Paul’s political picture places top of Solar Art Prize pack – Victor Harbor Times

Port Elliot artist Paul Whitehead is one of four section winners of the 2020 Solar Art Prize.

Mr Whitehead entered two artworks – ‘Back in the Black’ and ‘Fiji Holiday’ – in this year’s prize, which was environmentally-themed.

‘Back in the Black’ depicts Prime Minister Scott Morrison saying “We’re Back in the Black” while holding a piece of the large pile of coal he is standing in, and in the background there is mining machinery, a ‘surplus coal mine’ sign, and a wagon with ‘political donations’ on the side and a large bag of money sitting inside.

This piece was the winner of the caricature (political satire) category.

The Solar Art Prize

Mr Whitehead opened Gallery 45 in Port Elliot, which houses not only his and other South Australian artists’ works, but it is where his working studio is set up as well.

He enjoys creating both in his studio and outdoors.

While he creates art with various mediums including oil, gouache, watercolour, and charcoal, he is also a photographer.

Very pleased to have taken out the Caricature (Political satire) prize in this years environmentally themed Solar Art Prize. I entered 2 pieces ‘Back in the Black’ and ‘Fiji Holiday’ the former won the prize 🙂 A special thanks to Pip and the organisers for proceeding with the show in these uncertain times.

Wyndham Art Prize Winners Announced – Mirage News

Wiradyuri conceptual artist, Amala Groom took home the prestigious 2020 Wyndham Art Prize for her work Copywrong.

Groom is a prominent artist whose work presents commentary on contemporary socio-political issues.

Copywrong shows the boomerang, an internationally recognised symbol of Australian culture, which has been cheapened by the tourism industry and sold as a souvenir.

Groom’s artwork highlights a lack of entitlements to copyright for Aboriginal cultural materials. The boomerang was made overseas, it has been marked with unidentifiable totems in acrylic paint and it was painted over by ochre to indicate how the Aboriginal culture needs to come back home.

The winner of the Local Emerging Artist Prize winner was wãni LeFrère with his work Final Solution and the Deakin University academic bursary prize went to Melanie Cobham for her work Unheard Voices.

Wyndham City Arts, Culture and Heritage Portfolio Holder, Cr Tony Hooper said the community asked for more creative and vibrant events to attend to make the City more liveable and the Wyndham Art Prize was an opportunity to see quality art right at their doorstep, albeit online on this year.

“Wyndham City is committed to vibrant arts and culture events for the community and that’s why we are dedicated to initiatives like the annual Wyndham Art Prize – and we are continuing our programs through Covid-19 via digital platforms.”

“The Wyndham Art Prize is one of the most prestigious art exhibitions in Victoria and we are delighted to attract such talented artists to Wyndham.”

Cr Hooper congratulated Groom, LeFrère, and Cobham on their winning pieces as the sixth annual Wyndham Arts Prize is taken to an online platform.

“With 77 talented artists selected as finalists, the independent judges had a tough decision to pick the winning pieces.”

“While the Wyndham Art Gallery is closed to the public, we invite you to visit our virtual gallery space, listen to recordings with artists and see the full exhibition catalogue.”

The Wyndham Art Prize People’s Choice Award is still up for grabs, and visitors are encouraged to vote for their favourite before Sunday 28th June. The winner will be announced on Tuesday 9th July. (To vote go to ).


On Thursday, 28th May at 6pm we will have a pre-recorded panel video discussion with local artists Carolyn Warren-Langford, Jonathan Mendez-Baute and Megan Bonnici and Wyndham Art Gallery Curator Megan Evans about artworks the artists have in the show, their creative practice, the experience of being involved in a digital exhibition, their creative practice, and how COVID-19 has impacted that practice.

View Video

On Sunday 31st May at 2pm the Sunday Salon will be held online. This free interactive session will be led by local artist and Wyndham Art Prize finalist, Emmet Davies. During the session, you’ll learn basic techniques and themes needed to construct a realistic portrait, including eyes, nose, mouth, hair and skin texture. Sunday Salon is free, but registrations are essential.


/Public Release. View in full here.

How Border Art Prize winner stood out from hundreds – Tweed Daily News

DESPITE many art prizes around Australia being postponed or cancelled due to COVID-19, Tweed Regional Gallery’s Border Art Prize 2020 entrants embraced their chance to shine online in an exhibition featuring almost 400 works.

This year’s Border Art Prize winners were announced online and through social media channels last Saturday with guest judge Director of Grafton Regional Gallery Niomi Sands recording her message of congratulations to prize winners and entrants alike.

The $3000 first prize was awarded to Oksana Waterfall for The girl from Kyiv, with second prize going to Megan Puls for a ceramic vessel from her SURGE series.

Jenny Kitchener received third prize for her unique print linocut collage Out of kilter.


Megan Puls, 2020 Border Art Prize $1500 winner, “SURGE” series 2018, stoneware recycled clays / Black Scarva clay, 35 x 17cm


Ms Sands also awarded Highly Commended to seven artists including Michelle Dawson, John Pitt, Konstantina, Shannon Doyle, Tim Fry, Susan Jacobsen and Trish Tait.

The online ‘opening’ featured a number of videos, including a Welcome to Country sung by Aunty Deidre Currie; a performance by local musician Peter Koro; and video messages from Tweed Shire Deputy Mayor Chris Cherry, Director Sustainable Communities and Environment Tracey Stinson and Tweed Regional Gallery & Margaret Olley Art Centre Director Susi Muddiman OAM.

People can now view all 392 works in the online catalogue on the Gallery’s website.

