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[purgatorio]

Vera Lutter

Cargo Field, Frankfurt Airport VIII: April 28, 2001


unique silver gelatin print, 218 x 142 cm

According to most accounts, the camera obscura was developed in Europe during the 13th- and 14th-centuries, although versions of the device may have been used even earlier in China and the Arab world. It consisted of a large boxlike space within which an image of the world outside was projected onto a wall by means of a carefully placed aperture that admitted light. The image’s scale depended on its distance from the aperture. [...]

Vera Lutter has revived and modified the camera obscura in unusual and intriguing ways. At the time of the Renaissance a typical camera obscura was room size. In the eighteenth century it was the size of a sedan chair, while in the nineteenth century it shrank to the size of a packing box. In sharp contrast, Lutter’s camera obscura of choice is the size of a shipping container. (In fact, it often is a shipping container.) Her work is also differentiated from her predecessors’ in that she prints extremely large, sometimes wall-size images as the end product. The photographic images are exposed over several hours or even months, capturing traces of movement and creating a ghostly sense of temporality. Vera Lutter’s work has not only revived the camera obscura but also reinvented photography itself, creating a new sensitivity to both time and space. http://bombsite.com/issues/85/articles/2584

Cargo Field, Frankfurt Airport, XI, May 1, 2001


unique silver gelatin print, 218 x 142 cm


Frankfurt Airport, VII: April 24, 2001


unique silver gelatin print, 3 panels, framed, 218 x 427 cm


Cargo Field, Frankfurt Airport, XVII: May 18, 2001


unique silver gelatin print, 2 panels, framed, 218 x 285 cm


Hangar 5, Frankfurt Airport, XV: May 7-12, 2001


unique silver gelatin print, 2 panels, framed, 218 x 285 cm

maxhetzler.com Vera Lutter

[purgatorio]

Ron van der Ende
727, 2008


Bas-relief in reclaimed timbers, 310 x 140 x 16cm
http://westcollection.org/index.php/artist/index/5036/

Ron van der Ende is a sculptor living in Rotterdam, The Netherlands. He specializes in wall mounted bas-reliefs constructed from found wood. The original color and texture of the wood is utilized to form a gripping and realistic mosaic. The realism is further enhanced by the perspective built into the relief. Van der Ende uses his method to conjure up dark industrial and space age imagery.

diskursdisko.de - interview

ronvanderende.nl
very cool other works!

[purgatorio]

Thomas Bayrle

Flugzeug (Airplane), 1982-83


Photo montage, 60 parts, 8.0x13.4m







In the Documenta Halle, German artist Thomas Bayrle has also fabricated a large-scale installation, this time in the form of Airplane (1982–83). With a wingspan that stretches across an entire wall, this aircraft is formed of a collage of thousands of photographs that encapsulate the dream of flying, which enables one to cover the corners of the globe in just one lifetime. http://www.studiointernational.com/reports/documenta-2-2012.asp


Motoren (Engines)

[purgatorio]

the other 'buried aircraft' artist:

Christoph Büchel

LAST MAN OUT TURN OFF LIGHTS, 2010


Installation, Dimensions variable

In the redoubtable main gallery space of Tramway 2, Swiss artist Christoph Büchel will create a fictitious yet highly believable environment constructed inside a series of shipping containers. Büchel focuses on elaborately realistic detail in order to create psychologically unsettling environments which are often explicit political commentaries or investigations into an era mediated war. Viewers will be challenged to explore sometimes claustrophobic spaces via a network of shipping containers, often taking on the role of victim and viewer simultaneously. The focus of Büchel’s installation at Tramway will explore the reconstruction of collective memory and the influence of new forms of media and propaganda on our collective imagination. http://www.thisistomorrow.info/viewArticle.aspx?artId=326

LISTEN - GI 2010 Christoph Büchel by Tramway







http://www.hauserwirth.com/artists/3/christoph-buchel/images-clips/

[purgatorio]

The discussion that inspired me to explore 'The Art of Flight':

Some people call this "art".
This is as crazy as putting cows in a formaldehyde aquarium.
http://www.telegraph.co.uk/culture/art/3672425/Damien-Hirsts-cow-art-in-a-pickle.html

