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20140223-5074
's Zondagsmorgen 09.30, een wandelingetje op het Voorhout (serie van 3)
Waarom deze titel: op dit moment loopt er een schitterende serie op de televisie onder deze naam. De hoofdpersoon, Valentijn Bentinck, (Daan Schuurmans) puissant rijk, woont permanent in Hotel des Indes.
Valentijn is een mooie mix tussen James Bond en John Steed. De serie spreekt mij vooral aan omdat hij vrijwel geheel in Den haag is opgenomen, het is de herkenbaarheid waar je naar uitkijkt.
The Red-winged Blackbird,is an abundant permanent
resident of Florida. Inland, Red-winged Blackbirds occur around
freshwater ponds and marshes in natural, agricultural,
and suburban settings. Along the coast and in the Keys,
they breed in salt marshes, mangroves, and buttonwoods.
Their food consists of the seeds of weeds and grasses,
various grains, and insects and other invertebrates.
I found this one in the marsh along Heron Hideout Trail, at Circle B Bar Reserve.
Polk County, Florida.
PictionID:40995947 - Catalog:BP SDASM_00104 - Title:SDASM Exhibits December, 1992 Ford Building -------- - Filename:BP SDASM_00104.TIF - ------ - Filename:BP SDASM_00078.TIF - Image from the History of the San Diego Air and Space Museum and Balboa Park Collection. ---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
At the heart of the Summerland Meadows, Glastonbury Tor is a conical hill standing 158 m above the mists and wetlands of the Somerset Levels (which are at about sea level). It is composed of Blue Lias limestone and shale beneath a sandstone cap, the latter reinforced by iron deposited by the artesian spring of Chalice Well.
The hill has been used, if not permanently occupied, since at least 300–200 BCE, initially as an easily defended site during Iron Age conflicts. Roman pottery suggests it was similarly visited in that era, but the first evidence of settlement seems to date from the 5th to 7th Centuries; by the Saxon era, the hilltop featured a wooden church and monastic cells.
The 11th/12th Century wooden church, dedicated to St Michael, was destroyed by the major earthquake of 11 September 1275. A replacement was built in local sandstone, within the existing foundations, by Abbot Adam of Sodbury in the 14th Century, as a daughter church of the nearby Glastonbury Abbey. This lasted until the Dissolution of the Monasteries in 1539, when the Monastery of St Michael on the Tor was demolished, apart from the church tower, and the last Abbot of Glastonbury Abbey, Richard Whiting, was hanged, drawn and quartered here alongside two of his monks.
Occasionally repaired, the three-storey buttressed tower remains (obviously), as a Grade I Listed Building, scheduled monument and iconic landmark of the region.
The path is is a 20th Century attempt to minimise erosion by increasing numbers of visitors, but the means of formation and purpose of the tor's terraced slopes is a slight mystery: agricultural, defensive or even a ritual labyrinth?
Glastonbury Tor is perhaps best known for its association with Celtic mythology, though it's important to distinguish between historical records and more modern Neo-pagan reinterpretation (perfectly valid beliefs, just not necessarily supported by archæology!)
Apparently known to Celtic peoples as Ynys Afalon ('Isle of Apples'), from the late 12th Century it became associated with Arthurian legends (following the 'discovery' in the Abbey of coffins labelled 'Arthur' and 'Guinevere'), as the mythical Avalon. Others say a dragon sleeps within the hill (remember that earthquake?) and a credible explanation has been made about the Tor and Chalice Well's symbolism in modern Goddess worship.
Olympus OM2, Kodachrome 64, digitised by photographing the original 35mm slide on a light pad; 12mm extension tube used. Tethered capture in Lightroom.
We are at about 3400m in the Shilla gorge. Progression down the gorge is only possible by crossing the river repeatedly. On this day I counted 26 crossings, 19 of which were with water at knee height or above.
