Best of the best: Attractions, accommodation providers and a pub win tourism awards
A MUSEUM, sculpture park attraction and a seafront bed and breakfast were among the winners at a showcase celebrating excellence in the local tourism industry.
It came as winners of the 12th Dorset Tourism Awards were announced.
The event was the conclusion of five months of independent judging as hospitality businesses of all kinds were recognised for their excellence in customer service, sustainability, digital communications and accessibility.
Dorset Museum & Art Gallery in Dorchester is celebrating after securing two prestigious accolades - the International Tourism Award and Large Visitor Attraction of the Year.
Museum bosses say the attraction has gone from 'strength to strength' in the last couple of years and its expansive exhibitions, educational programs, and cultural events continue to attract visitors from across the UK and beyond. One of this year's standout attractions is the 'Gladiators of Britain' exhibition, running until May 11.
(Image: © Nick Williams)'We are thrilled to receive these awards, which are a testament to the hard work, passion, and dedication of our incredible staff and volunteers,' said Claire Dixon, Executive Director at Dorset Museum & Art Gallery.
She added: 'We take immense pride in preserving and sharing Dorset's rich history and heritage, and it's wonderful to see our efforts recognised on such a prestigious platform.'
Meanwhile, Sculpture by the Lakes at Pallington east of Dorchester won Small Visitor Attraction of the Year and the Casual Dining Award.
(Image: Photo by Ian Plested -IPVisuals)Owner Simon Gudgeon said: 'We couldn't have achieved this success without our dedicated colleagues who work tirelessly to make our destination an exceptional, memorable experience for every single visitor. 'We have continually tweaked and nurtured the Sculpture by the Lakes offering over the past 14 years to deliver something truly unique in Dorset."
There were celebrations too at the Gresham on Weymouth Esplanade which won B&B and Guesthouse of the Year.
The resort's Channel View Guesthouse clinched Silver.
Louise Matthews of the Gresham said: "We are absolutely delighted to have won.
(Image: Photo by Ian Plested -IPVisuals)"Four years ago (almost to the day) when we bought the Gresham we didn't imagine we'd ever achieve this amazing accolade. We've worked hard, had our fair share of trials and tribulations along the way but mostly we've had fun and thoroughly enjoyed the challenge.
"This wouldn't be possible without our amazing team and the wonderful guests who choose to stay with us - thank you one and all."
(Image: Photo by Ian Plested -IPVisuals)The Acorn Inn at Evershot won Pub of the Year, an accolade it has previously won.
Natalie Legg, who runs the pub with husband Rich, said: "We are thrilled to have won and the entire team is delighted.
"Everyone is currently enjoying a well-deserved break during our seasonal closure, but we will look forward to celebrating together next week.
"It is an amazing accomplishment which reflects the dedication and hard work of the entire team."
Also at Evershot - and another previous winner - the Summer Lodge Hotel won Small Hotel of the Year.
(Image: Photo by Ian Plested -IPVisuals) Jack Mackenzie from the hotel said: "It was wonderful to receive this fantastic recognition.
"We have managed to win this award for two consecutive years, and it really is testament to the amazing work done by our fantastic team who all do so much to make our guests feel so special and well cared for.
"It really is a privilege to be part of such a wonderful group and to welcome our guests into such a beautiful and unspoiled part of the world."
Greenwood Grange at Bockhampton near Dorchester won Self Catering Accommodation of the Year and Katie Stamper from the holiday cottages business said: "We're absolutely thrilled to have won.
(Image: Photo by Ian Plested -IPVisuals)"Our family has been in the Dorset leisure industry for over 30 years, spanning three generations, and we couldn't be more proud to have brought Greenwood Grange back into local family ownership.
"A huge thank you to our incredible team - you're the heart and soul of what makes Greenwood Grange so special. Here's to creating many more unforgettable holidays in beautiful Dorset."
Other local winners included Monkton Wyld Holiday Park (Camping & Caravanning Park of the Year) while Jenny Ashley from the business was the recipient of the Unsung Hero Award.
Furthermore, Dorset Forest Garden Glamping near Beaminster won Glamping Business of the Year and Durdle Door Holiday Park was Holiday Park of the Year).
