Antelope and deer images

Brehm, Alfred Edmund; Pechuel-Loesche, Eduard; Haake, Wilhelm
“Brehms Tierleben. Allgemeine Kunde des Tierreichs. Säugetiere – Dritter Band.”

Reindeer engraving

Asian Illistration


Paulus Potter. Deer in the Wood. 1647

Haekel

Gegenbaurs morphologisches Jahrbuch (1903)

Goat. by Artist Jacob Jordaens.

Goat. Jacob Jordaens. Flemish, 1593 – 1678. 17th century. Red, black, and yellow chalk, with touches of red and brown wash heightened with white. “This drawing is connected with the painting Adoration of the Shepherds, 1657, in the North Carolina Museum of Art.”

"indigo blue" by artist Ann Hamilton

“Indigo Blue” consists of roughly 18,000 items of blue cotton work clothing, neatly folded and stacked on a “floating” steel platform at the center of a room."

Salvation of 'Indigo Blue' a triumph for all to see Hamilton's 'Indigo Blue' -- free of cultural limbo

May 27, 2007|By Kenneth Baker

People who encounter an Ann Hamilton installation work tend never to forget it.

I can clearly recall pieces of hers that I saw in San Francisco, San Diego, Santa Barbara, Pittsburgh and -- in two settings -- in New York.

So it stunned me to learn from Hamilton that "very little of my installation work has survived in any way. The Hirshhorn (Washington, D.C.) has a piece, but there's not a lot. I think it's not perceived as the kind of thing that has a longer life. So to enter the conversation about what it means to revisit something like this and bring it forward is a really great thing for me to be able to do."

I recently spoke with Hamilton, 50, while she was working on reconstructing "Indigo Blue" at the San Francisco Museum of Modern Art; the work was originally made in 1991 for a citywide show in Charleston, S.C.

SFMOMA hopes to acquire "Indigo Blue" in its current manifestation, rescuing it from recycling and cultural amnesia. Score another sharp collection-building move for curator Madeleine Grynsztejn if it happens.

Critical and curatorial consensus as to Hamilton's importance got corroboration from the MacArthur Foundation in 1993, when it put her in the select company of visual artists who have received the so-called genius grant. "It was an enormous gift," Hamilton said, "because it said 'you can keep doing this work that you really love doing.' "

The Los Angeles Museum of Contemporary Art had already staged a major show of her work in 1988.

"Indigo Blue" consists of roughly 18,000 items of blue cotton work clothing, neatly folded and stacked on a "floating" steel platform at the center of a room on SFMOMA's second floor.

At one end of the platform stands an old wood table and chair. From noon to 4 p.m. each day -- except Wednesdays when the museum is closed -- a volunteer sits silently at the table, erasing, thus effectively destroying, the pages of a book: "International Law Situations," a Naval War College publication pertaining to legally defined land and water boundaries. The book connects in Hamilton's thinking with Charleston's history as a seaport but she is also interested in the invisible activity of reading as a reflection of the invisible labor represented by the work clothes. "The books we originally used," as Hamilton said -- she has a boxful -- "are legal documents that mediate the relationship between land and water. That in-between space, and how you occupy the space of the in-between, is still very interesting to me."

from the V.A.

The Prospect of Whitby, Wapping Wall, E.1., and other river-side buildings (seen from a barge); Recording Britain
Object: Drawing
Place of origin: Wapping Wall (made)
Date: October 1941 (made)
Artist/Maker: Fairclough, Wilfred (artist)
Materials and Techniques: Pen and ink and sepia wash drawing on paper

'Temple of Flora'

Engraved by Joseph Constantine Stadler (worked 1780-1812) after a painting by Peter Charles Henderson (worked 1791-1829)

'The Maggot Bearing Stapelia, Stapelia sp.'
Plate from Robert John Thornton's 'Temple of Flora'
1801
Colour aquatint with additional colour by hand
Published between 1799 and 1807
Museum no. Circ.524-1967

The Temple of Flora (1799-1807), from which this plate is drawn, remains a highly unusual publication. The illustrations were undertaken by portrait and landscape artists, resulting in some extraordinary images of botanically inaccurate plants placed against fantastical backdrops: an unorthodox device within the conventions of botanical illustration.

