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The title is the last tail number of this abandoned McDonnell Douglas MD-81, sitting in close proximity to Meacham Field in Fort Worth, Texas.
I originally misidentified this as a McDonnell Douglas DC-9, which is really only a slight inaccuracy, as the MD-80 series is simply a stretched and updated version of the older DC-9 airframe.
The MD-80 was of course introduced in 1980, and this particular aircraft was delivered to Hawaiian Airlines on the 10th of June, 1981. After an 18-year career flying for Hawaiian, Pacific Southwest, SunJet and Fairlines, Spirit Airlines purchased the aircraft and flew her for 5 more years before she was put out to pasture - literally - in 2004, some 23 years after she first took to the skies in 1981.
10 years later, here she sits.
Because of her proximity to the airport and the city, it's difficult to get a night shot of this jet that has the look and feel typical to most of my photos. But this at least serves as a documentary image so you can see the plane and her condition today, 10 years after she was decommissioned.
Much more to come about my unfortunate night shooting this jet; stay tuned...
Night, full moon, CTO-gelled X2000.
One of the most remarkable things about southern California is the proximity of tall mountains to the ocean. The transverse ranges, parts of which are in the very city limits of Los Angeles, have high points above 10,000 and 11,000 feet. This produces stunning weather patterns and some amazing skies.
This is the main fountain at the Arboretum of Los Angeles County, right across the street from world-famous Santa Anita Racetrack. The mountains in the distance (which appear shortened by perspective) are the front range of the San Gabriels, rising 6,000 feet (almost 2,000 meters) straight up above the valley floor. The Arbortetum itself is a fantastic place, with a wide range of plant and animal life, and various parts of it have served as filming locations in countless films and television shows. If you're a photographer, this place is a must-visit.
This is not HDR. A single shot with my Olympus OM-D, M.Zuiko 12-50mm lens, and a Hoya circular polarizer, exposed largely for the sky, with some work in PSE10 and Photomatix to lighten shadows and recover detail from this very high-contrast scene.
Thanks again, everyone, for your visits, kind comments, and favorites. It's all very much appreciated!
This juvenile bald eagle was sitting on the railings of a foot bridge when a woman just walked by. She was so close she could've almost touched the bird. The eagle didn't move until the woman almost passed by her.
Dubai Marina (Arabic: مرسى دبي) is a district in Dubai, United Arab Emirates. Dubai Marina is an artificial canal city, built along a two-mile (3 km) stretch of Persian Gulf shoreline.[2] When the entire development is complete, it will accommodate more than 120,000 people in residential towers and villas.[3] It is located on Interchange 5 between Jebel Ali Port and the area which hosts Dubai Internet City, Dubai Media City, and the American University in Dubai. The first phase of this project has been completed. Dubai Marina was inspired by the Concord Pacific Place development along False Creek in Vancouver, BC, Canada.[4]
There have been many instances of marine wildlife (especially whales and sharks) entering the lake, because of its proximity to the open sea.
Edgewater is a neighborhood in Miami, Florida, United States, located north of Downtown and the Arts & Entertainment District, and south of the Upper East Side. It is roughly bound by North 17th Street to the south, North 37th Street to the north, the Florida East Coast Railway and East First Avenue to the west and Biscayne Bay to the east.
Edgewater is primarily a residential neighborhood, with many historic early 20th century homes. The neighborhood has many high-rise residential towers to the east along Biscayne Bay, and historic homes elsewhere in the neighborhood. Since 2000, the area has grown in popularity, due to its proximity to Downtown and neighborhoods such as the Design District. Recent developments in the neighborhood, have brought rapid urbanization to the area, with the construction of high-rise and mid-rise residential buildings, and more retail.
Miami (/maɪˈæmi/; Spanish pronunciation: [miˈami]) is a seaport city at the southeastern corner of the U.S. state of Florida and its Atlantic coast. As the seat of Miami-Dade County, the municipality is the principal, central, and the most populous city of the Miami metropolitan area and part of the second-most populous metropolis in the southeastern United States.
According to the U.S. Census Bureau, Miami's metro area is the eighth-most populous and fourth-largest urban area in the U.S., with a population of around 5.5 million.
Miami is a major center, and a leader in finance, commerce, culture, media, entertainment, the arts, and international trade. In 2012, Miami was classified as an Alpha−World City in the World Cities Study Group's inventory. In 2010, Miami ranked seventh in the United States in terms of finance, commerce, culture, entertainment, fashion, education, and other sectors. It ranked 33rd among global cities. In 2008, Forbes magazine ranked Miami "America's Cleanest City", for its year-round good air quality, vast green spaces, clean drinking water, clean streets, and citywide recycling programs.
According to a 2009 UBS study of 73 world cities, Miami was ranked as the richest city in the United States, and the world's fifth-richest city in terms of purchasing power. Miami is nicknamed the "Capital of Latin America" and is the largest city with a Cuban-American plurality.
Miami has the third tallest skyline in the U.S. with over 300 high-rises. Downtown Miami is home to the largest concentration of international banks in the United States, and many large national and international companies. The Civic Center is a major center for hospitals, research institutes, medical centers, and biotechnology industries.
For more than two decades, the Port of Miami, known as the "Cruise Capital of the World", has been the number one cruise passenger port in the world. It accommodates some of the world's largest cruise ships and operations, and is the busiest port in both passenger traffic and cruise lines.
Metropolitan Miami is the major tourism hub in the American South, number two in the U.S. after New York City and number 13 in the world, including the popular destination of Miami Beach.
Credit for the data above is given to the following websites:
Black, White and clear versions,
each with 3 options to "open" it.