Many of the artworks are for sale and anyone interested in buying a piece should contact the artist direct via the links in the online catalogue or contact the Gallery.

“The Border Art Prize offers artists of our region a great opportunity to get their artwork out there,” Ms Muddiman said.

“One benefit of the online exhibition is that interested buyers won’t have to wait until the exhibition finishes to receive their purchased artwork, but we do need to remember that social distancing restrictions still apply and it’s important to look out for one another. Artists and buyers should practice safe payment and delivery options.”

The biennial Border Art Prize is open to residents of Tweed, Ballina, Byron, Kyogle, Lismore and Gold Coast City council areas.


Jenny Kitchener, Border Art Prize $500 winner , Out of Kilter, 2019 framed linocut, collage, (unique print), 53 x 35cm. Picture: Supplied.


Entries this year included textiles, sculpture, ceramics, oils, acrylics, mixed media, watercolour and photography.

The subject matter is varied, but includes landscapes, portraits and self-portraits, as well as themes related to social isolation and the devastation caused by recent bushfires.

The $3000 first prize is funded by Tweed Shire Council, with the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc. funding the second prize of $1500 and third prize of $500.

To find out more about the online exhibition and to view the Border Art Prize 2020 catalogue, visit

Starting A Dialogue: What To Expect From This Year’s Hong Kong Human Rights Arts Prize – Tatler Hong Kong

Open Ta Kung Pao (2018) by Siu Wai-hang, which won the HKHRAP in 2018 (Image: Courtesy of the Hong Kong Human Rights Prize)

By Zabrina Lo May 12, 2020

The annual Hong Kong Human Rights Arts Prize, which returns this month, shines a light on injustices in the city and abroad

Curator Chantal Wong has always been impressed by the powerful works submitted to the Hong Kong Human Rights Arts Prize (HKHRAP)—especially those by individuals who might not have come from a particularly arty background. She vividly remembers Ophelia Jacarini’s embroidered female bodies that explore women’s sexuality, empowerment, freedom and trauma in 2018, as well as the 2013 black-and-white images laying bare the physical abuse suffered by Hong Kong’s domestic workers by photographer Xyza Cruz Bacani, a former maid herself.

“Some people are formally trained, some people are not, but that does not define the value of the artwork,” says Wong, who co-founded Learning Together, a charity that supports young refugees and asylum seekers in their education, and is director of culture at the Eaton hotel. “This is one of the few prizes where people don’t have to be trained, and that really does add an element of unexpectedness. It fundamentally shifts the way we think about who is an artist in society,” she adds.

See also: 6 Hong Kong Galleries That Focus On Local Artists

Can you see me yet 2? (2014) by Katie Vajda, which won the Hong Kong Human Rights Art Prize (HKHRAP) in 2014 (Image: Courtesy of the Hong Kong Human Rights Prize)
Soften stones 1: Tombstone for 61 HK students suicide since 2016 (2017) by Cheung Hing-yee (Image: Courtesy of the Hong Kong Human Rights Prize)

Instead of just admiring the works again this year, Wong is serving as a judge for the first time for the sixth edition of the prize, which takes place this month. The HKHRAP has been hosted annually by the Justice Centre Hong Kong since 2013 and is open to all Hong Kong-born or based visual artists who address local or international humanitarian issues in their work. A panel of judges draws up a shortlist of submitted works, which are exhibited to the public—this year at the Goethe-Institut in the Hong Kong Arts Centre—before they announce one winner and two runners-up. The winner receives a cash prize of HK$35,000. On top of the main event, this year there are two additional awards: a new award sponsored by German cultural association Goethe-Institut for the best short film or video work, as well as a student award.

New Perspectives

Wong sits on the judging panel with renowned local artist Kacey Wong; English conceptual artist Jeremy Deller, whose politically motivated art has appeared at Tate Britain; fellow artists-turned-judges Katie Vajda and Christy Chow; and Peter Augustus Owen, a human rights commissioner for the city of Palm Springs, California. Together, they are tasked with narrowing down this year’s pool of 97 entries to just one winner.

“The way artists see things can help us to understand our situation better,” says Raquel Amador, co-founder of the Justice Centre Hong Kong and a Hong Kong-raised immigration, asylum and human rights lawyer who has been helping people fleeing persecution and other human rights issues in the city for nearly two decades. “Artists are the ones who use their own lives to feel the world,” she adds, quoting Ai Weiwei, whose film Human Flow was screened in 2017 as part of the HKHRAP.

See also: How Asian Artists Are Leading The Internet Art Movement In New Directions


This year the submitted works explore a wide range of topics, such as discrimination against ethnic minorities, refugees, migrant domestic workers, marriage equality and slavery. The spectrum of issues addressed “really brings home that the United Nations’ universal declaration of human rights covers 30 fundamental rights held in equal importance,” says Wong. “Some [rights] will hold more significance than others to any given individual, but for every right there will be people who feel they are not free without it. The wide range of issues covered by the works submitted demonstrates this principle to me.”

Blooming 2 (2018) by Ophelia Jacarini (Image: Courtesy of the Hong Kong Human Rights Prize)

Rooting For The Underprivileged

Since its inception, the prize has shone a spotlight on creators in the city who may ordinarily have struggled to break into the art world. Wong recalls that she was particularly impressed by the work of Filipino photographer Bacani, whose piece Burn was selected for the Justice Centre Choice Award in 2013. Bacani’s work depicts the stark reality of women from Southeast Asia coming to work in Hong Kong.

“As a child of a migrant worker and a migrant myself, I have insights into both sides of the migration divide. My motivation is knowing that my works have become a platform for these untold stories,” Bacani has said.

