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South Glos GP consortium chosen as 'pathfinder'Posted on Sunday 19th December 2010 at 1:17 pm by SH (Editor)
The GP consortium in South Gloucestershire is one of four groups of GPs in the South West that will take the lead in the Government's plans for commissioning health services.
Health Secretary Andrew Lansley has announced that 52 GP consortia from across England have been selected to be the first to take on commissioning responsibilities as part of the Government's plans set out in the NHS White Paper 'Liberating the NHS: Equity and Excellence'.
The groups selected, known as pathfinders, will work together and with their local Primary Care Trusts to manage their local budgets and commission services for patients direct with other NHS colleagues and local authorities.
A single GP consortium (South Glos Consortium Ltd) that represents all GP practices in South Gloucestershire has been in place for approximately 18 months. Since it began the onsortium has worked with all practices, NHS South Gloucestershire and hospital clinicians to develop services for patients and increase patient choice of treatment and where they receive it.
Work includes developing GP services for both planned and emergency care. Examples of this work include:
- The use of peer review amongst GPs across the whole of South Gloucestershire and the introduction of a common referral tool to indicate at what point patients should be referred to hospital. These measures ensure consistent practice.
- A wider range of services in primary care. One example is the development of a community paediatric service delivered by a GP with a special interest in paediatrics that ensures more children can be triaged or treated promptly and safely in a primary care setting. At the end of October, over 280 patients had been seen and treated in the community this financial year who would otherwise have been referred to hospital.
- Work across all GP practices to introduce care plans for the most vulnerable patients to ensure their care is managed appropriately by all parties across the health community.
Dr Neil Kerfoot, Chairman of the South Gloucestershire Consortium, said: "The Consortium has successfully worked in partnership to improve health services in South Gloucestershire. Becoming a pathfinder and taking on commissioning responsibilities is the next step and we look forward to taking this on."
Source: NHS South Gloucestershire
Last 5 posts in Healthcare
- Join the fight against flu - get your free jab today - October 10th, 2014
- South Glos residents asked for views on NHS and its future priorities - November 27th, 2013
- Have your say on South Glos Health and Wellbeing Strategy - February 27th, 2013
- Hospital campaigners grill health chiefs over Frenchay plans - January 23rd, 2013
- Councillors asked to show support for Frenchay Hospital plans - November 29th, 2012
Tags: NHS South Gloucestershire, South Glos Consortium, South Gloucestershire


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Next up I'm trying to get Sinea to the kart track before school starts again. And then I'm driving with the other branch of the Schumacher Taxi team at VIR in about a month. That will be a hell of a weekend!
The day after the alignment ETR had an autocross that I attended. Weather was fine for our runs but I quickly learned that while the lot was slippery, my front tires are shot and I understeered all day and was off the pace by about 2 seconds on a 33 sec course. But on the street they still work fine, so I plan to keep them for the rest of the season.
Bought and installed a new exhaust and some coilovers on the FR-S in the last few weeks. Also got some slightly used Bridgestone RE71s that I mounted on the rear.. Coilovers are HKS Hipermax IV GTs and they are excellent. Smoother than stock and I haven't even adjusted them yet. The exhaust is an N1-type with no muffler(s) but inserts in the termini to reduce the noise. Man it's nice to hear the motor and I've found it really helps my shifting because I can hear it.Anyway I took the car over to APTUS to make use of their rack for corner balancing and an alignment. I maxed out the camber plates and got to -1.9* in the front and about -1.5* in the rear. Not as much as I'd hoped for in the front, but I'd need either slotted upper holes on the new shocks or crash bolts in those holes. For now I think the numbers are sufficient so I won't mess with them. Can't promise that I won't ovalize the upper holes for next spring.
AutoX & Racing Diary >

subset: commoncrawl


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Dr. Ihor Holubizky
The Unvarnished Truth: Exploring the Material History of Paintings project began as a modest but focused transdisciplinary examination of nine paintings from the McMaster Museum of Art collection. The prime objective was to explore specific and precise material conditions: how were these artworks made and what was the material history, including changes and alterations over time. The information gleaned from these explorations then allowed reflection on why these objects were made in relation to ascribed meanings, interpretation, and the history of art. The why is no more stable than the material condition. Eighty years ago, art historian Ludwig Goldscheider wrote, "in reality the past changes as rapidly as the present," an observation that has been expressed by others.[i] But if the past is never static, how does this concept relate to what we know and believe to be true.
In practical terms, the paintings for this project were chosen for their broad range of supports and mediums, from historical to the modern period, and for their dimensions, which could be accommodated by the available technical equipment. Early on, one of the project's contributors, Dr. Spronk, commented that a key to knowing more is posing good questions. Therefore, another factor in the selection process was intuition, choosing works that might offer interesting questions and problems to address. Over the course of the project, questions developed and shifted from the specific to the general and back again. Testing was modified, adjusted, and refined because of uneven—and unexpected—specific findings and results.
