Electric Works is an office building providing workspace for creative, digital and media entrepreneurs and businesses in Sheffield, England. It contains the only helter-skelter in a UK office building, providing a seven second spiralling slide from the top of the three storey building to the ground floor reception.

Another blink of the eye at the "Electric Works" site

The GE logo painted on the floor of the club, which was erected in 1926.

Greater Fort Wayne, Inc. announced today that the former General Electric campus along Broadway has a buyer. With the purchase will come $300 million in upgrades to develop the buildings into residential, retail, educational and other uses. Wow!

Fort Wayne, Indiana

2.13.2017

Source:

news-sentinel.com/news/local/Developer-plans--300M-upgrad... — in Fort Wayne, Indiana.

I was invited to do a variation of my Obama print for SF Electric Works Inaugural Celebration. Prints are available through their website or at the event

Taken during GE's auction in October 2014, where the public had access. The first floor of this building is simply cavernous and left me in awe of the operations long gone. Standing there for a moment taking in the history, the white ceiling paint dropped from above like intermittent snowflakes. #19 awaits an uncertain future while time morphs it into a derelict common in Detroit and other Rust Belt cities.

10.16.2014

Windows have been disappearing pane by pane due to well aimed stones. This image was taken a couple of years ago.

Fort Wayne, Indiana

This is me, the photographer of most of the stuff for this flickr site. I also photograph art for electric works in this studio. oh and I paint my studio floor barefoot.

photo by maizie gilbert

Building 18 on GE's Broadway campus slowly bows out of the picture.

3.31.2015

Taken several years ago after the East Campus had been mostly abandoned. The hulking silhouette is awaiting its next chapter.

Window view from a stairwell in General Electric's Building #26.

Fort Wayne, Indiana

10.14.2014

* Follow Up, Composite *

A suggestion, early this morning, after posting the 'Leander' tour pictures last night and after over 8 hours work on that set, was made by Arfadint asking why we didn't see the two forms of traction at the station at the same time. I had actually over-looked seeing if there was such a picture composite to be made in my usual 'genre' ... and with the two events occuring within 4 minutes of each other and having fortuitously taken 2 pictures with almost the correct geometry; this piece resulted and not bad it is too, so thanks Arfa! This is the Network Rail Test Train set sat on Sheffield Station's Down Slow line awaiting departure on the 1Q34, Derby R.T.C. to Heaton T&R.S.M.D. working and in charge is class 43 HST, 43014, 'The Railway Observer'. At the back of the Test Train set is fellow unit 43062, 'John Armitt'. Passing by on the Down Main, Platform 1 line, is the WCRC's 'East Yorkshireman tour hauled by LMS class 4-6-0, 5XP, 45690, 'Leander' with class 47, 47237 at the rear. All looking in very fine form with the enthusiasts visible, and some maybe recognisable, at the end of Platform 2 with another, on his own at the end of Platform 6. Other 'interesting' traction is visible in the bay, platform 3, in the form of another yellow-fronted unit, a local Northern Rail class 144, 144003 DMU awaiting its path north through the station to Adwick and beyond that, on Platform 2 at the side of the Test Train set is an East Midlands Trains class 222, 222019 awaiting to travel up to Woodburn Junction, the 5C37 ECS move, to come back onto Platform 5 on the left in the picture and then provide the 10:29, 1C35 service to St. Pancras High Level, London.

(Thanks Gavin for the prompt and reminding me of the omission, well worth the effort to produce this last picture...)

Sometimes at the risk of lives of unknown engineers.

Redwood's abstracted heads recall the grotesquerie and flatness of Jim Nutt or Glenn Brown but in a fluid frenzy recognizable by his own stylized intestinal version of brushwork. Most of the heads evolve independently through a different technical approach. In one figure, the eyes, nose, and ears are transparent swirling bold lines, in another they are poured half-removed puddles or literally paint drippings. The organic and vibrant colors seen in Redwoods dynamic landscapes carry through this new imagined cast of characters. These characters strike an alternating balance between abstraction and representation. While his previous works bounced between the narrative and the construction of the narrative, On A Neck delivers a personalized vision of the portrait.

Redwood's approach to the figure mixes with popular motifs in contemporary painting such as centrifugal composition, visual puns, dark brooding expressionism, whimsy, and the portrait as icon. His figures seem to melt, float, bulge and glide across his glass-like gessoed canvases. The relevance of historical influence abound throughout the seventeen small works on paper and canvas. In these scaled down images a more intimate, biological mark invades the portraits not seen in his previous larger works.

Nathan Redwood's work is held in numerous private and public collections. He has exhibited extensively from the Neuberger Museum of Art (New York), the Torrance Art museum (California), at TENT Centrum Beeldende Kunst (Holland) and the San Jose Museum of Art (Forthcoming). His work has been featured in, among others, The New York Times, The Los Angeles Times, Art In America and US Art, and the forthcoming issue of McSweeney's Quarterly Concern. On A Neck, Redwood's second solo exhibition with Electric Works will be on view from September 11th through November 7th, 2009.

