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This is Scrag-End/Scarecrows by Jennifer Ryder-Jones, at the Fieldwork installation set up in a field near Brooke, Lanark County, Ontario, Canada.
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.
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
360 Protection provides affordable security camera installation, data wiring, & plasma TV Installation in areas of New York, New Jersey, Connecticut"
from left to right
talisman 16, with turquoise beading thread, silver coloured filament, polished moonstone chips and found silver plated knife circa and pattern unidentified.
talisman 17, with multicoloured "jewel effect" embroidery floss, shale and quartz pebbles collected in Cape Breton, Nova Scotia, found cast "feather" appetizer fork, marked TAN and found butterscotch Bakelite handled dinner knife c1940.
talisman 18, with turquoise beading thread, silver coloured filament, pebbles collected in Cape Breton, Nova Scotia and found silver plated knife circa and pattern unidentified.
talisman 19, with forest green embroidery floss, copper filament, pebbles collected in unknown location,found polished rose quartz and tigers eye crystals, collected unidentified small feather, found cast gold plated "feather" appetizer fork, marked TAN and inherited caramel swirled Bakelite handled dinner knife c 1940.
talisman 20, with turquoise beading thread, silver coloured filament and found stainless steel dinner knife, circa 1950, star pattern.
talisman 21, with violet embroidery floss, silver coloured filament, found beach pebble collected in Cape Breton, Nova Scotia and found lavender handled little fork appetizer fork, c1950.
talisman 22, with lavender beading thread, violet embroidery floss, silver coloured filament, Double-Terminated clear quartz crystal, and found chromium plated English pastry fork, circa and pattern unknown.
talisman 23, with turquoise, multi coloured and sea-foam beading thread, royal blue embroidery floss, teal and turquoise ribbon, gold and silver coloured filament, found brass, copper and silver collector spoons c1920-1960,found rhinestone costume jewelry broach, c1950 found silver serving tongs c1960.
talisman 24, with kelly and moss green beading cord, lime and forest green embroidery floss, green, gold and copper filament, found Asfour crystal chandelier drop prisms, found golden coloured cast owl pendant with faux emerald eyes c1970 and found silver plated serving tongs.
talisman 25, with lavender and indigo bead cord, aubergine embroidery floss, gold, purple and fuchsia coloured filament, found costume rhinestone necklace and found Italian silver serving tongs with embossed leaf and fruit decorative pattern c1950.
talisman 26, with moss green beading cord, gold coloured filament and found mint and caramel Lucite handled button hook, marked Ausco.
talisman 27 with teal and sea green embroidery floss, silver coloured filament, iridescent beach stone Cape Breton, Nova Scotia, and found silver plated meat serving fork, circa and pattern unidentified.
talisman 28, with aqua and forest green embroidery floss, serpentine beach stone Cape Breton, Nova Scotia, and found silver plated meat serving fork, circa and pattern unidentified.
talisman 29, with fern beading thread, moss embroidery floss, copper filament, iridescent shale fragment collected in Cape Breton, Nova Scotia, and found chromium plated English pastry fork, circa and pattern unknown.
talisman 30, with turquoise, forest green and chocolate "antique effects" embroidery floss, gold coloured filament and found Canadian, butterscotch coloured Bakelite handled Dinkee cocktail knife, c1950.
talisman 31, with orange hemp twine, green beading cord, gold coloured filament, found cast, gold plated, feather appetizer fork, marked TAN and found unidentified utensil with kelly green Bakelite handle. SOLD
talisman 33, with mustard embroidery floss, gold coloured filament, found metal and rhinestone turtle fetish with faux emerald eyes and found faux wood Bakelite handle carving fork, c1950.
talisman 34, with canary, caramel, rust, bark, moss and forest embroidery floss, gold coloured filament and found authentic deer antler and steel fireplace poker.
talisman 35, orange, red and fucshia hemp twine, copper filament, polished sodalite chips, gold coloured chain, crystal chandelier drop prism, Nova Scotia thistle silver plated collector spoon.
Breheimsenteret is now in full action again after it was totally destroyed in fire in 2011. The centre was reconstructed with the original architecture, but some interior changes were made to meet new needs.
The exhibition space was enlarged and Gagarin was hired to supply new interactive solutions. We delivered three unique installations where we among other things had to cross new boundaries in terms of interaction and technique.
The first of four "cold boxes" for the LCLS-II upgrade to SLAC's X-ray laser has been lifted and put into place behind the LCLS-II cryogenic plant. The cold boxes, designed by Jefferson Lab and shipped to SLAC from a manufacturer in Ohio, are key components of the LCLS-II cryogenic system. The cryoplant will cool helium gas from room temperature all the way down to its liquid phase at just a few degrees above absolute zero, providing the coolant for the accelerator to operate in superconducting conditions.
Learn more about LCLS-II and its superconducting particle accelerator: home.slac.stanford.edu/news/2018/01-19-superconducting-x-...
Credit: Dawn Harmer/SLAC National Accelerator Laboratory