Catrin mara biography for kids

Nairy Baghramian’s work traverses the realms of sculpture, installation, photography and drawing with fearless experimentation, historical acuity and conceptual rigor. Particularly in her prime medium of sculpture, the artist employs an extensive repertoire of techniques, materials and forms to address the spatial, architectural, social, political and contextual conditions of contemporary art. Using an abstract vocabulary that often combines geometric shapes and organic matter, industrial process and gestural procedure, Baghramian’s abstract yet eminently allusive works subtly explore the ligatures between art and other fields of object production (most notably interior design, dance and theater) in order to evoke and address bodies of all variants in both their vulnerability and obstinacy. Through her innovative use of materials and manipulation of familiar forms, Baghramian’s work invites viewers to reconsider their sense of self, space, object and site.

Born in Isfahan, Baghramian had to flee post-revolutionary Iran as a teenager and has been living and working in Berlin since 1984.

Recent solo shows include those at the Aspen Art Museum, Aspen CO (2023); Nasher Sculpture Center, Dallas TX (2022); Carré d’Art, Nimes, France (2022); Secession, Vienna, Austria (2021); Galleria d'Arte Moderna (GAM), Milan, Italy (2021); MUDAM Luxembourg, Luxembourg (2019); Palacio de Cristal, Madrid, Spain (2018); the Walker Art Center, Minneapolis MN (2017); Statens Museum for Kunst, National Gallery of Denmark, Copenhagen, Denmark (2017); Museum of Contemporary Art, Ghent, Belgium (2016); Museum Haus Konstruktiv, Zürich, Switzerland (2016); Museo Tamayo, Mexico City, Mexico (2015); The Art Institute of Chicago IL (2014); Serralves Museum, Porto, Portugal (2014); MIT Visual Arts Center, Cambridge MA (2013); Kunsthalle Mannheim, Germany (2012); the Contemporary Art Gallery, Vancouver, Canada (2012); and Serpentine Gallery, London, UK (2010); Kunsthalle Ba

Olivia Jageurs graduated from the Royal Academy of Music’s Master’s course in 2014 after completing an undergraduate degree at the University of Manchester.

Following the London Philharmonic Orchestra’s competitive Foyle Future Firsts scheme, she has gone on to play with the UK’s major orchestras, including the BBC Symphony Orchestra, BBC Concert Orchestra, Britten Sinfonia, Royal Northern Sinfonia, Sinfonia Cymru, Rambert, London Philharmonic Orchestra and The Hallé.

In 2017, Jageurs’s harp-writing resource, 15 Second Harp, was shortlisted for a Royal Philharmonic Society Award. The RPS awards, presented in association with BBC Radio 3, are the highest recognition for live classical music in the UK. That year, Jageurs also founded Bach’n Eggs, London’s first series of classical-music brunch concerts, which is regularly listed as one of London’s top pop-up events.

Last year, Jageurs played at Glyndebourne with the Orchestra of the Age of Enlightenment and the London Philharmonic Orchestra and performed Benjamin Britten’s A Ceremony of Carols at Wigmore Hall with Tenebrae Choir.

From 2013 to 2019, Jageurs has played at the Wimbledon tennis championships, entertaining the guests of the royal box before and after the women’s and men’s finals.

Jageurs records remote sessions regularly from her home studio. Since the Covid-19 crisis, she has started a series of concerts every Friday called Harpy Hour, playing audience requests, which now has audience members in the UK, USA, Mexico, Singapore and Ireland.

Photo by Maximilian Van London

Australian murderer (born 1955)

For the Canadian artist and documentary filmmaker, see Katherine Knight (artist). For the American immunologist, see Katherine L. Knight.

Katherine Mary Knight (born 24 October 1955) is an Australian murderer and the first woman in the country's history to be sentenced to life imprisonment without the possibility of parole. She was convicted for the murder of her partner, John Charles Thomas Price, in February 2000, and is currently imprisoned at the Silverwater Women's Correctional Centre in New South Wales. Knight stabbed Price to death, skinned him and then put his skin on a meat hook, which she had recently installed. She then cooked his head and parts of his body with the intention of feeding them to Price's children, but was stopped by police after an employee of his went to check on him after he had not been at work that day.

Early life and family

Katherine Knight was born and raised in an unconventional and dysfunctional family environment. Her mother, Barbara Roughan (née Thorley; 1930-1986), had been married to Scottish-born John "Jack"

Written by Jenny Watson (trans.)Simone van der Vlugt

Following the sudden death of her husband after a short-lived, disastrous marriage, young widow Catrin leaves her stifling life in a small village and moves to Amsterdam to work for a well-connected family. In Holland in 1654, society is evolving rapidly, and new exciting vistas are opening up both for Catrin and her employers. Her new life shows her many things she has dreamed of and a chance to explore her talent for painting. A figure and a secret from her past catch up with her and force her to move on to Delft where she becomes involved in the Delftware potteries and the lives of two brothers. Her painting enables her to work in a way unusual for a woman of her era. Her private life is dramatic and haunted by her past.

This author is apparently well known in the Netherlands, and the novel is translated from Dutch and marketed (in the UK –ed.) for young adults. It mixes fictitious story lines with historic facts, including characters such as the painters Vermeer and Rembrandt and the plague which swept Holland at that time. The narrative is written in the first person and the present tense, which means that events are only seen from Catrin’s point of view. It’s an interesting story, but somehow the drama lacks realism and the style seems a little stilted. The historical elements are wrapped up in a fairly light romance, and the dialogue often seems a little too modern. However, this could be either as a result of translation or deliberate, given that the target market is young people who might be bored by more in-depth historical facts. Overall it is a light and pleasant read about a fascinating period in Dutch history.