Guests at the awards ceremony, held at the Marsham Court Hotel in Bournemouth on Friday night, were inspired by a presentation from Portland-based Olympic stars Etienne Stott and Laura Baldwin, who shared their tips on the importance of winning and environmental protection.
A total of 61 winner trophies were presented including a Winner of Winners award to Careys Secret Garden - a wild, walled Victorian garden near Wareham which has undergone extensive restoration - and a special Outstanding Contribution award to Professor Peter Jones for his work in skills development and accessibility.
Many of the Gold winners in the Dorset Awards will also be nominated to represent Dorset in the national VisitEngland awards later in the year.
The full list of winners can be seen below (alphabetical order)
ACCESSIBLE AND INCLUSIVE TOURISM AWARD sponsored by Bournemouth University Business School
Gold - Marsham Court Hotel, Bournemouth Silver - Brownsea Island – National Trust, Poole Bronze - Studland Bay, National Trust, Studland
B&B AND GUESTHOUSE OF THE YEAR sponsored by Goadsby
Gold - The Gresham Guest House, Weymouth Silver - Channel View Guesthouse, Weymouth
BUSINESS EVENTS VENUE OF THE YEAR sponsored by sponsored by Saffery
Gold - Marsham Court Hotel, Bournemouth Silver - Lighthouse, Poole Bronze - Merley House Events, Wimborne Commended - Dorset Museum & Art Gallery, Dorchester
CAFÉ/TEAROOM OF THE YEAR sponsored by Clipper
Gold - Compton Acres Café Tearooms, Poole Silver - The Upwey Wishing Well Tearoom and Water Gardens, Weymouth Bronze - Garden Gate Tea Room, Wareham
CAMPING & CARAVANNING PARK OF THE YEAR sponsored by Holidaymaker App
Gold - Monkton Wyld Holiday Park, near Bridport Silver - Back of Beyond Touring, Camping & Glamping Park, St Leonards Coppet Hill Partners, Bridport Bronze - South Lytchett Manor Caravan and Camping Park, Lytchett Minster
CASUAL DINING AWARD sponsored by Dorset Food & Drink
Gold - Sculpture by the Lakes, Pallington Silver - Poco Pizza, Lyme Regis
DOG FRIENDLY BUSINESS OF THE YEAR sponsored by Polygon Pets
Gold - Back of Beyond Touring, Camping & Glamping Park, St Leonards Silver - Sculpture by the Lakes, Pallington Commended - Lulworth Castle & Park
ETHICAL, RESPONSIBLE & SUSTAINABLE TOURISM AWARD sponsored by Voltshare
Gold - Careys Secret Garden, Wareham Silver - West Dorset Leisure Holidays Highlands End, near Bridport Commended - Sandford Holiday Park Parkdean Resorts, Holton Heath
EXPERIENCE OF THE YEAR sponsored by Les Enfants Terribles
Gold - Osprey Cruises - Birds of Poole Harbour Silver - Hidden Dorset Half Day - Sea Kayak Dorset, Portland Bronze - Alpaca Trekking Experience – Longthorns Farm, near Bovington Yoga Retreats, Mellulah Yoga Retreats, Evershot
GLAMPING BUSINESS OF THE YEAR sponsored by Anytime Booking
Gold - Dorset Forest Garden Glamping, near Beaminster Silver - Loose Reins Dorset, Blandford Forum Longthorns Farm, near Bovington
HOLIDAY PARK OF THE YEAR sponsored by Tozers
Gold - Durdle Door Holiday Park
INTERNATIONAL TOURISM AWARD sponsored by Dorset LEP
Gold - Dorset Museum & Art Gallery, Dorchester
LARGE HOTEL OF THE YEAR sponsored by Booking.com
Gold - Christchurch Harbour Hotel, Christchurch Silver - Moonfleet Manor Hotel, near Weymouth Commended - Holiday Inn, Bournemouth RNLI College, Poole
LARGE VISITOR ATTRACTION OF THE YEAR sponsored by Resort Dorset
Gold - Dorset Museum & Art Gallery, Dorchester Silver - Farmer Palmer's Farm Park, near Poole Moors Valley Country Park and Forest, Ashley Heath Bronze - Brownsea Island – National Trust, Poole Commended - Nothe Fort (operated by Weymouth Civic Society), Weymouth Russell-Cotes Art Gallery and Museum, Bournemouth
OUTSTANDING CONTRIBUTION TO DORSET TOURISM sponsored by NFU Mutual, Bournemouth
Professor Peter Jones
PUB OF THE YEAR sponsored by Black Cow Vodka
Gold - The Acorn Inn, Evershot Silver- The Langton Arms, Tarrant Monkton
RESTAURANT OF THE YEAR sponsored by Winederful
Gold - The Jetty, Christchurch Silver - St Tropez Lounge, Poole Upper Deck Restaurant, Christchurch Bronze - Al Molo, Dorchester
SELF CATERING ACCOMMODATION OF THE YEAR sponsored by Quality in Tourism
Gold - Greenwood Grange, near Dorchester Silver - Manor Farm Barns Dorset, Melbury Abbas Bronze - No. 2 Coastguards Cottage, Wareham
SMALL HOTEL OF THE YEAR sponsored by Hospitality Assured
Gold - Summer Lodge Hotel, Evershot
SMALL VISITOR ATTRACTION OF THE YEAR sponsored by AGI
Gold - Sculpture by the Lakes, Pallington Silver - Careys Secret Garden, Wareham Museum of East Dorset, Wimborne Bronze - Highcliffe Castle, Highcliffe Commended - West Bay Discovery Centre
