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from CONTACT 1: The Millennial Celebration of the Eternal Choir at K'al Yne, Odan.
This approximately 3000 piece kit is available through World of Odan.
Kit includes:
- LEGO pieces
- Building instructions (pdf)
- SMALL ARCHIVAL PRINT
- Signed & numbered certificate of authenticity
- Copy sheet on the history and function of the building in context.
See this and more at:
Standing at 120 stories, the 1450 year old Sa Ameen is one of the larger freestanding structures of K’al Yne. Four towers connect at a central hub. Here, shafts penetrate the foundation where the Seer’s meditation ‘dark chambers’ are located. Each tower comfortably houses around 150,000 members of the ancient Sari clan.
The Sari clan is the second largest of the 18 clans in K’al Yne and serve as K’al Yne’s primary spiritual force. All spiritual leaders, known as Seers, come from the Sari. The Sari are further divided into 12 separate “houses”, which represent the various ancient family lines. Each house serves a unique specialty within the community. For example, one house focuses on administration activities, another on general spiritual needs, another on more specialized spiritual activites – like meditation-based food production. Being born into a particular house in a clan is predetermined before birth when in the spirit form. Generally speaking, most family members have reincarnated into the same house hundreds or thousands of times. In this way, their talents carry through instinctively to support an increasingly specialized society.
As with most buildings on Odan, windows are kept to a minimum to maintain the pristine night sky. Advanced fiber optics turn walls into virtual solid windows which provide the light, the views, the sounds and the fresh air from outside.
The Sari prefer to spend time with large extended families rather than stay tight within individual family units. To this end, apartments tend to have but a few rooms for sleep, meditation and hygene. More space is dedicated to open play and community activities such as meals, worship, schooling, work and entertainment. In addition, approximately 15 floors have been reserved for gardens, waterfalls and plant life. Here, enough food is provided for the entire Sari with surplus that is shared among some of the other clans. These green areas generally lie directly outside apartments and serve as a barrier between public and private spaces.
As all Seers are raised within Sa Ameen, deep meditation quarters have been created to facilitate their habitat and spiritual growth. Located between the four towers are special dark chambers, devoid of any light or sound. These unique areas provide the necessary extended meditation they will need to focus their third eyes. With the care of loved ones, Seers begin their monastic life at the age of 14, here in Sa Amee. As an adult, they will retreat to various monasteries and sanctuaries throughout K’al Yne.
You can stay updated on any new works or showings at my facebook art page:
"Millennial fathers are embracing hands-on fatherhood with more enthusiasm and passion than any previous generation."
The final concert for the Battle of the Bands held at the Phoenix Concert Theatre, Toronto on November 17, 2016.
Photos by Arthur Mola Photography
I created this composite from three layers. The background is simply a black fill layer on which I brushed in some dust particles. The comet is a real photo I took of the "Green Comet" (C/2022 E3 ZTF), which passed by planet earth January 27, 2023. This was the first time in a thousand years the comet crossed paths with earth. The foreground layer is of an elbow bend from a CPAP machine. All photos used in this composite are my own.
Ref: 90D2_5501
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Not all “millennial influencer kids” wedding ideas are ideal …
Especially true for THIS CALIFORNIA nearly-wed couple:
PREMISE: “Go for a drive” …
PURPOSE: “To take a break …
from all the stresses of planning a wedding.”
DESTINATION: PIONEERTOWN, California, U.S.A. …
(10 miles away from their front doors!) …
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Bride-To-Be:
“Honey …
we were supposed to be taking this drive to PIONEERTOWN…
to RELEASE stress …
SO, WHY ARE WE AT THE BANK ?????"
Groom-To-Be:
“Well...we need to take out a loan …
to fill up our gas tank ... to get HOME!!”
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BLYTHE-A-DAY
A flickr Group
JUNE 2026 ~ The WEDDING Month
DAY 24: "GO FOR A DRIVE"
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My daughter is of the Millennial generation so she was interested in this 1990s era bedroom display at Madame Tussaud’s museum in Hollywood.
This was super easy for me to come up with an outfit, I absolutely love the grunge trend from the 90's so I was super exited to dress the part. I wanted to add a lot of attitude to this look, and between the distressed and baggy clothing and the serious face expression, I think it worked out well.
Millennials Stock Photo
When using this photo on a website, please include an image credit for www.opticiantraining.org.
For Example: [Photo credit: Optician Training]
Haraldshaugen (Norwegian: Riksmonumentet Haraldshaugen) is a national monument in Haugesund, Norway. The monument was erected during the millennial celebration of Norway's unification into one kingdom under the rule of King Harald Fairhair (Norwegian: Harald Hårfagre).
Haraldshaugen was unveiled on July 18, 1872 by Crown Prince Oscar (later King Oscar II of Sweden) in connection with the one thousand year anniversary of the Battle of Hafrsfjord. The monument is designed by Norwegian architect Christian Christie.
Haraldshaugen is located in the northern suburbs of Haugesund. The monument consists of a large mound surrounded by a granite memorial stones with 29 smaller stones, one from each of the historic counties of Norway. At the top of the mound stands a 17m high granite main obelisk, with four bronze panels around the base. Each panel depicts important scenes from the life of King Harald I.
Haraldshaugen commemorates the Battle of Hafrsfjord which commonly dates to the year 872. The Battle of Hafrsfjord has traditionally been regarded as the point in which western Norway was for the first time unified under one monarch. Tradition holds that Haraldshaugen is the burial site of King Harald I, who died circa 933 at Avaldsnes on nearby Karmøy, south of Haugesund, but currently there is no clear archeological evidence of this.