Artist Roger Hiorns to bury Airbus under the UK
http://uk.phaidon.com/agenda/art/articles/2011/december/07/roger-hiorns-to-bury-airbus-under-the-uk/

Artist to Bury an Airplane Underground and Call It Art
http://hyperallergic.com/46454/christoph-buchel-terminal/

Take a Look at Artist's Proposal to Bury a 727 in Kern County
http://la.curbed.com/archives/2012/01/take_a_look_at_artists_proposal_to_bury_a_727_in_kern_county.php

so here are these projects, too: 
Buried Aircrafts


Roger Hiorns

Untitled (Buried passenger aircraft), 1999-2011


photo collage

“The piece itself will be a very immaterial one. You won’t actually see it from the surface of the world. It all belongs under the ground and the access to the aircraft will be through a stairwell down into it. I’m taking something that has a sense of the world – a symbol of globalisation and rendering it completely immobile.”

“The idea is that people can find themselves buried 50 metres underground in this rather uncanny scenario. The plane itself will become almost like a long barrow (Neolithic tomb). It would be a technological reflection of the west Kennet or the Solsbury Hill earthworks. So in a way it has a connection with this country in terms of space that already exists.”

“I think part of my work is always interested in trying to understand how people are supposed to behave in the world. I think it’s interesting to change people’s environments to such a degree that the behaviour of people changes. To break those senses of direction is part of the choreography of life somehow. You can actually suggest a different route, a different passage and place. And so yes this buried aircraft can be an alternative version of a non-ideological church in a sense"

“... in a way I disagree with flying, I disagree with it psychologically. It started out as being fearful, but because I have to fly I have to take sedatives so it’s me doing away with an object that I feel is not doing me any good. It's not entirely clear what degree of 'alive' we are, as we continue to fly, it's certainly a suspension of being. But I think it’s important to take on a stand on something. I think it’s interesting as a completely irrational response to something I dislike.” - Roger Hiorns

uk.phaidon.com - Roger Hiorns to bury Airbus under the UK


Christoph Büchel

Terminal, 2000 - 2012 (ongoing) Permanent Installation Mojave Desert, CA


Project sketch (DC-9)

Swiss artist Christoph Buchel applied for the conditional-use permit that will allow him -- if multiple requirements are met -- to dig a huge hole on his property near Boron, place a 153-foot-long Boeing 727 in the hole and cover it with soil. [...]

The engines and jet fuel will be removed prior to the plane's installation. The interior will retain the appearance of a commercial passenger jet, but new electrical, plumbing and ventilation systems will be installed.

The desert landscape over the plane will be restored to look as if nothing has changed. According to the artist's plan, a 400-foot tunnel will connect a small parking area to the door of the jet to allow visitors to enter. [...]

Buchel "creates hyper-realistic environments that are, in essence, like walking into a mind at work." Buchel [...] has developed "an artistic sensibility that allows layers of social and political commentary to permeate within a uniquely contemplative space." http://www.bakersfieldcalifornian.com/local/x1827696594/Commission-OKs-airplane-burial

hyperallergic.com - Artist to Bury an Airplane Underground and Call It Art
la.curbed.com - Take a Look at Artist's Proposal to Bury a 727 in Kern County

[purgatorio]

Mel Hunter
Airliners crash over the Grand Canyon commissioned by LIFE magazine, 1957


Gouache painting on board, 18 1/4" x 14 1/2"

LIFE magazine, April 29, 1957 that featured Hunter painting with article by Mary H. Cadwalader entitled:" An air mystery is solved: reconstruction of Grand Canyon crash suggests ways to prevent the rare but nightmarish cases of collision."

On June 30, 1956, a United Airlines DC-7 flying from LA to Chicago collided over the Eastern End of the Grand Canyon with a TWA Constellation en route from LA to Chicago. The 58 passengers on the DC-7, and the 70 passengers on the Constellation were all killed. The aircraft were flying in uncontrolled airspace, i.e. under visual flight rules without the guidance of air traffic controllers, radar, or even official flight plans. Both pilots had requested permission to fly in undesignated airspace to afford their passengers a better view, and were thus responsible for their own safety and separation. The crash was attributed to the pilots not seeing each other until it was too late.

