Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Alastair on Wembley Arch lighting contrast
Rob Fisher on What does Thames "RIB" Experience mean?
Heathrow Transfers on Miguel aligns his message with his van
Brian Micklethwait on So shiny it looks fake
Patrick Crozier on So shiny it looks fake
Patrick Crozier on So shiny it looks fake
Natalie Solent on Wooden Citroens and black baby dolls
Brian Micklethwait on Miguel aligns his message with his van
Natalie Solent on Miguel aligns his message with his van
Brian Micklethwait on Tate Modern is now fighting with its neighbours about privacy
Most recent entries
- A particularly good panoramic view of central London
- Coastline politics at Samizdata
- Wembley Arch lighting contrast
- A blown up airplane and a dodgy internet connection
- Rereading a Rebus
- Rod Green on Boys and Men at the time of Magna Carta
- More birds on a TV aerial
- Van – grey but very interesting
- Union Jacks having fun
- Another TV aerial
- Cruise plays along
- An enlarged Dinky Toy in Belgravia
- Pigeons on a TV aerial
- What does Thames “RIB” Experience mean?
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6000 Miles from Civilisation
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This and that
Category archive: Sculpture
Click at will, to get bigger, less square pictures.
Displayed in chronological order. Taken between May 2011 and August 2014. When I took that last one, of the bikini-wearing bottle openers, that got me collecting all the others. That last one is definitely the one where the Union Jacks are having the most fun.
Whenever I see an old car, of the sort that was the latest thing when I was a kid, I photo it, or I try to.
See, for instance, those delightful old Citroens in Roupell Street. Which were there, I have since learned, not because someone in Roupell Street is collecting them, but because someone in Roupell Street is repairing them.
And see also, this ...:
… which I saw earlier this week, while on my way to a violin and piano recital at the Romanian Cultural Institute in Belgrave Square. A Rolls Royce, on the way to what turned out to be a Rolls Royce performance.
I used to have a Dinky Toy version of that car.
I am increasingly coming to believe that many of our most powerfully felt aesthetic prejudices are formed in the nursery. And that a lot of Modern Art is the recreation of those happy sensations, in an enlarged form, suitable for the enlarged people that the nursery dwellers turn into.
But Dinky Toy cars don’t have to be enlarged, because they already have been. Enlarged Dinky Toy cars are called: cars.
Come to think of it, I also had a couple of Dinky Toy Citroens, a DS19, and a 2CV. Yes, this explains a lot.
Sunday was a good photography day. After lunching with a friend in the Waterloo area, I made my way, as reported yesterday, to the Tate Modern Extension. When up at the top of this I took many photos, and some quite good photos.
But none, for me, was better than this, which I spied just before getting into the lift from Floor 10 back to the ground:
I can’t remember exactly when the change happened from plaster casts to … that, but happen it did, and I am impressed. I’m guessing that one of the many advantages of this system is that you can take it off and put it back on again, to do things like assess progress, or deal with skin discomforts.
I’m further guessing that you can dismantle one of these things, give it a good wash, and then use it again.
More from me on the subject of plastic and its newly devised applications in this at Samizdata earlier today.
I love the various visual effects you sometimes get when a piece of reinforced concrete is being destroyed and when it puts up a fight. I can’t say that it always does this, because you wouldn’t see anything when it is routed into oblivion in the space of a few hours, would you? But when it does fight for its life, it can be quite a sight. These effects are particularly worthy of being photographically immortalised because however long the fight lasts, it will still end, and pretty soon.
And, I find that the more I see of 240 Blackfriars, from near and from far, the more I like it.
So, here is today’s photo, taken today:
I took this while on my way from Waterloo to Tate Modern and its Extension viewing gallery, which I am visiting a lot these days, before the Let Them Get Net Curtains row causes the place to be closed or at least severely curtailed.
240 Blackfriars is the work, I have just learned, of Allford Hall Monaghan Morris, whom I have now started to learn more about. I never heard of them until now.
Preliminary findings: I think that 240 Blackfriars will probably turn out to be my favourite of their buildings so far. And: they make a lot of use of colour, which I favour, but which can often look very tacky and Seventies-ish if you don’t do it right.
The directory with all the snaps I took in Quimper and surrounding places, ten years ago, contains some fine images.
And some rather weird ones:
Okay, Citroens made of wood is not that weird. Certainly not in France.