TOURISM EVENT / FESTIVAL OF THE YEAR sponsored by Tomorrows Travel
Gold - Arts by the Sea 2023, Bournemouth Bournemouth Writing Festival 2024, Bournemouth Silver - Inside Out Dorset 2023, Dorchester Bronze - Swanage Regatta & Carnival 2024, Swanage Commended - Rang Barse: Colours over Corfe Castle 2024
UNSUNG HERO AWARD sponsored by VisitDorset
Gold - Jenny Ashley, Monkton Wyld Holiday Park, near Bridport Silver - Charlie Brazier, Farmer Palmer's Farm Park, near Poole
WEDDING VENUE OF THE YEAR sponsored by The Little House Dorset
Gold - Abbots Court, Blandford Forum Silver - Lulworth Castle & Park Bronze - Highcliffe Castle, Highcliffe Commended - Merley House Events, Wimborne
WINNER OF WINNERS sponsored by Dorset LEP
Careys Secret Garden, Wareham
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Forbes
5 days ago
- Forbes
Fifty Years Of LA Louver in Venice, CA: A History
LA Louver on N. Venice Blvd in Venice, CA LA Louver, the Venice, California art gallery known for its exhibition of such well-known artists as David Hockney, R. B. Kitaj, and Ed and Nancy Kienholz, as well as contemporary artists such as Alison Saar, Gajin Fujita, and Rebecca Campbell, is celebrating its 50th anniversary. Gallery founding director Peter Goulds with artist David Hockney, 2015. 'It's been a fabulous incredible journey,' LA Louver's founder Peter Goulds told me recently. Long devoted 'to showing Los Angeles based artists in an international context,' LA Louver is commemorating this landmark with an exhibition of artists they have shown and who have inspired them (on view until June 13), from Terry Allen to Tom Wudl, as well as Marcel Duchamp, Wallace Berman, George Herms. John Cage, Nick Cave, Leon Kossoff, and Ed Moses, among many others. It is a museum-worthy retrospective housed in a familiar gallery space with wondrous surprises at every turn. Don't miss it! Recently, I sat down with LA Louver's triumvirate of Peter Goulds, Kimberly Davis, and Elizabeth East, to hear their personal stories as well as their roles in the gallery's history. Born in London, in Islington, Goulds, who as a youngster always won his school's Art Prize as well as its Religion Prize, passed his A levels at the precocious age of 15, which would be impressive if you didn't learn that Liz, his wife, had achieved hers at 14. They met at the Walthamstow School of Art, which he attended before leaving London to attend the Coventry Art School, and then the Manchester School of Art, all along developing his interest in information design and audiovisual communication. Goulds's teenage years also included starting a car cleaning business, becoming a card-carrying member of Ronnie Scott's Jazz club, and working at theaters in the West End, building sets, painting scenery, moving scenery and props. All experiences that would prove invaluable in a gallery owner. In 1971, Goulds, as the recipient of a Leverhulme Fellowship, met Mitsuru Kataoka of UCLA's Dickson Art Center design center at a conference in Vienna; then decided to spend four months traveling around the US, visiting universities teaching Video arts and communication. From the moment he arrived in Los Angeles, Goulds began his love affair with the city. 'I remember going up Laurel Canyon and I saw those houses on stilts and right then I began my romance [with Los Angeles].' Goulds met many Americans, and 'encountered philanthropy at a level I couldn't have imagined [and] as a bedrock of this society.' While in LA he went to see UCLA 'to see what it was all about.' Goulds returned to the UK to teach at the Leeds Art School, while continuing research on creating audiovisual content at Manchester. After only a few weeks, he received a call from Kataoka, asking Goulds to fill in for him at UCLA while he was away in Japan on sabbatical. At UCLA, Goulds created a very popular course on structuralism in 20th Century Art for which he projected films, showed slides, and which he taught for three years. In 1975, as his time at UCLA was coming to an end, Goulds, who was now married to Liz, had a decision to make: 'We both wanted to stay on because we really got enthralled by this iconoclastic place and met so many artists' Gallery directors Peter Goulds & Kimberly Davis, pictured at 55 North Venice Boulevard, 1991. Goulds presented two ideas to Liz: The first was to start a textile manufacturing company. Liz was happy being a fabric designer working for Lanz, (famous for their nightwear) but she couldn't stand the manufacturers. The other idea was to start a gallery, something Goulds would have never have thought to do in the United Kingdom. During their time in