DOCSLIB.ORG

Dale Frank the Tamworth City Gallery Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dale Frank the Tamworth City Gallery Collection TAMWORTH ART & GALLERY ASSOCIATION Tamworth Art & Gallery Association (T.AG.A) is an organisation whose aim is to support the objectives of the Tamworth Gallery. T.A G.A raises funds through donations and social functions etc. to acquire works for the Gallery's permanent collections. It also assists Dale Frank the Gallery by supplying man power when necessary (eg. hanging exhibitions and Sunday openings) and supplies funds for specific items needed in the Gallery (eg. improvement to the facilities). Members are informed• of exhibitions and other functions via a vs monthly newsletter. Three classes of membership are available: Individual $5 per year; Patron $50. per year; Corporate $200. per year. Membership forms and further information are available at the Gallery. The Tamworth City Gallery TAMWORTH CI1Y GALLERY The Tamworth City Gallery is one of the oldest regional galleries in New South Wales. It was established in 1919in the City Council Chambers as an Art Salon and Library with a collection of 100 Collection paintings featuring tum of the century artist John Salvana. A further gift of 100 paintings, The Burdekin Collection, was added to this original collection in 1961. The whole collection now includes works by Hans Heysen, Sydney Long, Norman Lindsay. Lionel Lindsay, Will Ashton, and J.M. W. Turner. In 1967. an early Australian silver collection was donated, consid­ 18th October- 17th November 1991 ered to be one of the best collections of its kind. In 1982 a collection of fibre art was acquired from the Tamworth Tamworth City Gallery Community Art and Craft Society. This collection has now been GALLERY HOURS V. Guy Kable Building Mon - Fri. lO.OOam.- 5.00pm. 203 Marius Street expanded to over 70 works which reflect the artistic development Saturday 9.30am. - ll.OOam. TAMWORTH 2340 and direction of fibre in Australia. Sunday l.OOpm. - 4 .00pm. phone (067) 66-2280 DALE FRANK VS TAMWORTH CITY GALLERY In late 1990 Tamworth City Gallery approached Dale Frank to Dale Frank is represented in the following collections:­ produce a body of work in response to a selection of his choice - National Gallery of Victoria made from its collection. This exhibition is a result of that idea. - Australian National Gallery Canberra - Art Gallery of South Australia - Art Gallery of Queensland Dale Frank has achieved international recognition as a practicing contemporary artist. Born in Singleton and presently - Art Gallery of Western Australia living in Scone. Frank for some time has had an awareness - National Gallery of New Zealand Auckland and appreciation of work in the Tamworth City Gallery - Perc Tucker Regional Gallery Townsville Collection. His work is characterised by a mixture ofirony and - Newcastle Region Art Gallery humour. This exhibition uses wit and confrontation to - Solomon R Guggenheim Museum New York promot~ an appreciation of contemporary art through juxtaposing traditional and contemporary attitudes to the art -Exxon Corporation Collection New York making process. - First National Bank Chicago Collection - Trans-Art Collection Milan The idea was conceived as a response to concerns expressed - Teucher Collection Zurich generally in debate about the visual arts today. In particular - Allen, Allen & Hemsley Collection Sydney concerns expressed by regional audiences that might simply -Ball State University Collection Indiana be the result of a lack of exposure to the contemporary and/ - Westpac Bank Collection New York or lack of opportunity to participate in the debate. - Wollongong City Gallery The exhibition is accompanied by a ten minute video. produced by the gallery. with interviews and studio shots of the artist at and in numerous private collections in Australia and overseas. work. In the course of the interviews Frank dismisses the notion of there being an end to traditional practise and subsequent beginning of contemporary. He steers an evolutionary course and discusses his approach to the idea of this project and the working processes involves. .
