the instructions in the performers' hands tell them to sing a word or short phrase a given number of times on one note, then the next phrase on a different note that is already being sung by someone else - that is why they move about between phrases, to listen for another note. The entire piece lasts for at least a quarter of an hour - in fact the length and the sound will vary with each performance. i wonder if we could try something similar with a congregation, instead of the usual hymns. the issue would be dealing with those who can't hold a note...
[rebecca's in the maroon top, left background, hair tied back]
yesterday on a whim i scanned in the illustrations from 'manned spacecraft in colour', a recent find. i had intended to do one or two but when i saw the results i had to do nearly all of them. the originals are not much bigger than A6, but blown up on screen the level of detail is amazing - you can get down to the crayon strokes. they are wonderful examples of the technical illustrator's art. nowadays such things as the apollo mission sequence would be modelled on a computer, but i doubt the results would be as engaging.
these late 60s early 70s space illustrations and books are a genre. i notice that the same illustrations and diagrams were used in numerous books [especially the rockwell apollo sequence] - and the authors were often shared too - which gives the output of the time a certain unity. the illustrations were standing in for photgraphs and attempt to be realistic and factual, but they can't escape the graphic 'feel' of the period - indeed for those of us who grew up on these things they were the graphic feel of the period, which is why i'm interested in them now.
the seagram murals [average dimensions a couple of metres or so] reduced to fridge magnets! someone has a sense of humour in the souvenir department.
also - the 'black on grey' series - the last works rothko made - are surely pictures of the moon. a room full of these is like being in moonbase alpha looking through windows onto the lunar surface. and they were painted in 1969-1970. consider:
how can he not have been aware of these photographs [which were on my bedroom wall in 1969]. it would be a great stunt to make a cutout of the earth, go into the exhibition, and suddenly hold it in front of the painting while a friend takes a photo.
and now for something completely different. back in the summer, the hyperbolic crochet coral reef made an appearance in the hayward and the royal festival hall. my photos of the stuff in the festival hall - they wouldn't allow photographs of the hayward stuff by the original creators, which seems strange for a collaborative all-join-in project. the crochet techniques are discussed on the website - definitely one for the grace knitting group! also for the modular altar pieces - give everone a knitted coral, and the altar is a fabric reef to put them on.
tonight i bought this icon from mike radcliffe [exchanged rucksack-to-rucksack for cash on victoria station like a dodgy deal]: the background is stainless steel - a silver ground instead of the traditional gold. the light from heaven is sketched in on the steel top left, illuminating the back of the figure's neck and casting his face into shadow. his wings are similarly sketched on the steel so that they are only visible when caught by the light. he holds a lottery ticket, and makes the chi-rho gesture - which has an ambiguity on such a person - it could be the national lottery logo or a gang sign. the halo occupies the centre of the icon, and the two white cuffs are symmetrically placed rings below.
st matthew is traditionally depicted as a winged man, in reference to the four living creatures of revelation 4:6-9 and ezekiel 1 as symbols of the four gospels. being a tax collector, he is the patron saint of bankers!
i think mike's become a very good icon painter, combining the traditions with wholly contemporary imagery. he's curating the art show 14th-21st february for moot community arts' 'beyond the wilderness' season - might have one or two of his own works in there too.
well done to pete and joyce majendie and all their collaborators - i'm looking forward to the photos. it amazes me, to see that logo in use so far away and nearly eight years later.
2: speaking of which, there is a new site at labyrinth.org.uk. i had neglected it horribly once the tours were over in 2002 - the weeds grew around it - but then the proost relaunch this year broke all the merchandise links and i had to do something. same content, but a whole lot smarter, deframed and deflashed, with the online labyrinth incorporated.
[the splashpage of the original site was a way of dealing with the fact that it was three sites all hosted and run separately. the forum closed after the cathedral tours, the online labo was on yfc uk's servers, and the explanatory site on ukonline had become inaccessible to me - a dead site. the new one is all on yfc's server, to whom thanks]
and i've subtly updated the logo. the black line is now the *path* rather than the boundaries [ie the tape] - so it's the inverse of the original. should've thought of that at the beginning - the old one's tattooed on me now. damn ;)
i kind of think banksy jumped the shark with the fake exhibits in museums, but the publication of 'wall and piece', however nice a book, finally did for him. the little black paperbacks, which were initially hard to get, still maintained the sense of secret, but 'wall and piece' was the coffee table book last christmas - the big hit compilation album that signals the end of a career. he needs to give up for a decade, or only stencil rats in places that almost no-one will find.