at the Tate; and, Lord John gets a plaque…
November 23, 2017
• Works including a recently acquired portrait of Prince Edward (later King Edward VIII) which was painted on the Western Front during World War I, a self-portrait in stained glass of artist and actor Pauline Boty (pictured), and three life-sized World War I portraits of military officers which have been reunited for the first time in decades, are among highlights of the National Portrait Gallery's new early 20th century galleries. Four new rooms – split into the 'Early 20th Century', 'The Great War', 'The Interwar Years', and the 'Second World War and Post-War Recovery' – hold 121 portraits which have been hung chronologically and feature everyone from Virginia Woolf to Sir Winston Churchill, Dame Christabel Pankhurst to Sir Ernest Shackleton. Along with Frank O Salisbury's oil sketch of Prince Edward, Boty's stained glass portrait (the gallery's first), and the three group portraits from World War I, highlights of the gallery include a 1913 portrait of the Royal Family at Buckingham Palace by Sir John Lavery, a 1931 portrait of Aldous Huxley by Vanessa Bell and a portrait of Roald Dahl in RAF uniform by Matthew Smith. Admission to the galleries is free. For more, see www.npg.org.uk. PICTURE: Courtesy of National Portrait Gallery.
• The "most comprehensive" exhibition of the work of French artist Amedeo Modigliani opens at the Tate Modern today. Modigliani features 100 works including portraits, some of his lesser known sculptures and 10 of his controversial nude paintings, the largest group of such ever shown in the UK. The exhibition re-evaluates Modigliani's work and experimentation and includes well known and lesser known works with more than 40 of them never seen in the UK before. The works on show include Bust of a Young Woman (1908), Jean Cocteau (1916), and Boy with a Blue Jacket (1919). Runs until 2nd April. Admission charge applies. For more, see www.tate.org.uk.
• Former iconic Carnaby Street shop Lord John has been honoured with a City of Wesminster Green Plaque. Lord John, which dressed everyone from The Rolling Stones to the Beatles and The Kinks, was opened by brothers Warren, David and Harold Gold in 1964. The plaque can be seen at 43 Carnaby Street.
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This Week in London – The Lord Mayor's Show; Cézanne's portraits; venom and its uses; and, Russia's visual revolution…
November 9, 2017
• The Lord Mayor's Show takes place this Saturday as the new Lord Mayor of London, Charles Bowman, takes office with the event once again culminating in a spectacular fireworks display over the Thames. The Lord Mayor will arrive in the City at 9am via a flotilla which includes the QRB Gloriana and other traditional Thames barges. Riding in the splendid State Coach, the Lord Mayor then joins in the world famous procession which sets off from Mansion House at 11am, pausing at the Royal Courts where he swears allegiance to the monarch before returning via Victoria Embankment at 1pm. The fireworks display will start at 5.15pm from a barge moored between Blackfriars and Waterloo Bridges. For more details, head to https://lordmayorsshow.london. Meanwhile, on Sunday, annual Remembrance Sunday services will be held around the country centred on the Cenotaph in Whitehall where, in a break with tradition, Prince Charles is expected to lay a wreath on behalf of the Queen who, along with Prince Philip, will be watching from the balcony of the Foreign and Commonwealth Office building.
• More than 50 portraits by Paul Cézanne have gone on show in a landmark exhibition at the National Portrait Gallery. Cézanne Portraits features works previously unseen in the UK including three self-portraits – one of which is Self Portrait in a Bowler Hat (1885-86) – and two portraits of his wife – Madame Cézanne Sewing (1877) and Madame Cézanne (1886–7) – as well as Boy in a Red Waistcoat (1888-90) and Madame Cézanne in a Yellow Chair, both of which haven't been seen in London since the 1930s. The exhibition, which includes paintings spanning the period from the 1860s until shortly before Cézanne's death in 1906, explores the special pictorial and thematic characteristics of the artist's portraiture work such as his use of complementary pairs and his creation of multiple versions of works featuring the same subject. The exhibition, which has already been on show at the Musée d'Orsay and will be at the National Gallery of Art in Washington DC from late March next year, runs until 11th February. Admission charge applies. For more, see www.npg.org.uk. PICTURE: Self-Portrait with Bowler Hat by Paul Cézanne, 1885-6, © Private Collection
• The use of venom as the ultimate natural weapon is the subject of a new exhibition opening at the Natural History Museum on Friday. Venom: Killer and Cure explores how the use and effects of venom, the different biological roles it plays and how humans have attempted to harness and neutralise its power, with the former including some remarkable medical innovations. Specimens on show include everything from snakes to spiders, wasps, scorpions and the duck-billed platypus as well as live example of a venomous creature. Highlights include a gaboon viper head – a snake species with the largest known venom fangs, an emperor scorpion which engages in unusual mating behaviour known as "sexual stingings", a flower urchin which can inject venom that causes muscular paralysis in humans for up to six hours, a tarantula hawk wasp which has one of the most painful venomous stings, and a box jellyfish, larger specimens of which can cause death in humans in two to five minutes. Admission charge applies. For more, see www.nhm.ac.uk.