Omega Appliers, Maitreya Texture Loader, Materials enabled, BOM
Picture shows:
GRAVES Proximity 2 - Clear (suit)
GRAVES Belt Boots - Black
GRAVES Advanced Gloves - Black
GRAVES X-Bunny (mask)
A shot from the rear of the Gone Grey abandoned home in Biscay Bay, Newfoundland. You can see the view of and proximity to the ocean here. If it looks cold and wind swept here, it's because it is. A traditional design often encountered around the island, similar to a saltbox house without the sloping rear section. Looks to be all original from the time it was built.
en.wikipedia.org/wiki/Angel_of_the_North
en.wikipedia.org/wiki/Antony_Gormley
The Angel of the North is a contemporary sculpture by Antony Gormley, located in Gateshead, Tyne and Wear, England. Completed in 1998, it is believed to be the largest sculpture of an angel in the world and is viewed by an estimated 33 million people every year due to its proximity to the A1 and A167 roads and the East Coast Main Line. The design of the Angel, like many of Gormley's works, is based on Gormley's own body. The COR-TEN weathering steel material gives the sculpture its distinctive rusty, oxidised colour. It stands 20 metres (66 ft) tall with a wingspan of 54 metres (177 ft) – which is larger than a Boeing 757 aircraft. The vertical ribs on the body and wings of the Angel act as an external skeleton which direct oncoming wind to the sculpture's foundations, allowing it to withstand wind speeds of over 100 miles per hour (160 km/h).
The sculpture was commissioned and delivered by Gateshead Council who approached Gormley to be the sculptor. Although initially reluctant, Gormley agreed to undertake the project after visiting and being inspired by the Angel's proposed site – a former colliery overlooking the varied topography of the Tyne and Wear Lowlands National Character Area.
Hartlepool Steel Fabrications were responsible for the manufacture and assembly of the 200-tonne sculpture. On 14 February 1998, the Angel was transported overnight to the installation site, and the sculpture was erected on the next morning. The Angel of the North faced opposition during its design and construction phases, but is now widely recognised as an iconic example of public art and as a symbol of Gateshead and of the wider North East region.
Prior to the construction of the Angel of the North, the most significant landmarks which signalled travellers' arrival into Tyneside, when travelling from the south, were the bridges that crossed the River Tyne. In 1990, Gateshead Council first conceived of a sculpture to act as a new landmark for the southern approach into Gateshead and Tyneside, standing near the A1 and A167 road interchange. Mike White, the Assistant Director Arts at Gateshead Council from 1989–2000, stated that the intention was for the Angel of the North to act as a "millennial image that would be a marker and guardian for our town". The process to commission and deliver a sculpture was led by Gateshead Council's Art in Public Places panel, the Libraries & Arts and Planning & Engineering Departments, and Northern Arts – a regional subdivision of the Arts Council of Great Britain which existed from 1990–2002. The Council applied for £45,000 of funding from Northern Arts for the selection of an artist and the delivery of an initial design. Although this was the largest public art project the Council had planned to date, Gateshead had already undergone multiple regeneration projects. In the 1980s, the construction of Gateshead International Stadium and the MetroCentre signalled a step forward in urban regeneration, and in 1990 the Gateshead National Garden Festival and Riverside Sculpture Park marked the borough's emerging arts policy. The 1990s also saw the conception of other regional transformation projects including the Baltic Centre for Contemporary Art and Gateshead Millennium Bridge.
The Council's Art in Public Places Panel met three times to decide upon a shortlist of artists to build the new sculpture. They were inspired by Antony Gormley's series of structures called The Case for an Angel which he began creating in 1989. After two years of looking for a suitable candidate, Gormley was ultimately selected. After originally claiming that he did not "do roundabout art", Gormley was inspired after visiting the proposed site of the sculpture, comparing it to a "megalithic burial chamber".
Planning permission for the sculpture was secured in 1995 and Gateshead Council acquired funding of £800,000. £584,000 came from the Arts Council England, £150,000 from the European Regional Development Fund, £45,000 from Northern Arts, plus private sponsorship. Momentum for the sculpture continued into 1996, when a 1:20 maquette of the Angel went on display in Shipley Gallery and Northern Arts won the Festival for UK Visual Arts Year. A two-year series of educational events were conducted with 30 schools and 1,400 children in the area who built their own small-scale versions of the Angel which later went on display in venues around Gateshead and in Sunderland.
The Angel, like much of Gormley's other work, is based on a cast of his own body. The steel sculpture is 208 tonnes, 20 metres (66 ft) tall, with wings measuring 54 metres (177 ft) across. Its sheer size and dominance over the surrounding landscape allows for an artistic impact on a large audience. Its wingspan is often compared to that of a Boeing 757 jet, which is actually smaller.The wings are 6.2 metres (20 ft) high at the point where they join the body. It is defined by a rusty, oxidised colour which comes from the COR-TEN weathering steel material which, despite being distinctive, does not contrast harshly with the nearby environment. Inspired by this colour, Gormley had originally intended to call the sculpture The Iron Angel of the north. The wings are angled 3.5 degrees forward to create, according to Gormley, "a sense of embrace". They are regular and symmetrical in shape, which contrast with the asymmetrical body.
The Angel, which weighs 208 tonnes, stands on top of a 5.3-metre (17 ft) base, which itself rests on a concrete slab 150 centimetres (59 in) thick covering 100 square metres (1,100 sq ft). Due to its exposed location, Gateshead Council's engineering director sought for advice from Ove Arup & Partners on how the sculpture could be built to withstand winds of over 100 miles per hour (160 km/h). Although sculptures are often made out of bronze, Arup determined that the material would not be strong enough for a structure the size of the Angel, and weathering steel was used instead. The sculpture, in contrast to other sculptures including the Statue of Liberty, has no internal skeleton to aid with wind resistance or overall stability. Instead, vertical parallel "ribs" run from the head to the feet of the sculpture which function as an external skeleton, breaking up the strength of oncoming wind and focussing it down to the foundations.
Although the Angel of the North is a static sculpture, it is intended to be viewed from many angles and by travellers who pass by at speed – an average of 60 miles per hour (97 km/h) by road. The Angel of the North was designed to have a life of more than 100 years. It has been claimed that it is Britain's largest sculpture, but other sculptures – including Anish Kapoor's ArcelorMittal Orbit – also claim the title.
