View allAll Photos Tagged docks
A scanned in photo taken by my father, of Imperial Iranian Navy Alvand Class Destroyer Escort DE18 Faramarz, later F74 Sahand and sunk in action, at Southampton Docks, 3rd February 1973.
Disused Tobacco warehouse used as a market on sundays. The railtracks showing were part of the old dock railway The little box on the wall is were the hoistman was stationed
This last weekend (middle of February) I went walking in Forest Park, the largest urban park in the US. I was in the wilder north part of the park and spent some time spotting edible herbs along the road. I didn't harvest anything because everyone was so tiny and new, but it was good to see them springing up! Hurrah for spring!
Is this yellow dock? I saw lots of it but am not sure. That stick is actually sticking up out of the plant with the long leaves and is about two feet tall.
Silo and the tobacco warehouse
reflecting in Stanley Dock. Taken from the other side of the lift bridge on Regent Road.
Handling Specialty has experience with loading dock equipment. Here is a 20,000 lb. capacity custom hydraulic scissor lift table for transferring Rolls of Paper.
Handling Specialty's design of custom high-capacity lifts is suited ideally to the newspaper industry where tons of rolls of paper are handled daily. For the Houston Chronicle, a 20,000 lb. capacity lift was designed for the unloading of 5,000 lb. paper rolls. Delivered by transport to loading docks, the transport stops in front of the lift which raises to the height of the dock and back of the transport. Once emptied, the lift lowers and the present transport leaves, making way for the next shipment.
For more information about this project please visit: www.handling.com/Solution.aspx?rid=72
View over Millwall Outer Dock looking east from the Docklands Sailing & Watersports Centre showing Ringwood Gardens on the right-hand-side
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www.floridastateparks.org/camphelen
FED 5B
Kodak Max 400
Old boat dock at Camp Helen State Park, Florida
By Phyllida Barlow
Inspired by Tate Britain's location in relation to the river Thames, dock is Barlow's most ambitious sculptural installation to date. Obtrusive and invasive, the works in dock block and impede the way, overfilling the 100 metre long barrel-vaulted Duveen Galleries. They project dual and contradictory identities: monumental on the one hand, collapsed on the other. Made of lightweigh materials such as timber, metal, polystyrene, tarpaulin, canvas, cardboard and rope, the works in dock look battered or ravaged and offer an antagonistic counterpart to the austere neoclassical galleries. Suspended , collapsed, stacked, wrapped, folded or jammed, the sculptures have taken over and create a dynamic space that challenges the experience of viewing.
Tate Britain Commission 2014
Sculptor Phyllida Barlow will unveil her largest and most ambitious work in London to date for the Tate Britain Commission 2014, supported by Sotheby’s, on 31 March 2014. The annual commission invites artists to make work in response to Tate’s collection of British and international art and to the grand spaces of the Duveen Galleries at the heart of Tate Britain.
For over four decades Phyllida Barlow has made imposing, large scale sculptural installations using inexpensive, everyday materials such as cardboard, fabric, timber, polystyrene, plaster, scrim and cement. Her distinctive work is focused on her experimentation with these materials, to create bold and colourful three-dimensional collages.
Drawing on memories of familiar objects from her surroundings, Barlow’s tactile and seemingly unstable sculptures often contrast with the permanence and traditions of monumental sculpture. In works such as Peninsula at the Baltic Centre for Contemporary Art in 2004 or Stint at Mead Gallery, Warwick Arts Centre in 2008, a cacophony of form, colour and materials filled the spaces. In Barlow’s most recent work TIP for the Carnegie International in Pittsburgh, timber lengths wrapped in mesh, cement and brightly coloured fabric ribbons cascaded en masse across the museum plaza to the entrance.
Phyllida Barlow has had an important influence on younger generations of artists through her work and long teaching career in London art schools. At the Slade School of Fine Art, her students included Turner Prize-winning and nominated artists Rachel Whiteread and Angela de la Cruz.
Having seen the space evolve over several decades, I’m very excited by the opportunity to work in the Duveen Galleries. Considering a body of new work, I was very conscious of two particular contradictory aspects: the tomb-like interior galleries against the ever-present aspect of the river beyond.
Phyllida Barlow
[Tate]