• Coinciding with the centenary of the Russian Revolution comes a new exhibition at the Tate Modern which offers a visual history of Russia and the Soviet Union. Red Star Over Russia: A Revolution in Visual Culture 1905-55 is based around the collection of late graphic designer David King (1943-2016) and charts how seismic events such as the overthrow of the last Tsar, the revolutionary risings of 1917 and Stalin's campaign of terror inspired a wave of art and graphic design across the country. The display includes more than 250 posters, paintings, photographs, books and other ephemera by artists such as El Lissitzky, Aleksandr Rodchenko and Nina Vatolina. Runs until 18th February. Admission charge applies. For more, see www.tate.org.uk.
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This Week in London – Exploring 140 years of recorded sound; go for a swing at the Tate; and, 'Daily Funnies'…
October 12, 2017
• An exhibition exploring how recorded sound has shaped and influenced our lives since the invention of the phonograph in 1877 has opened at the British Library. Listen: 140 Years of Recorded Sound provides the opportunity to hear rare and unpublished recordings from the British Library's sound archive as well as view some the library's rarely seen collection of records, players and recorders. Highlights include a record of James Joyce reading Ulysses in 1924 (one of only two recordings of his voice), the smallest 78 rpm disc ever issued (made for Queen Mary's doll's house), playable stamps from the Kingdom of Bhutan and historic voices including those of nursing icon Florence Nightingale (recorded at her London home in 1890), aviator Amelia Earhart (recorded in 1932), and writer Jorge Luis Borges (recorded in 1971). The exhibition also features a specially commissioned sound installation by musician and former British Library composer-in-residence, Aleks Kolkowski. Free to enter, the display in the Entrance Hall Gallery can be seen until 11th March and is accompanied by a programme of events. For more, see www.bl.uk/events/listen-140-years-of-recorded-sound. PICTURE: Wax cylinders from the British Library sound collections © British Library Board.
• Go for a swing! Tate Modern this month has unveiled a large scale interactive installation by Danish collective SUPERFLEX which features dozens of three seater swings weaving through the gallery's Turbine Hall and out into the landscape beyond. One Two Three Swing! is aimed at encouraging audiences to combat social apathy and work together in a collaborative action to swing. The installation is the third annual Hyundai Commission, a partership between the Tate and Hyundai Motor. Until 2nd April. Admission is free. For more, see www.tate.org.uk.
• On Now: Daily Funnies: An Exhibition of Strip Cartoons. This display at the Cartoon Museum features many examples of well-known cartoon strips from newspapers and magazines of the past century including everyone from Andy Capp to Rupert, Bristol to Peanuts. Be quick – closes on 18th November. Admission charge applies. For more, see www.cartoonmuseum.org.
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Unwinding, rewinding and fluid application for digital inkjet
The demand for easy customization, personalization and short run printing is continuing to grow, steadily. Digital printing offers flexibility and fast turnaround for a wide variety of formats. Contiweb has developed a modular series of solutions for digital (inkjet) printing based on proven technology and experience in heatset and web offset, designed to cover all digital press requirements.
The Contiweb CD series is a modular system of reel splicing solutions designed to cover the full range of your digital web paper infeed requirements as well as label and package printing applications.
Specifically designed for the specialized requirements of the digital, label and package printing market, the Contiweb CR series of modular rewinders consists of two models to cater for entry-level manual rewind capabilities up to fully automatic rewinding at full press speed.
Applying fluid
The Contiweb DFA is a standalone remoistening applicator for digital web presses, that can optionally also apply silicone. This provides companies with greater remoistening control, ensuring that the final product regains moisture and does not distort from absorbing it from the environment.


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It's that time of year again – lots of cucumbers available fresh from the farm. A couple of summers ago I shared a recipe for a new twist on traditional cucumber salad. With the plethora of CSA cucumbers that have piled up I decided to try another new recipe showcasing this nutritioulicious vegetable.
My cucumber soup recipe was inspired by the one from Eating Well, with just a few modifications. It was really easy to make, and quick too!