“I may not have discovered her if she didn’t win,” Wong says. “I’m very inspired that the prize has given her that platform.”

See also: How Former Domestic Helper Xyza Cruz Bacani Became A World Class Photographer

Wildness in Pawn (2018) by Cathleen Ching-yee Lau (Image: Courtesy of the Hong Kong Human Rights Prize)

Australian-born artist Katie Vajda won the prize in 2014 for her photography series Can you see me yet?, which explores the idea that the workers who form the backbone of society are often invisible. She says the prize is about “not just producing something that might sit on the wall in a gallery”, and is instead “an important initiative for Hong Kong to have a platform for artists who are making work that is not necessarily immediately going to fit into the commercial models of the local art world”. Vadja adds: “Art can have a huge impact on human rights and social issues if artists are given a chance to discuss it in a public forum, and use civic imagination to come up with different ways to live.”

Younger Voices

This year, the prize is open to all Hong Kong-based secondary school pupils for the first time, with a new student category. “It’s very important that young people can begin to engage with and discuss these subjects,” says the Justice Centre’s head of fundraising and interim executive co-director Melanie McLaren. As digital media have become more popular, there will also be video category this year, where entrants submit a 45-second video that represents a key human rights issue in an accessible way.

The HKHRAP exhibition in 2018 (Photo: Courtesy of the Hong Kong Human Rights Prize)

Art and activism have long gone hand in hand: the civil rights movement in the US, the antiapartheid movement in South Africa and the global feminist movement have all inspired works that in turn have brought clarity and influenced conversation around these topics. “The prize is unique in that it encompasses all issues,” says McLaren. “It encourages people to speak up on a whole range of issues. Everyone has different interests, priorities and awareness, and so we get a great education. The prize is a more effective way for us to engage with the wider Hong Kong public on the issues that we work on, and try and spark interest, enthusiasm and desire to create change and hope for the future.”

See also: Tatler Hot List: The Most Influential Voices In Asia Right Now

Hong Kong Human Rights Art Prize 2020 Winners

Hong Kong Human Rights Art Prize 2020: Kam Wa Magus Yuen (HK), Hong Kong Symposium 2019
First Runner-up Prize: Benson Koo, video work Dream Criminal
Second Runner-up Prize: Chan Kiu Hong, Mo Soeng

New awards for 2020:

The Justice Centre Award: Ben Kostrzewa, The Portrait Project
The Student Award: Cristiana Papadopolous, Perpetual Climb
‘45 Seconds for Human Rights’ Award: Man Chi Loy Armechan, Popo Dragon
All shortlisted and winning artworks are now on view at the Goethe-Institut Hong Kong in an exhibition curated by Hong Kong artist and writer KY Wong. Audiences can join a virtual walkthrough of the exhibition on the Justice Centre Hong Kong Facebook Page. All works will be available to purchase via online auction through 6 June 2020, from which all proceeds will go towards the prizes for the winning artists and to support the important non-profit work of Justice Centre Hong Kong.

Want to see more from Tatler Hong Kong? You can now download and read our full May issue for free. Simply click here to redeem your free issue. Please note, the free download is available from 6 May, 2020 and is valid until 31 May, 2020.

Border Art Prize winners announced online – Echonetdaily – Echonetdaily

Oksana Waterfall, Border Art Prize 2020 $3000 winner, The girl from Kyiv 2020, oil, embroidery thread, vintage hemp fabric and solar print in vintage sewing machine drawer, 12 x 36cm.

In a short ceremony on Saturday evening, the winners of the 2020 Border Art Prize were announced for the first time, online.

Many art prizes around Australia have been postponed or cancelled due to COVID-19. Still, the Tweed Regional Gallery’s Border Art Prize 2020 attracted almost 400 works. which have been on display in an online catalogue since Friday.

The winners were announced online and through social media channels with guest judge Director of Grafton Regional Gallery Niomi Sands recording her message of congratulations to prize winners and entrants alike.

Megan Puls, 2020 Border Art Prize $1500 winner, “SURGE” series 2018, stoneware recycled clays / Black Scarva clay, 35 x 17cm.

The $3000 first prize was awarded to Oksana Waterfall for The girl from Kyiv, with second prize going to Megan Puls for a ceramic vessel from her SURGE series.  Jenny Kitchener received third prize for her unique print linocut collage Out of kilter.

Ms Sands also awarded Highly Commended to seven artists including Michelle Dawson, John Pitt, Konstantina, Shannon Doyle, Tim Fry, Susan Jacobsen and Trish Tait.

The online event featured a number of videos, including a Welcome to Country sung by Aunty Deidre Currie; a performance by local musician Peter Koro; and video messages from Tweed Shire Deputy Mayor Councillor Chris Cherry, Director Sustainable Communities and Environment Tracey Stinson and Tweed Regional Gallery & Margaret Olley Art Centre Director Susi Muddiman OAM.

‘The Border Art Prize offers artists of our region a great opportunity to get their artwork out there,’ said Ms Muddiman. ‘One benefit of the online exhibition is that interested buyers won’t have to wait until the exhibition finishes to receive their purchased artwork, but we do need to remember that social distancing restrictions still apply and it’s important to look out for one another. Artists and buyers should practice safe payment and delivery options.’

Jenny Kitchener, Border Art Prize $500 winner , Out of Kilter, 2019 framed linocut, collage, (unique print), 53 x 35cm.