This was the greatest air tragedy of its time in U.S. aviation.  Since the accident involved two of the largest commercial aircraft then in service--a Lockheed Super Constellation, and a Douglas DC-7--it resulted in the greatest loss of life, by far, in any accident of the time.  The enormity of the loss gave impetus to a major improvement in air traffic control with the formation of the Federal Aviation Administration and the widespread use of collision avoidance radar on commercial aircraft.
Although the Civil Aeronautics Agency (the FAA's predecessor) denied responsibility for the accident, investigations revealed that the CAA's air traffic control system was insufficient to offer positive separation to every airplane flying across the country. Congress and other legislators, who had previously cut budgets to the CAA, were forced to recognize the severity of the air traffic control problem. They thus embarked on a massive ATC modernization plan, appropriating $250 million to the CAA to upgrade the ATC system. This money was used to purchase new radar surveillance equipment, to open new control towers, and to hire more air traffic controllers. The pieces for a good air traffic control system were potentially in place. However, the changes could not be made fast enough to satisfy the air traffic controllers, who began to resign at a very fast rate - about 30% of controllers resigned in 1957 alone. The lack of controllers only increased the workload on the other controllers, who formed the Air Traffic Control Association (ATCA) to represent controllers' demands. (from Notable Collisions of the 1960's. The story of Mode S: An air traffic control Data-link Technology.)

http://www.smithhuntergallery.com/ScientificIllustrationPaintings.htm

[purgatorio]

Concorde - The Icon

Concorde, that most charismatic of all civil airliners, always did look like a paper plane. Not just any old school playground paper dart, of course, but the most beautifully thought out and most aerodynamic aircraft possible, folded by the hands of brilliant, if still unsung, backbench aero-engineers.

Now we learn that Concorde engineers really did make paper aircraft at their drawing boards and workbenches, testing these outside the former British Aircraft Corporation workshops near Bristol during their lunch hours. Made of any scrap of paper or card available, these primitive, hand-propelled Concordes did their bit in the design process of the most famous, and dynamic, airliner of all. http://www.guardian.co.uk/artanddesign/artblog/2007/sep/28/concordeforsaleprefolded


The Concorde 001 prototype in the hangar at Toulouse Blagnac airport, 1967


Photo by Sud-aviation
http://www.domusweb.it/en/from-the-archive/assembling-the-concorde/

Built by the British Aircraft Corporation and the French Aérospatiale, the Concorde was the result of more than ten years of collaboration between the French and British aeronautic industries. Destined for elite passengers, the fine aircraft achieved a cruise speed of 2.150 km/h, topping the speed of sound and achieving a flight time of just over three hours and a half between London and New York. At the time, Duchess of York Sarah Ferguson said of the supersonic aircraft: "What's great about it is I'm able to take my children to school at 8.30 in the morning, drop them off, then take BA flight 001 at 10.30am to New York, and get to New York at 9.30am, in time for my Weight Watchers meetings and speeches."


Jean Dieuzaide
Rêves d'avions

CONCORDE : ESSAIS DE FREINAGE, 1968



"Dieuzaide was always a fanatic admirer of flying things. His images are a living illustration of his passion for aeronautic construction and aerial manifestations. He found the land of the takeoff in Toulouse, the best opportunities to seize in his objective lens sun or sky, the most astonishing forms, the most impressive or the most poetic of these flying machines that have become the stuff of so many dreams. The exhibition "Rêves d’avions" retraces the fabulous history of the conquest of the sky and gives homage to the men and to the rare women who have written it and highlights the talent of this poet of light and of his precious vision as an esthete and a photographer." Yves Marc, Commissioner

CONCORDE DANS SON FILET #2



CONCORDE : ESSAIS DE ROULAGE, 1969



VOILURE DU CONCORDE 1968



DÉCOLLAGE BALISÉ



Take-off above the landing markers on the 350m long runway built specially for Concorde tests at Toulouse Blagnac.