Chilled Cucumber Soup
Serves 4; Serving Size: ~1 cup
- 1 tablespoon olive oil
- 2 cloves garlic, minced
- 1 shallot, diced
- 1 small onion, diced
- 2 tablespoons fresh lemon juice, divided
- 4 cups peeled, seeded, and thinly sliced cucumbers, plus 1/4 cup chopped cucumber for garnish
- 1 1/2 cups low-sodium vegetable broth
- 1/2 teaspoon Kosher salt
- Freshly ground pepper
- Pinch of chili powder
- 1 avocado, diced
- 1/4 cup chopped fresh parsley, plus more for garnish
- 1/2 cup nonfat plain Greek yogurt
- Diced tomatoes for garnish
- Heat oil in a large saucepan over medium-high heat. Add garlic, shallots, and onion and cook, stirring occasionally, until tender, 1 to 4 minutes. Add 1 tablespoon of lemon juice and cook for 1 minute. Add the 4 cups of cucumber slices, broth, salt, pepper, and chili powder and bring to a simmer. Reduce heat and cook at a gentle simmer until the cucumbers are soft, 6 to 8 minutes.
- Transfer the soup to a blender. Add avocado and parsley and blend on low speed until smooth. Add the second tablespoon of lemon juice to taste and blend. (Use caution when pureeing hot liquids.) Pour soup into a serving bowl and stir in the yogurt. Refrigerate until chilled.
- Serve the soup garnished with diced cucumber and tomato and the chopped parsley. Enjoy!
Nutrition Note: Cucumbers are in the same family of fruit and vegetables as squash, watermelon, and cantaloupe. Nutritionally, cucumbers are a good source of phytonutrients that have anti-inflammatory and antioxidant benefits. They are also a good source of the antioxidants vitamin C and beta-carotene. Because they are water-rich, cucumbers are excellent low-calorie vegetables.
What are your favorite ways to enjoy cucumbers?


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An elegant gift for your mom this Christmas crafted out of an ensemble of exotic wood pieces. This complex design is guaranteed to please her aesthetic tastes and will be the perfect gift for the mom who appreciates artwork. At the same time, this elegant jewelry box will be a gift that she can use in her everyday life and will thank you for a useful and beautiful gift.
Design Information:
Bird's Eye Cherry is a unique symmetrical design created out of 4 matching quarter panels of Bird's Eye Cherry bordered with a Cuban Mahogany or Red Wood Burl rectangle with White Maple and dark Pao Ferro trim. This is a simple design named so due to the mesmerizing symmetry inherent to the Bird's Eye Cherry pattern. The contrast of the fawn colored inner rectangle and the dark brown outer one makes for an elegant contrast. Bird's Eye Cherry is suggested as a suitable design for formal occasions requiring a touch of class.
Product Description:
This wood Jewelry Box is made of Rubberwood with a Satin Lacquer finish to give you true elegance. The black velvet interior of this exotic wood box provides just the right set-off that makes your precious jewels stand out even more. The external dimensions of this handcrafted box are about 10x12x2 1/4 with an inside wall depth of approximately 1 5/8 inches. Each piece of the box has been hand-cut to exact dimensions and assembled to give you superior quality. A special technique of mitered joints used in conjunction with rabbet joints and a spline gives greater strength and durability to this wood box. The unique inset slotted hinge design adds to its clean exquisite look. Finally, a tan velvet finish on the bottom is given to protect the surface it rests on from scratches. The wood dividers can be removed to change if from a wood jewelry box into a wooden chest.
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Warning: Spoilers for the Sharp Objects finale below
For those who hadn't read Gillian Flynn's Sharp Objects novel (or maybe even for those who have!), the final moments of HBO's adaptation were absolutely bone-chilling. Teeth-rattling, even, as Camille (Amy Adams) realizes that the meticulously constructed flooring in her sister Amma's (Eliza Scanlen) dollhouse is made of the missing teeth of the murder victims. As Amma sheepishly sees what Camille has discovered, she says, "Don't tell Momma."
Show runner Marti Noxon and director Jean-Marc Vallée spoke with TV Guide about the choice to end things there, instead of going as far as Flynn's book did (where Camille turns Amma in and then visits her in prison, learning about why she murdered Natalie and Ann). "That was a place where just visually we didn't see the whole scenario," Noxon said, in reference to the short season. "We don't win 'em all." But she added "that's something you have to wrestle with after the show is over, is what's going to happen to those women now?"