But those really rather realistic black baby dolls is something we surely don’t do nearly so much over here. I’m guessing we have too much of a history of what you might call derogatory black dolls, unrealistically racist dolls, and that means that all black dolls are now tainted in our eyes, even much more realistic ones like the ones in that picture. They evoke a tradition and a way of thinking we would prefer not to be reminded of, or worse, to be thought to be perpetuating. When the British are being sentimental about black babies, they do it in those (I think) ghastly charity fundraising telly adverts.
But what do I know? I’m just thinking aloud. Maybe we do have lots of dolls like these in British shop windows, and I merely haven’t noticed them. But, my first reaction when I say these black babies was, as I say: weird. Certainly striking enough to take several photos of.
He of course shows the whole thing. Me, I am more and more coming to see that the quality I most value in these Big Things is their instant recognisability. Hey, look at that. That can only be … That!
So here is another photo of the Big Olympic Thing from my archives, showing hardly any of it, but still (for me anyway) instantly recognisable:
Click to get the bigger original. Rather artistic, I think.
Taken the same day, and from the same place, that I took this photo of the Shard and the Gherkin directly in line.
This I knew:
Seven Dials is a small road junction in Covent Garden in the West End of London where seven streets converge.
But this, I did not know:
At the centre of the roughly circular space is a column bearing six sundials, a result of the column being commissioned before a late stage alteration of the plans from an original six roads to seven.
I used to work in Covent Garden and Seven Dials was a favourite spot then. There was a hardware shop in one of the Seven Dials spokes, so to speak, and I used to go there a lot.
Here is a picture I took of this column and of some of its surroundings, this (very sunny) afternoon:
But, here is a picture I took of the inscription at the bottom of the column, which I never noticed before:
So, was a replacement column put up, around that time?
Yes. The original column went to Weybridge, via Addlestone, which reminds me of trains from Egham when I was kid. “Virginia Water, Chertsey, AddleSTONE and Weybridge”, an old man used to yell, just before the train for these locations departed. I used to love that. But I digress. Here’s what happened to the original Seven Dials column:
The original sundial column was removed in 1773. It was long believed that it had been pulled down by an angry mob, but recent research suggests it was deliberately removed by the Paving Commissioners in an attempt to rid the area of “undesirables”. The remains were acquired by architect James Paine, who kept them at his house in Addlestone, Surrey, from where they were bought in 1820 by public subscription and re-erected in nearby Weybridge as a memorial to Princess Frederica Charlotte of Prussia, Duchess of York and Albany.
The replacement sundial column was installed in 1988–89 to the original design. It was unveiled by Queen Beatrix of the Netherlands on a visit to commemorate the tercentenary of the reign of William and Mary, during which the area was developed.
Original design presumably means that, just like the original, the new column only has six dials at the top.
Indeed. Photoed by me yesterday, inside the original bit of Tate Modern:
Actually, if you look carefully, you see that these people aren’t exactly the same distances apart. The ones further away are a bit further apart. Which only adds to the effect.
More fundamentally, my picture shows people, but no Art. The contrast, between the bigness of these buildings - Tate Modern, Tate Modern Extension - and the almost complete absence of Modern Art in most of these huge spaces, is truly bizarre. Modern Art dwarfed by Architectural Modernity, you might say. There are these pokey little collections of stuff in medium sized spaces, off the big main spaces, and I looked in on one of these shows. I thought it was downright pathetic. Not offensive or nasty, you understand. Just feeble and totally underwhelming. It looked like a few giant toys, that someone had forgotten to tidy up, lying about in a giant nursery. And I don’t think it was just me. I heard others commenting along similarly underwhelmed lines.
The only popular enthusiasm that I observed was being expressed for the view from the top of the new Extension building. London is as fascinating and variegated to gaze out upon as Modern Art, to judge by the stuff I saw, is dreary and banal.
Indeed. I don’t believe I ever got around to showing this snap, which I snapped at the same time I snapped this snap:
I have taken many photos of this statue, both before the above snap and since, and what I have learned is that photoing this statue in front of cranes and sky and stuff is easy, but photoing her in front of a solid building works far less often. You just can’t see her. But the above snap does work, I think.
Indeed. Photoed by me this afternoon:
I remember enjoying the original Ghostbusters, because of its pro-free-market political angle. This piece explains this political angle well.
Mostly what I think about all the feminism in this latest iteration, and of all those complaining about the feminism, is that you don’t own works of popular entertainment just because you liked them when you were young. If you like the original but not the new one, then ignore then new one and watch the old one again. It is very childish to get all steamed up about your childhood memories being mucked about with, if they have not actually been mucked about with. I mean, the original Ghostbusters survives, and has not in fact been in any way tampered with.