British Airways
Advertisement, 1974


http://www.moderndesign.org/2012/04/tribute-to-concorde_09.html


L&L Tooling, Texas
British Airways advertisement on Times Square, NY


fibreglass, steel, 102 ft. long, 42-ft. wing span, weighing 24,000 lbs
http://www.extravaganzi.com/newyork-times-square-concorde-model-flying-to-bonhams-auction/


Andreas H. Bitesnich
Deeper Shades New York: Concorde on Time Square,  1997




www.bitesnich.com - deeper shades/


Frank Schramm
Le Concorde: Paris - New York








Frank Schramm has been fascinated by airplanes since childhood. Armed with his Hasselbald, he decided in 1989, while eating lunch in a Paris airport, to photograph the sky, and in particular the Concorde. These incredible machines became an obsession, leading him to observe more closely the world’s skies. He figured out the best “hunting grounds” and never hesitated to contact airline companies and airports to find out precisely when the Concorde would appear. With an obsessive devotion to his technique and aeronautics, Schramm offers veritable black-and-white portraits of these steel birds whose lines and precision contrast with our own fragility.

photography-now.com - Frank Schramm


Matt O'Dell
Concorde, 2001


Cardboard, aluminium foil, spray paint, 3 x 3 metres
http://www.saatchi-gallery.co.uk/artists/matt_odell.htm?section_name=power_paper

On 25 July 2000, Air France Flight 4590, registration F-BTSC, crashed in Gonesse, France, killing all 100 passengers and nine crew members on board the flight, and four people on the ground. It was the only fatal incident involving Concorde.
According to the official investigation conducted by the Bureau d'Enquêtes et d'Analyses pour la Sécurité de l'Aviation Civile (BEA), the crash was caused by a titanium strip that fell from a Continental Airlines DC-10 that had taken off minutes earlier. This metal fragment punctured a tyre on Concorde's left main wheel bogie during takeoff. The tyre exploded, a piece of rubber hit the fuel tank, and while the fuel tank was not punctured, the impact caused a shock-wave which caused one of the fuel valves in the wing to burst open. This caused a major fuel leak from the tank, which then ignited due to sparking electrical landing gear wiring severed by another piece of the same tyre. The crew shut down engine number 2 in response to a fire warning, and with engine number 1 surging and producing little power, the aircraft was unable to gain height or speed. The aircraft entered a rapid pitch-up then a violent descent, rolling left and crashing tail-low into the Hotelissimo Hotel in Gonesse.[134] On 6 December 2010, Continental Airlines and John Taylor, one of their mechanics, were found guilty of involuntary manslaughter.[135]
Prior to the accident, Concorde had been arguably the safest operational passenger airliner in the world in terms of passenger deaths-per-kilometres travelled with zero, but with a history of tyre explosions 60 times higher than subsonic jets.[136] Safety improvements were made in the wake of the crash, including more secure electrical controls, Kevlar lining to the fuel tanks and specially developed burst-resistant tyres. [...]

On 10 April 2003, Air France and British Airways simultaneously announced that they would retire Concorde later that year.[142] They cited low passenger numbers following the 25 July 2000 crash, the slump in air travel following 11 September 2001, and rising maintenance costs.


raumfieber®
concandle




http://www.raumfieber.de/raumfieber-concandle_01.html


DS and Concorde




Laurent Nivalle
CITROËN DS5 meets Concorde, 2011



MORE ...
http://amicale-citroen.de/2011/ds5-concorde-fotoshooting-sm-opera-cabriolet/


Stephane Jaspert
Concorde / Contemporary art rock Paris


cobblestone from the streets of Paris
http://jaspert.free.fr/contemporary_art_paris/index.htm


Getting ready to sail off into the sunset?


A scale model of Concorde at V&A Museum London: British Design 1948-2012. Innovation in the Modern Age

As a symbol of national pride, an example from the BA fleet made occasional flypasts at selected Royal events, major air shows and other special occasions, sometimes in formation with the Red Arrows. On the final day of commercial service, public interest was so great that grandstands were erected at Heathrow Airport. Significant numbers of people attended the final landings; the event received widespread media coverage.

