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Aus der Serie „Denudation“
Site-specific Performance und Intervention
Hohe Tauern, Großvenediger Juli 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
Benji Boyadgian
"The Temporary Archive"
(prelude)
"The Temporary Ruin"
(ongoing project)
Site-Specific Installation
Al Ma'mal (The Tile Factory)
Jerusalem Show VII: Fractures, Intensities
curated by Basak Senova
organized by Al Ma'mal
part of Qalandiya International II
Photo by Rula Halawani
This specific car was purchased new by Henry Ford - founder of the Ford Motor Company - and is said that Mr. Ford had it parked in his design studio for inspiration. Some say that design cues from this 212 made it into the Ford Thunderbird.
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Photos by David Kenedy
SomaDaze site-specific soundtrack and choreographic VALISE performance
I was fortunate enough to camp on these grounds a few nights before the festival began. Every morning walking to the trickling falls, eating breakfast on a stone dam, making note of the changes forced upon the grounds from drought…
A running stream I once used for bathing (on a previous visit) was paused, parched, full of stagnant water and mosquito eggs
Mid-day heat required taking multiple dips into a spring-fed pond
Evening diversions punctuated by the Perseid Meteor shower
Threats of a wet deluge were welcome
Enough rain to soften summer heat, but barely penetrate the soil
My wish for water ~ poured upon my head before performance ~ mist accompaniment from above ~ sounds of gurgled poured and bubbling water closed the soundtrack
🙏 So much gratitude to Grant & Suzanne, Taboo, Clay & Dylan for creating and contributing to a wonderful experience/festival 🙏
Galeria Sztuki Współczesnej Bunkier Sztuki
od 14.05.2013 do odwołania
Aleksandra Waliszewska, Bez tytułu,
Miejsce: spiralna klatka schodowa
Kuratorka: Lidia Krawczyk
Fot.L.Krawczyk
Praca Aleksandry Waliszewskiej "Bez tytułu" została zakupiona do zbiorów Galerii w ramach projektu Będzie się Dzieło! Rozbudowa Kolekcji Bunkra Sztuki. Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego
Kuratorka Kolekcji: Anna Lebensztejn
This specific car was purchased new by Henry Ford - founder of the Ford Motor Company - and is said that Mr. Ford had it parked in his design studio for inspiration. Some say that design cues from this 212 made it into the Ford Thunderbird.
Every year the Military Tattoo honours one specific event or piece of history. This year, they honoured the royal military support that was given to South Korea 40 years ago during the Korean War. This is why the group from South Korea was the first group to perform.
This is a taste of what the Royal Edinburgh Military Tattoo was like this year... a poor handycam version pulled off Youtube, but at least it's a taste!
This is the Passport photo of my Dad as he was a young student. No need to ask for specific attributes at all, I guess...
Das Passbild meines Vaters als Student. Unnötig, nach speziellen Kennzeichen zu fragen....
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Site specific installation designed and produced by SOFTlab for the Frankfurter Kunstverein.
Group Exhibit:
The Systemized World
Curated by:
Photo: Marius Watz
1973-1974
Preparatory Study for VATICAN CORRIDOR, A Non-Specific Autobiography
Number 122 of 200, signed and numbered
17¾" x 15½"
Collection:
Crocker Art Museum
Sacramento, California
SPECIFIC INFO:
GENERAL INFO: St. Patrick's Parade day at P.J.'s Lager House, Corktown, Detroit, Sunday, March 13, 2011. Photographs by Donna Terek, 313-598-0179
SPECIFIC INFO:
GENERAL INFO: St. Patrick's Parade day at P.J.'s Lager House, Corktown, Detroit, Sunday, March 13, 2011. Photographs by Donna Terek, 313-598-0179
For appointments: 503-645-9010
Treatment: Culturally specific teen alcohol and drug; adult gambling (including culturally specific); Adult alcohol and drug; Adult mental health: Adolescent day treatment (ages 10-17)
Mayor Eric Adams and New York City Deputy Mayor for Public Safety Chauncey Parker announce the launch of a comprehensive new pilot program to address historically high rates of violent crime and disorder on specific blocks all across New York City. Bean Morris Garden, Bronx. Monday, December 9, 2024. Credit: Ed Reed/Mayoral Photography Office.