The Flickr mapping gives Kashmir as the location, which may be politically true but culturally we are firmly in Ladakh, having left Kashmir behind.
Linda Thomas-Greenfield, Permanent Representative of the United States to the United Nations, briefs reporters after the Security Council meeting on Afghanistan.
UN Photo/Mark Garten
30 August 2021
New York, United States of America
Photo # UN7907683
Lee Mee Beauty
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Revolta Permanent taldearen kontzertua Bilboko Kafe Antzokian, Kimera disko berria aurkezten. Argazki gehiago / Mas fotos
60045 'The Permanent Way Institution' arrives in Tees Yard with the 6N32 empty lime covhops from Lackenby. 09205 awaits it's next duty on the adjacent line.
old bullock cart... ....actually a part of an image of a bullock cart, 2-wheeled wagon usually pulled by oxen/horses. Location: kota lukut museum, Malaysia
(from Art in America .. more info on sources below)
Chinati Foundation, Marfa
The Marfa plans had a long gestation. The initial contract for the work to fulfill Judd's conception of a museum of permanently installed work by him, Flavin and John Chamberlain was issued by the Dia Art Foundation in 1979. Flavin traveled to Marfa in the early 1980s, and models of the buildings and meeting notes suggest that he conceived his plans around that time. Nonetheless, he did not disclose his ideas completely until March 1996.[3]
The six buildings are U-shaped structures that have been renovated in the local vernacular architectural style with adobe walls and metal roofs. To accommodate Flavin's installation, all the windows except two at the end of each long wall have been closed over; entrances are on the inside of the U toward the ends of the long sides. Inside, two parallel corridors have been constructed at the bottom of the U, with walls--86 feet on the outside and 44 feet on the shorter courtyard side--that lean left, making a 76-degree angle with the floor.
Passage through the leaning corridors is blocked by eight back-to-back pairs of 8-foot-long fluorescent fixtures that extend from floor to ceiling, parallel to the walls. Gaps the width of the lamps are left between each pair of fixtures, allowing one to see through the color cast by the lamps on the fronts to the different color at the backs.
In three of the buildings, these light barriers are placed at the centers of the corridors' lengths, so that color is largely contained within the leaning walls. In the other three (they alternate from one building to the next), the lights are placed on both ends of the corridors, which allows color to flood into the long arms of the building as well as the inaccessible interiors of the corridors. The first two buildings contain pink and green lamps; in the second two, yellow and blue lamps are similarly placed; and the last two have both a pink/green and a yellow/blue corridor.
The repetition of arrangement and color in the Marfa corridors is characteristic of much of Flavin's art. As in the work of other Minimalists, such as Judd, Carl Andre or Sol LeWitt, an inherent systematic order distinguishes his art from the expressionism of the previous generation and takes on relevance with regard to many issues of the early '60s: handmaking versus industrial production, the nature of individuality, the importance of part to whole, and so on. For Flavin, the projection of a system was particularly important because it provided a kind of framework to work with and against. The repetition and regularity of his elements and his arrangements provided a structure within which he employed a strategy of systematic change.[4]
Although Marfa's tilting corridors were a striking new development for Flavin, the use of diagonals and other aspects of the piece derive from earlier works. Flavin's first solely fluorescent piece to be exhibited employed a diagonal element: the diagonal of May 25, 1963 (to Robert Rosenblum) was a single 8-foot fixture with a cool-white lamp placed on the wall at a 45-degree angle. The spacing of the parallel lamps at Marfa relates to untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room), 1968, a work in which a rank of single cool-white lamps is set vertically into a doorway.[5] In that work, the lamps face away from the viewer, illuminating an empty room while blocking passage into it, like the Marfa works that are barricaded at each end. In both cases, the architecture and lights operate in tension with each other. The walls invite passage but the lamps prevent it; the lights shine forth brilliantly only to be contained and framed by the walls. The Marfa works, however, are neither as blunt nor as austere as the 1968 work, with its cool, colorless light. Also in contrast, the exposed backs of the fixtures in the earlier piece suggest prison bars and give a vaguely political character to the work. At Marfa, the double-sided arrangement and the intensity of the paired, contrasting colors fill and complicate both the existing and constructed space. The physical experience of the work becomes dynamic and visually disorienting.