Electric Works

130 8th Street

San Francisco, CA 94103

vox 415.626.5496

fax 415.626.2396

info@sfelectricworks.com

(front of 4 sided monument)

TO THE MEN

OF THE FORT WAYNE WORKS

GENERAL ELECTRIC COMPANY WHO

SERVED IN THE WORLD WAR 1914-1918

THIS MEMORIAL WAS ERECTED BY

THEIR FELLOW EMPLOYEES, NOV. 11, 1924

________________

*THESE MADE THE SUPREME SACRIFICE

*ADAMS, HAROLD T.

*HIBBENS, WALTER L.

*HILGEMAN, WILLIAM R.

*MAXSON, ROY

*SLENTZ, DANIEL R.

*WOODS, CLEO M.

ROLL OF HONOR

(column 1)

ACKLEMAN, H. A.

ADAMS, FRANK S.

AHEARN, JOHN

ALLEN, E. J.

ALLEN, LLOYD H.

ALTERKRUSE, WILLIAM

ARCHER, LLOYD

ARCHBALD, F.

ARCHIBALD, OWEN

ARNOLD, CLYDE C.

ASHER, VIRGIL C.

ASHLOCK, GEORGE W.

ATWATER, E. E.

AUER, CHARLES J.

AUTH, EDMOND L.

AXT, AUGUST J.

BAADE, ERIC A.

BAIR, E. A.

BAKER, ELRY

BANDT, EDWARD

BANGERT, ROBERT J.

BARBIER, ROLAND D.

BARNES, HARRY

BARNETT, FRANK

BARROWS, IRA C.

BARTELL, ROBERT R.

BARTELLO, FRANCIS O.

BARTELS, CARL H.

BARTH, GEORGE

BASHARA, GEORGE R.

BAUER, GEORGE

BAUER, WILLIAM E.

(column 2)

BAUERLE, HOWARD J.

BAUGHMAN, CLARENCE

BAUGHMAN, GAIL

BAUMGARDNER, A. M.

BAUMGARTNER, ERNEST

BEAL, ROY B.

BECKER, WALTER H.

BENDER, CHARLES M.

BENDER, JESSE R.

BENGS, ERWIN H.

BENTLEY, FRANK

BENTZ, ROY H.

BERGER, NOAH L.

BEUCHEL, GEORGE

BEUCHEL, HENRY

BILTZ, CLARENCE

BIRD, JAMES R.

BIRKENBEUL, HENRY

BLAKE, VICTOR

BLEM, LESTER L.

BLESSING, ROY

BLOMBERG, WALTER G.

BLOUGH, HARRY

BOARD, WILLIAM

BOCK, WILMER

BOESE, ALBERT

BOROFF, HERBERT R.

BOULOS, NICK

BOURNE, ROBERT O.

BOWERS, JOHN W.

BOWERSOX, JAMES J.

BOYSELL, HARMON

BRADLEY, DEWEY

(column 3)

BRADLEY, H. C.

BRADMUELLER, ADOLPH

BRADY, THOMAS J.

BRAKE, LAWRENCE

BRAUN, ANDREW J.

BRAUN, CHARLES F.

BRAUN, HERBERT C.

BRAUN, OTTO H.

BRAUN, ROBERT P.

BREIMEIER, OTTO W.

BROOKS, E. A.

BROWN, ARTHUR M.

BROWN, A. R.

BROWN, LOUIS B.

BROWN, MITCHELL Z.

BROWN, WILLIAM J.

BRUECKER, JOHN

BRUECKNER, M. O.

BRUEGGEMAN, H. W.

BRUNSON, CARL L.

BUCK, HERBERT A.

BUCK, ARTHUR I.

BUDD, H. B.

BUELL, CHAUNCEY C.

BURNS, JAMES

BURNS, ROBERT A.

BURNS, STEPHEN E.

BURT, PAUL

BUSCHE, ERNEST

BUSHING, W. C. E

BUTLER, JOHN J.

CAIN, LEVERETTE L.

CANNON, TIMOTHY S.

(column 4)

CARMER, VERN

CARNEY, DON C.

CARTEAUX, JULIUS

CASHDOLLAR, LEO N.

CASNER, A. C.

CHANEY, HUGH E.

CHRISTEN, A.

CHURCH, LE ROY

CLARK, HIRAM L.

CLARK, JEWEL R.

CLARK, M. E.

CLAYTON, HARLAN H.

CLIFFORD, GEORGE

CODDINGTON, CARL

COFFELT, CARL

COLE, LOVELL B.

COLVIN, HARLIND D.

CONTURE, EDMUND

COOK, HARLO C.

COOK, JOSEPH D.

COOK, WAYNE M.

CORLL, RUBE D.

COUGHLIN, CHARLES G.

COVERSTONE, A.

CRAIG, ELLSWORTH

CRICKMORE, FRED

CROMER, ROBERT S.

CROYLE, C. L.

CULLEN, L. L.

CULVER, CLAYTON

DAILEY, GEORGE

DAILEY, L. W.

(right side)

ROLL OF HONOR

(column 1)

DALEY, NEIL

DANNENFELSER, IRVIN

DAUGHETY, JOHN C.

DECK, THEODORE

DEGITZ, CLARENCE

DEHNER, JOE

DELEGRANGE, C.

DENNISON, HAROLD

DEPEW, ELMER A.

DICKE, F. W.

DICKMEYER, EDWARD

DIDIER, CLARENCE

DIDIER, FAY

DIDIER, LEO F.

DIDIER, RALPH J.