1973-1974
Preparatory Study for VATICAN CORRIDOR, A Non-Specific Autobiography
Number 122 of 200, signed and numbered
17¾" x 15½"
Collection:
Crocker Art Museum
Sacramento, California
I had such specific directions that I anticipated an easy find for this sp. We arrived at the bridge at which the plants were reported and although there was lots of space to pull off the road someone had stuck no parking signs everywhere. With no option, I remained in the car with the motor running - stopped but not "parked" while my cousin did a quick search of the area. She reported one plant. We switched places and I rushed to grab a few pictures. This was highly unsatisfactory for me but I didn't want a run-in with a state trooper.
Back on the road and an hour later we were descending a steep grade on highway 49 leading to a crossing of the Middle Fork of the American River. I started feeling drowsy so pulled off the road at a spot that had a spectacular view of the Foresthill Bridge - the third tallest bridge in the world. As I reclined my seat-back to have a snooze I looked out the driver side window at the bank just a few feet away - it was covered with C alba.
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
1973-1974
Preparatory Study for VATICAN CORRIDOR, A Non-Specific Autobiography
Number 122 of 200, signed and numbered
17¾" x 15½"
Collection:
Crocker Art Museum
Sacramento, California
a site-specific work of dance, taiko, stilt walking, music and political theater in the enchanted hills of Northern California. Featuring work by Dance Brigade, Grrrl Brigade, Carpetbag Brigade, Alayo Dance Company, and from Columbia, Nemcatacoa Teatro, Hojarasca and Verbo*Bala.
1973-1974
Preparatory Study for VATICAN CORRIDOR, A Non-Specific Autobiography
Number 122 of 200, signed and numbered
17¾" x 15½"
Collection:
Crocker Art Museum
Sacramento, California
To Share a Photo on Social Media:
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Nine of Saint Louis’ most recognized artists — known as the Screwed Arts Collective — will work together over a two week period (September 13th-27th) to spontaneously produce a one-of-a-kind, site-specific wall drawing inspired by chess.
World Chess Hall of Fame
Screwed Moves
September 13, 2012-February 10, 2013
Photos by Michael DiFilippo
Site specific. Intervenção no Arquivo da Bahia. Moss Grafitti e narração em áudio. Bienal da Bahia, 2014.
Shoreham Sculpture Trail
with The London Group
and Friends. A weekend of site specific art by over 70 artists spread around the village of Shoreham, Kent.
One of the largest sculptire trails the UK has ever seen. Featuring 30 London Group members and invited artists, including many prominent UK sculptors. 76 artists will be exhibiting over 200 sculptures in 26 gardens. The astonishing diversity of the exhibits ranges from the monumental to the ephemeral with works in metal and stone, with interactive work and performance and the Trail will be particularly unusual in the number of site-specific works. The idyllic village of Shoreham Kent, a gem just on the edge of London, is a beautiful place to visit just for itself and in June the gardens of all sizes, many on the river, will be at their best - visitors couldn't wish for more perfect surroundings in which to view sculpture. Most artists will be present to meet visitors during the trail and many will be giving talks. The Trail is curated by London Group President Susan Haire.
1973-1974
Preparatory Study for VATICAN CORRIDOR, A Non-Specific Autobiography
Number 122 of 200, signed and numbered
17¾" x 15½"
Collection:
Crocker Art Museum
Sacramento, California
Temporary site specific install at Bluffs beach park. Made from cardboard, paint, salt, dye, plaster, iodine, and talus. Summer 2012.
Winter Valley - 1944
Lamar Dodd
American, 1909 - 1996
Never associated with any specific art movement, Lamar Dodd was a southern painter who worked in various styles throughout his long career. This depiction of Athens, where Dodd lived and taught at the University of Georgia, was influenced by the urban realism of the Ashcan school as well as the regionalist movements of the 1930s. In this work Dodd has emphasized the harsher, more urban aspects of Athens, rather than its identity as a genteel southern university town.