Load more

Recommended publications
  • Personal Structures Culture.Mind.Becoming La Biennale Di Venezia 2013
    PERSONAL STRUCTURES CULTURE.MIND.BECOMING LA BIENNALE DI VENEZIA 2013 PALAZZO BEMBO . PALAZZO MORA . PALAZZO MARCELLO ColoPHON CONTENTS © 2013. Texts by the authors PERSONAL STRUCTURES 7 LAURA GURTON 94 DMITRY SHORIN 190 XU BINg 274 © If not otherwise mentioned, photos by Global Art Affairs Foundation PATRICK HAMILTON 96 NITIN SHROFF 192 YANG CHIHUNg 278 PERSONAL STRUCTURES: ANNE HERZBLUTh 98 SUH JEONG MIN 194 YE YONGQINg 282 All rights reserved. No part of this publication may be reproduced, stored THE ARTIsts 15 PER HESS 100 THE ICELANDIC YING TIANQI 284 in a retrieval system, or transmitted in any form or by any means, CHUL HYUN AHN 16 HIROFUMI ISOYA 104 LOVE CORPORATION 196 ZHANG FANGBAI 288 electronic, mechanical, photocopying, recording or otherwise, without YOSHITAKA AMANO 20 SAM JINKS 106 MONIKA THIELE 198 ZHANG GUOLONg 290 permission of the editor. ALICE ANDERSON 22 GRZEGORZ KLATKA 110 MICHELE TOMBOLINI 200 ZHANG HUAN 292 Jan-ERIK ANDERSSON 24 MEHdi-GeorGES LAHLOU 112 ŠtefAN TÓTh 202 ZHENG CHONGBIN 294 Print: Krüger Druck + Verlag, Germany AxEL ANKLAM 26 JAMES LAVADOUR 114 VALIE EXPORT 204 ZHOU CHUNYA 298 ATELIER MORALES 28 Edited by: Global Art Affairs Foundation HELMUT LEMKE 116 VITALY & ELENA VASIELIEV 208 INGRANDIMENTO 301 YIFAT BEZALEl 30 www.globalartaffairs.org ANNA LENZ 118 BEN VAUTIER 212 CHAILE TRAVEL 304 DJAWID BOROWER 34 LUCE 120 RAPHAEL VELLA 218 FAN ANGEl 308 FAIZA BUTT 38 Published by: Global Art Affairs Foundation ANDRÉ WAGNER 220 GENG YINI 310 GENIA CHEF 42 MICHELE MANZINI 122 in cooperation with Global Art Center
    [Show full text]
  • Course Number and Title: CAS AH 374 Australian Art and Architecture
    Course Number and Title: CAS AH 374 Australian Art and Architecture Instructor/s Name/s: Peter Barnes Course Dates: Spring Semester, Fall Semester Office Location: BU Sydney Programs, Australia, a division of BU Study Abroad Course Time: Two sessions per week in accordance with class schedule: one session of 4 + hours and one session of 2 hours in a 7-8 week teaching half of a semester. Location: Classrooms, BU Sydney Academic Centre, Sydney, Australia, and multiple out-of-classroom field trips as scheduled, one of which is a 12 hour day long field trip outside the city to Canberra, Australia’s national capital and home to National Art Galleries, and Museums. Course Credits: 4 BU credits plus 2 BU Hub units Contact Information: [email protected] Office Hours: 15 minutes prior to and following course delivery or by appointment. TA/TF/Learning Assistant information, if relevant: 0 Principal Lecturers: Peter Barnes Guest Lecturers: Vary in accordance with available artists. One example is: Tom Carment, a working artist Question-driven Course Description: *How have European art traditions influenced the art practice of Australia’s indigenous peoples and how in turn has Aboriginal culture impacting the art of non-indigenous Australians? *The 18th century voyages to the southern ocean placed artists in a prominent role as practitioners of the new science of observation and experimentation promoted by the Royal Society. How does this differ from the idealist aesthetics of the Royal academy and what impact did this have on art in Australia during
    [Show full text]
  • Important Australian Art Sydney | 26 June 2019
    Important Australian Art Sydney | 26 June 2019 Important Australian Art Sydney | Wednesday 26 June 2019 at 6pm MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Como House Online bidding will be available Merryn Schriever - Director OF LOTS IN THIS AUCTION Williams Rd & Lechlade Ave for the auction. For further Australian and International Art PLEASE NOTE THAT THERE South Yarra VIC 3141 information please visit: Specialist IS NO REFERENCE IN THIS www.bonhams.com +61 (0) 414 846 493 mob CATALOGUE TO THE PHYSICAL Friday 14 – Sunday 16 June [email protected] CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to INTENDING BIDDERS MUST read the important information Alex Clark SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Australian and International Art TO THE CONDITION OF ANY 36 – 40 Queen St to bidding, payment, collection, Specialist LOT AS SPECIFIED IN CLAUSE Woollahra NSW 2025 and storage of any purchases. +61 (0) 413 283 326 mob 14 OF THE NOTICE TO [email protected] BIDDERS CONTAINED AT THE Friday 21 – Tuesday 25 June REGISTRATION END OF THIS CATALOGUE. 10am – 5pm IMPORTANT NOTICE Francesca Cavazzini Please note that all customers, Aboriginal and International Art As a courtesy to intending AUCTION irrespective of any previous Art Specialist bidders, Bonhams will provide a 36 - 40 Queen Street activity with Bonhams, are +61 (0) 416 022 822 mob written indication of the physical Woollahra NSW 2025 required to complete the Bidder francesca.cavazzini@bonhams. condition of lots in this sale if a Registration Form in advance of com request is received up to 24 Wednesday 26 June at 6pm the sale.