The Park in question is Finsbury, the Park Theatre being near to Finsbury Park, and more to the point from my point of view, Finsbury Park tube station. I was there last night to see a friend perform at the Park Theatre, which she did very well.
That LIFE sign thing is just outside the smaller theatre space, where my friend was performing, at the top of the rest of the theatre. I do not know why it is there. Could it be that they hope that people will photo it, and then mention the Park Theatre on the internet?
I suppose the creator of this sign could also have been thinking of that old Blur tune. But that, I believe, concerns a different park.
I remember the time well. It was when I first had a really nice camera, and I explored the banks of the River Thames, finding all manner of things that I never knew existed until I chanced upon them, camera in hand. This statue of Lord Nelson, for example, which is outside a pub called the Trafalgar Tavern, in Greenwich, which I encountered in July 2007:
The www offers two sorts of pictures of this statue. There are the ones that show his face and medals, with the Trafalgar Tavern behind his Lordship, often with the word Trafalgar carefully included. And there are the views from behind, like mine, which provide a modern background, in the form of the Docklands towers or the Dome.
I did take a front view of this statue, but it was totally ruined by my shadow blasting its way into the middle of the picture. The fact that I didn’t bother to retake that shot tells you that I preferred the modern background shots.
Taken by me, middle of last month, outside Westminster Abbey:
Normally, I would bore you to death with why I like this, but: busy day gotta rush.
Friday here used to be a day for cats and kittens, and it still is, but I have recently been broadening it out to give other non-feline creatures a mention. Which I do anyway, but now it’s official. So, this Friday, I show you a pig, photoed by me about a year ago:
This pig was to be seen outside Casa Manolo in the King’s Road. There are several Casa Manolos in various parts of London, and it took me a while to work out which Casa Manola this was. (I had photoed the shop sign, but had no record of which road I was in.) But the photo here is definitely of the same group of shops in one of my photos. No pig in that photo though. Either the pig is now gone, or, more probably, the photo at the other end of that link was taken before the pig arrived. Or, the pig lives indoors and only comes out sometimes.
And here are a couple of dogs, in Tottenham Court Road a few days ago, in the entrance to Heal’s. I don’t know what they are supposed to be doing there. “Chanel” says they’re advertising perfume, but that seems strange. Whatever, I like them:
It’s like someone saw a dog with one of those muzzles on it, and thought: I could make an entire dog that way.
There is also a cat inside Heal’s, advertised outside, which Heal’s claims is famous, even “infamous”. More about that (maybe – I promise nothing) after I’ve taken a look at it myself, and had a go at photoing it.
I realise that none of these creatures is actually alive, but that’s what comes of living in London. Plenty of alive creatures, but also plenty of pretend ones.
I also realise that all the Art in these photos (see below) is in what is photoed. But that’s fine.
Usually, I do quota postings in the small hours of the morning. Today, I am doing my quota posting in the big hours of the morning, to get it out of the way before a rather busy day, at the end of which I do not want to be fretting about doing a quota posting. Although, actually, this posting has now turned into something a bit more substantial than that, and I changed the title to something more meaningful. So anyway, yes, cranes:
Ah, cranes! Those structurally perfect votes of confidence in the sky. Those cranes were snapped from the south bank of the river, looking across at The City, on the same day earlier this month that I snapped yesterday’s quota photo. What that new Moderately Big Thing is, that some of the cranes there are ministering to, I do not know, but I like how it looks, in its incomplete state.
With Brexit, will the cranes vanish for a few years, until London sorts itself out and finds itself some new business to be doing? Crexit? (You can always tell when a word has well and truly caught on, because people immediately start trying to apply the same verbal formula to other things. Brexit, verbally speaking, is the new Watergate. Frexit, Swexit, Thisgate, Thatgate, etc. etc.) I thought that the cranes were going to depart after 2008 and all that, but the money people managed to keep the plates spinning on their sticks, and London’s cranes carried on. How will it be this time?
Here is a very pessimistic piece about Britain’s prospects, for the immediately foreseeable future. Does this mean that my crane photo-archive will, in hindsight, be the capturing of a moment of the economic history of London that will now pass? If the cranes do go, how will they look when they return? When the new cranes move in, in ten years time or whenever, will cranes like those above look strangely retro, like digital cameras circa 2005?
Or, will the cranes never return, but instead be replaced by magic electric guns which fill the air with muck and sculpt a building out of the muck, 3D printing style, all in the space of an afternoon?