From the outset, the limits of the eye was an implicit governing principle; that is, not accepting the visible (the surface) as the primary way of looking and thinking about art. By the same token, deferring to the established schemata of art history, although essential in comparing the known with the unknown, can be a habit of mind—to leave well enough alone, and to consider "minor" works of art as a means to serve "merely" as illustrative examples. While this project did not have an explicit objective to prove or disprove attribution (authorship), through imaging data, diagnostic examinations, and project team discussions, some attributions shifted, as noted in the catalogue entries and throughout the essays in this volume.[ii] Science alone cannot provide an answer, but in tandem with an inquisitive, art historical methodology, new avenues of inquiry are opened up with the understanding that the work of a museum does not end with the acquisition of a work of art. David M. Wilson, a former director of the British Museum, stated that "a good museum curator is above all things curious about all objects, whether they be in his own subject or [an] entirely different area [of expertise]."[iii] Indeed, the very act of removing works from their position in the collection and hence, art history—even if temporarily—creates an opportunity in which the engine of curiosity functions.
146,000 Days and Counting
The topic of collecting and collections is not exclusive to the museum, but inside the museum it takes on a weight and responsibility, even for the most basic question of how did this get here, and why? (There is an accountable museum due process, which is rarely communicated to the public.) We can also ask, why do we collect? Historian Herbert Read rightly noted, "the pursuit [of collecting] is ambiguous because in the first place it does not necessarily serve any rational purpose,"[iv] yet we invest meaning in objects and works of art that is not wholly quantifiable or measurable—what we call intrinsic value. Susan S. Pearce wrote, "objects are not inert or passive; they help to give shape to our identities and purpose to our lives." And as George Kubler stated, "the only tokens of history continually available to our senses are the desirable things made by men [and] to say that man-made things are desirable is redundant, because man's native inertia is overcome only by desire, and nothing gets made unless it is desirable."[v]
Collecting is a foundation of museum activity,[vi] although the process is complicated: "policy, accident and serendipity all play their part."[vii] Private collectors, however, are not obliged to justify their choices, but can exercise the impulse to share personal interests and passions with the public through loans to exhibitions, gifts that have been the foundations of now major museums, and the establishment of private museums.[viii]
By happenstance, five of the nine works selected for this project were part of a donation made to the McMaster Museum of Art in 1984 by the late Herman Levy, a Hamilton collector. This gift dramatically altered the scope and magnitude of the Museum's collection. These nine works represent an arc of five hundred years, or one hundred forty-six thousand days (and counting), without a typical curatorial assertion. Other questions formed: What is the relationship between private and public collecting, as one impacts on the other? How does a focused and intense examination of works of art "in isolation" relate to what is often called and inevitably accepted as "the canon"?[ix] Can these works return to the collection "changed"?
There is another important aspect to a work of art. Even though it is a prime document of singular authorship, it can also express and convey a complex array of aesthetic and social (political and religious) values that speak of the times; these are all the elements of culture and history. Yet, as with all historical texts and documents, the further away we are from the moment of creation or inception, the more likely it is that specific references will be weakened because society and culture is ever-changing. What may have seemed obvious three hundred years ago can become obscured or cloaked. Kubler expanded on this flux:
Historical knowledge consists of transmissions in which the sender, the signal, and the receiver all are variable elements affecting the stability of the message. Since the receiver of a signal becomes its sender in the normal course of historical transmission…we may treat receivers and senders together under the reading of relays. Each relay is the occasion of some deformation in the original signal. Certain details seem insignificant and they are dropped, [while] others have an importance conferred by their relationship to events occurring in the moment of the relay and so they are exaggerated.[x]
Rather than a flaw in our thinking, what Kubler mapped out is an inherent, human condition, the implicit personification of art history; great artists make great art—hence, the "canon." Less fortunate artists are relegated to the position of journeymen and can remain unknown and nameless, a case in point for two of the paintings in this project. In the schemata of art history, the artist without a name "characterizes" and points to more important artists and works.[xi] Context rules the story of art, but connoisseurship—as the authoritative voice—as well as taste, fashion, and desire (all subjective areas) dominate the inherent or intrinsic merit of any given object.