The biennial Border Art Prize is open to residents of Tweed, Ballina, Byron, Kyogle, Lismore and Gold Coast City council areas. Entries this year included textiles, sculpture, ceramics, oils, acrylics, mixed media, watercolour and photography. The subject matter is varied, but includes landscapes, portraits and self-portraits, as well as themes related to social isolation and the devastation caused by recent bushfires.

The $3000 first prize is funded by Tweed Shire Council, with the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc. funding the second prize of $1500 and third prize of $500.

You can view all 392 works in the online catalogue on the gallery’s website. Many of the artworks are for sale and anyone interested in buying a piece should contact the artist direct via the links in the online catalogue or contact the Gallery.

To find out more about the online exhibition and to view the Border Art Prize 2020 catalogue, visit

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Fake Aboriginal Art legislation knocked back – again – by Parliament – ArtsHub

How long should it take to protect Australia’s First Nations artists from a raging trade in fake art and artefacts? It would seem too long if we are to leave it to government committees.

Last week, the long awaited report on the Competition and Consumer Amendment (Prevention of Exploitation of Indigenous Cultural Expressions) Bill 2019, was finally released.


The Bill has been sitting before the Senate Environment and Communications Legislation Committee since February 2019. In short, there were two recommendations:

  1. That the Senate not pass the bill;
  2. That the committee recommends that the Commonwealth consult Indigenous artists, organisations and communities to develop legislation to prohibit the sale of inauthentic Indigenous products sold as souvenirs.

Hang on, hasn’t Copyright Agency, Indigenous Art Code and Arts Law Centre of Australia just spent the past four years consulting, researching and advocating for an amendment to legislation – hand-in-hand with community?  They launched the Fake Art Harms Culture Campaign in 2016, not to mention the years of consultation with community prior to the campaign launch.

The message is that it doesn’t count if it is not ‘Commonwealth’ led.

In a formal statement (1 May) Arts Law said: ‘We are extremely disappointed that yet again, the Parliament has failed to act in the best interests of Aboriginal and Torres Strait Islander people. Consultation on this topic has been extensive over many years, and the result is the overwhelming consensus of artists, communities, organisations and parliamentarians that change is necessary, and urgent.’  

The news of the report’s recommendations came as a work by  Wiradyuri conceptual artist, Amala Groom, was selected winner of the 2020 Wyndham Art Prize (VIC) with a work titled, Copywrong, 2018 (pictured top) – a fake boomerang teetering on Australian currency.

Groom told ArtsHub: ‘The whole point of me making work is to address the inequalities – I just can’t produce art for the sake of producing it. I want to make something that sits in people’s minds.’

Groom added that her decision to enter artworks in prizes had been really strategic. ‘I made Copywrong in 2018 around the time of the review into fake art and entered it into the Woolhara Small Sculpture Prize because one of the judges was a lawyer. I wanted to be smart about it. This is an issue I really care about and I want people to know about, so I am constantly asking what is the best platform to get the message across?’

She continued: ‘Whilst it is fantastic for me as an individual to have my work recognised in this award, this win is bittersweet with the May 1 announcement of the legislation to amend the Australian Consumer Law to stop fake Aboriginal art not getting up. As Aboriginal peoples we are a collective, and Copywrong is all about the need for our arts and cultural practice to be protected under legislation against infringements. 

‘It is my responsibility as an artist to see that my WAP win brings attention to the issue of the work,’ Groom said. 

Fake Art Harms Culture Campaign. Images supplied.


A proud Quandamooka woman from North Stradbroke Island, a lawyer, Chair of  Indigenous Art Code, and employed with Copyright Agency, Stephanie Parkin told ArtsHub that the standard response she receives when discussing the campaign against the fake trade is, ‘Of course that should be in place; it should be law… it isn’t?’.

Parkin added: ‘All of our people have been so involved and engaged in this for so long; so many years on this.’ The recommendation holding back this current bill was a call for more consultation.

Jump to full timeline, recapping the chain of consultation and actions since 2016 to today.  

Of note, back in August 2017, off the back of the original campaign, Minister for Indigenous Affairs, Senator Nigel Scullion referred an inquiry to the House of Representatives Standing Committee on Indigenous Affairs. With the close of submission in the November, 162 organisations and individuals had voiced their support and thoughts.

The inquiry report was tabled to the committee in December 2018. To date, three years after the launch of Fake Art Harms Culture campaign, a response from the Government to the House of Representatives report has not been released.

Aboriginal culture in this country is not valued – if it was by our society, this bill would be in place, and it would happen quickly.

Stephanie Parkin, Aboriginal lawyer

With regard to this particular bill that has been rejected, it was original introduced by Senator Hanson-Young on 12 February 2019. The Senate Standing Committee for Selection, however, deferred consideration of the bill, and the bill then lapsed. It was subsequently re-introduced at the beginning of the 46th Parliament, on 4 July 2019, and was referred to the Environment and Communications Legislation Committee for reporting by 5 December 2019.

On 25 November 2019, the Senate granted an extension of time to report to 26 March 2019. Findings of that report were – as we have reported – tabled 1 May 2020, with the recommendation not to be passed and engage Commonwealth consultation.

It is hardly a recommendation built on confidence, when government was struggle to even consider this bill in a timely manner – not to mention still not reporting on the Inquiry, three years on.

When questioned about the chain of events and recent rejection, Parkin told ArtsHub: ‘I certainly do feel, and it’s echoed a lot through the submissions (to the inquiry), that issues like this exist because of a continued lack of respect. The lack of legal protection speaks to not valuing this culture.’