Location
The sculpture stands on a hill at Low Eighton in Lamesley Parish, overlooking the A1 and A167 roads and the East Coast Main Line rail route. It lies within the Tyne and Wear Lowlands National Character Area which contains both urban areas and large stretches of fields. The area is also characterised by variations in topography. The Angel sits on top of one of the more elevated positions of the landscape located near Team Valley, allowing the sculpture to be seen from miles around. In the design brief for the Angel, the designated location was described as "commanding views... from distances of up to 4 kilometres arcing through 100 degrees" with landmarks including Durham Cathedral visible. The Angel was built on land which previously contained the pit head baths of the former Team Colliery, which was in use from the 1720s until the 1960s. The remains of the colliery were removed and earth was piled up into a knoll which the Angel now stands on. Gormley commented on this historic connection, saying "When you think of the mining that was done underneath the site, there is a poetic resonance. Men worked beneath the surface in the dark. Now, in the light, there is a celebration of this industry." The sculpture faces south, facing the traffic travelling north into Gateshead and towards Tyneside. Historically, the nearby valley allowed for a convenient passage into Tyne and Wear from the south. Over time, this evolved into more established modern travel routes. Due to its proximity to the main road and rail line, it is estimated that 33 million people see the Angel every year, including those in the roughly 90,000 vehicles which pass each day. The statue can also been seen from nearby housing estates and commercial areas.
Mainline
The statue can be accessed by road via the A167 and a nearby car and coach park allows people to stop and view the sculpture up close. It also be reached on foot by a number of footpaths. Accessibility, including sitting on and touching the sculpture, is encouraged. It is flanked on the east and west sides by woodland, which has become more prevalent during the life of the Angel. Since 1998, the appearance of the sculpture has become less open and more secluded due to the growth of trees. The trees were planted intentionally along section of the A1 as part of the former Great North Forest initiative and the original brief for the Angel stated that the sculpture would eventually be characterised by a woodland context. When travelling north by road, the first views of the Angel are partially hidden by trees. Train passengers on the East Coast Main Line, located around 600 metres (2,000 ft) to the west, are able to see the statue as they travel past.
Construction and installation
Work began on the project in 1994. Following a competitive tendering process, Hartlepool Steel Fabrications Ltd[a] was chosen to fabricate the Angel. The construction took place in a shed bearing the name 'Hartlepool Erections Group', which Gormley visited most weeks during production. The sculpture was constructed in three parts: the body weighing 100 tonnes (98 long tons; 110 short tons) and two wings each weighing 50 tonnes (49 long tons; 55 short tons). Foundations containing 600 tonnes (590 long tons; 660 short tons) of concrete form the base of the statue, anchoring it to the rock 70 feet (21 m) below. Additionally, the old mine workings under the statue had 100 tonnes of grout pumped into them to stabilise the site. The foundations were laid in the autumn of 1996.
Gormley made a number of smaller models of the Angel to refine its design. The last smaller model needed to be perfectly scaled-up to inform the shape of the final full-size sculpture. Newcastle University was commissioned to use a 3D modelling technique called stereophotography, whereby the model was scanned and a computer-generated replica created. The details of the replica were then fed into a cutting machine to create the plates for Hartlepool Steel Fabrications.
On 14 February 1998, the components were transported in convoy, the body on a 48-wheel trailer, from their construction site in Hartlepool to the installation site 28 miles (45 km) away. The journey, undertaken at night, took five hours and attracted large crowds. The next morning, 15 February, the Angel was lowered into position. The first wing was attached to the body at around 11 am and the second at 4 pm. The spectacle of the installation attracted crowds of thousands and over 20 television crews. A plaque beside the angel contains a quotation from Gormley: "The hill top site is important and has the feeling of being a megalithic mound. When you think of the mining that was done underneath the site, there is a poetic resonance. Men worked beneath the surface in the dark.... It is important to me that the Angel is rooted in the ground—the complete antithesis of what an angel is, floating about in the ether. It has an air of mystery. You make things because they cannot be said."
Artistic significance and symbolism
The North of England Civic Trust's study on the significance of the Angel of the North claims that the sculpture may be "the most prominent piece of post-World War II public art in the UK", and "arguably the best known and most easily recognisable public artwork in the UK". It has also been described as the first significant example of gigantism in British sculpture. The Angel of the North differs from some other post-War art in that, being figurative, it clearly represents the human body rather than abstract forms. This human-like representation, combined with the fact that the Angel does not commemorate any one person or people, has meant that viewers have more easily and freely attached their own meaning to the sculpture. Such symbolisms have included optimism associated with the millennium, a historical connection with the miners who worked under the land on which the Angel stands, and personal or religious experiences.
Like many of Antony Gormley's sculptures, the Angel provokes questions about the relationship between art, politics, the environment, and society. Gormley has commented on the choice of depicting an angel for the sculpture, suggesting that the image was multi-functional; as a reminder of the industrial history of the site, beneath which was a disused quarry where miners had worked for centuries; as a reference to the future, symbolising the transition from the industrial to the information age; and as a focus for human hopes and fears. The Angel as conceived of by Gormley is therefore a symbol of hope rather than one of religion. Gormley also stated "People are always asking, why an angel? The only response I can give is that no-one has ever seen one and we need to keep imagining them." In comparing the modernity of the sculpture to historic concepts of angels, Gail-Nina Anderson remarked that the Angel of the North "is also an angel for the 1990s, a high-tech tribute to modern engineering in a period busy with amusing itself with fairies and angels, spirit-guides and reincarnations."
Reception
Plans for the sculpture encountered significant opposition. Gormley has subsequently acknowledged being "snooty" towards the project; when originally approached by Gateshead Council, he scorned the opportunity, saying that he "did not make motorway art". Local newspapers ran campaigns against the proposed sculpture, in which local politicians joined. Some critics compared the Angel to fascist or communist monumentalism, including The Gateshead Post who went as far as to draw comparisons between the Angel and a 1930s Nazi statue. Concerns were raised about the potential for traffic accidents resulting from the statue's proximity to the A1 dual carriageway and that it would interfere with television and radio reception.
Since its construction, the sculpture has continued to generate comment, and has been the focus of a number of publicity stunts. In 2011, Gateshead Council refused Tourism Ireland permission to illuminate the Angel for Saint Patrick's Day. In 2014, supermarket chain Morrisons was compelled to apologise after projecting an advertisement onto the Angel, which Gormley himself called "shocking and stupid". In 2021, concerns that the sculpture's setting would be detrimentally affected by a road-widening project led The Twentieth Century Society to seek listed building status for the structure. The Society's application was turned down by Historic England, the body responsible for the National Heritage List for England, which stated that threats to a structure's setting did not form part of its criteria for listing.