Connoisseurship, Taste, and Fashion: Collections, Collectors, and the Museum
Connoisseurship emerged in the nineteenth century as a critical device in the assessment of artistic merit and authenticity. The key figures in its development—essays and books published between 1880 and 1942—include Giovanni Morelli, Bernard Berenson, and Max Friedländer. This "classical" approach can be understood (if not wholly defined) as the refined and informed eye registering and comparing compositional factors. Bernard Berenson defined his methodology as the examination of formal characteristics in order to determine an artist's stylistic "fingerprint":
Connoisseurship…proceeds, as scientific research always does, by the isolation of the characteristics of the known and their confrontation with the unknown [and to] take all of [an artist's] works of undoubted authenticity [in order] to discover those traits that invariably recur…but not in the works of other masters.[xii]
Although Berenson invoked science, he left the penultimate verification to the subjective, what he named and defined as "The Sense of Quality [which] is indubitably the most essential equipment of a would-be connoisseur."[xiii] Connoisseurship, therefore, cannot be wholly separated from taste and fashion—taste as the objectification of preference, and fashion as a currency that comes and goes.[xiv] "Taste," as Stephen Bayley wrote for a formative exhibition on the topic, "derives its force from data that is a part of culture rather than pure science."[xv] Art historian Francis Haskell explained:
Taste, however capricious, always depends on more than taste. Any aesthetic system, however loosely held together, is inextricably bound up with a whole series of forces, religious, political, nationalist, economic [and] intellectual.[xvi]
Max Friedländer's different (or adjusted) view questioned the assertion of a "universal validity."[xvii] He proposed an informed "intuition and the first impression"[xviii]: "[The] inner certainty [of authorship] can only be gained from the impression of the whole; never from an analysis of the visible forms."[xix] However, Friedländer also raised a caveat: "Intuitive judgment may be regarded as a necessary evil. It is to be believed and disbelieved [and] intuition resembles the magnet needle, which shows us our way whilst it oscillates and vibrates."[xx] In other words, in the reach for eternal or universal values, one step forward can be two steps back.
Connoisseurship, regardless of the contested debate on methodologies or recipes for connoisseurship, has had a significant impact on collecting in the late nineteenth century and the first half of the twentieth, and particularly in the United States where major collections of European historical and modern art were being assembled.[xxi] The cult of connoisseurship, however, also blurred the lines between the art historian (as connoisseur-advisor), the art dealer, the private collector, and the museum.[xxii] In a (capitalist) market economy, there is an ever-present monetary and exchange value that can exaggerate worth and create desirability in the same breath. [xxiii] The transfer of a private collection into the public realm (and trust) validates it, along with the aggregated values that can include ownership power and prestige. Arguably, connoisseurship continues to operate within the contemporary art world, but under different terminology. We can also say that the acquisition of privately held works by major public galleries cements reputations through validation and legitimacy. (The lines between private and public can also blur depending on the insistence of the private collector as a museum stakeholder.)
"What a wonderful collection" is a phrase that may be uttered by a museum visitor. It can mean one of two things, or a blend of both: what I see reflects and reinforces what I know and admire; or, what I see has broadened my understanding and appreciation. For some, the dutiful visit to a museum is akin to an annual check-up—never pleasant, but "good for you." The argument that good art makes good citizens sits at the core of many museum mission statements, as if an unassailable principle.
The easiest and the most radical thing is not to collect;[xxiv] not to be held accountable for the vicissitudes of history and ever-changing tastes. The rise of the temporary exhibition space reflects that view—the kunsthalle or institutes of contemporary art.
Case Studies – Knowing and Framing
As noted earlier, science alone does not offer a complete answer, which leads to ruminating on a hypothetical "dream" instrument capable of determining everything; "When was it made? Who made it? Where was it made? How was it made? Of what material was it made?"[xxv] Each work studied in the McMaster project generated different forms of data, rather than equal and cumulative research; different ways of thinking came forward.
The infrared reflectography image of the painting attributed to Jan Gossaert delivered perhaps the most distinct and remarkable image from a curatorial point of view. Chalk lines on the oak wood support were revealed. Here was tantalizing evidence of the formation of composition—a "day one" (or thereabouts), as if we are looking over the shoulder of the artist, and an aspect of the work unseen for five hundred years (excluding, of course, examples of unfinished or abandoned works). To leave this as mere foundation in the how of art is to disregard the miracle of art. Through the habit of mind and the imprint of authoritative connoisseurship, too often only the outcome is judged and admired, and not the process. Process as "idea and concept" is equated with art of the modern age and contemporary times. Yet the reflectance transformation imaging for the Alexej von Jawlensky, a modern painting, presented evidence of process that has not been expressed in considerable extant writing about the artist and interpretations of his work.
Can we dismiss process for pre-modern art where it is too often relegated to the enchantment of the eye (the limits of the eye), a craft of the art rather than the art in the crafting? Formal elements are not the only way to understand and know art of the past.