While the campaign took a win back in October 2018, when the Federal Court of Australia found the company Birubi, which had been misleading customers with products marketed and labelled as Australian made and hand painted by Australian Aboriginal persons, was acting unethically, it is not a mirror across other government departments, which have remained reticent to amend legislation to forego such cases arising.

Justice Melissa Perry imposed a $2.3 million fine on the company to make a point. ‘The penalty signifies the court’s view about the seriousness of this type of conduct,’ said Arts Law.

Parkin explained that there had been comments from the Committee that they had not been sure of the form in which the amendments had been put forward, questioning whether this should be considered as an amendment to existing legislation under Australian consumer law or whether it should be addressed in separate legislation.

She continued: ‘While it might be an ideal situation to have that, the reasoning to having an amendment in the legislation is because it exists now, and prohibition could work under that piece of legislation, and there is already a body with the ACCC that could regulate it.

‘It was seen as a short term but effective answer. Stand-alone legislation is a very long process,’ Parkin added.

She told ArtsHub: ‘This has been a huge process for mob, coming together and speaking out about how it impacts community and cultural art practices.’

Parkin concluded: ‘While it is disappointing, we have faced many challenges before with Indigenous affairs. The resolve of our people, and supporters around us, continue on with this push to bring awareness and ask questions of retailers.

She says the best way to support this campaign is to ask questions before buying and to support ethical business and artists working in this space.

It was a view Groom shared. She said honestly: ‘I don’t know the best thing to do. You can educate people and be a keyboard warriors – which does nothing really and I don’t think is the solution. The one thing we all can do is to ensure what buy is authentic and not supporting companies profiteering – its an easy thing but can have a huge impact.’

More reading on this topic

Government invests $150,000 into digital labeling to combat fake Aboriginal art

The ACCC takes ‘fake’ Aboriginal art to Court

What the removal of Fake Art means for remote Indigenous art centres

You can impact legislation on fake Indigenous art

War declared on fake Indigenous art

Pandemic puts art show online – The West Australian

Alexander ScottPilbara News
Camera IconThe Cossack Art Awards Exhibition is on until August 14. Credit: Marg Bertling, Margaret Bertling

The Pilbara’s biggest art prize will be presented online this year, with the Cossack Art Awards moving from the ghost town due to the COVID-19 pandemic.

Held every year in July, the award normally brings artists from around the nation to the town of Cossack, 50km from Karratha, with entries colouring the walls of the heritage-listed buildings for three weeks of public display.

This year’s event will mark the 28th year that the awards have been hosted and will only be open to Pilbara residents with some 150 entries available.

The number of categories has also been cut down to five with the overall winner receiving a $15,000 prize.

The exhibition will be presented online as a digital catalogue and virtual gallery.

City of Karratha director of community services Arron Minchin said entry was only open to Pilbara-based artists due to interregional travel and freight restrictions.

The artist-in-residence program would also only be open to Pilbara- artists.

“The number of entries has been reduced from 300 to 150 due to uncertainty about a curator being able to travel from Perth to install the full exhibition,” he said.

“The exhibition will be presented as a digital catalogue and virtual gallery so the community will be able to view the high calibre artworks these awards attract, and the public program will go ahead in an online format.”

Mr Minchin said a new children’s category had been introduced this year. All category winners will be announced via video and published on the CAA Facebook page on July 18.

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Beat the Chaser ultimate quiz – pit your wits against TV’s best quizzing brains – Mirror Online

Contestants went head to head with all five Chasers this week in a prime-time special of the hit gameshow.

Viewers have loved ITV’s Beat the Chasers, but we’ve gone back to basics with these classic questions from The Chase Quizbook Volume 1.

So, can you outrun the chaser?

Have a go if you think you’re clever enough…


1. The song Take a Chance on Me features in what stage musical?

2. Coleridge’s Rime of the Ancient Mariner first appeared in what book of poems?

3. Which Australian soap first appeared on UK TV in October 1986?

4. The name of what planet begins with two vowels?

5. What is the capital city of Lithuania?

6. In maths, simultaneous and quadratic are examples of what?

7. A lion and what mythical creature appear on the British royal coat of arms?

8. In the Harry Potter series, which wizarding family lives in The Burrow?

9. Which King was victorious at the 1513 Battle of The Spurs?

10. In 2013, Laure Prouvost won what art prize?

11. The capital of British Columbia is named after which British monarch?

12. In what decade did Bobby Moore make his debut for Fulham?

13. How many throwing events are there in an Olympic men’s decathlon?

14. What jeweller uses a distinctive blue box and white ribbon packaging?

15. In 2013 who was the first professional golfer to do Strictly Come Dancing?

16. What colour was the famous tracksuit worn by Uma Thurman in Kill Bill?

17. In what southern English county is the seaside resort of Selsey?

18. What bird does Shakespeare call the “bird of night” in Julius Caesar?

19. In the UK, what is the highest number used in a standard bingo game?

20. The Loire is the longest river in what country?

21. “Maoism” is named after a leader of what country?