    [Show full text]
  • Margaret Goldrick Remembers Arthur Boyd
    Vol. 9 No. 6 JulyI August 1999 $5.95 Tim Bonyhady on john McDonald and the state of Australian art criticism john Sendy on China 50 years after the Revolution Margaret Goldrick remembers Arthur Boyd Bill Garner on the great and disappearing art of camping Peter Mares reports on the Indonesian election Special Book Offer VOONG WHY WEREN'T WE TOLD? A personal search for the truth about our history by Henry Reynolds Why Weren't We Told~ is historian Henry Reynolds' account of his own journey to understanding the truth about our history. Drawing on personal experiences and historical observations, Reynolds looks at Australia's history of relations with indigenous people from colonisation to the present day, identifying the myths that were taught in the past and explaining why and how they cam e about. Thanks to Viking Books, Eureka Street has 10 copies of Why Weren't We Told! to give away, each worth $24.95 . Ju st put your name and address on the back of an envelope and send it to: Emel<a Street July/August Book Offer, PO Box 553, Richmond VIC 3121. Executive Director CHARLES STURT Australian Centre for U N V E R S T y Christianity and Culture Australian Centre for (Located at Canberra) Christianity and Culture The Australian Centre is an ecumenica l foundation. endo rsed b y the Natio nal Council of Churches and sponsored hy the Anglican Diocese of Ca nberra and Goulburn and Charles Srun University. The Centre is committed to the celebratio n and nourishment o f the encounter and dialogue between Christianity and all as pects o f modern Australian life.
    [Show full text]
  • “Down Under No More”, Art in America, April 2005
    _____REPORT FROM AUSTRALIA;;;---____ Down Under No More With globalization now an art-worldfait accornpl~ Australia /uu; outgrown its status as a prornising outpost and become, increasingly, an art center in its own right. BY RICHARD KALINA 'd been twbocing a desire to travel to AusI.nlIia hughl one. From the ma..<a tr&nSpOIU1ion I and New Zea1and for the pasI. four or ftve yean., !Ill of eonvIcts from Eng1and and thelr IUbse­ lilt sp ring (autumn down there), blessed with a quent brutaillatlon, to the shameful chunk of free time, plenty or frequent-Dier miles and ~Whi t e Australia- Imm igration policies !lOme helpful Introductions, my wife and I set orr for that persisted into the late 196Os, to the six weeks-four In Australia and two In New O'o'ertly genoddal treatment of Ahoriginal Zea1and. The trip PI'O\'ed to be an eye~pener in cult~ , Australia has frequently stumbled tenna of art, culture, 8OC1aJ orde~ and, not sur· trylng to create a aense of what. it was, Is, prlslngly, landscape. Those a1x weeks yielded such a and might one day be. Whlle the U.K. pro­ plethora of material tha1 one report could scarcely vided the bulk of Australia', early aeUlers do It ,tustke. Australia and New Zealand certainly and for many )'tars Its domln&llt culture deserve separate coverage, and Aust ralian (the Angloph11la of Its richer tltbens was Aboriginal art raises ao ITW\)' questions thai. It, too, no doubt respOiulble lor the enervating needs to be examined on its own. llaving 1anded In sludge or V1ctorlana clogging up 10 much Australia lint, I"" decided to make It the subject of of Its museum space), there was, and con­ my InlUaJ report.