Winter Valley depicts the eastern part of Athens, where a majority of the city’s African American residents lived close to the industrial plants they staffed. Dodd wrote that the painting’s ominous, brooding quality was inspired by his intensive study of El Greco’s View of Toledo (c. 1597, The Metropolitan Museum of Art, New York). The somber tone also echoes the mindset of a nation at war. Dodd felt that it was one of his best works. The art historian Gudmund Vigtel characterized Winter Valley as “a major example of Dodd’s intellectual program as a painter, flavored by his emotional involvement with the subject.”
William Lamar Dodd was a painter and university administrator committed to advancing arts education in his home state of Georgia and throughout the South. Dodd was born in Fairburn, Georgia, on September 22, 1909. Dodd’s artistic talent was recognized early, and he began taking art classes at the local college, LaGrange Female College, as early as the sixth grade. After one year at the School of Architecture at the Georgia Institute of Technology and a year teaching high school art in Alabama, Dodd moved to New York in 1928 and enrolled in the Art Students League. He studied with George Bridgman and Boardman Robinson and took private classes with George Luks and Charles Martin. Dodd returned to Georgia in 1930 and married Mary Ridley Lehmann the following year. After his first solo exhibition at the High Museum of Art in Atlanta in 1931, Dodd returned to the Art Students League in New York, this time studying with Jean Charlot and John Steuart Curry and working as a sign painter to support his family during the Great Depression. In 1934 Dodd left New York for Birmingham, Alabama, where he worked for several years in an art supply store and painted at night.
Dodd gradually rose to prominence during the 1930s by winning several awards in national competitive exhibitions. This increased recognition led to his appointment as artist-in-residence at the University of Georgia in 1937; he became chair of the department the following year. Dodd was an able administrator who, during the course of his nearly 40-year career at the university, transformed the art school into one of the best in the country. The program was officially named the Lamar Dodd School of Art in 1995. By the 1940s Dodd was firmly established as a nationally recognized artist and educator. He was a leading figure in a wide variety of art organizations and later served as a cultural envoy for the Department of State. With a $10,000 grant from the General Education Board of the Rockefeller Foundation, Dodd made his first trip to Europe in 1953 and spent six months visiting churches, museums, and sites important to artists he admired. In 1954 he was elected to the first of two terms as president of the College Art Association, becoming the first painter to hold that office. In 1962 he was named chairman of the National Council of the Arts in Education.
Dodd continued to paint and exhibited regularly at the Grand Central Moderns gallery in New York, the National Arts Club, and the Pennsylvania Academy of the Fine Arts. In 1959 he was elected a full member of the National Academy of Design. In 1963 he was one of seven artists invited by NASA to record the Mercury-Atlas 9 mission; some of Dodd’s works for the project were included in the Eyewitness to Space exhibition at the National Gallery of Art in 1965. He continued to work as a NASA artist for future missions, including the Apollo 11 moon landing in 1969.
In the introduction to Dodd’s 1970 retrospective at the High Museum and the Georgia Museum of Art, Lloyd Goodrich deemed the 25 paintings that resulted from the Apollo 11 project to be Dodd's most original and impressive works.
Never associated with any specific art movement, Dodd was an independent painter who worked in a wide range of styles and subjects. He began his career by painting landscapes and cityscapes of his native Georgia, and progressed to still lifes, seascapes in Monhegan, Maine, and space exploration themes. In the late 1970s, after his wife underwent open-heart surgery, Dodd began studying and observing heart surgeries and completed a series of works in response. Some of his last paintings dealt with the O. J. Simpson trial and the Oklahoma City bombing. Dodd died at his home in Athens on September 21, 1996.
___________________________________________
For previous visit in 2024, see:
www.flickr.com/photos/ugardener/albums/72177720320706623/
_____________________________________
www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
1973-1974
Preparatory Study for VATICAN CORRIDOR, A Non-Specific Autobiography
Number 122 of 200, signed and numbered
17¾" x 15½"
Collection:
Crocker Art Museum
Sacramento, California
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