DIFFENDORFER, THOMAS

DOEHLA, G. J.

DOHREN, C.

DONNELLY, G. S.

DOYLE, E. P.

DRIFTMEYER, H. L.

DRUCE, A. F.

DRUHOT, F. J.

DRUHOT, R. J.

DUNTEN, LESLIE M.

DUNTEN, RUSSEL

EALING, EARL

EARL, BURWELL

EBERWINE, A. C.

EDSALL, CLARENCE

EDSON, R. W.

EDWARDS, LYNN

EGGEMAN, R. C.

EHINGER, N. F.

EHREMFORT, WILLIAM

ERMAN, E. C.

EILER, C. K.

ELDER, CARROL

ELDER, LEO

EMRICK, RALPH

ENSCH, L. S.

EPPLE, H. G.

ERDMAN, G. W.

ERICKSON, EDWARD

ERICKSON, L. A.

ERNE, HARLO

ESTEP, DEWEY

EVARD, CLARENCE

EVERSOLE, A. H.

FAULKNER, J. F.

FAULKNER, S. M.

(column 2)

FEASER, HARRY

FELL, W. J. B.

FEUCHTER, FRED

FIREHAMMER, P. B.

FIRTH, FRANK

FISHBACK, J. R.

FITCH, F. W.

FLAIG, FRANK

FLAIG, W. H.

FLEMING, WALTER

FOELLINGER, F. M.

FOERSTER, G. D.

FOLEY, E. C.

FORTNEY, GLEN

FOSNAUGH, HOMER

FOSTER, GEORGE

FOSTER, O. F.

FOULKS, C. E.

FOULKS, NORMAN

FOX, C. R.

FOX, O. A.

FRANCE, E. W.

FRANK, C. B.

FRAZIER, ELLIS

FRETZ, E. F.

FREY, R. A.

FRIES, C. G.

FUCHSHUBER, CHARLES

GALLOGLY, C. W.

GARDT, ELMER

GARNER, GILFORD

GASKILL, E. V.

GEAKE, SAM

GEHRIG, T. V.

GEORGE, J. P.

GERHARD, F. W.

GERKE, C. H.

GILBERT, CHARLES

GINGHER, VERN

GLANCY, CLINTON

GOEGLEIN, J.

GOETZ, LEO H.

GOILLET, CHARLES

GOLDEN, W. J.

GOOLEY, HOWARD

GORDEN, RAY

GRABNER, CLEM

GRABNER, WILLIAM

GRAGE, H. F.

(column 3)

GRANGER, M. R.

GRATTS, M. W.

GRAUE, G. H.

GRAY, R.

GREEK, CLEO G.

GREEN, J. C.

GREIDER, J. E.

GRIFFON, LLOYD

GROSSMAN, HENRY

GROTE, G.

GRUBB, GLENN

GRUBER, EARL

GRUBER, ROY

HAAG, HERBERT

HAGEMAN, R. C.

HAIFLEY, L. H.

HALEY, DAN

HALL, L. H.

HALLEFELDT, A. W.

HAMBROCK, C. F.

HAMER, W. R.

HAMILTON, E. D.

HAMRICK, CHALMER

HANAGAN, A.

HANDY, FLOYD

HARD, RONALD

HARDY, GEORGE

HARRINGTON, LOWELL

HARRIS, C. C.

HARRIS, C. E.

HARRISON, B. H.

HART, JOE

HARTMAN, J. J.

HATFIELD, CLARENCE

HATTERY, J. S.

HAUCK, CARL

HAWKINS, H. H.

HAWORTH, J. G.

HAYES, W. A.

HAZEN, W. A.

HECKMAN, E. C.

HEIM, W. L.

HEIN, V. L.

HEINE, H. F.

HEINE, LESTER

HEINGARTNER, MARTIN

HEISER, MARSHALL

HEISLER, LLOYD

HEIT, W. G.

HELLER, MERLAND

HENDERSON, ESTA

(column 4)

HENDERSON, W. J.

HENKEL, R. A.

HENLINE, S. G.

HENRY, CARNEY

HENRY, J. E.

HENSCHEN, GEORGE

HERBER, F. M.

HERR, CHARLES

HESSINGER, GEORGE

HIGGENS, O. E.

HIGHLEN, C. E.

HILDEBRAND, THOMAS

HILLE, R. W.

HILLS, CLARENCE

HINDMAN, ROSS

HINES, E. F.

HINES, L. G.

HINGA, JOHN

HIRTH, R. G.

HITZFIELD, OTTO

HIXON, A. E.

HLAVA, A. V.

HOBEN, EDWARD

HODELL, L. D.

HOGLUND, H. G.

HOLLIDAY, F. M.

HOMRIGHOUSE, L. E.

HOPPE, E. C.

HORMAN, A. H.

HORN, BERNARD

HORN, OMAR

HORNER, GEORGE

HOUCK, J. F.

HOUSER, S.

HOWE, W. W.

HUDSON, C. E.

HUEBER, CLARENCE

HUGGLES, ALFRED

HUGHES, HOWARD

HUGHES, J.

HUGUENARD, C. A.

HUNTING, H. S.

HUTH, HERBERT

ISLAND, LOUIS

JACKSON, EVERETT

JACQUAY, FRANK

JAMES, J. L.