California, Goulds had managed to save $15,000 thanks to grant funds and a quirk of the British Tax Code that didn't tax their earnings abroad. So that was their investment in the gallery. The history of contemporary art galleries in LA was checkered. The Ferus Gallery opened in 1957, with the involvement of Walter Hopps and Irwin Blum and a coterie of artists. Nick Wilder opened his gallery in 1965. However, in the 1970s both would close. At that time, most contemporary art was shown at universities rather than galleries or museums. However, Los Angeles Institute of Contemporary Art (LAICA), LA's first nonprofit exhibition space founded by Robert L. Smith and his wife Toby Smith, had a wonderful archive where artists could leave slides of their work on file, with details about the artists. Goulds was able to study these to really become familiar with many LA artists. He also contributed a visual essay to their publication, Journal, that was a manifesto of sorts, declaring 'freedom from all heroes, past, present, and to come.' Goulds was living in Venice and decided to open his gallery there, in part because he couldn't compete with the galleries on decorator's row on La Cienega; and because many artists were living nearby between Ocean Park and Washington Blvd, and between the Ocean and Lincoln Blvd. Gallery founding director Peter Goulds with his artwork L.A. Louver, Eros it is the mirror, 1976, 2025. Marcel Duchamp had created a work called 'Fresh Widow' which was a window whose panels of glass were covered with black leather. Goulds had created his own take on it for a film he wanted to make, that was a louvered window whose slats were mirrors. In tribute to Duchamp's French heritage, Goulds called it 'La Louver.' At Liz's suggestion, this became the name of the gallery (you can see the actual item at the current LA Louver show). 'I thought if you open a halfway decent place, you have something to say, open it where artists live and work, then artists visit other artists, curators visit, collectors visit, critics visit, writers visit. There was a built-in audience. So you just had to gamble that your program was going to encourage others to come by. And it worked.' From the first day, important curators such as Betty Turnbull and Betty Asher came by, and they brought their fellow curators including a young Stephanie Barron, and the LACMA legend Maurice Tuchman. Local artists often walked in, some hoping to exhibit, some hoping to get work doing construction or installation work. Lili Lakich, Mona, 1981, Photostat on Masonite, plexiglass, glass tubing with argon and neon gasses, crackle tube, transformer, 54 ½ x 39 ¼ x 7 in. At first, Goulds had trouble getting artists to show at LA Louver. He approached Lili Lakich who was doing works with neon (She eventually opened the Museum of Neon). Among the first shows was George Herms, who brought along Wallace Berman. Berman didn't want gallery representation but allowed Goulds to keep a few works in his back office to deal. Tom Wudl, and a Kate Steinitz retrospective followed. Ed Moses would rebuild the gallery and install his work. LA Louver did a couple of shows with Ed Ruscha and published some prints. 'He had no means whatsoever in those days,' Goulds recalled. Goulds figured that he would give it two years, after which if there were no sales, he wasn't sure how they'd survive. 'But I had a hunch,' Goulds said, 'And luckily, we made sales in the first year, actually $29,000. Next year we made $80,000; and the third year over $200,000. And it sort of went on like that.' At Art Basel in 1977, he met Paul Cornwall Jones whose Petersburg Press was creating fine art prints with artists such as a young David Hockney. A few years later, Jones needed $250,000 to undertake a large new project, and Goulds borrowed the money to participate, having slowly built up his own credit rating by taking and repaying small loans. Goulds was involved in the exhibition of Jasper Johns illustrations for Samuel Beckett's Foirades / Fizzles. And that led to an edition where he got to meet David Hockney. Installation of David Hockney: Looking at Landscape / Being in Landscape at L.A. Louver, 1998. Pictured at right: David Hockney, A Bigger Grand Canyon, 1998, Oil on sixty canvases, 81 ½ x 293 in., National Gallery of Australia, Purchased with the assistance of Kerry Stokes, Carol and Tony Berg and the O'Reilly family 1999. In London, R. B. Kitaj had mounted The Human Clay, his exhibition making the case for a 'School of London' figurative painting. Inspired by this, Goulds decided to assemble an exhibition, This Knot of Life, that