Over 20 years after its completion, the Angel is considered a landmark for the North East. It was an important part of the area's regeneration around the time of the millennium. It has been listed as an "Icon of England", and been described as "one of the most talked about and recognisable pieces of public art ever produced." A display board next to it claims that it has inspired the community, brought pride and belief to the people of Gateshead, and brings daily national and international attention to the region. A study conducted by Maeve Blackman of Durham University suggested that the Angel had improved the wellbeing and pride of Gateshead residents. Martin Roberts, in his 2021 revised edition of County Durham for the Buildings of England series, wrote: "Of all Gateshead Council's great projects, the Angel perhaps posed the greatest risk, yet delivered the greatest reward. Its erection captured the public imagination, its design won critical praise, and it gave both the town and the region a new symbol."
Maquettes
Several maquettes were produced during the development stage of the project which are now considered valuable items. A scale model from which the sculpture was created was sold at auction for £2.28 million in July 2008. An additional bronze maquette used in fundraising in the 1990s, owned by Gateshead Council, was valued at £1 million on the BBC show Antiques Roadshow broadcast on 16 November 2008 — the most valuable item ever appraised on the programme. In 2011, a 1.9-metre (75-inch) maquette was sold at Christie's in London for £3.4 million to an anonymous bidder. Another maquette was donated to the National Gallery of Australia in 2009, and stands in its Sculpture Garden.
Sir Antony Mark David Gormley OBE RA (born 30 August 1950) is a British sculptor. His works include the Angel of the North, a public sculpture in Gateshead in the north of England, commissioned in 1994 and erected in February 1998; Another Place on Crosby Beach near Liverpool; and Event Horizon, a multipart site installation which premiered in London in 2007, then subsequently in Madison Square in New York City (2010), São Paulo, Brazil (2012), and Hong Kong (2015–16).
Early life
Gormley was born in Hampstead, London, the youngest of seven children, to a German mother (maiden name Brauninger) and a father of Irish descent. His paternal grandfather was an Irish Catholic from Derry who settled in Walsall in Staffordshire. The ancestral homeland of the Gormley Clan (Irish: Ó Goirmleadhaigh) in Ulster was east County Donegal and west County Tyrone, with most people in both Derry and Strabane being of County Donegal origin. Gormley has stated that his parents chose his initials, "AMDG", to have the inference Ad maiorem Dei gloriam – "to the greater glory of God".
Gormley grew up in a Roman Catholic family living in Hampstead Garden Suburb. The family was wealthy, with a cook and a chauffeur, with a home overlooking the golf course; Gormley's father was an art lover. He attended Ampleforth College, a Benedictine boarding school in Yorkshire, before reading archaeology, anthropology, and the history of art at Trinity College, Cambridge, from 1968 to 1971. He travelled to India and the Dominion of Ceylon / Sri Lanka to learn more about Buddhism between 1971 and 1974.
After attending Saint Martin's School of Art and Goldsmiths in London from 1974, he completed his studies with a postgraduate course in sculpture at the Slade School of Fine Art, between 1977 and 1979.
Career
Gormley's career began with a solo exhibition at the Whitechapel Art Gallery in 1981. Almost all his work takes the human body as its subject, with his own body used in many works as the basis for metal castings.
Gormley describes his work as "an attempt to materialise the place at the other side of appearance where we all live." Many of his works are based on moulds taken from his own body, or "the closest experience of matter that I will ever have and the only part of the material world that I live inside." His work attempts to treat the body not as an object, but as a place and in making works that enclose the space of a particular body to identify a condition common to all human beings. The work is not symbolic but indexical – a trace of a real event of a real body in time.
The 2006 Sydney Biennale featured Gormley's Asian Field, an installation of 180,000 small clay figurines crafted by 350 Chinese villagers in five days from 100 tons of red clay. Use of others' works attracted minor comment. Some figurines were stolen.[citation needed] Also in 2006, the burning of Gormley's 25-m high The Waste Man formed the zenith of the Margate Exodus.
In 2007, Gormley's Event Horizon, consisting of 31 life-sized and anatomically correct casts of his body, four in cast iron and 27 in fiberglass, was installed on top of prominent buildings along London's South Bank, and installed in locations around New York City's Madison Square in 2010. Gormley said of the New York site, "Within the condensed environment of Manhattan's topography, the level of tension between the palpable, the perceivable, and the imaginable is heightened because of the density and scale of the buildings" and that in this context, the project should "activate the skyline in order to encourage people to look around. In this process of looking and finding, or looking and seeking, one perhaps re-assess one's own position in the world and becomes aware of one's status of embedment." Critic Howard Halle said that "Using distance and attendant shifts of scale within the very fabric of the city, [Event Horizon] creates a metaphor for urban life and all the contradictory associations – alienation, ambition, anonymity, fame – it entails."
In July 2009, Gormley presented One & Other, a Fourth Plinth commission, an invitation for members of the public, chosen by lot, to spend one hour on the vacant plinth in Trafalgar Square in London. This "living art" happening initially attracted much media attention. It even became a topic of discussion on the long-running BBC radio drama series The Archers, where Gormley made an appearance as himself.
In 2012, Gormley began making sculptures that could be termed as "digital-cubism". Through solid steel cubes, the human form is rendered into an array of different postures and poses, boldly standing in a white gallery space.
In March 2014, Gormley appeared in the BBC Four series What Do Artists Do All Day? in an episode that followed his team and him in their Kings Cross studio, preparing a new work – a group of 60 enormous steel figures – called Expansion Field. The work was shown at the Zentrum Paul Klee in Bern.
In May 2015 five life-sized sculptures, Land, were placed near the centre and at four compass points of the UK in a commission by the Landmark Trust to celebrate its 50th anniversary. They are at Lowsonford (Warwickshire), Lundy (Bristol Channel), Saddell Bay (Scotland), the Martello Tower (Aldeburgh, Suffolk), and Clavell Tower (Kimmeridge Bay, Dorset).[16][17] The Dorset sculpture was knocked over into Kimmeridge Bay by a storm in September 2015.
On 6 September 2015, Another Place marked the 10th anniversary of its installation at Crosby Beach in Merseyside. Gormley commented:
I'm just delighted by the barnacles!
Every time I'm there, just like any other visitor, you're encouraged to linger a bit longer seeing the tide come in and how many of them disappear. And then you're encouraged to linger further until they're revealed again.