Here the Maggot-bearing Stapelia - a plant that produces a putrid odour to attract flies - assumes enormous proportions and is set against a background more akin to a Scottish rock garden than to its native southern African habitat.

Ceramic Artist: Toshiko Takaezu

"In my life I see no difference between making pots, cooking, and growing vegetables. They are all so related. However there is a need for me to work in clay. It is so gratifying and I get so much joy from it, and it gives me many answers in my life."

NCECA learned from Dan Anderson early Wednesday morning, March 9, 2011 that Toshiko Takaezu had passed away earlier that day in Honolulu, Hawaii. Well known for works of quiet emotional impact that artfully integrate glaze color and surface qualities with austere forms, Toshiko was named an honorary member of NCECA in 1993. Born in 1922 in Pepeekeo on the Big Island, Takaezu's interest in pottery initiated at the Hawaii Potters Guild on Oahu. She attended the University of Hawaii at Manoa before going on to receive her MFA at the Cranbrook Academy of Art under Maija Grotell. Early in her career, Takaezu developed an approach to art that combines techniquesToshiko Takaezu and sensibilities of both East and West. In the 1950s, she studied in Japan with master potter Toyo Kaneshige. Later, she taught at Cleveland Institute of Art and established studios in Clinton and Quakertown, N.J. In 1992 she retired from teaching at Princeton University from which she was subsequently awarded an honorary doctorate. Her lifelong, passionate dedication to her art and teaching were recognized through a Living Treasure Award from the Honpa Hongwanji Mission of Hawaii.

From Dan Anderson: NCECA Honorary Member, Toshiko Takaezu died peacefully, under hospice care, this past week, at a convalescent center in Honolulu, Hawaii. She was 88 years old. Much has been written and documented about Toshiko's life and her marvelous ceramics, fiber pieces, bronzes and paintings. Her obvious legacy will certainly be the thousands of her artworks that reside in both public and private collections. She spent the last two years of her life de-accessing her vast inventory of signature ceramic pieces to public collections. Her not-so-obvious gift will be the impact she has had on the contemporary ceramics community, particularly female ceramic artists. Never marrying, she was still able to have a large "family" consisting of her former apprentices, students and many, many friends. An apprentice once remarked, "Toshiko was mother to us all!" Words like passion, commitment, loyalty, dedication, caring, altruistic, toughness and love guided her daily existence. Toshiko lived life to the fullest and on her own terms. She was as comfortable picking string beans in her vegetable garden and cooking in her kitchen, as she was turning porcelain closed forms on her Shimpo potters wheel in her basement studio. In fact, she often commented how there was really no difference between the three: growing vegetables, cooking and making pots. Those members of NCECA who knew her will have their own stories and memories to share about her life and genius. As for me, although I am deeply saddened by her death, I am able to celebrate her life and her beauty, and the exceptional memories I possess, lingers just beyond the cloud that her final passing brings for the moment.

Toshiko Takaezu's art has been featured in major one-person exhibitions, including at:
The Contemporary Museum of Hawaii, Honolulu
The Allentown Art Museum, Allentown, PA
Dickinson College, Carlyle, PA
Montclair Museum, Montclair, NJ
LongHouse Reserve Museum, East Hampton, NY
The American Crafts Museum of New York (Now, The Museum of Art and Designs)
The Museum of Art of The University at Albany, Albany, NY
The Hunterdon Museum, Clinton, NJ
Goshen College, Goshen, IN
Perimeter Gallery, Chicago, IL

The Racine Art Museum, Racine, WI
The Ohr-O'Keefe Museum, Biloxi, MI
The Charles Cowles Gallery, NY, NY
The Gallery at Bristol-Myers Squibb, Princeton, NJ
The Philadelphia Museum of Art, Philadelphia, PA
Manatee Community College, Bradenton, FL
Green Hill Center for North Carolina Art, Greensboro, North Carolina
National Museum of Modern Art, Kyoto, Japan
Neuberger Museum, Purchase, NY

