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I was lucky to catch this installation at the Cathedral in April 2018, it was only up for a few more days but looked amazing while it lasted.
Hereford Cathedral is a fascinating place, not one of largest cathedrals or considered amongst the most architecturally significant, but one of the most interesting and rewarding nonetheless. It follows the usual cruciform plan for large churches but here the nave is the longest limb, the choir being relatively short for a cathedral, though the church extends further eastwards in the fine retrochoir and lady chapel. there are an eastern pair of transepts too, though here they do not rise above aisle roof level.
The central tower dominates the small city's skyline, but much less today than it once did, for originally it was crowned by a tall lead spire, and in addition there was a similar, slightly smaller tower at the west end (without a spire) thus the building's profile was very different to what we see today. Sadly this fine building has suffered several tragedies in it's history, the greatest of which was in 1786, when the west tower suddenly collapsed following an earth tremor, taking much of the nave with it. The architect chosen for the reconstruction was the notorious James Wyatt, who demolished all the remaining upper sections of the nave and substituted them with his own rather bland interpretation of Gothic. He also shortened the nave by one bay and built a rather mean west facade without rebuilding the west tower (the main tower also lost it's spire around this time). The present west facade is a more exuberant rebuilding by John Oldrid Scott from 1902-8.
The cathedral has generally been heavily restored throughout the 19th century (largely due to the red sandstone of it's construction) and parts of the exterior betray this, particularly the east facades of choir and Lady Chapel. There is still much to enjoy though, especially the 14th century tower with it's rich ballflower decoration. Entry is normally via the grand north porch, whichj has a large upper chapel and staircases either side, formerly for the veneration of relics.
The interior shows much more 12th century Norman work than the exterior suggests, with the main nave arcade, crossing arches, and much of the choir and south transept still substantially Romanesque structures. Aside from Wyatt's 1788 rebuilding of the upper parts of the nave, the rest is mostly of late 13th - early 14th century date, with distinctive window design of the Decorated period found throughout the nave and choir aisles. The most remarkable feature is the north transept, a unique design dating to c1260, where the Gothic arches and window heads are almost triangular in form.
There is a substantial complex of additional monastic buildings, including two cloisters, the main one being south of the nave (only the east and south sides remain) and the Vicar's Choral cloister, accessed via a long walkway off the south east corner, and still inhabited by cathedral staff and thus private. The real tragedy here is the chapter house, of which very little remains. This was once arguably the most exceptionally beautiful in the country, being ten-sided and covered by an exquisite fan vault. It was sadly neglected following the Civil War and demolished soon afterwards, a grevious loss.
The cathedral retains a fine set of 14th century choir stalls with carved misercords complete with the canopied bishop's throne. The font is Norman and features defaced figures of apostles and is guarded by four lions. The stained glass is mostly Victorian with only a few 15th century fragments in a south nave window and some good (but restored) 13th century scenes and grisaille in a Lady Chapel window. The best of the glass is found in the two smallest chapels, the Stanbury and Audley chantries, with Arts & Crafts and stunning contemporary work by Denny respectively. There was a rich Victorian metal choir screen at the crossing by G.G.Scott, but this was removed in the 1950s and is now (after years of storage and neglect) a major feature in the entrance to the Victoria & Albert Museum, London. A contemporary candleabrum, the 'Corona', now hangs in it's place.
The set of monumental effigies is one of the most extensive in any English cathedral, but only a few are of the finest quality, and many have suffered later disfigurement, in the case of the medieval bishops' tombs several figures have been quite literally de-faced, whilst the post-Reformation tombs clearly offended Wyatt, who removed their architectural settings altogether leaving only the recumbent effigies randomly placed throughout the church.
But last word must go to the most famous relic of Hereford, the Mappa Mundi, the renowned c1280 map of the medieval World and the star exhibit of the famous chained library, now housed in a modern extension at the south west corner of the cloister.
THE RESTLESS EARTH
28 APR - 20 AUG 2017
Triennale Milan
www.triennale.org/en/mostra/la-terra-inquieta/
The Restless Earth borrows its title from a collection of poems by Édouard Glissant, a Caribbean writer who probed the question of how different cultures can coexist. The exhibition shares in Glissant’s project—a pressing and necessary one that tries to describe this unstable and agitated present as a polyphony of voices and narratives. Through the works of more than sixty artists from more than forty countries—such as Albania, Algeria, Bangladesh, Egypt, Ghana, Iraq, Lebanon, Morocco, Syria, and Turkey—and with historical documents and objects of material culture, this exhibition charts both experiences and perceptions of migration and the current refugee crisis as an epoch-making transformation that is reframing contemporary history, geography, and culture.
The Restless Earth explores real and imaginary geographies, reconstructing the odyssey of migrants through personal and collective tales of exodus inspired by varying degrees of urgency and longing. The exhibition revolves around a series of geographic and thematic lines of inquiry—the war in Syria, the state of emergency in Lampedusa, life in refugee camps, the figure of the nomad or stateless person, and Italian migration in the early 20th century—which intersect with works that serve as visual metaphors for conditions of mobility and precariousness.