JEFFERS, L. P.

JENKINS, HOWARD

JENSEN, ADOLPH

JENSEN, WILLIAM

(back side)

ROLL OF HONOR

(column 1)

JOHNSON, C. F.

JOLLY, J. J.

JONES, K. K.

JORDAN, CHARLES

JUENGEL, THEODORE

KABISCH, R. R.

KALLMEYER, JOSEPH

KAMMEYER, RICHARD

KAPP, RALPH

KEARNS, H. F.

KEEGAN, K. M.

KELLER, J. S.

KELLY, R. J.

KEMMETER, BERNARD

KEMMETER, L. F.

KENNEY, RAYMOND

KENT, WALTER

KEPLINGER, D. H.

KESSLER, F. A.

KIMBLE, MARTIN

KINDER, CLARENCE

KING, W. C.

KINGSBURY, W. S.

KINZY, A. E.

KIRKPATRICK, C. P.

KLEEMEYER, C.

KLEINT, H. S.

KLINE, J. H.

KLINE, KEARNEY

KLINGENBERGER, L. J.

KLOPFENSTEIN, RUFUS

KNIGHT, CLARENCE

KNIGHT, H. S.

KOENIG, W. F.

KORTE, FLORIAN

KOSTER, H. T.

KRAMER, ANTHONY

KREAGER, DEWEY

KREIGH, E. D.

KRING, V. F.

KRUSE, C. E.

KRUSE, W. B.

KUNER, RUPERT

KUTTNER, L. W.

LACEY, W. H.

LALLAK, JOHN

LAMBOLEY, H. T.

LAMONT, HARRY

LANGE, HARMAN

LANGENDERFER, M. J.

(column 2)

LANGSTON, C. C.

LARENITIS, L. P.

LARSON, CHARLES

LASH, EDWIN

LEE, A. W.

LEIDOLF, R. A.

LEVANDOWSKY, STANLEY

LEWIS, A. D.

LINDEMUTH, MAURICE

LINEMEIER, H. H.

LOCKE, C. D.

LOCKER, W. W.

LOPSHIRE, R. C.

LOTZ, HERMAN

LUEHR, HENRY

LULEY, L. W.

MABREY, AUSTIN

MACKE, F. E.

MARDO, FRANK

MARKS, HAROLD

MARTIN, E. H.

MASON, H. T.

MATHEWS, E. W.

MATTSON, RUSSEL

MEEHAN, THOMAS

MEEKER, H. C.

MELTON, E. L.

MENEWISH, CARL

MENEWISH, EDWARD

MEO, NICK

MERCHANT, D. W.

MERTON, E. J.

METCALF, J. L.

METCALFE, HOWARD

MEYER, C. H.

MEYER, E. F.

MEYER, E. L.

MEYER, O. J.

MEYNORSKI, STANLEY

MIDDENDORF, G. F.

MILES, F.

MILLER, A. D.

MILLER, CLEMENT

MILLER, G. H.

MILLER, GUY

MILLER, H. R.

MILLER, IVAN

MILLER, J. E., JR.

MILLER, K.

MILLER, RALPH

MILLER, WALTER

(column 3)

MILLER, W. A.

MILLER, W. R.

MILLS, D. G.

MILLS, J. I.

MILWARD, ERNEST

MINNICH, CLARENCE

MINNICH, S. C.

MISCHO, VICTOR

MITCHELL, BRYAN

MITTEN, G. R.

MOEHLENBRUCK, HENRY

MOFFETT, CHARLES

MOGALLE, M. L.

MOLL, C. S.

MOMPER, J. G.

MONAHAN, A. W.

MONAHAN, FRANK

MONROE, F. E.

MOORE, G.

MORROW, WILBER

MOSER, JESS

MOTTER, B.

MOTTER, RAYMOND

MOWERY, G. H.

MUCKLEY, KING

MUGG, C. C.

MULLINS, P.

MUNSON, C. W.

MYERS, D. S.

MYERS, L. S.

MCCARTHY, HARRY

MCCARTHY, LAWRENCE

MCDANIEL, K. L.

MCDEVITT, LEE

MCKENZIE, LINUS

MCMAKEN, JOSEPH

MCMULLEN, L. J.

MCNEE, L. W.

MCNUTT, COVIS

NACE, JOHN

NAGEL, FRED

NAHRWOLD, G. E.

NEIMEYER, WALTER

NEUKAM, HENRY

NEUKAM, OTTO

NICHTER, CLARENCE

NICHTER, H. F.

NITZ, W. C.

NOONAN, FORDYCE

NOYES, CLEON

NULL, CHARLES

(column 4)

NYBOER, L. J.

NYBOER, SYLVESTER

NYCUM, R. J.

OBELSON, P.

OBER, CLAUD

OBERLIN, G. E.

O'BRIEN, T. R.

OCHSTEIN, ISAAC

OEHMIG, EDWARD

OERTEL, H. C.

O'NEAL, E. D.

ORMISTON, CARL

ORMISTON, ROE

ORR, HOWARD W.

OSTROWSKI, J. S.

OSWALD, G. J.

PADDOCK, L. B.

PAPPERT, C. L.

PARISOT, ROYAL

PARKER, C. U.

PARKER, J. R.

PARNIN, ROSS

PAYNE, W. A.

PAYTON, M. J.

