Brian Micklethwait's Blog
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- Wheel behind trees
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- From a cat cushion to Bill Murray and a nude to a demon horse sculpture that killed its creator
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- Bean drops snow on tourist
- Paul Kennedy on centimetric radar
- More White Vans
- Quota scaffolding and quota roof clutter
- Not squash
- A weird view of the Wheel - and cats in Tiger
- White Vin Van
- White Van
- BT Tower behind trees
- You don’t see this any more
- Photoing the photoers on Westminster Bridge
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Category archive: Sculpture
It started with this picture, which I took at the home of some friends a while back. I know exactly how you probably feel about this cushion, but on the other hand, I don’t care:
I love how the TV remote is there next to it. I had no idea at the time, or I would have made a point of including all of it.
But now the www-journey begins. At the bottom right hand corner of the cusion are the words “Susan Herbert”.
Obviously, I click where it says “visit page”, and arrive here. I scroll down, looking for the picture of Bill Murray and the artistic nude girl. I don’t ever find the picture of Bill Murray and the artistic nude girl, but I do encounter this, which is a posting about a big blue horse at Denver Airport. Clicking on “Denver Public Art Program” merely gets me to useless crap about Denver, but googling “luis jimenez mustang” gets me to pictures like this ...:
… and to an article in the Wall Street Journal from February 2009, which says things like this about the Blue Denver Horse:
Anatomically correct - eye-poppingly so - the 32-foot-tall fiberglass sculpture makes quite a statement at the gateway to Denver International Airport.
But that begs the question: What kind of statement, exactly?
“It looks like it’s possessed,” says Denver resident Samantha Horoschak. “I have a huge fear of flying anyway, and to be greeted at the airport by a demon horse - it’s not a soothing experience.”
Many people here agree, calling the muscular steed a terrifying welcome to the Mile High City.
Samantha Horoschak was not wrong. Because, it gets better:
Mr. Jimenez was killed working on the sculpture. In 2006, while he was hoisting pieces of the mustang for final assembly in his New Mexico studio, the horse’s massive torso swung out of control and crushed the 65-year-old artist.
Ah, that magic moment in the creative process when a work of art escapes from the control of its creator and carves out a life of its own, independent of its creator. And kills him.
Is it still there? How many more victims has it claimed? Has it caused any crashes?
I love the internet. And not just because I am quickly able to look up the proper spelling of such words as “posthumous” (which was in the original version of the title of this) and “kitsch”. It’s the mad journeys it takes you on. Who needs stupid holidays when you can go on a crazy trip like this without getting out of your kitchen chair?
As usual, there’s lots of fun stuff at Colossal, of which a piece about the Chicago Bean attacking a tourist by dumping a lump of snow on them, is my recent favourite.
Go here to see the whole wonderful thing.
I like how people in Chicago call The Bean The Bean, rather than “Cloud Gate”. I feel the same way about how The Wheel in London is The Wheel, rather than the “London Eye”.
Late this afternoon I went walkabout near to where I live, and in particular to photo my local ballerina, at the top end of Victoria Street. There’s lots of building going on around her, so the nearby and behind scenery keeps changing. My favourite shot of her today was this:
At the time, that bus driving by seemed like it was an interruption, but now I think it definitely adds something, to a part of the shot which wouldn’t have been half so interesting without it.
I just googled “3D printing” and clicked on “images”. One of the more interesting images I encountered was this one ...:
… which I found here. The point being that this is one of those technologies which lots of people are getting excited about, perhaps as something they might be able to do themselves, for fun but also for profit. But most of the significant early applications of 3D printing seem now to be by businesses which were already making stuff, and now have another way to make it. Regular thing makers (for those not inclined to follow links that’s a link to pieces about the use of 3D printing by the aerospace industry) have a huge advantage over “home” 3D printers, which is that they already know what would be worth making.
And making in quite large quantities, which means that they can acquire or construct highly specialised 3D printers for those particular items, which use their own very particular material inputs. 3D printers, if they are to pay their way, must surely specialise. Which means they’ll be applied first by businessmen, rather than by mere people in their homes.
I have yet to hear about any 3D printing killer app which will kick off the much talked-of but yet-to-occur home 3D printing revolution. It will come, I’m sure. But it hasn’t come yet.
Somewhere between posting a photo of totally recognisable strangers that you took without their permission in 1930 and posting a photo of totally recognisable strangers that you took without their permission yesterday afternoon, there is a line. I took this photo ...
… in 2007. Did I cross that line? Perhaps. But they just look so great, and so happy. When it comes to totally recognisable strangers who look bad in the photo I took of them without their permission, I think I’d give it another decade or two.
I love all the white space behind and around them. It makes them look, in combination with the signpost, like a piece of sculpture. That spot often does that. Which is why it is one of my favourite photographic spots in London, up the steps that are attached to Westminster Bridge on the north side, looking up over the road towards the Houses of Parliament.