In September 2015, Gormley had his first sculpture installed in New Zealand. Stay is a group of identical cast-iron human form sculptures, with the first installed in the Avon River / Ōtākaro in Christchurch's central city, and the other sculpture installed in the nearby Arts Centre in early 2016.
Gormley is a patron of Paintings in Hospitals, a charity that provides art for health and social care in England, Wales, and Northern Ireland.
In 2017, Gormley curated Inside, an exhibition at the Southbank Centre, London, presented by Koestler Trust showing artworks by prisoners, detainees, and ex-offenders. In addition, he judged their annual category prize, also on the theme "inside".
On 21 April 2018, Gormley released a limited edition vinyl album of ambient sounds from his studio for Record Store Day titled Sounds of the Studio. It consisted of two tracks (one on each side) titled Sounds of the Studio (Part 1) and Sounds of the Studio (Part 2). It came with an inner with a monochrome print of his studio on one side and text by the artist with a photo on the other.
In 2019, Gormley repopulated the island of Delos with iron "bodyforms" with the unprecedented site-specific exhibition Sight. Organised and commissioned by the NEON Organization and presented in collaboration with the Ephorate of Antiquities of Cyclades, this project marked the first time that an artist took over the archaeological site of Delos since the island was inhabited over 5,000 years ago, and is the first time a contemporary art installation has been unanimously approved by the Greek Archaeological Council of the Ministry of Culture to take place in Delos, a UNESCO World Heritage Site. Talking about this exhibition, Antony Gormley stated, "I treat the body as a place encouraging empathic occupation of that which lies the other side of appearance: what it feels like". He installed 29 sculptures made during the last 20 years, including five new works specially commissioned by the NEON Organization, both at the periphery and integrated amongst Delos's archaeological site and museum animating the geological and archaeological features of the island.
In 2020, Gormley was confirmed to be "lending" a sculpture to Kirklees College to sit atop its new building at Pioneer House in the town of his birth, Dewsbury, as part of a major redevelopment in the town.
In 2022, a Gormley sculpture called ALERT was installed on the main campus of Imperial College London. The installation raised objections from the student body due to its perceived "phallic" interpretation.
Virtual reality
In 2017, the Royal Academy invited Gormley to consider the possibilities of virtual reality (VR). In 2019 in collaboration with astronomer Priyamvada Natarajan he produced a VR experience called Lunatick, which allows the viewer to seemingly travel through space to the Moon and fly over its surface, based on images from NASA's Lunar Reconnaissance Orbiter.
Recognition
Gormley won the Turner Prize in 1994 with Field for the British Isles. He was quoted as saying that he was "embarrassed and guilty to have won...In the moment of winning there is a sense the others have been diminished. I know artists who've been seriously knocked off their perches through disappointment."
Gormley has been a Royal Academician since 2003, and was a trustee of the British Museum from 2007 to 2015. He is an honorary fellow of the Royal Society of Arts and the Royal Institute of British Architects, honorary doctor of the universities of Teesside, Liverpool, University College London, and Cambridge, and a fellow of Trinity and Jesus Colleges, Cambridge. In October 2010, 100 other leading artists and he signed an open letter to Culture Minister Jeremy Hunt protesting cutbacks in the arts.
On 13 March 2011, Gormley was awarded the Laurence Olivier Award for Outstanding Achievement in Dance for the set design for Babel (Words) at Sadler's Wells in collaboration with Sidi Larbi Cherkaoui and Damien Jalet. He was the recipient of the Obayashi Prize in 2012 and is the 2013 Praemium Imperiale laureate for sculpture. Gormley was knighted in the 2014 New Year Honours for services to the arts, having previously been appointed OBE in 1998.
For Room, he received the 2015 Marsh Award for Excellence in Public Sculpture.
In 2019, the Royal Academy held an exhibition filling its 13 main galleries with Gormley's works, including some new (designed to fit the space), some remade for the gallery, and some of his early sculptures, with two rooms of his drawings and sketchbooks.
In 2008, The Daily Telegraph ranked Gormley number four in their list of the "100 most powerful people in British culture".
Art market
Gormley's auction record is £3,401,250 for a maquette of the Angel of the North, set at Christie's, London, on 14 October 2011.
Personal life
While at the Slade School of Fine Art, Gormley met Vicken Parsons, who was to become his assistant, and in 1980, his wife, as well as a successful artist in her own right. Gormley said of her:
For the first 15 years she was my primary assistant. She did all of the body moulding... I think there are a lot of myths that art is made by, usually, lone men... I just feel so lucky and so blessed really, that I have such a strong supporter, and lover, and fellow artist.
The couple have a daughter and two sons.
In June 2022 Gormley said that he had applied for German citizenship, to which he is entitled through his German mother, after describing Brexit as "a practical disaster" and a "betrayal".
Major works
Gormley's website includes images of nearly all of his works up to 2012. The most notable include:
Bed (1981) – purchased by the Tate Gallery.
Sound II (1986) – in the crypt of Winchester Cathedral, Winchester, Hampshire, England
Field (1991; and subsequent recreations)
Iron:Man (1993) – Victoria Square, Birmingham, England
Havmann (1995) – Mo i Rana, Norway
Another Place (1997) – permanently installed at Crosby Beach near Liverpool, England
Quantum Cloud (1999)– Greenwich, London, England
Broken Column (1999–2003) – Stavanger, Norway
Angel of the North (1998) – Low Fell (overlooking the A1 and A167 roads), Gateshead, Tyne and Wear, England
Present Time (2001) – at Mansfield College, Oxford
Planets (2002) – at the British Library, London.
Filter (2002) – acquired by Manchester Art Gallery, Manchester, England, in 2009
Inside Australia (2003) permanent exhibition at Lake Ballard, Western Australia
Time Horizon – the Archaeological Park of Scolacium near Catanzaro in Calabria, Southern Italy
Ferment (2007)
Blind Light (2007), Hayward Gallery, South Bank, London
Event Horizon (2007) – along the South Bank of the Thames, London, England; (2010) around Madison Square, New York City; 2012 in São Paulo, Brazil; 2015–16 in Hong Kong
Reflection II (2008) – acquired by DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, in 2009
One & Other (6 July – 14 October 2009) – Trafalgar Square, London, England
Habitat – Gormley's first permanent installation in the United States, in Anchorage, Alaska on the grounds of the Anchorage Museum, cost an estimated $565,000.