PECK, HAROLD

PERSING, E.

PIEPENBRINK, C. E.

PIEPENBRINK, EDWARD

PLACE, MERVINE

PLATT, HERSCHEL

PLUMMER, J. A.

PLUMMER, F. A.

POPE, ROY

POTTER, D. E.

POWELL, ALVIN

PRANCE, HENRY

PRESSLER, R. B.

PRESSNALL, D. D.

PRINE, ERNEST

PUMPHREY, JOHN

QUILLINAN, EDWIN

RADEMACKER, RICHARD

RARICK, J. E.

REASONER, BERT

REED, C. R.

REED, HOWARD

REHLING, C. P.

REILLY, V. P.

RHAMY, LISLE

RICHET, CHESTER

RIDLEY, ARTHUR

(left side)

ROLL OF HONOR

(column 1)

RIESEN, HARVEY

RILEY, E. V.

RINEHARDT, D. C.

ROBINSON, W. B.

ROCKHILL, V. S.

RODENBERG, A. H.

RODMAN, RICHARD

ROE, H. S.

ROEGER, R. C.

ROESENER, H. C.

ROGERS, O. R.

RONDOT, GLENN

ROOT, GLEN

ROSENCRANCE, J. L.

ROSS, FRANK K.

ROTH, DAVID

ROWLEY, DAVID

ROY, WALTER

ROYCE, H. D.

RUCH, B. K.

RUFNER, WILLIAM

RULU, DON C.

RUNYAN, G. D.

RYAN, RAY M.

SABO, JOHN

SANGER, JOE

SAUER, LOUIS

SAURBAUGH, C. L.

SCHAAF, F. W.

SCHAEFFER, G. D.

SCHIEMAN, H. L.

SCHMIDT, C. W.

SCHMOE, F. E.

SCHNURR, EDWARD

SCHOEFF, P. D.

SCHREIBER, E. J.

SCHUH, W. E.

SCHULTZ, ADOLPH

SCHULTZ, C. C.

SCHUST, W. G.

SCHUSTES, GERHARD

SCHWARTZ, HAROLD

SCHWARTZ, L. F.

SCHWARZ, C. R.

SELBY, GEORGE

SESSFORD, C. E.

SHEEHAN, CHARLES

SHEETS, CLAYTON

SHELLEY, DALE

SHIDLER, C. D.

SHIREY, ELMER

(column 2)

SHIVERS, GEORGE

SHONDELL, HOWARD

SHOW, FLOYD

SHUMAKER, W. L.

SIHLER, O. F.

SILCOX, S. F.

SINDERSON, LELAND

SINGREY, JACKSON

SIVITS, W. A.

SKEER, JACK

SMEADER, FLOYD

SMETHERS, T. J.

SMITH, CLEMENT

SMITH, E. H.

SMITH, GUY

SMITH, H. W.

SMITH, L. H.

SMITH, R. P.

SNYDER, TED

SOLDNER, NOAH

SOMERS, EARL

SOMERS, HARRISON

SORTIS, GEORGE

SOUTHERN, W. R.

SOWERS, JOHN

SOWERS, W. H.

SOWLE, REX

SPARKS, R. A.

SPEELMON, G. L.

SPENCER, A. R.

SPIETH, W. M.

SPORE, RUSSELL

SPRADLIN, K. H.

SPRUNGER, CALVIN

SROUFE, T. L.

STACY, BENJAMIN

STANGER, GLENN

STANLEY, E. O.

STANTON, JUDSON

STAUCH, L. C.

STEEL, HARVE

STEPHENSON, H. M.

STEUP, W. W.

STEURY, P. P.

STINE, DAVID

STINGER, R. L.

STOCKBERGER, JOHN

STOCKS, E. G.

STOCKS, W. W.

STOUDER, J. V.

(column 3)

STREIDER, OTTO

STUCKY, LEO

STUTE, ARTHUR

SUNDAY, W. A.

SWANK, ELTON

SWANTON, FRANK

SWARTZ, H. J.

SWEENEY, E. A.

SWIFT, F. E.

TEAGARDEN, WILLIAM

TEGTMEYER, LAWRENCE

TELLEY, H. F.

THIEME, GEORGE

THOMAS, C. A.

THOMAS, D. W.

THOMPSON, HARLEY

THOMPSON, K. E.

THOMPSON, R. G.

THOMSON, C. P.

THURBER, EVERETT

TILLMAN, HERMAN

TILLMAN, H. A.

TILMAN, N. S.

TOWNSEND, J. G.

TRAFGER, W. I.

TRAUTMAN, C. H.

TRAUTMAN, F. C.

TRAVIS, ROBERT

TROSIN, F. W.

TURNER, R. A.

TURNER, SHEPPARD

TYNDALL, MARK

UECKER, WILLIAM

ULMER, ARTHUR

UNDERHILL, JOSEPH

VACHON, J. B.

VACHON, L. A.

VALENTINE, C. W.

VALENTINE, F. A.

VALENTINE, RALPH

VAN ALSTINE, ARTHUR

VAN BUSKIRK, JOHN

VANZANT, HERMAN

VASTANO, J.

VEGALUES, A. R.

VENDERLY, C. G.

VOGT, CARL

VOLMERDING, H. F.