    [Show full text]
  • Artwork Presentation John Cruthers
    ARTWORK PRESENTATION Contemporary Art 14 August 2015 JOHN CRUTHERS rococo pop pty ltd CONTENTS David Aspden 3 Brian Blanchower 7 Stephen Bush 11 William Delaeld Cook 15 Lesley Dumbrell 19 Dale Frank 23 Robert Jacks 27 Tim Johnson 31 Ildiko Kovaks 35 Richard Larter 39 William Mackinnon 43 Gareth Sansom 47 Imants Tillers 51 2 o only one tone. This signalled the end o the modernist peers managed to navigate this tricky divide but Aspden, DAVID painting project and led directly to conceptual art, where as a pure and instinctive painter, could not. the idea o the art was more important than the artwork ASPDEN itsel - indeed, there was often no artwork. Through the later 1980s Aspden struggled. In a more negative critical environment he found less support, and Born England 1935. Arrived Australia 1950. Died 2005. Painter. David Aspden did not proceed into conceptual art, commercial prospects for his work toughened. Leading recognising that it was pointless for him as a painter. galleries still wanted to show him, however, and in Sydney David Aspden’s father was a carpenter/pattern-maker and After experimenting with pouring and staining, he hit both Roslyn Oxley9 and Annandale Galleries had solo his grandfather a picture framer, so he was aware o art upon a style that immediately clicked. It was based on the shows. But sales were few and Aspden sought other rep- from an early age. When he was 15 the family migrated to coloured stripes o earlier paintings, but with their edges resentation - or did it himsel with his wife Karen Coote.
    [Show full text]
  • View the Schwartz City 2019 Catalogue
    2019 Schwartz City schwartzcitybooks.com 4 Angelica Mesiti: A Communion of Stranger Gestures 6 Let’s Destroy Work 8 Focus & Field 10 Mike Parr: Performances 1971–2008 12 The Infinity Machine: Mike Parr’s Performance Art 1971–2005 13 Mike Parr: The Self Portrait Project 14 MADDESTMAXIMVS: Planet & Stars Sequence 15 Stereo Sequences 16 Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang 17 Monument for the flooding of Royal Park 18 So Far: The Art of Dale Frank 1980–2005 19 A Short Ride in a Fast Machine: Gertrude Contemporary Art Spaces 1985–2005 20 Ken Unsworth: a survey of projects 1975–1998 21 australians 22 After Andy: SoHo in the Eighties 24 Bell: The Life and Work of Guilford Bell, architect 1912-1992 25 Silhouettes & Polychromes 26 Memes ANGELICA MESITI Angelica Mesiti: A Communion of Stranger Gestures Angelica Mesiti: A Communion of Stranger Gestures is the first significant publication dedicated to chronicling the practice of this leading contemporary Australian artist. The 224-page, full-colour book has been designed by Formist to reflect the elegance and beauty of Mesiti’s approach, with a subtle aesthetic nod to the ideas of communication and transmission that her work explores. This book was produced to accompany Relay Leagues, a major solo exhibition commissioned by Artspace Sydney in 2017 and curated by Executive Director Alexie Glass-Kantor and Deputy Director Michelle Newton. Relay Leagues takes as its departure point a Morse code message transmitted by the French Navy on 31 January 1997 to signal the imminent demise of this communication method.
