Latest news with #Lock
Scoop
a day ago
- Entertainment
- Scoop
Turua Gallery Presents 'Lock, Stock & Barrel' – A Treasure Trove Of Artistic Gems
Turua Gallery is thrilled to announce the return of its beloved annual stockroom exhibition, Lock, Stock & Barrel, running from 13 June to 13 July 2025. This eagerly anticipated showcase transforms the gallery into a vibrant tapestry of artistic expression, featuring a diverse array of works from both established and emerging artists. "Lock, Stock & Barrel is more than just an exhibition; it's a celebration of the precious and varied talents represented by Turua Gallery,'' states Liss Wallace, Turua Gallery Owner. The exhibition provides visitors with a distinctive opportunity to uncover hidden gems and revisit captivating artworks that have been patiently awaiting their moment in the spotlight. Adorned in a "more is more" aesthetic, the gallery walls invite both art enthusiasts and novices to immerse themselves in a vibrant and ever-evolving collection. In collaboration with Sgraffito Framers, Turua Gallery is offering a special 15% discount on framing for any artworks purchased during the exhibition period. This partnership ensures that customers can seamlessly integrate their new acquisitions into their personal spaces with professional framing that complements each piece's unique character. Experience the magic of Lock, Stock & Barrel and explore the full spectrum of creativity that Turua Gallery has to offer. For more information, visit Additionally, Turua Gallery is now available for event hire, providing a distinctive and inspiring setting for private functions, corporate gatherings, and special occasions. For booking inquiries, please contact hello@ About Turua Gallery Turua Gallery is dedicated to making contemporary art accessible in a welcoming and relaxed space. Their mission is to connect people with the creative works of both established and emerging New Zealand artists. Through a curated program of solo and group exhibitions, they offer art lovers the opportunity to discover and collect special pieces that speak to them. Beyond paintings, Turua Gallery also features an exquisite range of limited-edition prints, sculptures, and ceramics—showcasing a broad spectrum of exceptional talent. They are proud to support and celebrate the artistry of Aotearoa.
Daily Record
4 days ago
- Business
- Daily Record
Triple Lock creating two-tier State Pension for older people warns former DWP employee
The latest figures from the Department for Work and Pensions (DWP) show there are now 13 million people of State Pension age across Great Britain, including 1.1m in Scotland. Of that total, 34 per cent are in receipt of the New State Pension while 66 per cent receive the Basic/Old State Pension. Under the Triple Lock guarantee, the New and Basic State Pensions increase each year in-line with whichever is the highest between the average annual earnings growth from May to July, Consumer Price Index (CPI) inflation rate in the year to September, or 2.5 per cent. However, additional elements of the State Pension, including deferred amounts, rise by the September CPI rate, something a former DWP employee warns is creating a 'two-tier uprating system for pensioners'. Sandra Wrench has 42 years experience in dealing with State Pensions and benefits delivered by the DWP and previously wrote to DWP Ministers in 2023 expressing her concerns. Mrs Wrench told the Daily Record how some pensioners may not be aware that this year's Triple Lock uprating of 4.1 per cent only applies to the New and Basic State Pension payment rates; additional components have risen by 1.7 per cent - the September CPI inflation rate. This is also the uprating applied to Universal Credit and other benefits delivered by the DWP. It's important to highlight that devolved benefits in Scotland, including Adult and Child Disability Payment, Pension Age Disability Payment, Carer Support Payment and Pension Age Winter Heating Payment, also increased by 1.7 per cent this month. The ex-DWP employee said: 'The Triple Lock guarantee only covers the BASIC State Pension and not all components, the other components being Additional Pension (the scheme which existed between 1978-April 5, 2016 and which you could contract out of), Graduated Pension (1961-1975), increments for deferring your State Pension, and the protected pension which is any amount in excess of the 100% rate of the new 100% State Pension which you might be entitled to at April 6, 2016. 'With the calculation of the New State Pension at April 6, 2016, in most cases, all the components of the old State Pension have been added together to give a basic State Pension, and where applicable a protected pension, which is the excess above the 100% rate of the New State Pension. 