VOLTZ, HARLAN

VONDERHAAR, OTTO

VORHEES, FOREST

(column 4)

WALKER, FRANK

WALLACE, R. D.

WALT, MIKE

WALTERS, R. L.

WARNER, ELMER

WATSON, BARTELS

WATTERSON, CLARENCE

WEAVER, J. R.

WEBER, B. C.

WEBER, CLARENCE

WEBER, FREDERICK

WEBSTER, E.M.

WEFEL, L.

WELLS, EUGENE

WELLS, KENNETH

WERKMAN, GEORGE

WETZLE, W. C.

WHARTON, RUSSEL

WHONSETLER, W. L.

WIGGEN, E.

WIGHT, WILLIAM

WILLIAMS, F. T.

WILLIAMS, RAYMOND

WILLIAMS, T. W.

WILLIAMS, WAYNE

WILSON, D. E.

WILSON, F. D.

WINNER, W. W.

WINTEREGG, HOMER

WINTERS, C.

WINTERS, WALTER

WITTE, E. W.

WITTWER, AMOS

WOEHR, A. E.

WOLF, ED.

WOLLEY, J.

WOLTZ, HALMON

WOODWORTH, I. E.

WORDEN, ROY

WORKMAN, GEORGE

WUNDERLICK, T. R.

WYSONG, C. L.

WYSS, J. L.

YOCUM, V. V.

ZACHARIAS, JOHN

ZERBE, WILBER

ZIELINSKI, ALEX

ZIMMERMAN, E. C.

ZOLL, EARL

ZOLLINGER, ERWIN

ZURCHER, FRED

Greetings, collectors! Welcome to our special Monday edition, released in honor of tonight's Collectors Confab hosted by the fine folks of Chronicle Books. 99.9% of Team 20x200 is here in SF for the Confab and a whole bunch of artists will be joining us tonight too. More details on that after a brief introduction of today's editions.

Icebreaker, Emperor penguin, Southern O., Antarctica and Swell, Southern Ocean - near 50° S, Antarctica are by Antarctic explorer Stuart Klipper. Stuart's made six expeditions to Antarctica, creating a stunning body of panoramic images* of its surfaces which he describes as "more in common with the alien surfaces of other planets and moons" than it does with other continents on our planet.

I was introduced to Stuart's work by his Minneapolis friend and neighbor, Beth Dow, who recommended that we collaborate on editions with him. It turns out that our friends at Chronicle Books recently published a gorgeous book of his photos, The Antarctic: From the Circle to The Pole, making today a fitting day for his 20x200 debut. You can pick up a copy tonight at the Confab, or buy one online at www.chroniclebooks.com. Wherever you do it, don't forget to invoke your special 20x200 Collectors discount! Enter code 20x200 at checkout on their site for 30% off and free shipping. (If you come to the party tonight, you'll get the discount on any purchases you make there too.)

Speaking of that party — I have to go get ready for it! Please join me, the 20x200 crew, including edition-makers Jane Mount and Youngna Park. Tons of artists are coming too: Mark Richards will be there, so you can snap up a copy of his book and have him sign it then and there. Other artists who have rsvp'd include: Clifton Burt, Noah Kalina, Jessica Snow and Mark Ulriksen. Local friends and heroes from Electric Works, SFMOMA, Rare Device, 7x7 and Wired are slated to attend too. And speaking of 7x7, check out the lovely interview they did with me last week: 20x200's Jen Bekman on Collecting Without Breaking the Bank.

If you're in SF, or anywhere near it, I hope to see you later at the Collectors Confab. If not tonight, look for me tomorrow — I'll be back then with an edition that I'm most excited that we've made, one which will benefit Creative Commons.

*Because panoramic images are long and narrow, these prints have very generous horizontal borders. Each edition's page includes a thumbnail that shows the image's size on the page. You can also click on the "View Large" link on each editions' page to see a bigger version. Please be sure to have a look at those before making your purchases!

Fine and pretty stark sun prevails once more and Network Rail have a DRS class 37 loco, 37608, running up and down the network from Derby RTC to Thrybergh Junction at Aldwarke and having 3 separate moves up and down the line. This 1st shot was taken just prior to the 37 leaving to head north, arriving mid-way through the altercations with Police and staff at the station, during the protests about the changes in senior citizens free travel pass, which recently got rescinded, then replaced by a half-fare alternative, out of the peak hours... This is the DRS (Direct Rail Services) move from Derby, via Sheffield (several times) to Thrybergh junction and starting out on time at 08:03 and arriving Sheffield early at 11:26, for a move back north again around 13:00. In the background is 'Electric Works, and is described as 'a state-of-the-art Serviced office space for a vibrant community of creative, digital and media businesses in Sheffield... Needless to say there used to be other businesses here, Pond Street Bus Station. now called Sheffield Interchange. 37608 is sat on the 'centre road' between platforms 1 & 2, known as US2, awaiting its departure slot. In the lower picture this has happened and the engine revs up producing some of the best 'clag' I have seen from one of these locos; in the shape of an 'antler' of very black smoke as the engine prepares to move off in sharp fashion, unloaded as it is and in view of 2 or 3 enthusiasts on the left platform (2) and in the shadows on the left in the background, the police and passenger altercation continues!