The Marfa installations in which lamps are midway down the passage recall an earlier corridor, untitled (to Barry, Mike, Chuck and Leonard), 1972-75, a hall 8 feet tall and wide, of a length dependent on the available space,[6] with back-to-back pink and yellow lamps placed floor to ceiling midway down its length. As in Marfa, to see the work completely, the observer is forced to walk around the construction (in Marfa, this means going outside and crossing the courtyard to reenter the building). This experience introduces some surprises, as the color and intensity of the lights change from side to side. The construction of the earlier work set up a square frame that tends to play with notions of perspective; one's gaze travels down the visually converging lines of the walls, much as in Renaissance perspectival painting, to meet a plane of light fixtures.[7] In the Marfa works, the angled walls and fixtures disrupt the expected order of right angles, subverting the sense of architectural proportion and balance. In this regard, they recall a corridor conceived and built around the time Flavin was first thinking about the Marfa works, untitled (to my dear bitch, Airily), 1981, in which diagonally placed blue lamps ran along the walls and ceiling of an 8-foot-high and -wide corridor.[8] The familiar structure encouraged one to pass through; while the lights did not block the passage, their placement warped one's sense of rectilinear order.
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The dynamic quality of the installation in Marfa is amplified by color. Though he utilized a limited range of commercially available hues, Flavin combined colored lights to very different effects, both expressive and spatial. In Marfa, he paired bright, contrasting colors: pink/green and blue/yellow. Green is the most luminous and intense of the fluorescent colors; when pink and green are mixed they seem to radiate yellow. As one looks into the corridor toward the green lamps, the color turns white as the eye compensates for the intensity of the green light. This physiological effect strengthens the pink light as seen from the green side. When one walks around to look at this light barrier from the other side, the yellow reflection on the barrack walls is seen to be the result of emanations of soft pink highlighted by green. These subtle transformations play against the predictability of the repeated structures.
... from
Dan Flavin, Posthumously
Art in America, Oct, 2000 by Tiffany Bell
----
Dan Flavin was born on April 1, 1933 in New York City. In the mid 1950s he served in the US Air Force as an air weather meteorological technician in Korea, after which he returned to New York and attended art history classes at the New School for Social Research and Columbia University. While he had an interest in art and drawing throughout his life, he never received formal art instruction.
In 1961 Flavin had his first solo exhibition at the Judson Gallery, New York City. Later that year he began experimenting with electric light in a series of works called 'icons,' which led him to his inaugural work in pure fluorescent light, the diagonal of May 25, 1963. Flavin married Sonja Severdija in 1961, and their son, Stephen Conor, was born in 1964. In 1965 Flavin moved from Manhattan to the shores of the Hudson River where he continued his drawings of water and landscape and developed his interest in nineteenth-century Hudson River landscape painters.
With a recommendation from Marcel Duchamp, Flavin received an award from the William & Norma Copley Foundation, Chicago, in 1964, the same year that he exhibited his 'icons' at the Kaymar Gallery and had his first exhibition in fluorescent light at the Green Gallery, both in New York City. He also began his nearly life-long series of monuments dedicated to the Russian Constructivist Vladimir Tatlin. Flavin became known as an originator of 'Minimal' art through inclusion in key group exhibitions such as "Black, White, and Gray" at the Wadsworth Atheneum, Hartford, Connecticut in 1964 and "Primary Structures" at the Jewish Museum in New York City in 1966.