would feature ten British painters. He went to Hockney who agreed to participate who introduced him to Kitaj , and eventually the exhibition included work from Lucian Freud, Frank Auerbach, Leon Kossoff, Francis Bacon, Michael Andrews, and Howard Hodgkin. This cemented the direction of the gallery having an international viewpoint. And, over the years, LA Louver has mounted many beautiful shows of Hockney's ongoing experimentation and exploration of various landscapes, perspectives, media, and his studio. Gallery director Kimberly Davis with a sculpture by Deborah Butterfield, 2020. The story now turns over to Kimberly Davis, who was born in California, grew up in Detroit, and attended a year at Wayne State before transferring to Pratt in Brooklyn. 'I always wanted to be in New York,' she told me recently. Initially attracted to the fashion world, after working in all aspects of the industry, including making hand-painted silk fabrics, she decided, 'This is no world for me. I just hated it.' She had a lot of friends who were artists, so she decided to go to Hunter College to get a Master's in Art History. However, she was stymied by the German language requirement. 'So I started working in the art world.' Her first job was with Alanna Heiss at the Clocktower, whom she helped with the opening of PS One in 1976, after which Davis got an internship at the Guggenheim Museum. However, none of those jobs paid enough to live on. Davis babysat in exchange for an apartment and worked as a bartender and a waitress two nights a week. Finally Davis got a paying job with Judith Selkowitz who did corporate art consulting for clients such as IBM, Xerox, and Prudential. 'It taught me a lot about how to hang art, because we would go into a building on the weekend in Westchester and we would have 300 works we would have to hang,' Davis said, adding, 'That was very useful, but it was boring.' A friend told her about a job in California working for British art dealer Bernard Jacobson. She moved to LA with $5000 and a lot of inventory, of works by Howard Hodgkins and David Hockney, and prints from Brooke Alexander and Bob Feldman from Parasol Press. 'Start selling the inventory,' Davis was told, 'Then you can pay yourself. It was really hard.' Davis had met Graham in New York, and he followed her out to LA, where they married. To expand her circle of friends, acquaintances, and buyers, she started to host dinner parties at her apartment. Often, she called a person she didn't know but invited them saying someone else would be there and then called that person saying the first couple was coming. That first year, Davis made dinner for 300 people, and she adds, laughing, 'no one ever invited me back to their homes.' But it was at one such dinner that she met Peter and Liz. Davis opened a Bernard Jacobson Gallery in a space in the parking lot of Ma Maison that had been Patrick Terrail's mother's boutique. She put together shows from Jacobson's inventory as well as some of the British artists he represented. However, she discovered that it was less expensive to have the artists come to LA for three months and create new work than to ship it from England. The gallery was barely surviving and Davis, who was paying all the gallery's bills, was owed a lot of money. She decided that what she needed was a job. 'I left with some inventory that I could own myself and ultimately did okay with it.' Davis had been to LA Louver to see This Knot of Life, which exhibited artists she knew from working with Jacobson, such as Hockney, Kossoff, and Hodgkin. Peter and Liz had come to her house for dinner, and she had worked with Peter on a Howard Hodgkin exhibit, so Davis joining LA Louver made sense, and allowed Goulds to travel to art fairs while Davis managed the gallery and its sales. The next piece in the puzzle was Chris Pate, a young artist who. while continuing to work in his own studio, helped prepare the exhibitions. Today, he manages and is in charge of the collections. Over the years, beyond the story of artists and exhibitions, Goulds threaded his way through labyrinthian real estate arrangements up and down his block of N. Venice Blvd, moving to a space next to his original location that resulted in the gallery building LA Louver has occupied since 1987; as well as the parking structure across the street which makes visiting the gallery simple. At one point, there was a New York branch of the gallery that created its own problems and which Goulds eventually decided to close, Doing so was costly which, luckily, they could weather. At the same time, there were vexing situations