mini 4 pumm, a set on Flickr.
Monday, May 30, 2011
Functionality of Maintenance 2
Functionality of Maintenance 2
The vertical learning curve, the world that is technology
It seemed to me that I could get into the swing of websites, https, blogging, and maintaining them. At one point I was on top of it, hours spent sitting at the laptop, cruising information on the web, responding to various message boards the list is endless. I was good at the time, immersed in the recycling of current art news, giving sound bites and generally giving a good well informed read. Using online galleries, as can be seen in links on website I tried to widen the word of Paul Talbot/News from the Shed – all became overwhelming, where do these people find the time (functionality of Maintenance 5). I set up a myself space, worked on that for a while, didn’t get into it and currently I have no idea of its status. So where does the learning curve start to become vertical? Discovering Facebook has opened up another can of social worms – not just updating your status, responding to ‘friends’ but being the type of guy I am, had to take it a little bit further, setting up groups, being administrator for many groups – how much time this takes up I have no real idea, its live every time I log onto the computer (alas not at work – some grace there, but hayho, found that I can write/respond via my mobile, will it never end!)
Everything moves at an incredible pace in technology – just coming back to the posting on blogs seeing how there are new options available linked to this, link to that, upgrade this, upgrade that a plethora of access and add ons to extend ones web identity. So what to dip my toes into web applications? I’ve set up a couple of twitter accounts; yes follow me, one as a practice (functionality of Maintenance 4) at this moment of posting, I am getting to grips with it, understanding RT #@ and all the rest, I know what will happen, there will be a need to tweet almost daily, if not more so and probably only get two followers!! Indeed I tweeted this morning, from my mobile, what do you say? Give an update on your current work@ tell the ‘world’ that you have just had a nice bacon roll! Something to think about, making it useful not just banal crap that I could write, then again somewhere I rant on will be a good startJ look I have just used an emoticon, the learning curve may have just levelled out no way, it builds on, just how much I want to develop
Sunday, May 22, 2011
Just maybe my paintings will get there!
Next generation turns its back on Emin and Hirst's conceptual artworks
Tracey Emin is enjoying a retrospective at the Hayward, but the country's rising stars take a more practical approach
The reign of "the concept" in modern British art is finally over: long live "the object". As some of the former rebels of the notorious Young British Artist movement are accused of selling out to "the establishment", a new generation is taking their place, flaunting an altogether new aesthetic.
The freshest art on the contemporary scene appears to have turned its back on the ironic jokes and personal confessions epitomised by Tracey Emin's notorious unmade bed and Damien Hirst's dead floating shark. Emin's high-profile retrospective at the Hayward Gallery on the South Bank may be pulling in the London crowds, but she alienated many of her peers last week by confirming her Tory sympathies and backing the government's latest round of arts cuts. Damien Hirst also ruffled some liberal feathers by happily rubbing shoulders with billionaires at the last Davos summit.
And as the most famous and iconoclastic of the YBAs start to lose their shine as role models, the art world's best-known curators and commentators claim a new earnestness is sweeping the country's better art schools and informing the work of their successors.
One of the biggest names in contemporary painting is on the shortlist for the coveted Turner prize this year. George Shaw, at 44, is roughly the same age as both Hirst or Emin yet is one of the leaders of the emerging "serious" tendency. Shaw concentrates on the oddly beguiling nature of ugly cityscapes with his watercolours and enamel paint studies. He insists that his work is not a reaction to the tricksy habits of the YBAs, but art critics beg to differ.
With his show, The Sly and Unseen Day, opening on Tuesday at the South London Gallery, the Coventry-born artist says he is bemused to find himself the centre of attention: "My work was not done as a response. It was a conversation I was having with myself. Then I noticed other people were interested and I had to pinch myself."
Shaw originally intended to become a performance artist and studied installation, photography, video and sound, before discarding it all. "I realised a lot of stuff I was doing was just rubbish. I was just adopting the same sort of things that had gone on before. So I went back to what I used to think at college, which was that the most shocking thing you could do would be to make a watercolour of a tree." At that point Shaw felt "an installation with a dead baby in it" had become the new conformity.
Other coming stars are both younger and, for now, relatively obscure. On Wednesday last week the annual Catlin art prize, which celebrates promising new work, was awarded to 22-year-old Russell Hill from Rugby. Hill works with everyday objects to expose the hidden threats or contradictions lying dormant in apparently banal things such as air fresheners or an oil can.
