The Glory Hole itself is the bridge with a building on it which is on a key route into the city centre that had been undermined by the River Whitham. The
More than 50 Golden Valley Electric Association members weighed-in last week on the question of whether the co-op should upgrade its oldest power plant, or shut it down and replace it with renewable-energy sources like wind and solar. But most of those who spoke during two public meetings on the issue want the co-op to keep the coal-fired Healy Unit 1 operating.
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“The works in Coastline also map changing ways of seeing the shoreline across five centuries, with a particular focus on modernism,” said Dr Stephen.
She notes, for example, the prominence of Australian women artists around the time of the First World War, as women assumed greater independence and visibility in society. And in recent times the significant transformation of the subject by Indigenous artists.
For instance, Daniel Boyd’s Untitled (2012) takes one of the ‘stick maps’ made by the seafaring people of the Marshall Islands for navigation, and transforms its grid into a dark, glistening abstraction.
A contemporary work by Aotearoa New Zealand artist Fiona Pardington, offers another reclamation. “Life casts of the people of Oceania made in the 19th century, originally served a deeply racist classification,” said assistant curator Katrina Liberiou. “Pardington’s photographs from the series Ahua: A beautiful hesitation (2010)