And her work is featured in the permanent collections of many great museums, including:

The Japanese American National Museum of Los Angeles, CA
The Smithsonian Institution, Washington, D.C.
The Cleveland Institute of Art, Cleveland, OH
The Metropolitan Museum of Art, NY, NY
The Milwaukee Museum of Art
The Johnson Wax Collection, Racine, WI
The Honolulu Academy of Art, Honolulu, HI
The Everson Museum, Syracuse, NY
Cranbrook Academy of Art, Bloomfield Hills, MI
Boston Fine Arts Museum, Boston, MA
The Detroit Institute of Art, Detroit, MI
St. Paul Gallery, St. Paul, MN

Newark Museum of Art, Newark, NJ
Toledo Museum of Art, Toledo, OH

“Isis (Sirius),” glazed stoneware by Toshiko Takaezu (1999-2000). Photographed by Michael Tropea

Toshiko Takaezu, United States, Untitled (Dark Blue, Brown), 2000, porcelain, 7.5 x 5 x 5”

Sculpture by artist William Kentridge

Click on pages from Sculpture Magazine to enlarge and read.

Artist: Grayson Perry

 

Sir Ken Robinson

Sir Ken Robinson (born Liverpool, 4 March 1950) is an author, speaker and international advisor on education in the arts to government, non-profits, education and arts bodies. He was Director of The Arts in Schools Project (1985–89), Professor of Arts Education at the University of Warwick (1989–2001) and was knighted in 2003 for services to education.

http://sirkenrobinson.com/skr/who

The Exhibition: The Parallax View

Lehmann Maupin announces The Parallax View, an exhibition of significant works exploring observation as conflict, curated by Manual E. Gonzalez. On view 10 February – 19 March, 2011, the Chelsea exhibition features works by Teresita Fernández, Dan Flavin, Gego, Mary Heilmann, Eva Hesse, Robert Irwin, Agnes Martin, Robert Morris, Bruce Nauman, and Robert Smithson, all acclaimed artists who confront traditional notions of space, light and the nature of observation.

Grounded in the idea of a parallax, defined as “the apparent displacement of an observed object due to a change in the position of the observer,” this exhibition brings together stylistically disparate artists linked by the tension and romance between rigorous geometry and expressive chaos. The Parallax View explores the idea of observation as conflict: conflict between mind and object; analysis and fleeting insight; continuity and fragmentation; object and artifact; inner and outer.

The minimalist works by Dan Flavin and Robert Irwin provide narratives about light and landscape. Agnes Martin and Mary Heilmann suggest both the vastness and intimacy of nature, yet another source of conflict, but free of nostalgia or sentimentality. Bruce Nauman, Robert Morris and Teresita Fernández define perception, the physical and temporal relationships that a viewer encounters in relation to an artwork, setting the stage for interpreting a parallax as a prism that reflects the many facets of observation as conflict. Eva Hesse and Gego take a playfully minimalist approach to liberate sculpture from its traditional restraints, and straddle the line between figuration and abstraction.

Taken as a whole, the exhibition is a complex spatial proposition on the relationship between seeing and experience, an abridged history within the shifting paradigms that ushered art towards the present century.

TERESITA FERNÁNDEZ Untitled Installation view at Lehmann Maupin, New York, 1997 wood, scrim, mirror, pencil 120 x 120 x 9 inches 304.8 x 304.8 x 22.9 cm LM5225

Artist: Nancy Grossman

Road to Life

Artwork Details

Dimensions:

I. 17 7/8 x 25 in. (45.4 x 63.5 cm); S. 19 3/4 x 26 1/8 in. (50.2 x 66.4 cm)

Medium: Lithograph

Creation Date: 1975

Artist: John Currin

Blond Angle

Dimensions: diam.: 16 in.