of employees who went off to start their own gallery trying to take artists and collectors with them, and one trusted employee's financial skullduggery. Fred Fisher was the architect for the new gallery building on N. Venice Blvd. Goulds had a rather precise vision for the height of the rooms and how art might be moved in and around the building. For example, Goulds went to visit Riko Mizuno in her gallery. The whole time they talked, Mizuno was crocheting; after which, she stood up and put on the pants she'd just made. But what was more striking was that Ed Moses had taken the roof off her studio to build a sky room. The story Goulds was told was that Ed's friend had helped him make the perfect hard edge to frame the space. That friend: James Turrell. So, when Goulds built his new space for LA Louver, inspired by Mizuno and Turrell, he built his own sky room, which he says is 'The most popular, really successful room there.' Gallery director Elizabeth East with artist Matt Wedel with his sculpture Fruit Landscape (2017) at the Korean International Ceramics Biennale, Gwangju, South Korea, 2024. In 1998, Elizabeth East joined LA Louver. East, who is also British, received her first degree in business. 'I thought I would spend my life in advertising,' she said. After being an account executive at an ad agency in London, she joined an art consultancy that was looking for a marketing executive. She worked there until her personal life took her to Washington D.C., where she worked at the Hollis Taggart Gallery for eight years. However, the gallery was focused on historic American painting, such as the Hudson Valley School. East decided that her passion was for contemporary art, and to get a job in that marketplace, she needed a Masters. As far as East was concerned, at that time, 'the place where artists get educated was Goldsmiths in London.' After her year's course, East came to Los Angeles, and seeing shows of Joe Goode and Leslie Wayne, she understood that LA was a developing home for contemporary art and artists. She wrote to several galleries inquiring about employment opportunities. She received a call to visit LA Louver. Davis gave her a tour of the gallery, 'I couldn't believe it, because when I came up the stairs, I saw a Hockney, which I'd seen six months before in an exhibition in Manchester, England. ' As she proceeded through the gallery she saw work by British artist John Virtue, and then a Leon Kossoff, which is when she knew LA Louver was the place for her. East had timed doing her degree at Goldsmiths to being able to see the Kossoff exhibition at the Tate. East, who had no direct connection to LA artists, collectors, and institutions, spent a year as Goulds's assistant, learning the practical aspects of the gallery. 'The business background of Elizabeth comes out quietly, in various ways,' Goulds told me. 'And it's a decisive part of what we do.' Gallery managing director Lisa Jann, 2025. Courtesy of L.A. Louver, Venice, CA. When Elizabeth decided to find her replacement as Goulds' assistant, she produced two candidates, the first a wonderful person who would take care of Peter, and the other, who was a dynamo that if Peter could keep up with, would be an incredible addition to the gallery. Goulds chose the latter, Lisa Jann, who has been with the gallery for 20 years and is now its managing director. Over the course of its 50 year history, LA Louver has presented many memorable exhibitions and each of the trio has their favorites. For each, the gallery is a stage set, its proportions rationalized by Goulds. to offer up a variety of exhibition spaces that optimize seeing what's on display. Among the early shows that Davis recalls as 'one of the most powerful we've done,' was a 1996 installation by Doris Salcedo, Atrabiliarios, her first on the West Coast, described in the LA Louver press release as 'shoes have been collected in a line along the wall and have been covered with a translucent layer of cow's bladder which has been sewn onto the wall.' At first, they endeavored to sell the pairs of shoes individually. Then they realized, that 'If they could find one buyer for the whole thing, that's the way to do it.' Davis found a home for the work at a museum. Which Goulds cited as 'a great piece of art dealing.' Alison Saar, Little Big Sister, 2023-24, Cast stainless steel with patina, Collection of the Joselyn. Davis also treasures her relationship with artists over the years such as with Deborah Butterfield and Allison Saar. Davis has worked with Saar for close to 20 years, which, she says, 'has allowed me to not only expand what she's