The Restless Earth focuses in particular on how artists bear witness to historic events, and how art can describe social and political change in the first person. The works on view point to a renewed faith that art and artists have a responsibility to portray and transform the world, creating not just images of conflict, but images that provide a space for critical thinking and exchange. Together, these stories—poised between historical epic and real-time diary—yield a vision of art as lyrical journalism, emotional documentary, and vivid, vital testimony.
Participants:
Adel Abdessemed, John Akomfrah, Pawel Althamer, Francis Alÿs, El Anatsui, Ziad Antar, Kader Attia, Brendan Bannon, Yto Barrada, John Berger and Jean Mohr, Alighiero Boetti, Anna Boghiguian, Andrea Bowers, Tania Bruguera, Banu Cennetoğlu and Nihan Somay in collaboration with UNITED for Intercultural Action, Phil Collins, Comitato 3 Ottobre, Constant, Thierry De Cordier, La Domenica del Corriere, Forensic Oceanography / Charles Heller and Lorenzo Pezzani, Meschac Gaba, Charles Gaines and Ashley Hunt for Gulf Labor Artist Coalition, Giuseppe “Pinot” Gallizio, Rokni Haerizadeh, Ramin Haerizadeh and Hesam Rahmanian, Manaf Halbouni, Mona Hatoum, Lewis Wickes Hine, Thomas Hirschhorn, Wafa Hourani, Pravdoliub Ivanov, Khaled Jarrar, Isaac Julien, Hiwa K, Yasmine Kabir, Šejla Kamerić, Bouchra Khalili, Runo Lagomarsino, Dorothea Lange, Zoe Leonard, Glenn Ligon, Liu Xiaodong, Ahmed Mater, Steve McQueen, Aris Messinis, multiplicity, Paulo Nazareth, Adrian Paci, Maria Papadimitriou, 2016 Pulitzer Prize for Breaking News Photography (Daniel Etter, Tyler Hicks, Mauricio Lima, Sergey Ponomarev), Marwan Rechmaoui, Hrair Sarkissian, Thomas Schütte, Hassan Sharif, Augustus Sherman, Xaviera Simmons, Mounira Al Solh, Hamid Sulaiman, Rayyane Tabet, Pascale Marthine Tayou, Wolfgang Tillmans, Andra Ursuta, Danh Võ, Henk Wildschut, Zarina.
Credits
An exhibition curated by Massimiliano Gioni
This is the curved lamination portion of the keel. Before applying epoxy, I roughed up the inside keel raidius with a wood rasp to put some teeth into the wood. The forward end terminates at the start of the plumb portion of the stem. A separate straight laminated piece of keel will cover this plumb portion.
On the keel at the plumb stem, I put a 1/4" bevel on the keel edges to give the hint of an old time wooden boat stem. This shape is carried a short distance onto the knuckle portion of the laminated keel.
However, this beveling is underwhelming in appearance but with 1" wide stainless steel half round centered on the 1 1/2" wide keel edge the bevel can't be any wider but perhaps deeper. With the boat upright thus a better perspective of the plumb stem, I may glue some fir on the sides of the keel to expand the width say for a foot or two from the top of the stem. Then I can do some wood shaping to get the look I want.
Blocks of scrap wood were hot glued to the hull both port and starboard and then short strips of wood were glued to the blocks and then the keel in order to hold the keel in proper position as the epoxy cured. If someone tries to take your hot glue gun...kill them.
In this part of the Austin area we have about 6" of top soil and then limestone slabs, thus limestone is almost as cheap as dirt. The good news...houses don't settle and don't disappear in mud slides. The bad news...you need to rent a jack hammer to plant a shrub.
Reference Code: 001.02.190
Title: Installation Photo 79
Date: 22 November 1977
Extent (inches): 8 x 10
__________________________________________________
▶ from Bishop Ottenweller Photographs (001.002.1)
▶ The photos on the Diocese of Steubenville Archive's Flickr site may be used by non-commercial entities only for educational and/or research purposes as long as credit is given to the "Diocese of Steubenville Archive, Steubenville, OH." These photos may not be reproduced in any format for profit or other presentation without the permission of the Diocese.
Reference Code: 001.02.214
Title: Installation Photo 104
Date: 22 November 1977
Extent (inches): 8 x 10
__________________________________________________
▶ from Bishop Ottenweller Photographs (001.002.1)
▶ The photos on the Diocese of Steubenville Archive's Flickr site may be used by non-commercial entities only for educational and/or research purposes as long as credit is given to the "Diocese of Steubenville Archive, Steubenville, OH." These photos may not be reproduced in any format for profit or other presentation without the permission of the Diocese.
Reference Code: 001.02.189
Title: Installation Photo 78
Date: 22 November 1977
Extent (inches): 8 x 10
__________________________________________________
▶ from Bishop Ottenweller Photographs (001.002.1)
▶ The photos on the Diocese of Steubenville Archive's Flickr site may be used by non-commercial entities only for educational and/or research purposes as long as credit is given to the "Diocese of Steubenville Archive, Steubenville, OH." These photos may not be reproduced in any format for profit or other presentation without the permission of the Diocese.
