Actress Daniielle Alexis made headlines when she came out as transgender this year. She is the second transgender woman to ever appear on Australian television.
Great television knows no borders.
iwoofjaneway: “wentworthbaby: “ iwoofjaneway: “ quintrovert: “ iwoofjaneway: “ totallybirdsworthed: “ Who’s ready for Kaz Proctor to tear shit up in S4?? MEEEEEE! ” Fuck yeah! Her cheeky and oh so...
Wentworth star Nicole da Silva admits she is proud of her on-screen same sex relationship as the union generates much chatter with fans dubbing the union 'Friget'
IT takes a lot to wipe the smirk from the face of Wentworth’s leather-gloved apex predator, Joan Ferguson. Ahead of the drama’s return, Pamela Rabe talks about playing The Freak’s slide into madness.
IT takes a lot to wipe the smirk from the face of Wentworth’s leather-gloved apex predator, Joan Ferguson. Ahead of the drama’s return, Pamela Rabe talks about playing The Freak’s slide into madness.
| Author: Erastus Wentworth | Publisher: Wentworth Press | Publication Date: Aug 26, 2016 | Number of Pages: 62 pages | Language: English | Binding: Hardcover | ISBN-10: 1362418374 | ISBN-13: 9781362418375
On the importance of being an out queer woman playing a queer character.
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Paul Louis launch/Wentworth season 2 launch/X-Men: Days of Future Past premiere
THE manipulative, cunning prison governor on Wentworth is a role that theatrically trained Pamela Rabe has embraced.
I’m unashamedly cheating this week–in two ways, as this should have been posted three or four days ago, so it’s really last week’s, and I’m also recycling materialR…
Wentworth Woodhouse, one of the finest Georgian houses in England has recently had a sale agreed to a Hong Kong based investment company. Painting from A...
In a second installment of Weekend's investigation into the residence of Wentworth Woohouse reporters examine how Daisy Evelyn Lyster's decision to disinherit her son ended the earldom.
Find out which character you are from the TV series Wentworth prison in 10 questions. (Girl Quiz)
Here's a thought for all of you fans of " Prison Break" star Wentworth Miller going all loco in the comments section of that post I did las...
Wentworth Miller told an audience in Seattle as a teenager he "wanted out" as he struggled to accept his sexuality
The history of Wentworth village is inextricably linked with the history of the great aristocratic families – the Wentworths, Watsons and Fitzwilliams. The village itself dates back to at least 1066, when lands in the area were given to Adam de Newmarch and William le Flemming, later passing to the Canons of Bolton Abbey. It is not known how the Wentworth family came into the lands, but around 1300 they united by marriage with the Woodhouse family who lived outside the village on the site of what is now Wentworth Woodhouse. The combined Wentworth family went on to dominate the area for centuries, slowly acquiring more land, money and influence. The estate passed to the Watson (later Watson-Wentworth) family. It was the Watson-Wentworths (who later became the Marquises of Rockingham) who built many of the grandest structures in the area, including the magnificent East Front of Wentworth Woodhouse and the Hoober Stand and Keppel’s Column follies. The Earl Fitzwilliams (or Wentworth-Fitzwilliams) took over in 1782 and were responsible for much of the early industrial development in the area, establishing numerous mines and factories in the surrounding towns and villages. The Fitwilliam reign continued until the death of the 10th Earl in 1979 without issue. Since the death of the last Earl much of the property in the village has been managed by a trust. Credit and thanks to wentworthvillage.net for this information. More history here www.wentworthvillage.net/history/a-brief-history-of-wentw...
Santa-Claus and the Christ-Child -- The Moorish pearls -- The two good-for-nothings -- Ching Chong Chinaman -- Zaletta -- The strong man of Santa Barbara --...