doing, but curate a show that traveled to 12 museums and played a role in finding all those venues… I've worked with Jordan Schnitzer extensively and putting together a book that he published.' Davis adds that 'it's been a very rewarding relationship with her and her family, and all of that has been really great.' East, whose own curatorial debut, the 2023 summer 'Flower Show' exhibition is among my personal favorites, listed a few of hers that included: 'Rebecca Campbell 'Poltergeist' in 2009; Alice Neel in 2010; Frederick Hammersley in 2017; David Hockney always…And the energy of our Rogue Wave exhibitions.' In 2001, Goulds and Pate began a program, Rogue Wave, to have solo and group exhibitions of Southern California's diverse, emerging and mid-career artists. LA Louver has always marched to the beat of its own drummer. 'If you chase fashion,' Goulds said, 'You're finished.' He added that, 'For a long time through the nineties, we were probably better known in Europe than we were known here.' Gajin Fujita, Angel's Eye View, 2024, Spray paint, 23.75K gold leaf, 12K white gold leaf and paint markers on five wood panels, 72 x 110 in., Private collection. There is a magic to LA Louver that is the reason artists such as David Hockney, Alison Saar, Gajin Fujita, and the estates of Ed and Nancy Kienholz and R. B. Kitaj, continue to call the gallery home. To an outsider, such as myself, each of the three has their persona: Peter radiates bonhomie, Kimberly seems formidable, and Elizabeth appears serious and studious. In truth, they are all that as well as its opposite: Peter knows exactly what he is doing, Kimberly is warm and nurturing to artists and friends, and Elizabeth has a great sense of humor and, from her perch on the main floor knows every person who comes to the gallery. 'We do not operate on a commission structure,' East told me. 'So we don't have a kind of classic sales competitive environment, which some galleries do have. And also, we have engagement directly with artists as well as clients… And I personally love that.' 'One of the things that ties us all together is that we share an aesthetic of liking the same artists,' Davis said, 'which is amazing, actually.' 'I've never allowed myself the luxury, honestly, of self-praise or congratulatory moments,' Goulds told me, '[But] I have to say now, as I look back, first of all, that the decision to stay in Los Angeles was the very best thing I ever decided… We have been a part of this community through the largest period of its cultural growth... To watch all that, and to somehow, [in] some small measure to have contributed to that, gives me great joy.'
Yahoo
24-05-2025
- Yahoo
Mt. Hood Community College celebrates after voters narrowly approve bond measure
PORTLAND, Ore. (KOIN) — Mt. Hood Community College is celebrating after voters narrowly approved a $136 million bond measure in Tuesday's election. With the passage of Measure 26-258, the bond will fund upgrades to campus buildings, safety improvements, as well as classrooms and other learning spaces, MHCC administration said. US Attorney's Office files to recover $6.7M stolen in scam against City of Portland According to the Secretary of State's election results page, returns showed the bond passing at 50.16% – a difference of only 131 votes. The win also marks the first successful bond measure for the Gresham-based college in 50 years, after they tried for bond requests six previous times since opening in 1966. 'We are profoundly grateful to our community for this vote of confidence,' said MHCC President Dr. Lisa Skari. 'With the passage of Measure 26-258, we can now take bold steps to modernize our facilities and create learning environments that match the excellence of our students and faculty—so that everyone has an opportunity to get a great education.' Oregon bill offering unemployment benefits to striking workers could 'destabilize' school services, superintendents warn The college added the funds from the bond will also be used to repair and replace outdated HVAC, plumbing and electrical systems, as well as 'enhance safety an accessibility across campus.' MHCC further noted they will begin implementing the bond in the coming months and appoint an oversight committee to 'ensure transparency and accountability.' Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Yahoo
22-05-2025
- Yahoo
Stansberry Asset Management Named to PSN Top Guns List of Best Performing Strategies for Q1 2025