Marit Tingleff (b. 1954) - Blue landscape (2011), installation with ceramic plates. In the collection of the Kunstindustrimuseet, Oslo, closed since October 2016.
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I was lucky to catch this installation at the Cathedral in April 2018, it was only up for a few more days but looked amazing while it lasted.
Hereford Cathedral is a fascinating place, not one of largest cathedrals or considered amongst the most architecturally significant, but one of the most interesting and rewarding nonetheless. It follows the usual cruciform plan for large churches but here the nave is the longest limb, the choir being relatively short for a cathedral, though the church extends further eastwards in the fine retrochoir and lady chapel. there are an eastern pair of transepts too, though here they do not rise above aisle roof level.
The central tower dominates the small city's skyline, but much less today than it once did, for originally it was crowned by a tall lead spire, and in addition there was a similar, slightly smaller tower at the west end (without a spire) thus the building's profile was very different to what we see today. Sadly this fine building has suffered several tragedies in it's history, the greatest of which was in 1786, when the west tower suddenly collapsed following an earth tremor, taking much of the nave with it. The architect chosen for the reconstruction was the notorious James Wyatt, who demolished all the remaining upper sections of the nave and substituted them with his own rather bland interpretation of Gothic. He also shortened the nave by one bay and built a rather mean west facade without rebuilding the west tower (the main tower also lost it's spire around this time). The present west facade is a more exuberant rebuilding by John Oldrid Scott from 1902-8.
The cathedral has generally been heavily restored throughout the 19th century (largely due to the red sandstone of it's construction) and parts of the exterior betray this, particularly the east facades of choir and Lady Chapel. There is still much to enjoy though, especially the 14th century tower with it's rich ballflower decoration. Entry is normally via the grand north porch, whichj has a large upper chapel and staircases either side, formerly for the veneration of relics.
The interior shows much more 12th century Norman work than the exterior suggests, with the main nave arcade, crossing arches, and much of the choir and south transept still substantially Romanesque structures. Aside from Wyatt's 1788 rebuilding of the upper parts of the nave, the rest is mostly of late 13th - early 14th century date, with distinctive window design of the Decorated period found throughout the nave and choir aisles. The most remarkable feature is the north transept, a unique design dating to c1260, where the Gothic arches and window heads are almost triangular in form.
There is a substantial complex of additional monastic buildings, including two cloisters, the main one being south of the nave (only the east and south sides remain) and the Vicar's Choral cloister, accessed via a long walkway off the south east corner, and still inhabited by cathedral staff and thus private. The real tragedy here is the chapter house, of which very little remains. This was once arguably the most exceptionally beautiful in the country, being ten-sided and covered by an exquisite fan vault. It was sadly neglected following the Civil War and demolished soon afterwards, a grevious loss.
The cathedral retains a fine set of 14th century choir stalls with carved misercords complete with the canopied bishop's throne. The font is Norman and features defaced figures of apostles and is guarded by four lions. The stained glass is mostly Victorian with only a few 15th century fragments in a south nave window and some good (but restored) 13th century scenes and grisaille in a Lady Chapel window. The best of the glass is found in the two smallest chapels, the Stanbury and Audley chantries, with Arts & Crafts and stunning contemporary work by Denny respectively. There was a rich Victorian metal choir screen at the crossing by G.G.Scott, but this was removed in the 1950s and is now (after years of storage and neglect) a major feature in the entrance to the Victoria & Albert Museum, London. A contemporary candleabrum, the 'Corona', now hangs in it's place.
The set of monumental effigies is one of the most extensive in any English cathedral, but only a few are of the finest quality, and many have suffered later disfigurement, in the case of the medieval bishops' tombs several figures have been quite literally de-faced, whilst the post-Reformation tombs clearly offended Wyatt, who removed their architectural settings altogether leaving only the recumbent effigies randomly placed throughout the church.
But last word must go to the most famous relic of Hereford, the Mappa Mundi, the renowned c1280 map of the medieval World and the star exhibit of the famous chained library, now housed in a modern extension at the south west corner of the cloister.
Deep Woods
January 24 - June 14, 2015
Carl Bigmore
David Clarkson
Amanda Marino
Natasha-Genevieve Ritchie
Stanzie Tooth
Douglas Walker
Ryan Walker
Donald Weber
Curated by Patrick Macaulay
Photography: Tom Bilenkey
Views of the scaffolding used to replace our ceiling windows for the James Rosenquist mural installation.
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Concept art done for Installation 01, a Halo fan game. These were revealed in our new media page on our recently revealed website installation01.org/media
The Creative Act: Performance, Process, Presence, opens on March 7 at Manarat Al Saadiyat in Abu Dhabi. This second exhibition from the Guggenheim Abu Dhabi’s unique collection features works by more than 25 artists from different nationalities and generations who have emphasised performance, process, and human presence in their practice, through a variety of mediums. Learn more: www.guggenheim.org/exhibition/the-creative-act-performanc... Photos: Jonathan Gibbons