22. How many different colours are used in the regular Google logo?

23. In the Bible, two of the four gospels are named after men with what initial?

24. What’s the total number of characters in a National Insurance number?

25. Tom Buchanan suspects his wife of an affair in what F Scott Fitzgerald novel?


26. Which of these words does NOT feature in the title of a hit song by Shakira?

A Whatever B Whenever C Wherever

27. Crucifixes and holy water are meant to repel what legendary creatures?

A Fairies B Vampires C Witches

28. Pomegranate is traditionally used to make which of these?

A Angostura bitters B Sour mix C Grenadine

29. Which of these National Parks does NOT have a coastline?

A Exmoor B Lake District C Yorkshire Dales

30. Which of these countries has the most time zones?

A China B India C Russia

31. What name is given to a first-year student at an American high school or university?

A Freshman B Junior C Sophomore

32. Which of the following literary characters did NOT converse with an animal?

A Pippi Longstocking B Mary Poppins C Harry Potter

33. Which space shuttle flew the most missions?

A Atlantis B Discovery C Endeavour

34. Complete the title of Hergé’s first ever Tintin adventure: Tintin in the Land of the…?

A Americans B Pharaohs C Soviets

35. Which of these performers was first to win an Oscar for playing a monarch?

A Colin Firth B Helen Mirren C Judi Dench

36. In biology, what is the smallest unit capable of independent existence?

A Atom B Cell C Nucleus

37. Which of these novels was NOT originally published in Russian?

A Crime and Punishment B Sense and Sensibility C War and Peace

38. When mourning a cat, ancient Egyptians were said to shave their what?

A Legs B Armpits C Eyebrows

39. The name of what meat also means to have a grievance with someone?

A Beef B Pork C Goose

40. What name did The Goodies give to their martial art, which used black puddings as weapons?

A Ee By Gum B Ecky Thump C Is It Eck As Like

41. Which of these musicals by Andrew Lloyd Webber premiered first?

A Aspects of Love B Cats C Evita

42. The coccygeus muscle is found in what part of the body?

A Foot B Lower back C Neck

43. Which of these birds does NOT appear in the name of a London train station?

A Canary B Heron C Penguin

44. Which of these dances is the oldest?

A Foxtrot B Polka C Jive


45. In ‘The Twelve Days of Christmas’, which of these are there most of?

A Calling birds B Laying geese C Swimming swans

46. Which cartoon couple got married at Shotgun Pete’s Wedding Chapel?

A Fred and Wilma Flintstone B Homer and Marge Simpson C George and Jane Jetson

47. Which of these countries has a population of over one million?

A Maldives B Malta C Mauritius

48. In Greek myth, what group of goddesses were also known as the Charites?

A Gorgons B Muses C Graces

49. Which of these is the name of a retired tennis player?

A Anna Lobnova B Anna Smashnova C Anna Volinova

50. Hunter S Thompson claimed which president ‘could shake your hand and stab you in the back at the same time’?

A Richard Nixon B Ronald Reagan C Bill Clinton


51. Complete the saying: ‘Can’t see the wood for the…’ what?

52. Cheryl Cole has a tattoo of what flowers on her backside?

53. What’s the third sign of the zodiac?

54. The phrase ‘ad lib’ comes from what ancient language?

55. What city is the county town of Essex?

56. Who wrote The Lord of the Rings books?

57. How many grams in half a kilo?

58. Costa Teguise is on what Canary Island?

59. What’s the only Portuguese-speaking country in South America?

60. ‘The Drugs Don’t Work’ was a Number One for what band?

61. What dam is named after the 31st President of the US?

62. What’s the chemical symbol for the element Vanadium?

63. The Lindy Hop was introduced to Britain during what war?

64. What first name was shared by two of the Spice Girls?

65. The Metrocentre shopping complex is in what north-east town?

66. ‘V’ is a perfume by which Italian fashion house?

67. Which British architect designed the Millennium Dome?

68. What month is named after the Roman god of war?

69. Lord Skrumshus is a character in what Ian Fleming novel?

70. The volcano Elysium Mons is on what planet?

71. Braemar is in what national park?

72. The musical Cabaret is set in what country?

73. Sapphire is the traditional birthstone of what month?

74. After his final battle, King Arthur was taken to what island?

75. In the Narnia novels, who is the oldest Pevensie child?


Cash builder

1. Mamma Mia!

2. Lyrical Ballads

3. Neighbours

4. Uranus

5. Vilnius

6. Equations

7. Unicorn

8. The Weasleys

9. Henry the Eighth

10. Turner Prize

11. Victoria

12. 1970s

13. Three

14. Tiffany

15. Tony Jacklin

16. Yellow

17. West Sussex

18. Owl

19. Ninety

20. France

21. China

22. Four

23. M

24. Nine

25. The Great Gatsby

The full team lined up on Beat The Chaser

Head to head

26. A

27. B

28. C

29. C

30. C

31. A

32. A

33. B

34. C

35. C

36. B

37. B

38. C

39. A

40. B

41. C

42. B

43. C

44. B

45. C

46. B

47. C

48. C

49. B

50. A

Loads more quizzing in the The Chase quizbook

Final chase

51. Trees

52. Rose

53. Gemini

54. Latin

55. Chelmsford

56. J.R.R Tolkien

57. 500

58. Lanzarote

59. Brazil

60. The Verve

61. President Herbert Hoover

62. V

63. World War 2

64. Mel

Read More

Showbiz editor’s picks

65. Gateshead

66. Valentino

67. Richard Rogers

68. March

69. Chitty Chitty Bang Bang

70. Mars

71. Cairngorms

72. Berlin

73. September

74. Avalon

75. Peter

*The Chase Quizbook Volume 1 is published by Hamlyn, £14.99,

Beefing up in a new direction during COVID-19 – Farm Weekly

CORONAVIRUS closures halving the State hospitality industry’s income are also having unfortunate flow-on effects for many farm businesses embedded in paddock-to-plate alternatives to mainstream food production.

Carefully cultivated reputations for high quality, traceability, ethical animal husbandry and years spent achieving and proving organic certification count for little when discerning diner restaurants and hotels at the end of the supply chain are forced to close their doors to sit-down customers.