But Amma was also not the only woman responsible for murder in Sharp Objects, and no, I'm not talking about Adora (but what a stellar performance by Patricia Clarkson). As Adam Chitwood explains in his piece on the mid-credits scene, it's clear that Amma had help in the murders of Natalie and Ann: her pre-teen friends. So is there a chance that Sharp Objects could explore that or more of the darkness in Wind Gap in a second season?
"We have certainly talked about it," Noxon said, although the entire creative team has been adamant from the start that this is a true limited series, and there would not be a surprise renewal like Big Little Lies. "To me, the idea of sort of a second novel from Gillian Flynn shown on the screen would be exciting, but I think just because of the team that we were able to assemble, it's going to be pretty impossible to do it again. Those ideas have certainly been kicked around, but right now they feel like pipe dreams."
The interview is really chock-full of more insights about the finale and Camille's relationship with her mother and with Amma, as well as Miguel reading out Camille's article, where we hear her words for the first time: "Her internal monologue is so strong and beautiful … in the book," Vallée says. "There's such a beautiful humanity to this speech, to this paper that she wrote […] And we feel there's some hope." But the duo also answered one question that has been on fans' minds since the start — what's up with the rollerskating?
"It was something that Jean-Marc brought to the project and honestly, I didn't understand it either until I saw it in the show," Noxon said. "But we have this whole sort of quality of ghost-like apparitions and things appearing out of the blue in Camille's mind, and somehow it gave those girls a very ghostly ominous presence because they could move so quickly from place to place. It ended up being really, visually, a really beautiful choice. But in terms of the technical reality of why she loves roller skating, I'm sure she saw it in a music video."
Speaking of music, be sure to also read Emma Fraser's piece on how the music in Sharp Objects creates a dialogue with the dead.


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Tap into the enormous technical expertise of Involve IT's Legendary Team of Engineers.
The Involve IT Team is one of those trusted resources you can count on to be straight, give you the real story, the real numbers, and to get the job done. Brainstorm on a host of issues and situations such as:
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Everyone does it, right?
Compare your success to someone else your age and think, "Wow! She's so successful and so happy. And I'm struggling every day. Why can't I be more like that?"
Maybe it's only human to judge your actions and success as compared to others. That sense of competitiveness is ingrained in us. On the surface, there's nothing wrong with that.
But how does another person's success or failure impact you?
Let's say your friend is super successful. Great job, happy marriage, cool vacations, nice car.
Does it make you feel happy for her and worse for you? Does it spark a drive that makes you want to work harder, be smarter, and more like her?
Or does it make you feel more like a failure? Do you beat yourself up for not being further along or more successful?
What if your friend suffers a setback, maybe loses her job? Do you suddenly feel better about yourself and your situation?
Focus on you
Comparing yourself to others may be "normal" and "common", but it can put you in a lingering negative mindset.
Even though, when you think about it, you know your experience/situation/progress are unique to you (as others' are to them), and it's counter-productive to compare yourself, it can be difficult to stop.
Some things to consider:
Keep your focus on you.
The only person you have any hope of controlling is yourself. Be your best you and life will be better for you and those you love.
Count your blessings.
Nothing can turn around a bad day like a healthy dose of gratitude. Life is fragile and nothing is guaranteed. Spend more time counting your blessings than comparing yourself to others.
Celebrate others' success.
Have you ever known anyone who waits for someone to fall on her face and then laughs like Nelson from The Simpsons, "Ha ha!" If you watch The Simpsons you know Nelson was a bully and a sad and lonely kid.
Another person's success doesn't make you a failure. Be happy for them and keep focusing on your work and goals.
Get past the negativity
It's normal to compare yourself to others, but don't let it leave you feeling negative and envious.
Make your only challenge to be better than you were yesterday. Strive to be the best "you" you can be.


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George Hill, Robertsbridge
June 19, 2019Uncategorized
Located in the small village of Robertsbridge, East Sussex, this Westridge development makes use of a neglected site formerly used as an 'Auction Mart' in the early to late 1900's. The style and scale of the houses has been carefully considered to create visual interest, enhancing the street scene while respecting the nearby existing housing. The houses will also feature a staggered elevation to follow the topography of George Hill which serves as an important approach into the local conservation area.
The five high quality homes with associated parking will provide much needed housing to the village and go to market late summer of this year.


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Wednesday, 6 February 2013
A History of Resin Transport Kits
Newly published. Researcher applauds Robert. David Wright in The History of Resin Transport Modelling (2013) wrote "When it comes to model railways, I turn first to Robert Forsythe, whose encyclopaedic knowledge of the history of model railways is always impressive, and never fails to locate some gems". A review has been written and sent to Model Rail.
Posted by robertatforsythe at 08:40
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