Flavin's recognition began to spread to Europe in 1966 following his first solo exhibition at the Galerie Rudolf Zwirner, Cologne, and his first 'barrier' installation greens crossing greens (to Piet Mondrian who lacked green), created for the exhibition "Kunst Licht Kunst" at the Stedelijk van Abbemuseum, Eindhoven. He was featured in the "Minimal Art" exhibition at the Gemeentemuseum, The Hague, in 1968.
Flavin's first single large-scale installation, alternating pink and 'gold', was made for the Museum of Contemporary Art, Chicago, in 1967. In 1969 his retrospective exhibition "fluorescent light, etc. from Dan Flavin," opened at the National Gallery of Canada, Ottawa, before traveling to the Vancouver Art Gallery, British Columbia, and to the Jewish Museum in New York City.
Circular fluorescent lights entered Flavin's artistic vocabulary in 1972 in an installation at the Albright-Knox Gallery, Buffalo, New York, and were a key element of an important exhibition at the St. Louis Art Museum, Missouri in 1973.
From its inception in 1974, the Dia Art Foundation acquired numerous works by Flavin, and supported larger projects including: an outdoor work for the four corners of the courtyard of the Kunstmuseum Basel, in 1975; lighting several train platforms at New York's Grand Central Station in 1977; and a permanent installation of nine works in a former firehouse and Baptist Church in Bridgehampton, New York (The Dan Flavin Art Institute) in 1983.
Among Flavin's most important late large-scale installation was his project to light the entire rotunda of the Frank Lloyd Wright designed Solomon R. Guggenheim Museum in New York City to commemorate its restoration and reopening in 1992 (based on a smaller installation he had made there for the 1971 "Sixth Guggenheim International"). Flavin married Tracy Harris, at the Guggenheim, in 1992. He completed a major installation for the Kunstbau Lenbachaus, Munich, in 1974.
Flavin died in Riverhead, New York, on November 29, 1996, near his Long Island, New York home.
Three of Flavin's most ambitious permanent installations were completed after his death: the lighting of Santa Maria Annunciata in Chiesa Rossa, a 1920s designed Catholic Church in Milan, in 1997; a project for Richmond Hall at the Menil Collection in Houston, Texas in 1998; and the completion of an installation in six former army barracks at Donald Judd's Chinati Foundation in Marfa, Texas in 2000.
Sustainability, sure. However it's hearbreaking to see our landscape permanently changed with so little consultation.
Installation dans la cage du grand escalier de la villa de Pury
Cette installation s'inscrit dans la scénographie d'un espace évoquant symboliquement le "poids" moral, colonial, idéologique, scientifique, archivistique, en kg.. qui s'attache aux collections ethnographiques. La légèreté du mobile accroché dans la cage d'escalier "tisse une métaphore plus aérienne" face aux cartels traditionnels mais évoque aussi l'impermanence des choses, thème central de l'exposition permanente.
L’équipe du Musée d’ethnographie de Neuchâtel présente dans la Villa de Pury entièrement rénovée une exposition centrée sur ses collections faisant intervenir l’histoire de l’Institution, les fantômes qu’elle abrite, les enjeux qu’elle recouvre et les pratiques sociales qu’elle analyse. Ce faisant, les concepteurs rappellent que les êtres humains et les biens matériels qu’ils échangent ne cessent de se transformer, tout comme le regard porté sur eux. Extrait du site officiel
Exposition de référence : "L'Impermanence des choses", musée d'ethnographie de Neuchâtel, Suisse
Doors Open Toronto 2014
The bank vault door of the Camera Permanent Building. The main branch / head office of the Canada Permanent Mortgage Corporation opened in 1930 at 320 Bay Street. The Art Deco style office tower was designed by F. Hilton Wilkes, with brass detailing, bronze ornamentation, carved stone work, and chandelier lighting in the main entry. In 2001, CIBC Mellon, bought and restored the building.
Processing alchemy with Nik Color Efex detail extractor and glamour glow.