The Rubens painting fragment is another and different case. It was acquired by Herman Levy fifty years ago from London dealer Henry Roland, who had purchased it at auction and believed that it was a Rubens sketch rather than a work by the Spanish painter Juan Bautista Martínez del Mazo (active during Rubens's time), as described in the auction catalogue. There is dual connoisseurship at work; while there must be a degree of trust between collector and dealer, Levy did not merely accept at face value Roland's assertion that the work was a Rubens, but drew on his own study and knowledge of art to make his own assessment. Nevertheless, much was left unexamined. The Rubens has been in the McMaster collection for a quarter of a century with the generalized description, "head of a man with grey beard and white ruff." This is a common titling strategy for historical portraits of unknown sitters, and over time it becomes the de facto title. Why was the sitter not uncovered when it seemed "so simple"? A different version of an image of the same sitter is in the Rubens catalogue raisonné, published in 1987, three years after the donation to the Museum. If curiosity is a driving force in acquiring knowledge, a lack of curiosity is too often acceptable, to leave well enough alone. A portrait is always of someone, and in this instance—though certainly not in all—the name of the sitter was recoverable: Maximilian III, Archduke of Austria (1558–1618).
The Venetian painting, in the manner of Tintoretto, was a different scenario. In his purchase discussions, Herman Levy did not accept the dealer's Tintoretto attribution, yet agreed to buy it if it was sold as "Venetian," and with the appropriate discount in price. Levy was expressing his connoisseurship through a belief in the "Sense of Quality," even if artist and sitter remain unknown. [xxvi] Another critical condition was revealed in the technical examination, pointing to taste and fashion. The painting had been altered several times in order to conform to what undoubtedly was a market for Venetian paintings, and not to adhere to custodial principles or ethical practices for the work. That history of change (who did what, when) may never be known. This is also likely true for the Rubens fragment. It may have been more readily saleable as a face-only portrait ("of the period") than as what it may have been originally, a three-quarter portrait of an Austrian Archduke.
From another perspective, we can take imperfect condition for granted, and even celebrate it. The Winged Victory of Samothrace is an apt example. Although missing the head and arms (other parts have been discovered, but not reattached), this statue is nonetheless admired as a masterpiece of Hellenistic sculpture and, for many stands for classicism and beauty.[xxvii] It has been displayed prominently at the Louvre in Paris since 1883, with the exception of its removal for safety during the Second World War. However, it is only goods "damaged" by time. Are we celebrating the passage of time and the miracle of survival?
The issue of painting frames was not a consideration for The Unvarnished Truth, but came forward because of the necessity of removing the works from their frames for a complete examination. The Adriaen Brouwer painting had been mounted in a rebate frame, a practical and conventional way of securing paintings. The rebate, however, compressed the composition by concealing the edges. In a small work that is painted to the edge, every centimetre counts. The decision was to "float" the panel so the edges could be seen, but not so easily reached. There was a compromise in revealing bits of framing felt that had transferred to the painting's edges over time. Through discussion and consultation, the attempt to remove or restore the frame was not advised. It meant living with this "flaw" in order to see the whole painting. Ironically, the felt residue left on the edges of the painting had been noted in a conservator's examination in 1986, yet the painting was returned to the frame.
The paintings by Vincent van Gogh and Aert van der Neer had been framed in the taste of the time, a seventeenth-century Baroque style that spoke of value and importance. This style of frame is an anachronism for both works: Van Gogh painted in the late nineteenth century; and, while he lived and worked during the Baroque period, the governing principle was to change the frame for a style sympathetic to a Dutch genre scene.
What We Can Never Know
Ironically, what was learned in the project underscored what we can never know. As noted at the outset, the objective was not to establish attribution where there was uncertainty; the examination of materials, condition, and changes beyond the limits of the naked eye was the primary task. And indeed, due to a lack of time to dedicate to research as well as an absence of absolute information or consensus, there will remain works we will never know, as W. McAllister Johnson observed:
What emerges from [extant] literature is the constant flux of attributions and provenance [and that] the number of works that can be identified at any one time and that lend themselves to discussion are few indeed. Faced with this uncertainty, it is the apparatus of criticism and connoisseurship that permits at least the educated guess, proposes likelihoods [and] offers documentation" [or, opinion].[xxviii]
We can never know the creative act, and attempting to do so through descriptive language and analytical terms enters into the persuasiveness of erudition. Likewise, science cannot "unmake" and reveal the act—the creative moment—or reverse its arrow of time. If the creative act and impulses of the past may never be fully known or recoverable, the active engine of curiosity—and understanding our limits (of the eye)—keeps art alive. Not knowing—and acknowledging that—is as important as claiming to know everything, the conceit of an empiricism without the "shred" of doubt. Much has been written on the not-knowing in positive terms. Here is one example, from curator Bryan Robertson (I have interjected the term "compelling" where he has used "great"), citing the contradictions that may be unavoidable in the creative act:
A [compelling] painting or sculpture denotes forces in our imagination, which transform life.
A [compelling] work of art proclaims that two plus two equals five: this truth cannot be rationally communicated, only imaginatively apprehended, and it needs time to grow.