As the millennial celebrations of 1896 approached, the nation's demand for representation channelled the conception of a unique Parliament building. The Palace of Westminster in part inspired the design, but a well-known Hungarian architect, Imre Steindl, laid out the plans in their entirety. The building stretches 268 meters in its length, along the Danube embankment. Ornamented with white neo-gothic turrets and arches, it forms the most outstanding landmark of the Pest side horizon. Statues of Hungarian monarchs and military commanders decorate the outer walls. The unique interior design includes huge halls, over 12,5 miles of corridors, a 96-meter high central dome, and 691 rooms. When the Parliament is not in session, all these can be visited (cameras are allowed); tours are offered in English, French, German, Russian, Hebrew, Japanese, Italian and Spanish.
Photo was taken August, 2009.
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[
A portrait of a millennial.
As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.
Olivastro Millenario in Sardegna - 2 Scatti uniti in Photomatix PRO, 2 shots merged with Photomatix PRO
(Nel territorio di Luras sono presenti degli olivastri millenari.
In particolare in località Santu Baltòlu di Karana, presso la chiesetta di campagna dedicata a San Bartolomeo, è situato il più vecchio di questi olivastri, che dai luresi viene confidenzialmente e rispettosamente chiamato S'ozzastru. Esso presenta una circonferenza di 12 metri a circa m. 1,30 da terra ed è alto 8 metri. La sua età, secondo alcuni esperti, è stimata tra i 3.000 ed i 4.000 anni, risultando così l'albero più vecchio d'Italia ed uno dei più vecchi d'Europa.
Nel 1991, questo "patriarca della natura", è stato dichiarato Monumento naturale ed inserito con decreto ministeriale, per la regione Sardegna, nella lista di "venti alberi secolari", uno per ogni regione italiana.)
While there’s no real consensus on what is the exact age gap of millennials, there’s something that nobody can deny: they are one of the most avid consumers in many markets. They are often the bulk of modern work force and are not shy to spend their money on particular interests, as they wish to know and experience the pleasures of the world. As they spend lots of money in these small pleasures, it’s ideal that you learn how to appeal to millennial coffee lovers.
cofflandcorp.blogspot.com/2017/08/how-appeal-millennial-c...
My daughter is of the Millennial generation so she was interested in this 1990s era bedroom display at Madame Tussaud’s museum in Hollywood. As you can see, I took a picture of her sitting on this bed.
Wednesday, June 12, 2013
To kick off our prep work for the Global Youth Summit, the ITU hosted special one-day MILLENNIALS JAM WORKSHOP at its ICT Discover Center, with an exclusive and select group of 40 entrepreneurial young people. The objective of this unique one-day event is to crowd-source a more detailed framework for the Summit where approximately 25,000 young people will input their ideas for the post-2015 global development agenda.
ITU/Rowan Farrell
Wednesday, June 12, 2013
To kick off our prep work for the Global Youth Summit, the ITU hosted special one-day MILLENNIALS JAM WORKSHOP at its ICT Discover Center, with an exclusive and select group of 40 entrepreneurial young people. The objective of this unique one-day event is to crowd-source a more detailed framework for the Summit where approximately 25,000 young people will input their ideas for the post-2015 global development agenda.
ITU/Rowan Farrell
WEEK 13 – Barnes Crossing Kroger, Pre-Remodel (I)
First though, let’s take a look across the grocery aisles as they extend beyond the produce department. Notice anything peculiar? If you’re seeing something wrong with those aisle signs… you’re right on the money! Indeed, those ain’t your grandma's millennium décor aisle markers. For whatever reason – who knows when, and who knows why – Kroger decided to do their “best” to de-millennial-ify these things not only by switching out the product placards (as they've been known to do in other stores), but by even going so far as to cover up the aisle numbers themselves with those bland, plain, frankly ugly replacement numbers! Totally weird. (cont.)
(c) 2018 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
I went hiking with my son and his friend and because of the terrain we were in for the most part in dead zone but as soon we reached the summit we were had good cell reception and they started texting away while I just enjoyed the view. Kinda miss the day when keeping in touch meant keeping a lot of quarters in your pocket.
6 Strategies to Engage Your Millennial Workforce - Social learning, micro learning, mobile learning, gamification goo.gl/oWjtx1
“Millennials complain that there are only ten more years”
Texts-Design-Photo; Chiang Mai, Thailand (September 23, 2019) - Terrell Neuage 2019
#MillennialsComplain #TheEarthSurvived #SaveThePlanet #OnlyTenMoreYears #ChiangMai #ThoughtsInPatterns #Neuage #ThoughtsInTravel
18 years have passed since I took this shot at Palma, and if I returned today, many of the airlines I'd have seen all those years ago would be missing.
In 2003, air 2000 were considered a pretty regular airline on the British scene, but a year after this photo was taken they renamed themselves First Choice Airways. In 2008, they were gobbled up by TUI who also used the brands Thomsonfly and Thomson Airways.
The Canadian registration worn, C-GTDH, indicates that this A320 was part of the Skyservice fleet, and each year a few aircraft would cross the Atlantic to be used in Europe when demand for service from Canada was reduced.
Palma de Mallorca, Spain
6th September 2003
Canon EOS100, Kodachrome
20030906 99C02 CGTDH PMI clean