Another Time XI (2009) – Gormley's sculpture on top of Exeter College, Oxford, overlooking Broad Street
Horizon Field (2010–2012) – sculpture installation in the Austrian Alps.
Exposure (2010) – Lelystad, Netherlands
Cloud Chain (2010) – Les Archives Nationales, Paris, France
Transport (2011) - Crypt of Canterbury Cathedral, Kent, England
Mothership with Standing Matter (2011) Lillehammer, Norway
Witness (2011) – on the piazza of the British Library, London; commissioned by English PEN to mark their 90th anniversary.
Horizon Field Hamburg (2012) – Deichtorhallen, Germany
Stay (2015/16) – Christchurch, New Zealand
Sight (2019) – Delos Island, Mykonos, Greece; organised and commissioned by the NEON Organization and presented in collaboration with the Ephorate of Antiquities of Cyclades of the Greek Ministry of Culture and Sports.
True, for Alan Turing (2024) – King's College, Cambridge[
Darkroom wet print
Negative: T-Max 400 developed with Ars-Imago FD 1+39
Paper: Tetenal Work grade 3 glossy
Paper developer: Neutol NE alike (1+9 diluition) 4:00
CanoScan 8600F
VueScan Pro
GiMP (levels only, used to match the original print black point)
My shadow. The two masked areas are the same shade of gray. The well known illusion that never fails to sew doubt in the mind.
Despite its proximity to Banbury, Wroxton retains its rural isolation and it remains one of Oxfordshire's prettiest villages. Most of its houses were built in the 17th and early 18th century and a great many of them are thatched.
The trees beyond the cottages are in the grounds of the magnificent Wroxton Abbey. The grounds of the abbey are usually open to the public, and the village has been very busy this year with locals from nearby Banbury making use of them whilst having so much unaccustomed free time. However, at the moment the grounds are closed 'due to the danger caused by falling branches', so the village itself is blissfully quiet.
(I hope my camera's not playing up. That sky's come out a very odd colour!)
The large corn crib and main barn located on the 274 acre Best family farm on the Monocacy National Battlefield in Frederick, Maryland.
Because of its proximity to the Georgetown Pike and Monocacy Junction, portions of both the Union and Confederate armies camped at the Best Farm throughout the Civil War. On September 13, 1862, during the Maryland Campaign, Confederate General Robert E. Lee's lost order No. 191 (which outlined his army's movements) was found on the Best Farm by Union soldiers from the 27th Indiana. Passed up through the chain of command, the captured order gave Union General George B. McClellan advance notice of his enemy's movements. The discovery marked a pivotal point in the war through the Maryland region.
From my ongoing "Farmscapes of the Civil War" project which in 2019 is in its fifth year of shooting.
Technical details:
Intrepid MK3 4x5 wooden large format field camera.
120mm F5.6 Schneider Symmar-S lens.
Ilford HP5+ shot at ISO 320.
Developed in Pyrocat HD at 1:1:100 dilution for 8 minutes @ 20 degrees Celsius in Jobo Multitank 5 with 2509N sheet film reels with drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
Negative scanned with Epson 4990 on holders fitted with ANR glass.
Cropped to 6x12 ratio after scanning to match intended composition.
:> IJG-Alpha-12 mainframe ... welcome
:> Proximity alert ... Prometheus ETA 36 hours
:> Requesting authentication codes ... timed out
:> override
:> Prometheus mainframe ... welcome
:> info
:> User id ... IJG-Alpha-12-SP27
Earth date ... 15 01 2593
Mission date ... 19 days, 2 hours and 12 minutes
Mission status ... en route to interstellar jump gate alpha-12
:> diag
Communications array down
Solar panel B4 malfunctioning
Spare part being installed
Diagnostics run completed ...
:> exit
:> Logged off
Thank you all for your comments and faves!
Blog: www.miksmedia.photography/
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Twitter: www.twitter.com/miksmedia
It is so hard to believe that it's been over 5 months since this particular visit to Elk Island... A lovely evening, that ended with a storm hitting the park. As always, before the rain, there was about a million of bugs flying all over and you can definitely see them on most of the pictures I have taken that day... All in all, I wouldn't mind the bugs, if it was still green and warm around ;D
Another view of Dungeness Nuclear Power Station but also of the old lighthouse.
"The Old Lighthouse, Dungeness, Kent. The Old Lighthouse is an Historic Grade 11 building, listed in 1992 by Shepway District Council. Opened with great ceremony by His Royal Majesty the Prince of Wales in 1904 after a 3 year build, it survived two world wars before decommission in 1960." dungenesslighthouse.com
Taken October 2020, when we were still unsure whether the subversive act of hugging might inadvertently lead to death.
Rolleiflex 3.5T - Ilford HP5+ - Rodinal 1+50 - dslr scan
Ozone Falls is a 43-acre natural area in Cumberland County. It receives heavy visitation because of its close proximity to Interstate 40. Ozone Falls plunges 110 feet over a sandstone cap rock into a deep blue, rock-strewn pool. Fall Creek then disappears underground until it re-emerges several feet downstream. An impressive rock house “amphitheater” can be seen behind the falls that was created over geologic time by wind, water, freeze/thaw, and erosion. Because of its picturesque beauty and easy access, Ozone Falls was selected for filming scenes for the movie “Jungle Book.”
Back in January, a kayaker survived a plunge over this falls...here is a link to an article which includes a video!
www.grindtv.com/outdoor/blog/50726/kayaker+survives+100-f...
Technical Information:
Camera - Nikon D5200
Lens – Nikkor 18-300mm Zoom
ISO – 100
Aperture – f/25
Exposure – 1/2 second, Shutter Priority Mode
Focal Length – 22mm
Final adjustments were made with Photoshop CS5.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
Bordeaux, la Garonne et l'aéroport ✈️ de Mérignac ! Si la couleur du fleuve ne vous semble pas très engageante, elle est pourtant parfaitement naturelle. C'est le résultat du mélange des eaux douce et salée qui remuent 2 fois par jour, avec les marées, des tonnes de sédiments. J'en profite pour saluer 👋 mes collègues de Novespace Air Zero G, il me semble que j'aperçois notre avion sur le tarmac... j'ai beau l'avoir longuement fréquenté lors de mon entraînement d'astronaute et plus récemment comme pilote, difficile de reconnaitre sa livrée à 400 km de distance ! ♂️
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Bordeaux, the Garonne and Bordeaux–Mérignac Airport! ✈️ The brown of the river may not look appealing, but it's or perfectly natural. It comes from salty sea water mixing with fresh river water, causing sediment to rise to the surface. While we're here, hello to my colleagues from Novespace Air Zero G! 👋 I think I can see our plane on the tarmac... I've spent some time in proximity of this beautiful machine during astronaut training (episodically) and much more as a pilot recently, but it's a bit tricky to identify from this high overhead!