The first task of a museum is to give maximum life to a work of art…untrammeled…and thus to grow in the imagination of visitors.[xxix]
[i] Ludwig Goldscheider, foreword to Art Without Epoch (Vienna: Phaidon Press/New York: Oxford University Press, 1937), np. Art critic Lawrence Alloway wrote, "The past is always interpreted according to present knowledge and topical interests; it changes as quickly as our comprehension of the present changes," in "The American Sublime" in Topics in American Art since 1945 (New York: W.W. Norton & Company, 1975), 39. (The article was originally published in 1963.)
[ii] In 2007, Director of the National Gallery of Victoria (Australia), Dr. Gerard Vaughn, stated with respect to the tip-over of a Van Gogh attribution in the collection, "The reattribution of paintings is part of the daily life in any major gallery with a large and complex collection. We regularly change the labels to reflect new research and scholarly opinion." "It's tough to canvas an opinion," Sydney Morning Herald, December 29, 2012, www.smh.com.au/entertainment/art-and-design/its-tough-to-canvas-an-opinion-20121228-2bz6m.html. In the same article, Jaynie Anderson, professor of fine arts at the University of Melbourne commented, "No one should be frightened of real knowledge."
[iii] David M. Wilson, The British Museum: Purpose and Politics (London: British Museum Publications, 1989), 41.
[iv] Herbert Read, introduction to Niels von Holst, Creators, Collectors and Connoisseurs (New York: G. P. Putnam's Sons/London: Thames and Hudson, 1967), 3.
[v] George Kubler, The Shape of Time: Remarks on the History of Things (New Haven, CT: Yale University Press, 1962), 1.
[vi] There are variations of the museum foundation "pillars." Five responsibilities are cited by Joseph Veach Noble: "to collect, to conserve, to study, to interpret, and to exhibit," in Stephen E. Weil, "Rethinking the Museum: An Emerging New Paradigm" in Reinventing the Museum: Historical and Contemporary Perspectives on the Paradigm Shift, ed. Gail Anderson (Oxford: AltaMira Press, 2004), 74. Weil in turn cites Peter van Mensch who proposed that the "essential functions of museums [can be] reduced to three: to preserve…to study…to communicate." Ibid., 74–75. This, however, is a parlour game of terminology, or the impulse to assert "new paradigms." Fundamentally, the roles remain the same and, as Weil noted, are closely intertwined.
[vii] Wilson, The British Museum , 24.
[viii] The founding collection of the National Gallery, London, England, in 1826 was the bequeathed collections of banker John Julius Angerstein and painter-collector Sir George Beaumont. See "Collection History," National Gallery, accessed February, 27, 2014, http://www.nationalgallery.org.uk/paintings/history/collection-history/. Among the renowned private collection museums in the United States are the Isabella Stewart Gardner Museum, Boston, founded in 1903; the Barnes Foundation, Philadelphia, established in 1922; and the Frick Collection, New York, which opened to the public in 1935. Gertrude Vanderbilt Whitney established the Whitney Studio to present exhibitions of living American artists. When her offer to donate her collection, with an endowment, was refused by the Metropolitan Museum of Art, she formed The Whitney Museum of American Art in 1930. See "History of the Collection," Whitney Museum of Art, accessed February 27, 2014, http://whitney.org/About/History. There is a similar private collection beginnings story for the Guggenheim Museum. See "History," Guggenheim Foundation, accessed February 27, 2014, http://www.guggenheim.org/guggenheim-foundation/history. See also Pierre Cabanne, The Great Collectors (London: Cassell & Company Ltd., 1963), a study of collectors from Catherine of Russia to Peggy Guggenheim.
[ix] Among the earliest and most celebrated visualizations of a canon is Raphael's fresco School of Athens (1509–1511), which depicts Greek philosophers in a hierarchical order, the embodiment of knowledge and learning. It was a model for Paul Delaroche's Hémicycle mural commission at the École des Beaux-Arts in Paris. Delaroche depicted the seventy-five greatest artists of all time. While such conceits and fabrications are discredited as an expression of taste and fashion, strategic position continues today in published anthologies where the term "great" is replaced by the word "today."
[x] Kubler, The Shape of Time, 21–22.
[xi] In his paper on the university museum and collections, John R. Spencer touches on the dilemma of the "equivalent" in "Cross stands for Seurat, Giampietrino for Leonardo, a Rembrandt etching for a Rembrandt painting," in Museums in Crisis, ed. Brian O'Doherty (New York: George Braziller, 1972), 139.
[xii] Bernard Berenson, Rudiments of Connoisseurship (New York: Schocken Books, 1962), 123–124. Berenson's book was written in 1902, and he notes in the preface that the rudiments chapter was written eight years before.
[xiii] Ibid., 147.
[xiv] Francis Haskell noted that "the eighteenth century was deeply—almost obsessively—concerned with the problem of Taste, and the possibility of determining fixed canons whereby it could be established." Haskell, Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France (Ithaca, NY: Cornell University Press, 1976), 5.