Medium: oil on canvas

Creation Date: 2001

On View

At Indianapolis Museum of Art

MOVING SENDAK’S WALL

Maurice Sendak painted this mural in the New York apartment of his friends the Chertoffs. The family donated the mural (and plaster) to the Rosenbach Museum and Library in Philadelphia; through April, the public can watch repairs in progress.

Maurice Sendak has almost never applied his signature toothy creatures to walls, but in 1961 he gave a mural to friends, Lionel and Roslyn Chertoff, on Central Park West in New York. In their apartment, he spent months filling a bedroom wall with costumed children leading birds and circus animals. He inscribed the names of the Chertoffs’ children, Larry and Nina, on a parasol wound around a lion’s tail.

Three years ago the family donated the mural to the Rosenbach Museum and Library in Philadelphia, which owns about 10,000 of Mr. Sendak’s works. The Chertoff painting, still attached to 1,000 pounds of Manhattan plaster, has been mounted on an aluminum-reinforced wall at the museum’s Sendak gallery.

Through April, the public can watch repairs in progress for two hours on Wednesdays (about 1 to 2 p.m. and 6 to 7 p.m.). Milner & Carr Conservation will patch cracks, remove patches of whitewash and fill in lost details. Mr. Sendak is scheduled to complete the work.

“We’re hoping there’s some tiny little thing that he’ll add a flourish to, maybe one little blade of missing grass,” said Catherine L. Myers, a senior conservator at Milner & Carr.

A version of this article appeared in print on February 4, 2011, on page C29 of the New York edition.

http://www.rosenbach.org/learn/objects/chertoff-mural

Beautiful Views of Planet Earth

Loreena McKennitt - Night Ride Across the Caucasus

I found this at: http://www.youtube.com/watch?v=tJQoF-hamHg

MONUMENTAL

Dec 3, 2010 - Feb 24, 2011

Chimta by Subodh Gupta

Chicago, Illinois: Monumental: A Show of Epic Proportions at Walsh Gallery Monumental exhibits 15 contemporary Asian and Asian American artists whose works share--whether in painting, sculpture, installation or photography--a love of the grand. These artists pushed the boundaries of scale to create works of a monumental nature. Often embedded in these works were the ideas of historical commentary, whether of a personal narrative or global nature. These large-scale pieces were created by artists from China, India, Korea and Indonesia, including Yue Minjun, Subodh Gupta, Atul Dodiya, Jitish Kallat, Rong Rong and inri, Zhang Dali, Chen Wenbo, Zhu Wei, Kim Joon, Han Seok Hyun, Ravinder Reddy, the Gao Brothers and Heri Dono. The show also includes works by Chicago artists Indira Johnson and Von Kommanivanh. The opening reception is Friday Dec. 3 from 5:00 - 8:00 pm. The exhibit runs until February 24, 2011. Monumental is primarily a collection show of founder Julie Walsh, which means that the pieces in this exhibit not only talk about history, but are also historical themselves. These are early works by some of the biggest names in the industry that Ms. Walsh purchased before Chinese art and Indian art had been discovered in a global sense. Works in the exhibit fall into three primary categories: current events, personal narrative, and specific historical events. Personal History Subodh Gupta's large scale oval installation called Chimta is made up entirely of stainless steel tongs which were made in India. In this work Mr. Gupta helps expose some of the clichés of India as he deftly explores the question of just how "Indian" contemporary Indian art needs to be. He takes the most mundane object and converts it into an assemblage of massive proportions. Referencing African and Egyptian sculpture, Ravinder Reddy's gold leaf covered six-foot fiberglass bust Tara is at once a portrait of a contemporary deity and a tribute to that which endures in art over time. Mr. Reddy feels that what endures is woman's strength of character. His sculptures are created from sketches of women that he sees in his hometown in Southern India. Past History The Gao Brothers' comical icon Miss Mao is a seven-foot silver painted statue of Mao Zedong as a woman, including both Mao's distinctive wart and full breasts. Atul Dodiya's nine by six-foot shop shutter called E.T. is composed of multiple layers. On the outside of the shutter is a painting of a grand historical moment when Einstein met Rabindranath Tagore in India. The outside of the shutter represents the great ideals of how India could be. When the shutter is lifted it reveals a painting of a surreal landscape with a skeletal scribe on top of an airplane dropping either food packages or bombs on a desolate landscape with a few houses. Monumental delivers an array of historically impressive works through scale or context. Works by the artists in Monumental have been seen in important biennials around the world as well as in exhibits in major international museums.