Steinbildhauerei aus Zimbabwe
Auf Schloss Steinhausen in Witten ist eine dauerhafte Ausstellung an Skulpturen von drei Generationen zimbabwischer Bildhauer zu sehen.
In vielen Teilen Zimbabwes wird das Rohgestein für die Skulpturen abgebaut, daher sind die Arbeitsstätten der Künstler weit im Land verteilt. Die meisten Bildhauer arbeiten in Gruppen, wobei Tengenenge, das Chitungwiza Art Centre, Mvurwi Art Centre und Nyanga Art Centre die derzeit bedeutendsten Künstlerkolonien darstellen.
Stone Sculpture from Zimbabwe
A permanent exhibition of sculptures by three generations of Zimbabwean sculptors is on display at Schloss Steinhausen in Witten.
The raw stone for the sculptures is quarried in many parts of Zimbabwe, so the artists' workplaces are widely distributed throughout the country. Most sculptors work in groups, with Tengenenge, Chitungwiza Art Centre, Mvurwi Art Centre and Nyanga Art Centre being the most important artist colonies at present.
For our Dailyu Challenge - Permanent
Don't use this image on websites, blogs or other media without explicit permission. © Barbara Dickie. All rights reserved.
7 Days of Shooting/Week #23/Contrasts/Unusual PoV Tuesday
The Edinburgh Christmas funfair has taken up residence beside the Scott Monument. One has stood there for a hundred and sixty eight years; the other will be dismantled in the new year.
Nara was founded in 710 CE as Japan's first permanent capital, and even after Heian-kyō (Kyoto) became the seat of the Emperor, and hence political capital, in 794, the temples and shrines of Nara, or Nanto Shichi Daiji, remained spiritually important – Nanto (南都) even means 'the southern capital'.
Oddly, Nara has only been a city since 1898, 29 years after the capital moved again, to Edo (Tokyo), but the eight major temples, shrines and ruins (plus Kasugayama Primeval Forest) of the 'Historic Monuments of Ancient Nara' UNESCO World Heritage Site make Nara a significant destination of pilgrimage – not least by tourists.
The most famous Shinto shrine in Nara is Kasuga-taisha, established by the Fujiwara family in 768, when the grand shrine's first kami is said to have ridden a white deer to the summit of Mikasa-yama.
This partly explains the large number of sika deer wandering Nara Park, 'sacred messengers' encouraged by tourists feeding them rice crackers – itself not entirely recommended, as they're wild animals and can be aggressive.
Another distinctive characteristic of Kasuga-taisha is the path (sandō) through the woods to the shrine, which is lined by over three thousand stone lanterns (ishidōrō/tachidōrō) like these.
Attractively weathered into their surroundings and colonised by ferns and moss, they are all lit for the Setsubun Mantoro and Chugen Mantoro festivals in February and August, marking the turn of winter to spring and the turn of summer to autumn.
The lanterns are hollow, of course – the white rectangles and – I think – the circles are paper glued over apertures in the stone, featuring people's ema wishes.
More specifically, this group of lanterns stands beside the main path into the Kasuga-taisha complex, at the Second Torii.
The Burrell Collection, Pollok Country Park, Glasgow
The Burrell Collection was the largest private collection of fine art in the country other than that of the Royal Family. It was given to the City of Glasgow in successive bequests from the 1930s onwards, and is held in a purpose-built gallery in south Glasgow.
The new building opened to the public in the 1980s, but in 2019 it closed for a major refit and extensions, the new Burrell being opened by King Charles III in 2022.
We visited for the recent Degas exhibition, but the permanent collections of religious sculpture and medieval church glass are both notable and remarkably rich in quality. All in all an exceptional gallery, a must see.
The Leonardo Permanent Multipurpose Module Leonardo being attached to the International Space Station, 1 March 2011.
This final flight of Discovery marks the eighth and final trip of Leonardo to the orbiting complex. This visit will be longer: the module will be left attached to the Station as a permanent extension. Originally built to ferry cargo to and from the Station in the Shuttle cargo bay, Leonardo’s modifications include improved debris shielding and easier access by the crew to its internal equipment.