[xv] Stephen Bayley and Stafford Cliff, Taste: An Exhibition about Values in Design (London: Boilerhouse Project, Victoria and Albert Museum, 1983), 14.
[xvi] Haskell, Rediscoveries in Art, 23.
[xvii] Max J. Friedländer, On Art and Connoisseurship (Boston: Beacon Press, 1960), 169–170.
[xviii] Ibid., 172.
[xix] Ibid., 173.
[xx] Ibid., 175.
[xxi] See W. G. Constable, Art Collecting in the United States of America (London: Thomas Nelson and Sons Ltd., 1964).
[xxii] See Dictionary of Art Historians, accessed February 27, 2014, https://dictionaryofarthistorians.org/berensonb.htm.
[xxiii] See Gerald Reitlinger, The Economics of Taste: The Rise and Fall of Picture Prices 1760–1960 (London: Barrie and Rockcliff, 1961). Much of this continues in the current contemporary art market, both for historical and contemporary works. The notion of collecting has become a sociological topic of study too. See Susan M. Pearce, On Collecting: An Investigation into Collecting in the European Tradition (London: Routledge, 1995).
[xxiv] "Initially, the Gallery had no formal collection policy, and new pictures were acquired according to the personal tastes of the Trustees. By the 1850s the Trustees were being criticised for neglecting to purchase works of the earlier Italian Schools, then known as the Primitives." From "Collection History," National Gallery, accessed February 27, 2014, http://www.nationalgallery.org.uk/paintings/history/collection-history/collection-history/*/viewPage/2.
[xxv] Victor F. Hanson, "The Curator's Dream Machine," in Application of Science in Examination of Works of Art (Boston: Museum of Fine Arts, 1973),18.
[xxvi] McMaster Museum of Art files, letter from Herman Levy to Brod Gallery, 14 March 1967. The original sales invoice drops the attribution to "by a Venetian master…attributed to Tintoretto." Yet at the same time, Levy accepted the Collier attribution for a "manner of" work. In a letter sent to Mr. Levy a year later, Brod Gallery persisted in the Tintoretto claim, and cited that Bernard Berenson had seen the work and declared it to be a Tintoretto. McMaster Museum of Art files.
[xxvii] H. W. Janson, History of Art (New York: Harry N. Abrams, 1986), 146. The Winged Victory of Samothrace is illustrated on the dust cover of the book.
[xxviii] Johnson, 39.
[xxix] Bryan Robertson, "The Museum and the Democratic Fallacy" in Museums in Crisis, 87.


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Serving Harrisons Joinery for 16 years
Chris consults with clients regarding all areas of home design from a basic kitchen layout, to a full house renovation. This encompasses extracting the ideas, wishes and needs of the client. From conceptual drawings, full colour consultancy, right through to the finished product.
Chris's years of experience in home designs leaves Harrisons clients feeling relaxed and confident about the choices they are making.
Chris & Geoff also have a working farm just outside of Wagga and enjoy sharing this with their huge extended family.


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Fuzhou Oyster Cake, $1.40 ($1.80 for extra ingredients)
During Singapore earlier days, we were introduced fried oyster cake from our forefathers who are China immigrants. These were later named 'UFO' for its resemblance to UFO spaceships. How cute. These days, few stalls sell this snack.
In the coffeeshop with Da Jie Famous Wanton Mee stall, at 209 Jalan Besar (Sam Leong Rd), we have this Singapore styled UFO. And it is pretty good. Why do we say it's the Singapore UFO? Because seaweed and bountiful cabbage were missing from its ingredients. Instead, you have some minced meat, prawn, oyster and crunchy peanuts - not bad at all.
The closest we have to that from Fuzhou, China (with seaweed and cabbage) is from this one food stall at Sims Ave. The stall is still there after these many years and you should go try it; without having to travel all the way to China to get the real stuff.


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Good Afternoon and Happy Wednesday! Getting slightly better at publishing my weekly training updates! Yay me! This was not an amazing week of training for me. I missed a day and cut short what was supposed to be my longest long run before I start my three week taper. I've been in this situation plenty of times before and it didn't really change the outcome of my race, so here's hoping the same for Chicago.
[ week 13 / 3 weeks until the Chicago Marathon ]
Monday – W13D01 – Recovery Day! Fully recovered from Sunday's race! Legs feel great and I'm ready to take on week 13!
Tuesday – W13D02 – Easy Run – 6 kilometers/30:02/5:00 pace | Strava Results). 6 easy kilometers to start the week. Went out a little quicker than I wanted, but the important thing is I am feeling great after Sunday's race!