Me having written here about Anish Kapoor, he of the Big Olympic Thing, someone today emailed me about an art website which includes him. None of the pictures of Kapoors at that place strike me as very interesting. Certainly not nearly as interesting as the Big Olympic Thing, or as interesting as The Bean. So instead I googled for other Kapoor imagery, and found this rather excellent Kapoor photograph, of him posing in front of one of his creations, outside the Royal Academy, in London, in 2009:
Click on that photo to get a bigger version, which I recommend doing.
What I (of course) like is that you can see the little clutch of photographers, including (of course) the photographer who took this photograph, in the photograph.
Thank goodness for the I Just Like It! file. Today was yet another long and annoying day doing other things besides blogging, and yet, I want to stick with the habit, without being insultingly brief. That’s when some here’s-some-I-prepared-earlier snaps can come in really handy.
So here are a few snaps I picked out about a month ago from the archives, but never got around to posting at the time. The common theme is dancing. Two are males, dancing by mistake. The other two are of females, dancing on purpose.
Every now and again, I recommend that someone do a ballet about digital photography. All that posing both by photographers and the people they are photoing.
Although, one of the blokes is playing with a frisbee rather than a camera, and one of the dancing ladies is a statue. And a favourite object of my photographic devotions, as it happens. This time, though, with added airplane exhaust. And scaffolding.
Taken in November 2006, July 2008, September 2008 and February 2012. The one top right, July 2008, would, I’m pretty sure, have featured a very big Shard in the background, had it been taken more recently.
Here, at the end:
You don’t always have to understand exactly what’s going on to enjoy what you’re seeing.
Words to live by, in all manner of situations.
That was said about this fun and games stuff, but I was saying much the same to myself as I watched the fabulously entertaining highlights of the semi-finals of the F(ootball) A(merica) Cup, or whatever they call it over there. A great come-back and extra time win by Seattle. A crushing victory by New England, and accusations that they cheated by softening their balls. What more could you ask for?
Well, what you could ask for is a duet of monodirectional brackets in the heading. But, no need, because there it is.
Here’s a nice coincidence. There I was writing about how I went from being, in my teens, a bad pen-and-ink picture-maker to, from around 2000 onwards, a far happier digital-photographic picture maker. And here is a picture that captures that kind of metamorphosis perfectly:
It’s one of these pictures by Christoph Niemann. Niemann’s pictures bring to mind that phrase used by one of the alter egos of Barry Humphries, Barry McKenzie, who described paintings as “hand done photos”. These pictures really do only work as photos. Until they are photoed, the job is not done. But the hand-done bit is essential to what they are.
One thing about these pictures that I particularly like, apart from the basic fact that I like them, is their very favourable effort-to-impact ratio. For my taste, too much of the picture-making displayed at Colossal consists of stuff that is quite nice to look at, but which took an absurdly huge amount of time and effort to contrive. Also, there is often no logical or even meaningful connection between how the pictures are contrived and how they end up looking. So, you’ve made a table cloth out of seeds. Clever you. But, why? Niemann’s pictures answer this question perfectly.
But then again, the internet being the internet, if your elaborately pointless pictures catch people’s fancy and thousands glance at them, then I guess that, if you put in a lot of time and effort, you may well reckon than all the time and effort was worth it, especially if you had fun spending it and doing it. And of course it is digital photography that transforms a laboriously produced one-off item of visual art that took far too much time and effort to do, into a mass experience that it made sense to spend a lot of time and effort doing. But, most of these intricate sculptures and pictures at Colossal are just sculptures and pictures that were then photographed. Niemann’s pictures are real Hand Done Photos.
As for me, between being a bad pen-and-ink picture maker and an okay-to-good digital photographer, I endured a big interval during which I made hardly any pictures of any kind. My pictorial enthusiasm expressed itself in the design of pamphlets, and graphic design generally. Basically I became a desktop publisher. (I even earned money doing this.) First I just did publishing, on a desktop, paper-scissors-glue-photocopier. Then computers arrived, and I was an early adopter of “desktop publishing”. Then the internet arrived, and drew a big line under all that stuff. I shovelled all my pamphlets onto the internet, and became a blogger. And, I bought my first digital camera. At first, blogging and digital photography did not mix very well. Now, they mix very well indeed.
I love to photo things in shops, because that way you can enjoy them indefinitely, yet never buy them.
Cats, for instance:
Uploading all of those took an age. I keep getting messages saying things like this:
PHP has encountered an Access Violation at 01BEA37F
Very informative. But if I just keep trying, eventually it works.
If it isn’t one stupid thing, it’s another stupid thing. It will bear repeating again and again that no two computers in the entire world are exactly alike. Get used to one, and you ideally want to keep using that one, always. Switch to another, and life just becomes relentlessly more difficult and annoying.
The message of all the cat stuff I do here is that blogging is fun and that if you are a blogger you should never forget it. Sadly, this evening, blogging has not been fun.
Busy day today, so another from the I Just Like It directory:
It’s the head of Hymn by Damien Hirst, when it was outside the Tate in 2012.
Behind it, we see that the Shard is nearly ready, but not quite.