    [Show full text]
  • Art Agenda / the Gate Foundation
    Courtesy of “P_A_U_S_E”, Gwangju Bienniale 2002 Project 2:“There:SitesofKoreanDiaspora” > Art Agenda The Art Agenda and cultural pages are Established in 1895, the Queensland E-mail: [email protected] Hong Kong Museum of Art From June 8th until September 15th auspices of the Foundation Arc-en- produced by The Gate Foundation in Art Gallery has become well known Website: www.courtyard-gallery.com 10 Salisbury Road 2002, Documenta 11 will take place Ciel. Since then, the museum has Amsterdam, the Netherlands. Please for its notable links with the Asia- Tsimshatsui in several exhibition spaces in the become known as the the first Japan- send information about activities and Pacific region resulting in numerous, 16 March - April, 2002 Kowloon, Hong Kong city of Kassel. Projects and works by ese museum to focus its activities events relating to Asian Art and Cul- well-organized exhibitions featuring New Photography Group Exhibition Tel.: +85-2-2721-0116 more than 100 international artists solely on collecting, exhibiting, and tures to: The Gate Foundation, Keizers- a range of artworks from the region, Fax: +85-2-2723-7666 of every generation will be presented. supporting contemporary art from gracht 613, 1017 DS Amsterdam the such as the recent exhibition, Lines Spring, 2002 E-mail: [email protected] The exhibition features a wide range Susan Choi, “Untitled” Japan and abroad. Netherlands; Tel.: +31-20-620 8057; of Descent: The Family in Contempo- Chen Wenji New Works Exhibition Website: www.lcsd.gov.hk/CE/ of media, including sculpture, draw- ArtFax: +31-20-639 0762; E-mail: rary AsianAgenda Art.
    [Show full text]
  • DALE FRANK B. 1959, Australia Australian Artist Dale Frank Is A
    GOW LANGSFORD GALLERY DALE FRANK b. 1959, Australia Australian artist Dale Frank is a painter known for his evocative abstract works challenging the concept of painting. He is one of Australia’s most successful artists. His works, the results of a practice of more than 35 years, is aligned with some of the most exciting and innovative contemporary painters of today. His works are held in major collections worldwide including the Museum of Fine Arts, Boston, the Kunsthaus, Zurich and the Solomon R. Guggenheim Musuem, New York. The genius of Frank’s practice lies in his ability to subvert the traditions of painting while also exposing and isolating the medium’s underlying conceptuality. He uses the universal languages of color, tone, and rhythm to engage with the viewer on a purely instinctual level, subconsciously enlisting his viewers as participants in his ongoing experiment with the potentiality of paint and surface. Frank’s singular vision combined with his masterly manipulation of the painted surface make his stunningly evocative compositions hypnotically beauti- ful, but also cerebrally engaging. (Forrest, N. 2014) Dale Frank has a career that spans more than thirty years. His exhibition history is vast and international. It in- cludes inclusion in the Venice Biennale, in the Aperto section in 1984 and in the collateral exhibition Personal Structures in 2013. In 2010 he participated in the 17th Biennale of Sydney: The Beauty of Distance, Songs of Survival in a Precarious Age. He was recognized with a major solo retrospective at the Museum of Contem- porary Art, Sydney in 2000. In 2005 he won the Arthur Guy Memorial Painting Prize from the Bendigo Art Gallery.
    [Show full text]
  • Precious Little Traces of Australian Place and Belonging
    Sydney College of the Arts The University of Sydney MASTER OF VISUAL ARTS 2004 DISSERTATION Precious Little Traces of Australian Place and Belonging by David Watson November 2004 This volume is presented as a record of the work undertaken for the degree of Master of Visual Arts at Sydney College of the Arts 2 Table of Contents Acknowledgments 4 List of Illustrations 5 Summary 8 Introduction 10 Chapter 1 The Home and the World 13 Chapter 2 Unfocussing 33 Chapter 3 Only Ideas Won By Walking Have Any Value 44 Chapter 4 That Oceanic Feeling 59 Chapter 5 Wulumay Close 69 Conclusion 80 Bibliography 83 Related Reference Material 88 Appendix 91 Resumé 92 List of Images on CD 94 Catalogue of Work Presented for Examination 96 3 Acknowledgments Sydney College of the Arts for its conducive environment, excellent resources and helpful staff. Special thanks to my supervisor Richard Dunn for his insights and generosity. Thanks to Ann Elias for guidance and support, Kerry Sanders for fuelling tutorials, Cameron Fargo for friendly advice and digital expertise, Jen Hayes and all at SCA Library for invaluable help. Thanks to John McAvoy at the Sydney Eye Hospital for optical research advice. X Denise Aladdin Luca X 4 List of Illustrations p 13 David Watson Cockles and Mussels, Limehouse Canal (1987) 35mm colour transparency p 15 David Watson Horizon (4) from TERROR AUSTRALIS (2004) Digital photograph from 35mm colour transparency 70.5 x 47cm p 16 Patrick Keiller LONDON (1994) Frame still from 16mm film p 17 Paul Winkler ELEVATED SHORES (1993) Frame still