Wednesday – W13D03 – Workout – 4x(2:00, 1:00 jog, 1:00, :30 jog, :30, :30 jog) | 4x100m, 100m jog (Strava Results). Are workouts ever really easy? They're not supposed to be, but today's workout was certainly more manageable than ones I've done in the past (and especially easier than the one I'm going to do on Friday!).
Today is a very exciting day! I finally get to register for the 2018 Boston Marathon! I am even more excited that I get to register in week one! While nothing is guaranteed, registering on the second day (Wednesday) in week one is a really good spot to be in! Now we wait.
Thursday – W13D04 – Easy Run – 6 kilometers/30:16/5:02 pace | Strava Results). I was hoping to hear back from the BAA that my entry was accepted today. I know it's wishful thinking, but seeing people receive their acceptance emails the day after they registered on Monday really got my hopes up! Patience is something I struggle with! I had a really busy day today and couldn't get my run in when I wanted to. I planned on running later in the evening, but I was too drained and just didn't do it. I have an 8km recovery run planned, so no harm done.
Friday –W13D05 – Workout – 2000m, 3:00 rest | 1600m, 3:00 rest | 1000m, 2:00 rest | 800m, 2:00 rest | 2x400m, 1:00 rest | 200m, 1:00 rest (Strava Results). Pro Tip: When you're in the middle of a workout, don't try to coordinate a playdate for your son. My wife was attending a Yoga Weekend event in cottage country and I was squeezing my workout in between work and picking-up my son from aftercare. In the middle of my workout, I received a text from the parent of my son's friend asking if it was OK for the boys to have a play-date. I then spent the next 30 minutes (while trying to finish my workout) trying to contact the facility to let them know my son would be going home with someone else. As a result, I did not finish strong.
I brushed off the guilt I was having for not finishing strong and shifted my focus to Boston. Around 5pm I posted a photo on Instagram jokingly asking what was taking so long and two hours later, I received the email that I so desperately wanted to receive last year when I qualified for Boston 2017.
My entry to the 2018 Boston Marathon was accepted! I let out a scream (and shed a few tears) when I read the email. Last year I wrote a blog post about missing the cutoff by 51 seconds. The blog post I write this time will be slightly different.
Saturday –W13D06 – RBC Race for The Kids 5K (5 kilometers/26:29/5:17 pace | Strava Results). It's race day! When my son participated in the Brooklyn races the past two years, he ran on his own as parents could not run with their children. For the RBC Race for the Kids 5K, I registered with my son so we could race together! I've shared a number of photos and Instagram posts of me running with my son. We typically run 4-5 kilometers together (we once ran 6km together!) with plenty of stops for water and sometimes just to let him catch his breath! For the race, I really wanted him to enjoy the experience. No pressure!
I am debating about posting a race report and may actually do it. With that in mind, I'll keep it short here. My son was AMAZING! He completed the entire 5K race (we stopped for 10 seconds around the 1.75 kilometer mark because he wasn't able to take a sip of water while he was running. Other than that, he was determined to finish without stopping! There was a kid in the 11-17 age category (he was probably closer to 11) who kept speeding up and slowing down. Near the end of the race, my son got fed up and blasted off and chased him down! The older boy eventually sped off, but my son was matching him stride for stride (running close to 4:30/km!!!!)!
The entire race experience beginning to end was absolutely incredible! I think this will be our yearly event as it's really geared towards kids and fundraising for kids mental health is such an important cause!
I really should write a race report…
Sunday –– W13D07 – Long Run (25 kilometers/2:04:58/5:00 pace | Strava Results). Today's long run was supposed to be 35 kilometers. It would have been the second time I ran 35 kilometers in this training plan. The only challenge was my wife was still away for the weekend and I had to squeeze the run in between programs (Hebrew school and dance). I drove my son to Hebrew school for 9:30am, parked my car nearby, and set off on my run. By the time I started running, temps reached 24 degrees and fluctuated between 24 and 27 for the duration of my run! Needless to say, I started to get wiped out pretty quickly and could only get in 25 kilometers. I've missed long runs in the past, even when I had an amazing race in Mississauga in May, so I am not at all concerned!
This truly wasn't an ideal week of training for me, but I'm so ready for Chicago. If I was racing this week or next, I'd still be ready! I can't wait to race!
Three weeks to Chicago!
Three weeks of taper!
Total kilometers this week – 57.8
Hope you have a great week and thanks for reading!


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Well, it has been a while since I posted a blog. I had a minute after studying and I thought this would be a good time to give just some short comments about some topics that I have on my mind. Granted, these are short comments about some things.
First and foremost, the election. President Elect Obama won the election. We all knew it was going to happen. I am worried for somethings that could possibly happen with Obama. I heard he is not to happy with NAFTA and with other trade agreements the US has. That is not good. We need free trade. Also, I was reading he wants to use stem cell research. This just brings up other ethical questions. But we will see what happens once he gets into office. One small misstep and he will have even more problems than he has now.