WALSH GALLERY
118 N. Peoria St 2nd Floor
Chicago, IL 60607

T-SA 10:30-5:30
p 312.829.3312
f 312.829.3316

info@walshgallery.com
www.walshgallery.com

Artist: Ursula von Rydingsvard: Sculpture 1991 - 2009

Ursula von Rydingsvard, Droga, 2009.

SculptureCenter is pleased to premiere Ursula von Rydingsvard: Sculpture 1991 - 2009. Organized by SculptureCenter, this traveling exhibition will include a selection of the artist's most significant sculptures, including wall reliefs and monumental cedar works created from 1991 to 2009. The SculptureCenter presentation will also feature several works not traveling including a new cast resin piece to be installed in SculptureCenter's outdoor exhibition court. Ursula von Rydingsvard: Sculpture will be accompanied by a fully- illustrated monograph co- published by Prestel and authored by art historian Patricia Phillips. The exhibition will be on view January 24 - March 28, 2011. An opening reception will take place Sunday January 23rd 5-7 pm and is open to the public. The artist will be present.

Von Rydingsvard is best known for creating large-scale, often monumental sculpture from cedar beams, which she painstakingly cuts, assembles, glues, clamps, and laminates, finally rubbing powdered graphite into the work's textured, faceted surfaces. Her signature shapes are abstract, with references to things in the real world. Drawing on a range of sources, from the humble to the majestic, von Rydingsvard's work is recognized for its great psychological force and powerful physical presence. In wall sculptures such as Untitled (Spoon Shovel) (1991-1992) and Finger Spoon (2007), the artist lends a dignity to works resembling familiar household items; while the initially strange Maglownica (1995), a tall, bumpy cedar plank sheathed in cow intestines, turns out to have similar, personal associations. A maglownica is an object traditionally used by Polish farmwomen to soften sheets with a rubbing motion after washing. Von Rydingsvard's most enduring form is the bowl, which may appear as a shallow or towering form, and may alternately evoke nourishment, domesticity, the body, a simple enclosure, or a mountain, among other references. The exhibition includes the five undulating bowls that make up Krasawica II (1998-2001), Ukrainian for beautiful young woman, whose overall shape conveys a fluid sense of movement and vitality despite its substantial, weighty volume; as well as the large, low basin, ringed with bulbous, stuffed-intestinal forms, whose primal, physical gravity recalls the Ocean Floor (1996). The exhibition is organized by SculptureCenter and guest-curated by Helaine Posner.

After the New York presentation, the exhibition will travel to the DeCordova Sculpture Park and Museum (May 16 - August 28,2011); Museum of Contemporary Art Cleveland (September 23, 2011 - March 25, 2012) and the Patricia and Phillip Frost Art Museum at Florida International University in Miami (April 18 - August 4, 2012).

About the Artist

Ursula von Rydingsvard's first solo exhibition was presented in New York in 1975 and she has been exhibiting her work in museums and galleries internationally ever since. Her sculpture is included in the permanent collections of over thirty museums, including the Metropolitan Museum of Art, The Museum of Modern Art, and the Whitney Museum of American Art, New York; Walker Art Center, Minneapolis; Nelson-Atkins Museum of Art, Kansas City; High Museum of Art, Atlanta, and Detroit Institute of Arts. Major permanent commissions of her work are view at the Microsoft Corporation, Redmond, Washington; the Bloomberg Building, New York; and the Queens Family Courthouse, New York. Mad. Sq. Art: Ursula von Rydingsvard was presented at Madison Square Park in 2006.