'So by adding all the components together this has brought components such as additional pension, within the scope of the Triple Lock, which was 4.1% this April 2025. Under the old scheme, additional pension would have just been increased by the CPI rate of 1.7% for this April 2025.' Mrs Wrench warned: 'With The Triple Lock relating to the basic rates of the State Pension only, this has created a two-tier uprating system for those who reached State Pension Age before April 2016 where the 100% rate of the Old/Basic State Pension is currently £176.45 a week and those who reached retirement age after April 2016 where the 100% rate of the New State Pension is higher at £230.25.' She shared an example to help illustrate the difference: A person who was State Pension Age before April 2016, has a weekly amount of State Pension as £240.00, consisting of 100% Old/Basic State Pension of £176.45, additional pension of £59.75 and graduated pension of £3.80. Compare this with a person who reached State Pension Age after April 2016, who also has a weekly pension of £240.00, but this consists of 100% New State Pension of £230.25 and a protected payment of £9.75. In April 2026, the person who reached State Pension Age before April 2016, will only have £176.45 increased by the Triple Lock, compared with a person who reached State Pension Age after April 2016, who will have a higher amount of £230.25 increased by the Triple Lock. Mrs Wrench continued: 'You can see how a person who reached State Pension Age before April 2016 has a lower percentage of their State Pension uprated by the Triple Lock compared with those who reached State Pension Age after April 2016. 'Because of this difference in basic pension and the Triple lock only relating to the basic rate of the State Pension, this will inevitably lead to those who reached State Pension Age before April 2016 falling further behind with every annual uprating.' The insider explained that when the Triple Lock was introduced in 2011, there was only one State Pension (Old/Basic), but the introduction of the New State Pension in April 2016, calls into question whether it should also be uprated under the Triple Lock. However, she warns that any future adjustment to the Triple Lock 'will particularly affect poorer pensioners, such as those who do not have other sources of income, those who are disabled and not able to work full time, and women with caring responsibilities who have had to work part time and who may not have had the opportunity to build up any private or work pension'. Mrs Wrench added: 'The DWP have confirmed they cannot means-test the State Pension, so possibly the only way that the increased costs for State Pension can be addressed is through some adjustment to the Triple Lock, and to reassess the annual uprating of the State Pension. Mrs Wrench shared two examples to help highlight the uprating impact: From April 6, 2016, a woman, who is State Pension Age after April 2016. has a Basic State Pension of £63.63, and Additional Pension of £24.82. These two components were added together on April 6, 2016 to give her a starting amount of £88.45 for the New State Pension, and this £88.45 is now all Basic State Pension under the new scheme. If you were State Pension Age before April 2016, under the old scheme the basic State Pension of £63.63 would have increased by the Triple Lock, and the additional pension of £24.82 increased by the lower CPI rate , but by adding the two together for the New State Pension from April 6, 2016, this means that all this amount is basic state Pension and increases by the Triple Lock. So those who are State Pension Age after April 2016 are at an advantage compared to those who reached retirement age before April 2016, as regards the Triple Lock increase. A person who reached State Pension Age after April 6, 2016 has the full 100% rate of the basic State Pension which was then £119.30 (under the old scheme) and Additional Pension of £75.00. Basic £119.30 plus AP £75.00 = £194.30 at April 6, 2016, which was converted into the 100% rate of the New State Pension of £155.65 (the 100% rate at April 6, 2016) plus a protected payment of £38.65. Basic State Pension increases by the Triple Lock, but protected payment increases by CPI rate, so some of the additional pension has been converted into Basic State Pension and brought within the scope of The Triple Lock. State Pension payments 2025/26 The DWP has published the full list of State Pension and benefit uprated payments on here, which also includes additional elements such as the deferred rates, which have risen by 1.7 per cent (September Consumer Price Index inflation rate). Full New State Pension Weekly payment: £230.25 Fortnightly payment: £460.50 Four-weekly payment: £921 Annual amount: £11,973 Full Basic State Pension Weekly payment: £176.45 Fortnightly payment: £352.90 Four-weekly payment: £705.80 Annual amount: £9,175 Future State Pension increases The Labour Government has pledged to honour the Triple Lock or the duration of its term and the latest predictions show the following projected annual increases: 2025/26 - 4.1%, the forecast was 4% 2026/27 - 2.5% 2027/28 - 2.5% 2028/29 - 2.5% 2029/30 - 2.5%
The Advertiser
4 days ago
- Entertainment
- The Advertiser
Never-before-seen Margaret Preston artworks go on show
Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026. Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026.
