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/ Obelisk of Distances

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Obelisk of Distances 1818 Francis Greenway - photo Richard Glover for City of Sydney
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Artwork Description

The Obelisk of Distances was erected in 1818 as an official starting point for measuring all the road distances in New South Wales, and it continues to perform this function today. Also known as the Macquarie Obelisk , it was erected by Governor Macquarie in what was then the geographic centre point of Sydney.

The monument was also the ‘symbolic peg’ indicating the furthest extent of the British Empire in the early 1800s. From a contemporary perspective it also reflects the process of superimposing European notions of time and space on the antipodean environment.

The Obelisk is apparently the earliest surviving monument in the colony, probably built by convict labour.

The monument it is a tall, tapering shaft of sandstone approximately six metres high on a rectangular base and pedestal. It is set below street level, approached on both sides by flights of steps, and surrounded by a ring of wrought iron railing.

The once prominent position of the Obelisk has been been eroded over time by the encroachment of roads. There was originally a surrounding wall which had design elements reflecting those on the Obelisk itself.

Francis Greenway (1777-1837) was an English architect transported to Australia for the crime of forgery, arriving in Sydney in 1814. In New South Wales he worked for the Governor, Lachlan Macquarie, as Australia’s first Government architect and is well known for buildings such as St James’ Church Sydney and Hyde Park Barracks, Sydney.

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Inscriptions on the Northern face (Circular Quay side) read: Principal Roads. / distance from Sydney / to Bathurst 137 Miles / From Sydney to Windsor 35 1/2 do” / to Parramatta 15 1/2″/ to Liverpool 20″ / to Macquarie Tower / at the South Head 7″ / to the North Head / of botany Bay 14″

Inscriptions on the South Eastern Corner side read: This Obelisk / was erected in / Macquarie Place/ A.D. 1818, / to Record that all the / public roads / leading to the interior / of the colony / are measured from it./ L. Macquarie Esq / Governor


Louella McCarthy and Paul Ashton (eds.), Sydney Open Museum Historical Survey, Sydney City Council, 1994, item 21, pp.61-64, xxvi

commonwealth home

From here the roads take measurement That journey south and north; From here o’er leagues and gleaming leagues The Western Road sets forth.

The advection operator is discretized:

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A c Δ r f h c G τ a d v = δ i F x + δ j F y + δ k F r

where the area integrated fluxes are given by:

F x = U ¯ τ i F y = V ¯ τ j F r = W ¯ τ k

The quantities U , V and W are volume fluxes. defined as:

U = Δ y g Δ r f h w u V = Δ x g Δ r f h s v W = A c w

For non-divergent flow, this discretization can be shown to conserve the tracer both locally and globally and to globally conserve tracer variance, τ 2 . The proof is given in Adcroft (1995) Carvela Kurt Geiger Rossella Quilt Backpack Black 7k2E4bds
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Know-how for visual artists looking for advice and insight.

How do curators operate within and outside of the gallery? Here we cover some points for artists to bear in mind when building relationships with galleries and the people that work there.

The gallery curator is normally the individual who makes the decisions about which artists a space will show. Agallery might nothave someone in the named position of ‘curator’, butevery space has an individual (or occasionally a number of people) who is responsible for making decisions as to which artists a space works with. If you want to show at a gallery, this is the person you need to identify and make aware of your practice. Sometimes the gallery director is also the curator.

Many artists forget that it is part of a gallery curator’s job to find artists to exhibit, and that it is much better to put yourself in a position where your work can be seen or where you can be introduced to them. Although this may seem to be a ‘Catch-22’ situation, there are a number of tips to bear in mind.

This is one of the reasons that growing your network is so important as an artist

Curators are incredibly busy people, and an average curator at a commercial gallery might receive between 30 and 60 unsolicited postal applications per week, (which could be up to 3000 per year) and spend at most 2 minutes looking at each (if at all); eve more applications and submissions will come in by email, including invitations to exhibitions by artists they have not heard of who have Puma X Big Sean Mid Suede Sneaker Shell Leather Suede Pj6ttZ
. Applications without self-addressed, stamped envelopes are very unlikely to be returned, and messages from unknown artists tend to get deleted pretty quick. Furthermore, the average staff of a contemporary art gallery is around 3-5, so it’s likely no one will have time to give your application much thought.

You need to build relationships with curators, not simply bombard them with material in the hope that they will attend an event.

Also remember that while some curators areemployedby specific galleries, many work independently as freelancers, and collaborate withspaces onaproject by project basis.Every curatorhas an individual way of working(just asevery artist andgallery does) so if you are hoping to build a relationship with one then its important to understand how they work. Read our St John Collection Modern Floral Hammered Satin Dress Caviar Multi CiIieE0
tofind out more.

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