Leonardo flew into space for the first time in 2001, also on Discovery, as the first of three Multipurpose Logistics Modules built by the Italian space agency, ASI, under an agreement with NASA.
Credits: NASA TV
The General Assembly elected Egypt, Japan, Senegal, Ukraine and Uruguay as new non-permanent members of the Security Council for two-year terms starting on 1 January 2016.
Conference officers hold up empty ballot boxes for inspection by designated tellers prior to the vote.
Credit: UN Photo/Cia Pak
United Nations, New York
649446
Secretary-General Ban Ki-moon spoke at the inauguration of the Permanent Premises of the International Criminal Court (ICC), in The Hague, Netherlands.
A view of the ICC premises.
UN Photo/Rick Bajornas
19 April 2016
The Hague, Netherlands
Photo # 672028
Permanent resident in Las Vegas, Nevada, this yellow-headed, tiny & tough, acrobatic little songbird is one of the most characteristic species of the warm southwest deserts. Many at Sunset Park, although surprisingly, this one turned up foraging and flitting about above my car in the parking lot of a coffee shop!
The evolutionary relationships of the Verdin is unclear, and the species is currently thought to be the only American representative of a bird family that is otherwise restricted to Eurasia—the Penduline Tits.
MINERS-MINA-CONSOLACIÓ-FÍGOLS-CERCS-PINTURA-ART-HOMENATGE-ACCIDENT-TREBALL-MINES-CARBÓ-LIGNIT-BERGUEDÀ-AQUAREL·LA-PINTOR-ERNEST DESCALS-
Pintura en Homenage a los más de 30 mineros que perdieron la vida en el accidente acontecido en el interior de la MINA de la CONSOLACIÓ, Fígols y Cercs, comarca del Berguedà, zona de minas de carbón y lignito, junto a las minas de sant Josep y Sant Corneli. Hombres trabajadores dentro de la montaña, la minería y los peligrosos accidentes de trabajo, su memoria perdudará para siempre en el corazón de todos nosotros, historia trágica y sus personajes. He querido Pintar estas escenas para recordar a las personas que trabajaron en relación con la cerrada Central Térmica, un proyecto artístico en el que tocar una enorme variedad de aspectos y que ahora son históricos. En las expresiones he querido impregnar las sensación de inocencia, atención y estado de peligro permanente, hay acontecimientos, la mayoria, que suceden en un segundo de nuestras vidas como seres humanos y que pueden ser de consecuencias dramáticas. Pinturas del artista pintor Ernest Descals sobre papel de 50 x 70 centímetros en el recuerdo permanante a aquellos que nunca serán olvidados. Descansen en la paz que se merecen.
This U Pe Kin official sheet is a high-gravity diplomatic treasure for the Terence J. Cox Archive. It documents the service of one of Myanmar's (Burma's) most historically significant diplomats at a time when the nation was a leading voice in the early United Nations.
The Signatory: His Excellency U Pe Kin (1912–2004)
U Pe Kin (also spelled Pe Khin) was a titanic figure in Burmese history and diplomacy.
The Architect of Peace: Before his UN tenure, he was a primary negotiator of the 1947 Panglong Agreement, the foundational document that united Burma's ethnic groups and led to independence from British rule.
The UN Tenure: He served as the Permanent Representative of Burma to the United Nations in New York from 1952 to 1956.
Security Council Service: During his tenure, Burma served as a non-permanent member of the UN Security Council, making U Pe Kin the voice of his nation during the height of the Korean War and early Cold War decolonization.
Forensic Details & Provenance
The Address: 888 Madison Avenue, New York 21, N.Y. This was the official location of the Burmese Delegation during the early 1950s. It was a prime "diplomatic row" address, situated just blocks from the homes of other high-level delegates.