Even the best chefs struggle to demonstrate good health and top taste benefits of fresh, locally-produced, lean, clean, green ingredients when they are confined to presenting it in a plastic pack to be taken home, tipped out on a plate and reheated in a microwave oven.

Suddenly, select bistro bars that two months ago boasted tender and juicy brand-named steaks, are competing with fast-food chain outlets in a desperate bid to generate enough cash-flow to keep the businesses going in some form until the health crisis is over and social gathering restrictions are lifted.

Even some of the traditional outlets for home-grown food producers – popular Perth and regional farmers’ markets – have closed for the time being and, at those still operating at bigger venues with reduced numbers of stalls, the crowds are thin as everyone tries to stay 1.5 metres apart.

Blackwood Valley Beef, Boyup Brook, is one of the niche farm businesses modifying what it does to meet the tough times.

Its website proudly lists 25 restaurants in Perth and across the South West region that, prior to the coronavirus crisis, it supplied with “naturally grassfed” choice beef cuts.

But that does not mean Blackwood Valley Beef is at risk of disappearing any time soon.

On the contrary, Warren and Lori Pensini are still producing premium grassfed beef on Paraway farm – the home of Blackwood Valley Beef – on the loamy and gravelly hills of the Blackwood River watershed north west of Boyup Brook.

Coping with the coronavirus complication has simply been absorbed into another stage of the ongoing evolution of Blackwood Valley Beef – an evolution occurring steadily since 2004.

The Pensinis are collaborating with other like-minded regenerative farmers and processing and marketing their product through online home shopping, retail and food service brand Dirty Clean Food, launched last year by publicly-listed sustainable agriculture company Wide Open Agriculture (WOA) based in Williams.

Under current circumstances Dirty Clean Food is focussed on selling online for home delivery throughout Perth suburbs, guaranteeing antibiotic and growth hormone-free, grass-fed, sustainably-raised and humanely treated boxed beef supplied by the Pensinis and several other farmers who comply with WOA’s regenerative farming protocols.

The home-delivered premium boxed beef can be anything from two steaks up to a full side of beef, with assorted family packs available.

Warren Pensini with his herd. The cattle are handled regularly and no stress handling techniques are employed.

As a Dirty Clean Food product, Blackwood Valley Beef is also available in some Perth retail outlets – primarily IGA and Farmer Jacks stores – and WOA continues to supply those restaurant and hotel clients who have swung over to exclusively takeaway menus, with beef produced by the Pensinis.

The beef is processed by Dardanup Butchering Company, vacuum packed and delivered around Perth from cold storage facilities in Bassendean.

Dirty Clean Food also sells similarly sustainably-sourced local lamb and wild-caught Australian seafood.

For Mr Pensini, growing enough of the perennial grasses in his paddocks to keep his cattle happy under a regenerative farming regime is – at least until the autumn rains arrive with some frequency – far more of an immediate concern than any impact of coronavirus for his business.

Children, daughter Rainey, 24 and son Mitchell, 21, now live in Perth.

The Pensinis have little need to travel outside of the South West region for business – Lori is also an accomplished portrait artist with her painting The Telegram highly commended by judges earlier this month in the 2020 Gallipoli Art Prize in New South Wales.

If they do need to go through a regional boundary checkpoint their occupations as farmers and artist will see them pass.

“It (coronavirus) hasn’t had much of an impact on us and, in the long run, it may actually be of some benefit to us,” Mr Pensini said, alluding to likely greater consumer interest in where food comes from and how it is produced, as a consequence of the global pandemic having origins in the dubious hygiene of the wet markets in Wuhan, China.

Climatologists agree the drying climate of Western Australia’s South West region is one of the places the impact of climate change is most obvious in Australia.

Spring and summer were dry and difficult, Mr Pensini pointed out, particularly when relying on perennial grasses to feed stock and for maintaining ground cover to prevent erosion and to trap and retain whatever moisture is available, be it rain or just the early morning autumn mists that shroud the Blackwood River valley.

“We basically only grew grass for four months of last year,” he said.

“Our stock numbers are right down at the moment, probably as low as they have ever been (in 18 years) on the farm.

“We’re currently running 300 head total – breeders and weaners.

“Total DSEs (dry sheep equivalent) on the farm are currently around 2800, normally at this time of year it’s around 4000 DSE but we can get up to around 8000 DSEq in spring.

The Blackwood Valley Beef herd was originally Shorthorn mated to Angus bulls and is now mainly Angus, although there are some grey cattle and a few red hides with white faces in the herd.

In one relatively recent evolution of Blackwood Valley Beef, the Pensinis worked collaboratively with Mark and Karen Forrester of Kanandah station, 350 kilometres east of Kalgoorlie and neighbours to Rawlinna station on the Nullarbor Plain.

The Forresters supplied premium quality certified organic Murray Grey steers and heifers which were finished at Boyup Brook.

But with seasonal conditions as they are, the Pensinis are breeding their own cattle and sending them out during the summer dry period to another WOA grassfed regenerative agriculture collaborator, Blythe Calnan at Runnymede farm, Binningup, for finishing on irrigation.

“Just looking at the figures for the last batch we sent (for processing), they averaged 267 kilograms with 6.5 millimetres of fat,” Mr Pensini said.

“Ideally we would like to have 10mm of fat as an average, however 6.5mm at this time of year is pretty good,” he said.

Blackwood Valley Beef calves are usually taken off cows at four to six months and steers and heifers are usually turned off at between 20 and 24 months, but nothing is set to a timetable, condition is the determining factor.