Back at Sheffield Midland once more, must be a record, and this time the weather has improved though the light for this Test Train move at the arrival time, proved challenging as it trundled in from the south at just after 1pm. Unlike Sunday when the 2 DRS class 37s turned up top and tailing another Test Train set, this time its Network Rail canary yellow class 31, 31223 in charge with a Driver Brake Second Open, DBSO on the back, 9708. Coming into the station from under the Shrewsbury Road tunnels, another bottleneck for any expansion and/or electrification work which may take place here in the future, is 31223 on the 3Q43 Derby RTC to Doncaster West Yard working and its off on an 8 hour jaunt around the network east of here. There appear to be one or two interested parties on the platform, along with just a few determined enthusiasts. At top ruck sack and hi-viz garb are in evidence, worn by the woman on the centre platform, making her way along to the foot-crossing so presumably a railway 'servant'. This working is again Network Rail's Infrastructure Monitoring (UTU) train operated by DBS though not in the latter's livery; canary yellow being the de-riguer colour set for NR's Test Train sets. The train makes its way along the down slow between the bi-directional lines on platforms 1 & 2 in the foreground and background respectively in the lower picture. On the platform 1 line a Northern Rail class 142, 142078 DMU came into the station just before the arrival of the 31 and is now waiting its path back north to Leeds on the 2N26 service. Over on platform 2 an East Midlands class 222, 222023 can be seen peeping out from behind the DMU and in front of the slowing 31; this is to form the 5C52 coaching stock reversal run upto Woodburn Junction and will arrive back on platform 5 for the 13:49, 1C52 service to St. Pancras International; this being how the trains are turned, when required in these days of no turntable facilities, though difficult to see how this could be done with a complete train or without any more local triangular junctions to use... it adds a bit of interest on the lines upto Woodburn so I guess the less grumbling the better... The line immediately to the right of the DMU is another slow line through the station and the nice looking bridge seen in the top and centre pictures has been shut oof for some years, shame it wasn't an open and open structure for the photographer's use!.

Continuing on in the vein of cold, grey weather, now at Sheffield Midland station, and an early morning turn-out for a move of a Test Train from the Derby RTC (Railway Technical Centre) on its seven hour jaunt, just about on time all day, until north of Berwick-on-Tweed, when it lost about half an hour to arrive Mossend Down Yard (around 10km east of Glasgow) at 17:00; this is the 1Q03 working. Listed as being operated by DB Infrastructure Monitoring, I guess this set uses on-board measuring equipment to asses the state of the lines it travels over, timed to run at 75mph. With the centre roads at Sheffield station full with parked up Northern Rail and Transpennine DMUs, the only roads available were through the platforms and here in this 1st pair of images, at top, the DRS class 37, 37601 is _slowly_ coming north along platform 2 whilst also slowly moving along south, over the junction between up main and through road to access platform 1A, is a Northern Rail class 144 DMU, 144019 which will terminate here from Huddersfield, the 2B37 service. Not sure what the paraphernalia is in the right corner between the platform down line and down through, it has a stop valve on the top and may well be either water or oil for the DMus, but looks to have been out of use for some time! In the lower panoramic picture across the north-end of the station with platform 1 on the far right and 7 on the far left, 37601, a named 37, 'Class 37-Fifty', the red nameplate just visible to the rear of the cab door, glides slowly along the down line platform towards the camera, making the picture taking easy, unlike the weather, which was making it uncomfortable... On the centre roads over between platform 5 & 6 on the left are parked up Northern Rail units and a Transpennine class 185, 185148, awaiting the next call of duty... and not that many folk about though I guess most of them were holed up in the warmth of the cafe off to the rear of the approaching test train on the left...

The last photograph I took of the GE sign before it was turned off three months later.

Fort Wayne, Indiana

3.30.2015

One of two General Electric medallions on the west side of Building #18 (office) that faces Broadway. They were taken down while workers were gutting the structure over the summer.

3.30.2014

Redwood's abstracted heads recall the grotesquerie and flatness of Jim Nutt or Glenn Brown but in a fluid frenzy recognizable by his own stylized intestinal version of brushwork. Most of the heads evolve independently through a different technical approach. In one figure, the eyes, nose, and ears are transparent swirling bold lines, in another they are poured half-removed puddles or literally paint drippings. The organic and vibrant colors seen in Redwoods dynamic landscapes carry through this new imagined cast of characters. These characters strike an alternating balance between abstraction and representation. While his previous works bounced between the narrative and the construction of the narrative, On A Neck delivers a personalized vision of the portrait.

Redwood's approach to the figure mixes with popular motifs in contemporary painting such as centrifugal composition, visual puns, dark brooding expressionism, whimsy, and the portrait as icon. His figures seem to melt, float, bulge and glide across his glass-like gessoed canvases. The relevance of historical influence abound throughout the seventeen small works on paper and canvas. In these scaled down images a more intimate, biological mark invades the portraits not seen in his previous larger works.

Nathan Redwood's work is held in numerous private and public collections. He has exhibited extensively from the Neuberger Museum of Art (New York), the Torrance Art museum (California), at TENT Centrum Beeldende Kunst (Holland) and the San Jose Museum of Art (Forthcoming). His work has been featured in, among others, The New York Times, The Los Angeles Times, Art In America and US Art, and the forthcoming issue of McSweeney's Quarterly Concern. On A Neck, Redwood's second solo exhibition with Electric Works will be on view from September 11th through November 7th, 2009.