Artist Franklin Carmichael - print

NELLIE LAKE

By Franklin Carmichael

Artwork Description

Dimensions: 9.5 x 12.1cm (3 3/4 x 4 3/4 in).image

Medium: wood engraving

Signed

Edition number: 2 from an edition of 50

Artist: Mariele Neudecker's - proposal

German artist Mariele Neudecker’s design, It’s Never Too Late and You Can’t Go Back, is a fictional mountainscape sculpture

It’s Never Too Late And You Can’t Go Back is elevated above the Plinth and represents a fictional mountainscape. It is ‘specific in its dramatically modelled detail’ and if viewed from above reveals the flipped and reversed shape of Britain. From below, the map is the right way around and more familiar. The juxtaposition of different views shifts the observer’s perception of the mountain from majestic and generic landscape to territorial space.

Historically mountains represent monumentality, conquest, glory, ownership. In turn, the sentiments frequently attached to landscapes have often served as reminders of our more fragile, human, moral and mortal positions in the grandest considerations of the sublime.

Artist biography

Born in 1965 in Düsseldorf, Germany, Mariele Neudecker lives and works in Bristol. Neudecker uses a broad range of media including sculpture, installation, film and photography. Her practice investigates the formation and historical dissemination of cultural constructs around the natural world, focusing particularly on landscape representations within the Northern European Romantic tradition and notions of the Sublime. Central to the work is the human interest and relationship to landscape and its images used metaphorically for human psychology.

Mariele Neudecker has shown widely internationally, notably in Biennales in Japan, Australia and Singapore, also solo shows in Ikon Gallery, Tate StIves and Tate Britain. This year Mariele Neudecker has presented a solo exhibition at Galerie Barbara Thumm, Berlin, won the Ludwig Gies Preis for her participation at Triennale Fellbach 2010 (Germany), made a new commission for Extraordinary Measures, Belsay Hall, Castle and Gardens, Newcastle upon Tyne (UK) and has been invited to spend three month at the Headlands Centre for the Arts, San Francisco (USA). She is represented by gallery Barbara Thumm, Berlin.

http://www.marieleneudecker.co.uk/index.html

Elmgreen & Dragset and Katharina Fritsch chosen for Fourth Plinth commissions

London’s mayor, Boris Johnson, has announced the winning artists of the next two commissions for Trafalgar Square’s Fourth Plinth.

Scheduled for unveiling in 2012, Elmgreen & Dragset’s Powerless Structures, Fig.101 portrays a boy, ridding his rocking horse, cast in bronze. In the context of the iconography of Trafalgar Square the boy is elevated to the status of a historical hero. The work is intended to celebrate the heroism of growing up, gently questioning the tradition for monuments predicated on military victory or defeat. Here, there is not yet a history to commemorate—only a future to hope for.

Katharina Fritsch’s Hahn / Cock will be installed on the Fourth Plinth in 2013, showcasing a giant cockerel in ultramarine blue. Surrounded by Trafalgar Square’s genteel Georgian architecture, its unnatural scale and bold color aims to render the situation unreal in an effort to bring a sense of hallucination and uncertainty to the context.

The selection was made by the Fourth Plinth Commissioning Group chaired by Ekow Eshun. Ekow Eshun said: "Elmgreen and Dragset and Katherina Fritsch are distinguished artists with major international reputations. Their selection further underlines the importance and reputation of the Fourth Plinth as the most significant public art commission in Britain. Both have created imaginative and arresting artworks that fully respond to the uniqueness of their location and I can't wait to see their sculptures in Trafalgar Square in 2012 and 2013."

Trafalgar Square is a square in central London, England. With its position in the heart of London, it is a tourist attraction, and one of the most famous squares in the United Ki

ngdom and the world. At its centre is Nelson's Column, which is guarded by four lion statues at its base. Statues and sculptures are on display in the square, including a fourth plinth displaying changing pieces of contemporary art. The square is also used as a location for political demonstrations and community gatherings, such as the celebration of New Year's Eve in London.