“We don’t turn off a certain number of cattle at any particular time, they are turned off when they’re ready to be turned off,” Mr Pensini said.

“It’s not like we have to turn off so many a month.”

The herd rotates through the farm’s paddocks, with the amount of grass at any given time and how quickly it is eaten down, but not eaten out, determining how long it spends in any particular paddock.

While he was talking to Ripe, Mr Pensini brought up the farm’s feed base record on computer screen, the last time the herd was in the paddock it is currently in was four months ago.

The cattle are regularly yarded and handled so there is no stress when they are moved between paddocks or onto a truck.

Well aware of the need for an online presence to publicise what they do, Mr Pensini has uploaded videos on the Blackwood Valley Beef Facebook page of him walking among the herd, scratching cattle behind the ears.

The end product, a tender, juicy, flavoursome, 35-day aged Blackwood Valley Beef rib eye.

He describes his approach to farming as “holistic” – that is, attention to every detail, rather than just the end result.

There is scientific evidence to prove 100 per cent grassfed beef has health advantages over grainfed beef.

Basically, the ratio of Omega 3 (good fats that dissolve at body temperature) to Omega 6 (harmful fats that build up around major organs) fatty acids is better in grass-fed beef.

As well, it contains more Conjugated Linoleic Acid – commonly known as CLA, which appears to have some cancer and inflammation fighting properties – and Vitamin E and is a rich source of minerals, folic acids, calcium, potassium, thiamine and riboflavin – all essential for good health.

But Mr Pensini is less convinced about the benefits of being certified organic- Blackwood Valley Beef gained certification in 2008 and has maintained certification since, but that is under review.

“It’s (organic certification) quite restrictive on farm inputs,” Mr Pensini explained.

Currently, a natural liquid fertiliser is the only thing sprayed on the farm’s paddocks.

He does not want to douse the farm in chemical, but there are times when he would like more freedom to use certain inputs to help adjust imbalances in the soils more quickly than nature can do on its own.

But the biggest issue with being certified organic is there is no longer a commensurate reward at the end of the supply chain for the restrictions imposed at the beginning, Mr Pensini claimed.

“In the early days of organic certification there was a substantial (price) premium that made it worthwhile to do,” he said.

“But these days there’s no significant premium for certified organic.”

A fourth-generation farmer raised on Pilbara cattle stations and later a feedlot manager, he has been a passionate advocate of regenerative farming since completing a Grazing for Profit course run by Resource Consulting Services, Queensland, in 2004.

But he is also pragmatic.

In the early days of Blackwood Valley Beef he tried the traditional paddock-to-plate route of direct marketing to customers at farmers’ markets.

“It was too time consuming, I was spending up to four days a week off farm,” Mr Pensini said.

“People don’t realise how much time goes into preparing, travelling and setting up for those markets.”

The $5 million public float of WOA in July 2018 and creation of Dirty Clean Food with its collaboration with Blackwood Valley Beef has been a win-win situation.

Mr Pensini helped WOA establish its transparent beef and lamb supply chains and helped write its regenerative farming protocols that its farmers must sign up to.

Basically, the Blackwood Valley Beef experience over the years and the different things the Pensinis have tried on their own or collaboratively with others in developing their own regenerative farm business, became the practical test bed for WOA’s ethos.

In return, having Dirty Clean Food take up the marketing of his beef has given Mr Pensini more time to do what he loves most – caring for his cattle and growing grass.

Warrnibald returns to Warrnambool Art Gallery – Mirage News

After a year’s hiatus, the popular Warrnibald Prize is returning to the Warrnambool Art Gallery (WAG).

The prize, run jointly between the Warrnambool Art Gallery and WDEA Works Warrnambool, encapsulates the community spirit shown by people during social isolation. It’s a non-acquisitive open-entry portraiture exhibition and art prize, aiming to foster community spirit and celebrate people who have contributed to the rich and diverse community.

WDEA Works CEO Tom Scarborough believes the Warrnibald will help to keep people connected.

“While we’re living in uncertain times it’s now more important than ever for us to maintain that community spirit and leadership which the Warrnibald celebrates,” he said.

The exhibition and art prize forms connection through visual art. Artists choose subjects who are currently, or have previously, made significant contributions to local culture, art, volunteering, business, sport, politics, education or health in our region or have represented our region by contributing in these areas in Australia or overseas.

Despite the difficulties the competition faces due to COVID-19, Warrnibald organisers are pushing ahead, implementing social distancing rules and moving the exhibition online. Entrants will be encouraged to observe social distancing and create their portrait from a photograph, memory or of someone they live with.

“We’re looking at innovative ways to ensure that the public are able to safely view the entrants for the Warrnibald, and also to assist with judging the people’s choice Archibool award,” WAG Director Vanessa Gerrans said.

The portraits will be collected through the WAG, ensuring that COVID-19 policies are followed. The works will be judged in person, but it’s anticipated that the first view of the collection to the public will be through digital methods.

Money raised through the 2020 WARRNIBALD and Junior Warrnibald will help to support WDEA Works Social Enterprises’ Artlink Program, (which first held the Warrnibald in 2012) and is an initiative that assists people with a range of abilities identify and achieve their creative goals and promote the inclusivity of everyone in community life.

“We’re excited to use this opportunity to extend the message of the Warrnibald and employing a digital element to the viewing will enable this. We understand that viewing art online isn’t the same as in person, but thanks to technology, we can still get joy from art and creativity,” said Ms Gerrans.

Entries for the Warrnibald are open until Saturday July 11, 2020, and the Junior Warrnibald Friday, June 26.

/Public Release. View in full here.