    [Show full text]
  • Dale Frank Cv
    DALE FRANK CV Born: 1959 SELECTED SOLO EXHIBITIONS: Olsen Gruin Gallery, New York Pearl Lam Galleries, Hong Kong Gio Marconi, Milan Neon Parc Gallery, Melbourne Art Statements Gallery, Hong Kong Reis Gallery, Singapore Gow Langsford Gallery, Auckland Anna Schwartz Gallery, Melbourne Museum of Contemporary Art, "Dale Frank” Survey, Sydney Sydney Opera House Gallery, Sydney Jack Shainman Gallery, New York Galerie Albert Baronian, Brussels Karyn Lovegrove Gallery, Los Angeles Art Gallery of New South Wales, Sydney Studio Marconi, Milan Massimo Audiello Gallery, New York Musee de Arte Modern di Ville Liege, Liege Marianne Deson Gallery, Chicago Galerie Barbara Farber, Amsterdam Studio d'Art Cannaviello, Milan Roslyn Oxley9 Gallery, Sydney Monique Knowlton Gallery, New York Willard Gallery, New York Galerie Tanit, Munich PS.1. Gallery, New York Fernando Pellegrino Galerie, Bologna SELECTED GROUP EXHIBITIONS: Structures of Recollection, Pearl Lam Galleries, Hong Kong, curated by Paul Moorhouse Personal Structures, Palazzo Bembo,Venice Biennale 2015, Venice Benglis 73/74, Sutton Project Gallery, Melbourne Adelaide Biennale of Art, Art Gallery of South Australia, Adelaide Monumental, Art Statements Gallery, Hong Kong Gambatte Humanity, Art Statements Tokyo Gallery, Tokyo 17th Biennale of Sydney, Sydney Cockatoo Island, Sydney, curated by David Elliot Optimism, Gallery of Modern Art, GOMA, Queensland Art Gallery, Brisbane Swoon, ACCA, Centre for Contemporary Art, Melbourne, curated by Julianna Engberg ‘Sublime’, Art Gallery of Western Australia, Perth Multistylus Program, Auckland City Gallery, Auckland Familiar and Strange, Seoul Arts Centre, Seoul, Korea Moral Hallucinations, Museum of Contemporary Art, Sydney Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide Virtual Reality, National Gallery of Australia, Canberra Wit's End.
    [Show full text]
  • HIDDEN TREASURES the Maitland Collection HIDDEN TREASURES the Maitland Collection HIDDEN TREASURES the Maitland Collection
    HIDDEN TREASURES the Maitland Collection HIDDEN TREASURES the Maitland Collection HIDDEN TREASURES the Maitland Collection Maitland Regional Gallery 2003 ISBN 0-646-42897-7 first printing edition of 1,000 230 High Street, Maitland, New South Wales 2320, Australia © artists, authors and Maitland Regional Gallery All rights reserved. This publication is copyright. Except as permitted under the Copyright Act, no part of this publication may be reproduced by any process, electronic or otherwise, without the permission in writing from the publisher and authors. Neither may information be stored electronically in any form whatsoever without such permission. All opinions expressed in the material contained in this publication are those of the authors and not necessarily those of the publisher. Maitland Regional Gallery is fully funded by Maitland City Council. cover image: Dale FRANK, Back from the City 1976, P76-05, courtesy Dale Frank and Roslyn Oxley9 Gallery Foreword 4 Peter Blackmore Maitland Regional Gallery 5 Jill Stowell & the Maitland Collection Selected works 8 Maitland Prize lists 42 Biographies 44 Acknowledgements 47 3 Foreword Hidden Treasures: The Maitland Collection showcases the permanent collection of the Maitland Regional Gallery. The works in this exhibition have been selected from over 600 paintings, prints and drawings. They reflect the various histories of art in Australia over the last 50 years and highlight the contribution that locally based artists have made to these histories. The Maitland Collection holds representative works of Australia’s most important artists from the twentieth century. These include Lloyd Rees, Sir Sidney Nolan, Brett Whiteley, Sir Hans Heysen, Robert Dickerson, Charles Blackman, John Coburn and Donald Friend.
    [Show full text]