Quarterly PSN Top Guns List published by Zephyr identifies best-in-class separate accounts, managed accounts, and managed ETF strategies WESTLAKE, Texas, May 22, 2025 (GLOBE NEWSWIRE) -- Stansberry Asset Management ('SAM') has been named to the celebrated PSN Top Guns List of best performing separate accounts, managed accounts, and managed ETF strategies for Q1 2025. The highly anticipated list, published by Zephyr, remains one of the most important references for investors and asset managers. "Q1 2025 presented a fascinating market narrative marked by significant rotation and global shifts. Success demanded adaptability, deep market understanding, and strategic positioning," says PSN Product Manager Nick Williams. "PSN Top Guns managers demonstrated exceptional skill in navigating these complex dynamics, where value sectors outperformed growth, international markets showed strength, and policy shifts created both challenges and opportunities. Their expertise in reading and responding to these evolving market conditions continues to showcase the enduring value of active management in separately managed accounts." SAM's recognition highlights the strength of two flagship strategies—Gold and Income—which posted standout performance and offered clients differentiated results in a highly dynamic market. 'Our Gold and Income strategies stood out in Q1 not only for their positive performance but also for how they navigated volatility with purpose,' said Austin Root, Chief Investment Officer at SAM. 'Gold offered a meaningful hedge amid rising macroeconomic uncertainty, while our Income strategy delivered yield without sacrificing downside protection. This recognition from Zephyr underscores the value of our active, research-driven approach.' Through PSN's proprietary performance screens, the PSN Top Guns awards products in six proprietary categories across more than 75 universes, based on consistent performance over time. SAM's Gold strategy earned a PSN Top Guns Q1 and 1-Year award, meaning it ranked in the top ten returns of the US Equity Universe, comprised of 2,658 other strategies. For Q1 2025, the strategy ranked #1, and for the 1-Year period ending 3/31/2025, it ranked #2 within the universe. The Gold strategy is designed for investors seeking to increase their exposure to precious metals—primarily gold—as a hedge against inflation, currency risk, and market turmoil. It employs a four-pronged approach to generate income and grow capital while maintaining gold's core role as a long-term store of value. In today's environment of rising volatility and macroeconomic uncertainty, gold remains an essential allocation in diversified portfolios. SAM's Income strategy earned a PSN Top Guns Q1 award, ranking #2 in the US Balanced Universe among 300 other strategies. The Income strategy is built to deliver reliable yield while participating in upside markets and offering protection during drawdowns. Actively managed and forward-looking, it searches for yield across traditional and non-traditional sources, favoring companies with strong shareholder-return policies including dividends, buybacks, and special distributions. Its flexible structure allows it to adapt to evolving market conditions while remaining anchored in risk-conscious income generation. The complete list of PSN Top Guns and an overview of the methodology can be located at To Learn more about SAM's Gold and Income Strategies you can visit: Gold Strategy: Income Strategy: About Stansberry Asset Management (SAM) Stansberry Asset Management is a registered investment advisory firm headquartered in Westlake, Texas, with offices in New York, NY, Clifton Park, NY and San Mateo, CA with clients across the country. SAM marries informed, active, sophisticated investment management with holistic financial and wealth planning, all with a focus on helping clients build and preserve their legacy. SAM's approach is rooted in rigorous analysis, strategic insight, and a commitment to client-centric service. For more information, please visit About PSNFor more than four decades, PSN has been a top resource for investment professionals. Asset managers rely on Zephyr's PSN to effectively reach institutional and retail investors. Over 2,800 firms, 285 universes, and more than 21,000 products comprise the PSN SMA database showing asset breakdowns, compliance, key personnel, ownership diversity, ESG, business objectives and strategy, style, fees, GIC sectors, fixed income ranges and full holdings. Unique to PSN is its robust historical database of over 40 Years of Data Including Net and Gross-of-Fee Returns. PSN Outlook for 2025 provides insight and trends about the SMA industry. You can view it online here. Visit PSN online to learn more. Contact: Claire Sniderinfo@