Credits: ESA/NASA–T. Pesquet
513C9470
Renaissance villa in the proximity of the town of San Gimignano, Tuscany, Italy
Some background information:
As I found out, this beautiful villa is currently at sale. It is offered by several high-end real estate brokers, among them Christie’s International Real Estate, for a stipulated price of 13,000,000 € (14,170,650 $). So if you are solvent enough and dote on this beautiful estate, why not go for it?
The building dates from the year 1587 and originally served as a monastery. It was carefully renovated recently and has a living space of 2,500 square metres (26,900 square feet). The surrounding cypress park has an expanse of 30,000 square metres (323,000 square feet), also containing a large swimming pool. Among other things the villa has a cloister, a cistern, an old chapel and 20 bedrooms. But the final touch is the view of whole valley and the skyline of San Gimignano with its great medieval towers.
San Gimignano is a small walled medieval hill town with about 7,800 residents in the province of Siena, Tuscany. Known as the Town of Fine Towers, San Gimignano is famous for its medieval architecture, unique in the preservation of about a dozen of its tower houses, which, with its hilltop setting and encircling walls, form a very unique skyline. Since 1990, the "Historic Centre of San Gimignano" is a UNESCO World Heritage Site. However, the town is also known for its saffron, its golden ham, and its white wine, Vernaccia di San Gimignano.
In the 3rd century BC a small Etruscan village stood on the site of San Gimignano. Chroniclers Lupi, Coppi and Pecori relate that during the Catiline conspiracy against the Roman Republic in the 1st century, two patrician brothers, Muzio and Silvio, fled Rome for Valdelsa and built two castles, Mucchio and Silvia (now San Gimignano). The name of Silvia was changed to San Gimignano in 450 AD after Bishop Geminianus, the Saint of Modena, intervened to spare the castle from destruction by the followers of Attila the Hun. As a result, a church was dedicated to the saint, and in the 6th and 7th centuries a walled village grew up around it, subsequently called the "Castle of San Gimignano" or Castle of the Forest because of the extensive woodland surrounding it. From 929 the town was ruled by the bishops of Volterra.
In the Middle Ages and the Renaissance era, it was a stopping point for Catholic pilgrims on their way to Rome and the Vatican, as it sits on the medieval Via Francigena. The city's development was also improved by the trade of agricultural products from the fertile neighbouring hills, in particular saffron, used in both cooking and dyeing cloth and Vernaccia wine, said to inspire popes and poets.
In 1199, the city made itself independent of the bishops of Volterra and set about enriching the commune with churches and public buildings. However, the peace of the town was disturbed for the next two centuries by the conflict between the Guelphs and the Ghibellines, two factions supporting either the Pope or the Holy Roman Emperor, and family rivalries within San Gimignano. This resulted in competing families building tower houses of increasingly higher and higher heights. Towards the end of the Medieval period, there were 72 tower houses in number, up to 70 metres (230 feet) tall. The rivalry was finally restrained when the local council ordained that no tower was to be taller than Torre Rognosa, adjacent to the Palazzo Comunale. However, this law, established in 1255, was obviously contravened by the building of Torre Grossa in 1310. With its height of 54 metres it exceeds Torre Rognosa by three metres.
While the official patron is Saint Geminianus, the town also honours Saint Fina, also known as Seraphina and Serafina, who was born in San Gimignano 1238 and whose feast day is 12 March. The Chapel of Santa Fina in the Collegiate Church houses her shrine and frescos by Ghirlandaio. The house said to be her home still stands in the town. In 1300, San Gimignano hosted the famous Italian poet Dante Alighieri in his role as ambassador of the Guelph League in Tuscany.
The city flourished until 1348, when it was struck by the Black Death that affected all of Europe. At that time about half the townsfolk died. In the Renaissance era, the town submitted to the rule of Florence. Initially, some Gothic palazzi were built in the Florentine style, and many of the towers were reduced to the height of the houses. There was little subsequent development, and San Gimignano remained preserved in its medieval state until the 19th century, when its status as a touristic and artistic resort began to be recognised.
Today, San Gimignano is visited by millions of tourists each year. Of course the town is most visited in the summer months, but is also still rather crowed in autumn (when we were there) and spring. So if you don’t want to make your visit together with thousands of other tourists, it would probably be best to travel there in winter.
Proximity, Tim Lowly © 2004, acrylic on panel, 14" x 9 1/2". Private collection Oakland, CA.
Prints available at: timlowly.imagekind.com/
More work at:
P1020380GPPcSqmdl
Radiator Abstract Art
I recommend clicking on the expansion arrows icon (top right corner) to go into the Lightbox for maximum effect.
Otherwise, to get away from the f****r June 2014 Photo Experience, use this link to an alternative old style viewing option:
Link: www.elmofoto.com/Hacks/FlickrHackr
Don't use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved - Jim Goodyear 2014.
Day 17
No rain at all last night and clear skies this morning when I awoke early before sunrise. I wandered around Bear Paw Lake, past Ursa Lake and continued onto Big Bear Lake. I finally have a good view of the twin summits of Seven Gables Peak (13100). After climbing over an outcropping of rocks, and quietly passing another tent from a distance, I made my way to a stream that flowed down from Black Bear Lake into Big Bear Lake. From here I photographed Seven Gables peak in the alpine glow, with Big Bear Lake reflecting it's magnificent peaks.
After photographing sunrise I headed back to camp. Along the way I followed, as best I could, the shoreline of the three lakes. As I walked numerous small fish darted away from my shadow and escaped into deeper water as I passed by.