Indeed. Here is a photo I took soon after snapping the first of those anarchic roofs, of some china animals:
Now I think we can all agree that the cat there looks sufficiently like a cat for me not to have to say which the cat is. It’s the cat. But - and I didn’t just think of this as something to say on Feline Friday because I have long thought it about this particular version of the cat – I think this version of the cat looks like it has begun (only begun you understand) to morph into a dog. One of those white furry dogs that is about the same size as a cat, but a dog nevertheless. I’m not sure why. Maybe it’s the way its face sticks out at the side, rather too much for a cat.
And quite aside from that, I like the photo. Those horizontal colours.
Also, the bloke on the right, wearing a plate on his head instead of a hat, looks a lot like David McDonagh
When it’s finished, it will look, according to the picture on the outside of the site (which is an outdoor hard copy of the first picture here), like this:
Here is what it and its surroundings will look like from above. My home can be found in that picture, this Thing being only a short walk away from it.
But, as of now, in contrast to the above simulations, it looks like this, which I think I somewhat prefer (what with all that lovely scaffolding):
Hang on. Is that a Christmas tree I see up there (in among all that lovely scaffolding)? Yes it is:
After I started taking photos of this Thing Under Construction, together with its Christmas tree, one of the men doing the constructing made “stop doing that” gestures. I was standing on a public pavement. They were building a small skyscraper with a Christmas tree on the side of it. Did they think they could keep this secret, and impose martial law for a quarter of a mile around all this? I just laughed out loud and carried on, and of course they did nothing about it.
Can you spot why “Sculpture” is included in the category list below?
Yesterday, encouraged by the weather forecast (which predicted a window of weather excellence in the midst of the otherwise dark and dreary weather that had been prevailing until yesterday and that has resumed today), I went out photo-walking. The mission was to check out that viewing platform at the top of Tower Bridge. How does that look from below? I will tell you all about that later, maybe. (I promise nothing.)
Within seconds of stepping outside my front door, I knew that this was going to be a very good day for photoing, because of the light. Photography is light. I like lots of it, but I don’t like it to be too bright, and I don’t like it all going in the same direction. Yesterday was such a day.
If you are a Real Photographer, and if the sort of light that is readily available is not what you would like it to be, then you contrive what you do like, or you fake it - with clever filters, Photoshop, blah blah - processes that you know all about. I am not a Real Photographer.
On the right there is one of the very first shots I took, a shadow selfie, which included a lady walking past me in the opposite direction. It’s not really proper to stick photos of strangers up on your blog - photos of strangers complete with their faces, photos of the strangers complete with their faces who are doing nothing to draw attention to themselves - no matter how obscure your blog may be. But, photoing their shadows and sticking that up is definitely okay.
And here are two more pictures I took early on in my perambulations, just after I had emerged from Tower Hill tube station. I start with them simply because they are vertical rather than my usual horizontal, and hence it makes sense to display them next to each other:
Here is a report from when that statue was unveiled, in 2006. It is not the war memorial that it resembles, more like a peace memorial, for people killed while doing building work. Good. This is the least that such unlucky persons deserve.
As for the Shard, it was looking particularly beautiful yesterday, like a ghost of its regular self. It was all to do with that light.
The Thing in front of the Shard is the highest of the four towers of The Tower of London. The Tower of London is an odd way to describe it, what with their being so many towers plural involved. I’m guessing they built one big Thing, called it the Tower of London, and by the time they added all those little towers, the name had stuck.
However, after reading this, which says things like this, ...:
It is not clear exactly when work started on the Conqueror’s White Tower or precisely when it was finished but the first phase of building work was certainly underway in the 1070s.
Nothing quite like it had ever been seen in England before. The building was immense, at 36m x 32.5m (118 x 106ft) across, and on the south side where the ground is lowest, 27.5m (90ft) tall. The Tower dominated the skyline for miles around.
… I would like to revise my guess. It would seem that the four little towers on the top were there from the start, and that to start with it wasn’t the Tower of London at all. So, what I want to guess instead is that now that the Tower of London is surrounded by London as we now know it, what we tend mostly to see of it is the four towers at the top. But, for many centuries, the Tower of London was indeed seen by all those within sight of it as the one Big Thing (which merely happened to have a few spikes on the top), London’s first Big Thing, and for many decades, its only Big Thing.
On the way back from the Royal College of Music to South Kensington tube after that magic Magic Flute, I encountered, for the first time, in Exhibition Road, the phone box that you see to the right.
It is a telephone box, but a telephone box with a difference. The windows have been replaced by sheets of reflective metal, and the telephone is now outside. Inside is whatever gubbins is needed to support a cash machine, which is also to be seen on the outside.
The reason I was only seeing this item for the first time is that I usually use the tunnel, but GD2 and her mum, with whom I was walking, prefer to stay above ground.
The classic London phone box, like the double decker bus, refuses to die. It helps that it can survive, in all its essentials, a sustained period of neglect and it is hard work actually to destroy. So, the period between the relevant bureaucrats deciding, for their own bureaucrat type reasons, to scrub these phone boxes from the face of the earth and the mere people deciding to revive them was a period that the phone box was able to survive, in numbers.
Next step, make replica phone boxes out of newer materials. Has that happened already, I wonder? Yes it has.
I further wonder: Is the the phone box in my photo one of these phoneys?