Proposition 8!-A great victory for everyone! I am so grateful to the people of California to pass this. But I am tired of the gay people to blame the church for it passing. My buddy Brett sent me an email saying that he saw a stat that 70 percent of minorities voted to approve Proposition 8. The church makes up a small number of residents in California. Quit crying that you lost and quit trying to find someone to blame.
Football!! Is the greatest sport in the freaking world!! First, President Obama should seriously take initiative and make college football a playoff. No matter what he does, if he does that, he will possibly be one of the greatest presidents ever. The NFL is crazy. I don't see how the rest of the world just doesn't get into it. They need to. Great athletes playing a great sport. By the way, GO BRONCOS!!
GRADUATION!!-I am about 4 weeks from graduating with my Bachelors Degree. I never thought I would do it. But I am almost there and I am excited. I can't wait. It's going to be a great time. I am so happy. Every test that I take is just one more step to get there.
Christmas-I love Christmas. We celebrate the birth of Christ, our savior, but the actual holiday has a season. Stores are trying to extend that season. I mean I went to Walmart and heard CHRISTMAS MUSIC!! I hardly saw any Thanksgiving stuff. Whatever. Retailers wonder why they are struggling. Just get your act together.
Speaking of Christmas, I have Christmas, my birthday, and my graduation all around the same time. I asked my family to just combine and not spend a dime on me except for a Playstation 3. I bought it this past weekend and got it yesterday. I am just waiting for my HDMI cable. Now all I want is a job.
VH1 is a dumb channel. It started out Ok, but now it is horrible. Chance of love, Sharon Osborne has a show on there, I Love Money, these shows are just horrible. And then when they do something good, they screw it up. They did a list of the 100 greatest hip hop songs and Public Enemy's "Fight the Power" was #1. That is just stupid. I made a list and everything to post but I want to perfect it. Anyway, I have Jay-Z's "Hard Knock Life" as #1. What ya'll think?
My TV shows have been pretty good this year. The Office like always is great. They need more Jim and Pam together shots instead of her being in New York. It kind of has messed with chemistry. If Holly is gone, I will be pissed. MIchael and Holly were awesome. But the Dwight and Angela and Andy complex has been interesting. But the highlight of the season was undoubtedly Creed and his Joker Halloween outfit! Just great.
And finally but most importantly, I want to give you a piece of my mind about Sharen. She is the greatest wife in the world and she is flat out awesome. The other day she started talking about wanting to have tinfoil dinners. She made them and they were good!! She has been making bows, scrabble pendants, and other random things that I just love. I love watching her. She is just so full of life but most of all, I love to see her sleep. It is just a great feeling. My Heavenly Father really wanted me to be happy. That is why he let me marry her. I love you Shar.
I think this is all for now. Leave comments and have other people read! Later
Tuesday, November 11, 2008
Well, it has been a while since I posted a blog. I had a minute after studying and I thought this would be a good time to give just some short comments about some topics that I have on my mind. Granted, these are short comments about some things.
Posted by Memo Caldera at 5:07 PM
1 comments:
- Shamae said...
Well Memo, first and foremost, congrats on graduation!! I graduated last may and it is a great feeling!! Well done! Congrats on the PS3...enjoy that! Sharen sounds great! I am glad you are so happy! Take care and don't get "trunky" with your grades. ;)
- November 11, 2008 at 9:51 PM


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I have been super busy this year photographing two new photo books on Vietnam and have spent a ton of time on the road traveling and shooting the country from north to south. I'm super excited to have only two stops to go until the photography will be finished and then it is down to writing text and editing photos. Both books will be published shortly after Tet (February) 2018.
The biggest takeaway from my travels this year is just how quickly Vietnam is transforming and developing. Places that I visited only a few years ago are now barely recognizable in many cases. If this is a country on your "bucket list" I suggest getting here sooner rather than later.
Below are a few images from my most recent location, Phu Quoc Island in the Gulf of Thailand. Phu Quoc certainly meets the "rapid change and development" category.


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When I read the sentence that Nicole Spatig received in the death of her innocent dog Mya, it made me sick to my stomach.
How can anyone leave a dog or any animal in a cage with no food or water? What excuse is there for this? There is none.
No doubt Spatig made sure she had food and water in her stomach. If she couldn�t or didn�t want to take care of poor Mya, there were ways she could have found to have Mya taken are of.
When I look at my dog or any other dog or animal, I couldn�t imagine doing anything like this.
We got our dog from the Beaver County Humane Society. The previous owner did the right thing by taking him there. He knew he couldn�t take care of him. He didn�t decide to put him in a cage with no food and water.
Pennsylvania needs to wake up and make its animal cruelty laws much stricter.
These animals are innocent, and all they want is to be taken care of. They also want something that doesn�t cost anything � to be loved.
Rhonda Morris


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