Once I reached my camp I pulled out my map to decide what to do next. I had planned to stay in the Bear Lakes Basin for two nights because there are lots of small lakes in close proximity to one another that I’d like to explore. I want to check out Vee Lake (11163) but I also want to spend the night on White Bear Pass (11800), just above the lake of the same name. I eventually decided to pack up and head to White Bear Lake, drop pack there, set up my tent and water proof my pack, then do a day hike over to Vee Lake, after which I will come back to White Bear Lake and sleep there.
I took down my tent, packed up my gear, ate a cliff bar and started the short hike back to where I photographed sunrise, then I began to climb up where the creek flowed down from Black Bear lake. The clouds have grown significantly larger since I consulted my map. The view on the climb up, looking back over Big Bear Lake towards Seven Gables Peak, is stunning. It is by far the best view I have seen yet on this journey and I wish I had seen it while I was shooting photos this morning.
After reaching Black Bear lake I turned left and continued climbing, passing two tarns, then continued up a bit further until finally I could see White Bear Lake. At this current position I am above the lake, looking down on it. Seven gables Peak rising over it from a distance away.
I traversed a slope of dirt and scree, and finally reached White Bear Pass. From here I was greeted by spectacular view, Brown Bear Lake far below in a valley to the to the northwest with Mt. Hilgard (13361) rising beyond that. Tomorrow I will be climbing down into the valley on my way to Lake Italy, Gabbot Pass and Mills Lakes.
After dropping pack I grabbed a cliff bar and headed over to a perfect place to sit and enjoy the view. After eating I explored the area and found a spot I wanted to photograph at sunrise, a large pond of snow melt, a snow patch on the far side and a ridge of jagged pinnacles rising behind the snow.
The clouds are now covering three quarters of the sky and it appears a thunderstorm is imminent. The darkest clouds are moving in from the north, partially obscuring Mt. Hilgard in a veil of rain.
There are no good places to shelter up here on the pass, so I decided to head back down to the closest tarn to seek shelter. I water proofed my pack and began walking back down to the tarn. (I forgot to set up my tent.) Rain began to fall, not much and not for long, once it passed there was a distant rumble of thunder. I started to look for places to shelter, and saw a large boulder, with a spacious over hang sitting just above the tarn. Another rumble of thunder and a few more large drops of rain.
I was almost to the rock when I saw another backpacker headed up. When we got closer we greeted each other.
"Where you headed?", I asked.
"Granite Park.” He responded. “How's it look for shelter up there?”
"Not good, I'm headed to that big rock", I pointed.
"Wow that's the best shelter I've seen for the last three days, I didn't even see the overhang from the other side. You mind if I join you?"
"Not at all."
We both headed to the rock.
THUNDER!
After reaching the rock we crawled underneath it and were able to sit up with plenty of room to spare.
For the next few hours the weather was indecisive, teasing us with rain, some thunder far off in the distance, a few bursts of tiny hail, then nothing. The sun would break through, followed by a loud crack as thunder broke the silence. Then it would get dark again. Finally a steady rain began falling.
During that time, Carl, the other backpacker was growing impatient. He wanted to reach Granite Park before sunset. He was a photographer too and wanted to photograph that area in the morning.
Then it dawned on me. "Where you over in Humphreys Basin five days ago?"
"Yeah." He sounded confused.
"I think we passed by each other there."
Then he remembered.
We had come across each other five days earlier as I made my way to Marmot lakes beneath Mt. Humphreys.
Carl remarked, “Its amazing that the two of us have crossed paths twice in this vast wilderness while both of us are doing different cross county routes, without trails.”
We talked about our journeys so far, he had been out for a week. After our meeting in Humphreys Basin he had gone on to explore the Turret Lakes, Three Island Lake, the two lake basins on both sides of the Pinnacles just south of Gemini, as well as Seven Gables Lakes and had spent last night at Vee Lake.
The last three days of storms I had only been on the edge of them, he had been directly beneath their heart for all three. He showed me a video of intense hail, then showed me the bruises that went with them.
After more indecisiveness from the weather, finally the full force of the storm hit. All of a sudden the light rain turned into a torrential downpour, the wind began gusting and the area was illuminated over and over by the flashing of lightning (of which we never saw the actual bolt) followed by cracklings of thunder, bouncing and resonating of the surrounding cliffs and peaks. After a good long while of heavy rain, it started to hail. The hailstones were about one inch in diameter and the tarn below us looked as though it was boiling.
Then I remarked, “Well, if I want epic hail, I know who to go backpacking with.” And we both had a good laugh.
The wind couldn't make up its mind and was gusting at us from all directions. Then as suddenly as it began, it stopped and the hail turned into a light rain, then to a mist, then stopped all together. The sun came out as the storm moved south. There was so much hail that it appeared as though it had just snowed. The sky to the south, where I had been yesterday was dark beneath the towering white clouds.
After getting photographs of the the hail covered earth and retreating storm clouds we headed up to White Bear Pass, the crunching of hailstones under our feet.
It was getting late, and Carl was wanting to continue on to Italy Pass and Granite Park, but he was unsure of making the trek over wet slippery talus. When we reached the top of the pass, the sky darkened again and more rain began falling. To go back down to the rock we decided was too much trouble so we huddled below the leeward side of some cliffs on the east side of the pass. The rain turned to small hail and continued on for a good long while, then turned back into a light rain.
"Well, I guess I'm not making Granite Park today, do you mind if I camp here with you?" Carl asked.
"No, not at all that would be great, I'd love the company." I answered.
Finally the rain tapered off and we looked for a flat place, that wasn't a puddle, to set up our tents. As I removed the pack cover I noticed the outside of my pack was wet, but I didn't think much of it. After moving a few rocks out of the way, we set the tents up side by side.
The sun was now setting and shining through a gap between the storm clouds and the horizon. The pink alpine glow was gracing the peaks and the pass we were on, all the wet rocks and everything around us turned a vibrant pink.
We both photographed that until the sun sank beneath the horizon and the light faded. Then we made our dinners. He shared some sun-dried tomatoes and olive oil with me and I gave him some smoked almonds.
Each night, before I go to sleep out here I put on a clean pair of socks to help keep my feet warm as I sleep. Tonight when I reached into my pack to get out a pair of socks I was disappointed to find that all my socks were wet. It sucks, but it's not a big deal, I just won't wear socks tonight and tomorrow when the sun comes up I will lay them out to dry. My pack cover must not be working very well anymore.