Perth Now
5 days ago
- Entertainment
- Perth Now
Never-before-seen Margaret Preston artworks go on show
Two recently discovered paintings by one of Australia's most significant artists are going on show to the public for the first time. Margaret Preston is best known for her distinctively Australian still lifes and printmaking, but while based in Ireland during World War I, she painted two post-Impressionist views of the coast. The oil paintings were held in a private collection in Britain, and even art scholars specialising in Preston's work were unaware the paintings existed, according to Art Gallery of South Australia curator Tracey Lock. The paintings will finally go on public display as part of Dangerously Modern: Australian Women Artists in Europe 1890–1940, currently on at the Art Gallery of South Australia, before opening at the Art Gallery of New South Wales in October. The exhibition is a joint project by both galleries, with art from their collections making up about half the works on show - what's more, the galleries have acquired one of the Preston paintings each. With 50 artists and 220 artworks, Dangerously Modern is billed as the first major exhibition to explore the role of Australian women in modernism internationally. At the turn of the 20th century, waves of women artists left Australia to work overseas, in defiance of social expectations at the time. Not only did these artists contribute to the development of modernism in Europe, they returned home with fresh ideas that helped modernise Australia too. The exhibition title comes from an article by artist Thea Proctor, who returned from London to Sydney in 1921 to find her art described as "dangerously modern". The show also includes work from the likes of Nora Heysen and Grace Cossington Smith, but there are names that are less well known, such as Justine Kong Sing and Stella Marks. Many trailblazing women artists were successful during their lifetimes, only to find themselves written out of art history in the postwar period, said Lock. "Almost overnight - bam! They are erased from the record," she said. Dangerously Modern is no less than an effort to bring these artists back into the historical narrative - and a 65,000-word catalogue with essays from 29 art scholars should help. Lock believes part of the reason women have been left out is that Australian art history (and those writing it) did not value the themes these artists were exploring at the time. Rather than the usual tenets of light, landscape and national identity, women artists such as Anne Dangar were exploring notions of spiritualism, for example. "Our women get lost, they get a bit stuck in some blind spot in Australian art, we don't know what to do with them," said Lock. "Frankly, it's time to change, and show the power of this work." While Australia's state galleries regularly loan works, they do not often collaborate on the design and concept of a show. But when AGNSW and AGSA realised they were preparing similar exhibitions, they decided to work together. There are Sydney artists such Proctor, Dangar and Cossington Smith, as well as Grace Crowley, while South Australian names include Dorrit Black along with Heysen and Preston. "Maybe it's in the water or something, but it turns out Adelaide has produced a number of very talented modern women artists," said Lock. Dangerously Modern is on at the Art Gallery of South Australia until September 7 and will show at the Art Gallery of New South Wales from October 11 until February 2026.
Yahoo
5 days ago
- Business
- Yahoo
Popular Kansas City Mexican Restaurant Shutting Down After 5 Years
A popular Mexican restaurant in Kansas City, MO is closing after operating for five years. South of Summit, a taqueria and tequila restaurant in the Waldo neighborhood of Kansas City, announced that it will cease operations on May 31. 'We are deeply grateful for the loyalty and support our guests have shown South of Summit," the Summit Hospitality Group said in a statement. 'Although it's difficult to close this chapter, we're eager to introduce a new concept that will continue our tradition of culinary excellence and community engagement." The restaurant did not elaborate on the concept that would replace the closing establishment. Summit Hospitality Group runs multiple restaurants in the area, including the Summit Grill, Pearl Tavern, Boru Asian Eatery and Third Street Social. "We are committed to providing a diverse range of culinary experiences that cater to all tastes and occasions. We pride ourselves on our high standards, our passion for food, and our dedication to service," Summit Hospitality Group says on its website. The closure of South of Summit comes less than two months after the death of the ownership group's co-founder, Andy Lock. 'His enduring legacy is woven into the very fabric of our restaurants, our teams, and the many communities he helped shape across the Kansas City metro area,' Summit Hospitality Group said in a statement. 'From the moment he opened the doors of Summit Grill, Andy led with purpose, passion, and an unwavering belief in the power of hospitality to bring people together.' The group also highlighted Lock's leadership, friendship and "the indelible impact he made on our lives and the lives of so many others." Lock and his business partner Domhnall Molloy were named Restaurateurs of the Year by the Greater Kansas City Restaurant Association in 2017, and continued to build with different locations and concepts around the city. Lock, who died at the age of 57 in April, was a former Missouri Tigers football player. His son Drew followed in his footsteps at Mizzou and was drafted in the second round by the NFL's Denver Broncos in 2019. He currently plays for the Seattle Seahawks after stints with the Broncos and New York Giants. Popular Kansas City Mexican Restaurant Shutting Down After 5 Years first appeared on Men's Journal on May 26, 2025