London, 1999. Making do and getting by, 2000 Richard Wentworth CBE (born 1947) is a British artist, curator and teacher. He was Professor of Sculpture at The Royal College of Art, London from 2009-11. Wentworth became identified with the New British Sculpture movement. Wentworth’s interest is the juxtaposition of materials and found elements that do not belong together. Wentworth is also interested in the bizarre coincidences of urban life that he documents in photographs. http://en.wikipedia.org/wiki/Richard_Wentworth_%28artist%29 Richard Wentworth is best known as a sculptor whose work tends to focus on the idea of transformation in alteration and juxtaposition of everyday objects. Looking at his works our perception of our world is changed too, because of the alteration of the connotations of those objects and their inherent symbolism. The images below are from his photographic series Making Do and Getting By in which he observes the ingenuity of humankind in the appropriation and adaption of everyday objects for new uses, new meanings, and new narratives. A wellington boot becomes a doorstop, a cup becomes a window prop, a brick and piece of board become a ramp, a book becomes a means to steady a chest of drawers (but is rendered impossible to read). Johanna Dennis http://camberwellillustration1.blogspot.co.uk/2009/12/richard-wentworth-making-do-and-getting.html The way objects are arranged in Wentworth’s work bears a strong relationship with the fragility and precariousness of positioning found in the way we deal with objects in daily life. Placing a cup of coffee on top of a book that is just too narrow to hold it completely, is the kind of everyday balancing act that we perform without thinking, and which demonstrates, when we do think about it, just how well developed our sense of natural physics really is. Often these qualities are combined with a related formal associations. Placed as if laid down to await future use, the two beakers in Lapse look like binoculars, yet do not invite their use in that manner. A single stainless steel beaker and an unglazed earthenware flowerpot are the same shape, and share a visual similarity, yet their differing sizes and textures mean that they are not interchangeable: drinking tends not to be associated with rough, porous surfaces. Paradoxically, these visual similarities force home what it is about the two objects that makes them different and unsuitable for each other’s tasks. This sense of recognition of difference is touched upon in another recent work, entitled Balcone: a kind of identity parade of farm implements, that plays upon the extraordinary diversity of tools created in different cultures in response to the same basic needs. Perhaps, if it can be said that there are typically English, or Italian, faces, that there may be typically English and Italian tools, whose differences are of variety rather than function. The differences in approach and end product are legible because we understand the needs that formed them. A Spanish hoe and a Dutch hoe may have variations in design, but they are both used to dig up weeds. There is a certain cultural pleasure in discovering their differences, and a sense of satisfaction in the fact that we can identify the items at all. One of the most surprising aspects of Wentworth’s sculpture is its very legibility . This is echoed in the photographs from the series Making Do and Getting By - Wentworth’s global mapping of imaginative incident - where the same attempts to wedge things open, prevent access and keep things dry are found solved in very similar ways from Barcelona to Peking. Local differences add colour and provide insights into how variables like climate, housing and public facilities may differ from country to country, but the overall impression is one of the extraordinary similarity of situation that people find themselves in the world over, and have to come to terms with using their own devices when readymade solutions are not to hand. James Roberts http://www.frieze.com/issue/article/speaking_in_tongues/ Artist and photographer Richard Wentworth registers chance encounters of oddities and discrepancies in the modern landscape. Renowned mostly for his readymade sculptures but also known for his photographic series, namely Making Do and Getting By, Wentworth is inclined to explore the nuances of modern life and the human role therein. Mundane snapshots and fragments of the modern landscape are elevated to an analysis of human resourcefulness and improvisation, whereby amusing oddities that would otherwise go by unnoticed become the subject of intent contemplation. Wentworth captures pictures of improvisation, where objects are removed of their original context, stripped of their ordinary function and yet often rendered functional in an altogether new and unexpected way. A car door serves to mend a wire fence. Wooden crates, wedged into a doorway, exert the function of a door. There occurs a rupture between object and function, which allows a subsequent rupture between function and meaning. Meaning is no longer hinged on the commonplace and uniform functionality of the mass produced object, but rather augmented by the unfamiliar and, thus, noteworthy new function with which the object is instilled. Wentworth’s photographs bear witness to instantaneous transformations, wherein everything is celebrated for its conversion into something else. Such encounters with incoherencies in the modern landscape, resulting mostly from the mutation of function, are injected with an inherently human vigour, despite the blatant absence of the human figure. It may even be argued that the centralised objects stand in for the metaphysical human presence they symbolise, precisely by occupying the central foreground, which, in popular amateur photography, is generally inhabited by the human figure. His subject matter deals primarily with a vision of a deliberately altered modern space of which, in Wentworth’s own words, “the chief components are humans who simply don’t conform to the rules”. It signals a sort of victory over the mass-produced, materialistic modern world, for it is both due to and in spite of the absent human figure, that its unique metaphysical presence becomes manifest. Just as Wentworth renders the familiar unfamiliar, he converts ordinary situations into insightful remarks on seemingly mundane but rather extraordinary human experiences of modern life. Renata Bittencourt Grasso http://www.gupmagazine.com/blog/120-making-do-and-getting-by
Lewis Brading loves only one thing – his collection of jewels. Not only are the gems extremely valuable but also every piece has a fascinating and bloody history attached to it. However Lewis is a frightened and difficult man who sees thieves around every corner. When he asks Miss Silver for help, she gives him some sound advice and turns him away. A few days later, she receives a letter from him, again asking for help. But it is too late. In the morning paper is the news of his murder. Lewis Brading loves only one thing – his collection of jewels. Not only are the gems extremely valuable but also every piece has a fascinating and bloody history attached to it. However Lewis is a frightened and difficult man who sees thieves around every corner. When he asks Miss Silver for help, she gives him some sound advice and turns him away. A few days later, she receives a letter from him, again asking for help. But it is too late. In the morning paper is the news of his murder.
Actor Wentworth Miller of the Arrowverse and Prison Break hid a lot behind those dazzling eyes. The Ivy graduate of Princeton University with a degree in English Literature acted his way through …
| Author: Nathaniel 1771-1825 Atcheson | Publisher: Wentworth Press | Publication Date: Sep 10, 2016 | Number of Pages: 48 pages | Language: English | Binding: Hardcover | ISBN-10: 1360796932 | ISBN-13: 9781360796932
Actual quote doesn’t quite support the article author’s claim the character is inspired by Crowley, rather simply an actor in the new series making a simile about their role, but … “Children beware — the BBC’s ‘reinvention’ of Enid Blyton’s The Famous Five features a character inspired by notorious occultist Aleister Crowley … The plucky […]