Electric Works

130 8th Street

San Francisco, CA 94103

vox 415.626.5496

fax 415.626.2396

info@sfelectricworks.com

Redwood's abstracted heads recall the grotesquerie and flatness of Jim Nutt or Glenn Brown but in a fluid frenzy recognizable by his own stylized intestinal version of brushwork. Most of the heads evolve independently through a different technical approach. In one figure, the eyes, nose, and ears are transparent swirling bold lines, in another they are poured half-removed puddles or literally paint drippings. The organic and vibrant colors seen in Redwoods dynamic landscapes carry through this new imagined cast of characters. These characters strike an alternating balance between abstraction and representation. While his previous works bounced between the narrative and the construction of the narrative, On A Neck delivers a personalized vision of the portrait.

Redwood's approach to the figure mixes with popular motifs in contemporary painting such as centrifugal composition, visual puns, dark brooding expressionism, whimsy, and the portrait as icon. His figures seem to melt, float, bulge and glide across his glass-like gessoed canvases. The relevance of historical influence abound throughout the seventeen small works on paper and canvas. In these scaled down images a more intimate, biological mark invades the portraits not seen in his previous larger works.

Nathan Redwood's work is held in numerous private and public collections. He has exhibited extensively from the Neuberger Museum of Art (New York), the Torrance Art museum (California), at TENT Centrum Beeldende Kunst (Holland) and the San Jose Museum of Art (Forthcoming). His work has been featured in, among others, The New York Times, The Los Angeles Times, Art In America and US Art, and the forthcoming issue of McSweeney's Quarterly Concern. On A Neck, Redwood's second solo exhibition with Electric Works will be on view from September 11th through November 7th, 2009.

Electric Works

130 8th Street

San Francisco, CA 94103

vox 415.626.5496

fax 415.626.2396

info@sfelectricworks.com

Redwood's abstracted heads recall the grotesquerie and flatness of Jim Nutt or Glenn Brown but in a fluid frenzy recognizable by his own stylized intestinal version of brushwork. Most of the heads evolve independently through a different technical approach. In one figure, the eyes, nose, and ears are transparent swirling bold lines, in another they are poured half-removed puddles or literally paint drippings. The organic and vibrant colors seen in Redwoods dynamic landscapes carry through this new imagined cast of characters. These characters strike an alternating balance between abstraction and representation. While his previous works bounced between the narrative and the construction of the narrative, On A Neck delivers a personalized vision of the portrait.

Redwood's approach to the figure mixes with popular motifs in contemporary painting such as centrifugal composition, visual puns, dark brooding expressionism, whimsy, and the portrait as icon. His figures seem to melt, float, bulge and glide across his glass-like gessoed canvases. The relevance of historical influence abound throughout the seventeen small works on paper and canvas. In these scaled down images a more intimate, biological mark invades the portraits not seen in his previous larger works.

Nathan Redwood's work is held in numerous private and public collections. He has exhibited extensively from the Neuberger Museum of Art (New York), the Torrance Art museum (California), at TENT Centrum Beeldende Kunst (Holland) and the San Jose Museum of Art (Forthcoming). His work has been featured in, among others, The New York Times, The Los Angeles Times, Art In America and US Art, and the forthcoming issue of McSweeney's Quarterly Concern. On A Neck, Redwood's second solo exhibition with Electric Works will be on view from September 11th through November 7th, 2009.

Electric Works

130 8th Street

San Francisco, CA 94103

vox 415.626.5496

fax 415.626.2396

info@sfelectricworks.com

Redwood's abstracted heads recall the grotesquerie and flatness of Jim Nutt or Glenn Brown but in a fluid frenzy recognizable by his own stylized intestinal version of brushwork. Most of the heads evolve independently through a different technical approach. In one figure, the eyes, nose, and ears are transparent swirling bold lines, in another they are poured half-removed puddles or literally paint drippings. The organic and vibrant colors seen in Redwoods dynamic landscapes carry through this new imagined cast of characters. These characters strike an alternating balance between abstraction and representation. While his previous works bounced between the narrative and the construction of the narrative, On A Neck delivers a personalized vision of the portrait.

Redwood's approach to the figure mixes with popular motifs in contemporary painting such as centrifugal composition, visual puns, dark brooding expressionism, whimsy, and the portrait as icon. His figures seem to melt, float, bulge and glide across his glass-like gessoed canvases. The relevance of historical influence abound throughout the seventeen small works on paper and canvas. In these scaled down images a more intimate, biological mark invades the portraits not seen in his previous larger works.

Nathan Redwood's work is held in numerous private and public collections. He has exhibited extensively from the Neuberger Museum of Art (New York), the Torrance Art museum (California), at TENT Centrum Beeldende Kunst (Holland) and the San Jose Museum of Art (Forthcoming). His work has been featured in, among others, The New York Times, The Los Angeles Times, Art In America and US Art, and the forthcoming issue of McSweeney's Quarterly Concern. On A Neck, Redwood's second solo exhibition with Electric Works will be on view from September 11th through November 7th, 2009.

Electric Works

130 8th Street

San Francisco, CA 94103

vox 415.626.5496

fax 415.626.2396

info@sfelectricworks.com