Public art has always been surrounded by debate. This came to a head as three sculptures by British contemporary artists were temporarily placed on the empty fourth plinth at Trafalgar Square, which had remained unoccupied for 158 years.

Designed in 1832 by Charles Barry, the square was always intended to give "scope and encouragement to sculptural work of a high class" and to give "distinctive and artistic character to the square." This aspiration was again addressed with the commissioning of new pieces of sculpture to be placed on the plinth.

The project was the brainchild of Prue Leith, who in her role as Deputy Chairman of the Royal Society for the encouragement of the Arts, began to seek out ideas about what should be done to enliven the fourth plinth and to put it to good use. She also looked for sponsorship for the fourth plinth project. The foundation's way forward was to fund the project in the manner of its own commissioning process - the provision of funds to realise the works for exhibition and which would ultimately be sold. The project took place from July 1999 and ran until May 2001.

The first sculpture to occupy the plinth was Mark Wallinger's Ecce Homo: Behold the Man, installed in July 1999. A life-size figure in white marble resin standing at one end of the giant plinth, it portrayed Christ at the moment he was handed over to the crowds by Pontius Pilate. Wallinger stated, "Trafalgar Square has a tradition of being a place for crowds and it seemed to me to be the perfect context for this statue". Amidst the proud military Victorian heroes, the clean-shaven figure, with hands bound behind him and eyes downcast, portrayed an air of intense vulnerability, deliberately dwarfed by his formidable central London surroundings.

The second sculpture to be placed on the plinth, beside Nelson atop his 172 foot column, was Bill Woodrow's Regardless of History, installed in March 2000. This is the largest and most complex bronze sculpture ever undertaken by Woodrow, a great idea for a big civic sculpture. It is now installed in the sculpture park in Goodwood and looking for a good home. Cast in 130 pieces and weighing eleven and a half tonnes, the epic Regardless of History continued to spur on the debate about what should permanently occupy the plinth.

The third piece for the plinth was Rachel Whiteread's Monument. The transparency of the inverted cast of the plinth resulted in, as Whiteread stated, it "sometimes being present, sometimes being ephemeral, depending on the quality of daylight and the weather."

The Fourth Plinth Programme is funded by the Mayor of London with support from Arts Council England and sees new artworks being selected for the vacant plinth in a rolling program of new commissions.

www.london.gov.uk/fourthplinth/

Welsh Photographer - David Wilson

"My love of landscape photography began when I bought my first camera at the age of seventeen. I spent many carefree days riding around Pembrokeshire on my motorbike with my 35mm Canon and an ordnance survey map, learning to take landscape photographs while exploring the coast and countryside. Due to my habit of colliding with objects the motorbike is now history, but my passion for photography, particularly black and white landscape, is stronger than ever."

"Situated on the very western tip of Wales and surrounded on three sides by the sea, Pembrokeshire is an idyllic location to indulge in landscape photography."

http://www.davidwilsonphotography.co.uk/index.html

Artist: Dick Lehman - Teabowls

http://www.dicklehman.com/index.html

Monet - Landscape

Two images of the same painting - color is iffy.

Yoeme deer dance headdress

Yoeme deer dance headdress

ca. 1910
Sonora, Mexico
Deer hide, glass eyes, antlers
31 x 25 x 33 cm
Collected by Edward H. Davis
11/2382

Brought to life with the music of deer songs, this headdress is worn by Yoeme Deer Dancers dancing to the beat of the songs. Shaking gourd rattles, the deer dancers also wear deer-hoof rattles around their waists, as well as cocoon rattles around their lower legs. Yoeme have always believed they exist in close communion with all the inhabitants of the Sonoran Desert and the Deer Dancers help them feel this connection. Contemporary Yoeme regard the Deer Dance and Deer Dance songs as the most essential expression of what it means to be Yoeme—that is, to be entrusted with the well-being of the earth, its animals and plants.

http://www.nmai.si.edu/exhibitions/infinityofnations/introduction.html