37 years after her first test flight, Concorde was announced the winner of the Great British Design Quest organised by the BBC and the Design Museum. A total of 212,000 votes were cast with Concorde beating design icons such as the Mini, mini skirt, Jaguar E-type, Tube map and the Supermarine Spitfire.

Wikipedia - Concorde
Design Museum - Concorde

[purgatorio]

Adel Abdessemed
Telle mère, tel Fils (Like mother like son), 2008


Installation view of the 2009 solo exhibition Adel Abdessemed: RIO at David Zwirner, New York

The first work we discovered is a face to face to “Telle mère, tel Fils” (‘like mother like son’) sixty five feet long braid of three airplanes, made of their original cockpits and tailfins, while the fuselages are reconstructed in soft felt filled with air. Beside the strong evocation of terrorism, through the vision of distorted airplanes; the title, which recalls the adage “like father, like son” but breaks the genders frontiers by linking the mother with the son, would symbolize the interweaving of the generations, whether it would be male or female. Adel Abdessemed is born in Algeria; there, the separation between genders is strict and firm, thus he affirms a strong emancipation from this tradition. Also,  the artist gives here a tender sign to his mother.
http://art-and-you.over-blog.com/article-30280481.html




Airplanes, felt, aluminum, metal, 27 x 4 x 5 meters / 88.6 x 13.12 x 16.4 feet
http://www.davidzwirner.com/artists/adel-abdessemed/survey-2/image/page/16/

[purgatorio]

Vitra Design Museum,
Airworld: Design and Architecture for Air Travel

[purgatorio]

THE BLITZ
Herbert Mason
St Paul's Survives, December 29, 1940



On the December 29th, 1940 German bombers had struck London 114 times. As searchlights lit up the sky searching for Nazi aircraft, Daily Mail photographer Herbert Mason was on top of the roof of his newspaper's building. German bombs had destroyed hundreds of buildings that night and the smoke filled the air. Mason wanted to get a clear shot of St Paul's Cathedral and waited hours for the smoke to clear. Then the wind picked up just enough for Mason to take what would become one of the most iconic shots of the Blitz.
On New Year's Eve the Mail took the unusual step of publishing the photographer's account of how he took the picture:

“I focused at intervals as the great dome loomed up through the smoke. Glares of many fires and sweeping clouds of smoke kept hiding the shape. Then a wind sprang up. Suddenly, the shining cross, dome and towers stood out like a symbol in the inferno. The scene was unbelievable. In that moment or two I released my shutter.” — Herbert Mason

For days the image was held up by the censors before they cleared its publication in the 31 December 1940 paper.

Wikipedia - St Paul's Survives

Front page of Daily Mail 'WAR'S GREATEST PICTURE', 31 December 1940




Cover of Berliner Illustrierte Zeitung 'Die City von London brennt!' ('The City of London Burns!'), January 1941




The following pictures are from dailymail.co.uk - [...] the dramatic story behind THE iconic image of the Blitz:

Devastation: This was the view from St Paul's on January 3, 1941, showing the destruction to the streets surrounding the Cathedral



Debris lies strewn on the street as a fire tears through a building in Cheapside, East London, in another image taken by Herbert Mason that night. The devastation was so extensive that night the raid was dubbed 'The Second Great Fire Of London'



Fire crews hose down the smouldering Post Office at Newgate the morning after the Luftwaffe raid



The entire length of Newgate St is ablaze on the night of the raid in another image taken by Herbert Mason



Flames shoot up into the night lighting up the skyline at Tower Hill on the night of the attack when thousands of bombs fell on the city



London's burning: Ruins of a building in the shadow of St Paul's still smoulder a week after the Blitz on the city in December 1940



READ MORE


Sir William Walton: Battle of Britain - Suite

BBC Film Music Prom 2013 with Keith Lockhart conducting the BBC Concert Orchestra

CLICK (youtube.com)

[max_thehitman]

WOW man  that is some cool art and excellent posts. Thank you.
I learned and saw something great today.

[LuseKofte]

I have been following your art collections from the start and enjoyed every single bit of it, many thanks and do not stop what you are doing.