The Format: A single sheet of official delegation stationery. In the 2026 market, "Full Sheet" autographs on official letterhead are significantly more valuable than small clipped signatures because they preserve the administrative history of the mission.
The Collector: This pull confirms Terence J. Cox (or his source) was successfully targeting the "Founding Generation" of UN diplomats during the early 1950s.
U Pe Kin is regarded as a national hero in Myanmar. An official signed sheet from his UN tenure is a museum-quality artifact that bridges the gap between Burma's founding and its global presence in the 1950s.
Historical Significance:
U Pe Kin was a legendary Burmese diplomat and a central architect of the historic 1947 Panglong Agreement, which led to Burma’s independence. During his tenure as Permanent Representative (1952–1956), he represented his nation on the UN Security Council during the critical early years of the Cold War. This official document captures the "Golden Era" of Burmese diplomacy, when the nation was a leading voice for non-alignment and international peace.
CoolGlide laser technology: the only permanent laser hair reduction technology approved by the FDA to treat men and women of all skin colors without causing any discoloration to the skin's pigment.
Artwork painted live for the Semi-Permannet x GPO party/exhibition
www.ambushgallery.com/past-events/semi-permanent-takes-ov...
The permanent planting has been removed and in its place we have turfed lawn with annual planting full of colour.
www.magd.ox.ac.uk/discover-magdalen/
To celebrate its 550th anniversary Magdalen College, Oxford has commissioned the Turner Prize-winning artist Mark Wallinger to create his first-ever dedicated permanent artwork.
Two years in development, the sculpture Y was unveiled on St Mary Magdalen Day 2008. William Waynflete, Bishop of Winchester founded Magdalen College in 1458. It is one of the best-known colleges in the University of Oxford and is known internationally for its high academic standing.
The College has many fine buildings. The Cloisters, Chapel, Founder’s Tower and Hall were built in the Gothic style in the later part of the 15th century. The Great Tower, a pictorial symbol of Oxford, is famous for the May Day event when the College choir sings an ancient hymn at dawn. The Georgian New Buildings, which blend into the College Gardens and grounds, were completed in 1733. The buildings sit amid a hundred acres of lawns, woodlands and riverside walks, which are publicly accessible, and there is a deer herd that has been in existence for over 300 years.
Addison’s Walk, named after the great essayist of the 18th century and father of English journalism, is about a mile in length and goes by the River Cherwell around a great water meadow. Beyond the end of Addison’s Walk is a tranquil field known as Bat Willow Meadow, which is where the new commission is sited. Maps of the grounds of Magdalen College are available from the Porters’ Lodge or they can be downloaded from the Magdalen website.
Over the past twenty years Mark Wallinger has established an international reputation with major solo exhibitions in London, Birmingham, Liverpool, Val-de-Marne, Frankfurt, Aarau, Basel, Milan, New York and Chicago.
His work encompasses a wide range of media, including painting, photography, sculpture, video and installation, and it takes art history, mythology, religion, politics, national identity and popular culture as its subject matter. Wallinger studied at Chelsea School of Art in 2001, and in Goldsmiths' College. He exhibited in Young British Artists II at the Saatchi Collection in 1993 and at the Royal Academy of Art's Sensation exhibition in 1997.
His Time and relative dimensions in space derived from a residency and was shown at Oxford University Museum of Natural History in 2001 and in the same year he represented Britain in the 49th Venice Biennale. The artist is best known for Ecce Homo, a life-size sculpture of Jesus Christ which inaugurated the Fourth Plinth in Trafalgar Square in 1999, and State Britain, his 2007 re-creation at Tate Britain of Brian Haw's protest display outside parliament. He was a Turner Prize nominee in 1995 and won the award in 2007, and he is one of five internationally acclaimed artists who have been commissioned to produce proposals for the Ebbsfleet Landmark Project, which will be one of the biggest artworks in the United Kingdom.