"The main thing for me is to make my work as articulate as possible in terms of themes and messages," Hill said yesterday. "I always maintain the function of the object. That's important to me. If I change an oil can, then it's not an oil can. If there are elements of ambiguity when people see it, I have to accept that."
He uses juxtaposition to point up his ideas about objects. So the "DIY nostalgia" of an item such as an oil can is coupled with fabric softener then displayed in a deliberately "clinical, harsh setting – like a hospital product".
"It is a piece about two lubricants," he explains. "There is a real sense of exploitation in my work. I tend to strip back objects and make people more aware of the underhand nature of the things that we see around us."
Hill's influences, he claims, come from abroad rather than from famous YBAs, although he acknowledges a debt to Martin Creed, the Scot who won the 2001 Turner prize with his flickering light in an empty room.
Justin Hammond, curator of the Catlin show and editor of the prize's guide, who spotted the artist at his degree show in Wimbledon, has found that many young art graduates are focusing on objects in the world around them.
"There's a lot more serious work in the past couple of years, a lot less jokey one-liners and less frivolity," he said. "Instead, there's a lot of work with statistics now, for example, and there are more real objects being used in sculpture. Russell's work is so precise, so clinical and so clean. It was obvious someone had obsessed over it. He was the unanimous choice this year."
Joanne Hummel Newell, who will be exhibiting her work at a satellite show at the Venice Biennale next month, is another artist excited by the significance of objects. The 28-year-old uses found items in combination with collage to make intriguing sculptures.
And one of the stars of next week's prestigious sculpture show, The Shape of Things to Come at the Saatchi Gallery in south-west London, is also known for shedding new light on items of rubbish. David Batchelor makes installations from things he has found on the streets of the capital then turns them into brightly coloured light boxes. His work is a mission to prove that left-overs can be made beautiful.
"When I make works from light boxes, or old plastic bottles with lights inside, I hope the illumination suspends their objecthood to some degree, and makes the viewer see them a little differently – see them as colours before seeing them as objects," he has explained. At 55, Batchelor, who is Scottish, has blazed a trail for this kind of practical sculpture, while the YBAs experimented with conceptual ruses.
Not all emerging artists have turned away from the Concept. For the first time, the Catlin prize line-up for 2011 included a performance artist, Leah Capaldi. For the show Capaldi sprays two actors with a bottle of Chanel perfume each before they walk off around the Tramshed gallery in Shoreditch, East London. "The idea came from when I was at the British Museum a while ago looking at a statue and a woman walked past me wearing so much perfume it was unbelievable. I found it stifling and had a real physical reaction; I had to walk to the other end of the gallery to get out of that space," she recalls.
Visitors to the Catlin show can judge the impact for themselves at noon today when Capaldi performs for the last time before the exhibition closes at 6pm.
For Sarah Ryan, director of online gallery Newbloodart, the prospect of spotting emerging new trends is appealing. Her yearly task of visiting 100 summer degree shows is just beginning.
"We have just started with Oxford Brookes at the weekend and noticed a lot of integrated work that brings in all the sensory aspects, a more multi-discipline approach. This is immersive work, using sculpture and sound and performance. Maybe it has something to do with all the technical advances going on around us that make this easier to do."
source: Guardian
Paynes grey versus Mars Black
working on current acrylic painting for signing board featuring at a wedding in Paris in June, its a toss up, usually use Paynes Grey as it is not as harsh as lamp black/mars black, but it may need to contrast more with the blue/purple tones already applied. Thinking out loud in technology:)
Payne's grey is a very dark blue-grey used in painting. It can be used as a mixer in place of black. Being less intense than black, it is easier to get the right shade when using it as a mixer. Payne's grey is a mixture of ultramarine and black or of ultramarine and Sienna.
The colour is named after William Payne, who painted watercolours in the late 18th century.
The colour Payne's Grey is named after a British watercolourist and art lecturer, William Payne (1760--1830), who recommended the mixture to students as a more subtle alternative to a gray mixed from black and white. In Artist's Pigments: c.1600-1835 Payne's grey is stipulated to originally have been "a mixture of lake, raw sienna and indigo."1
Mars black is supposed to be much more powerful in
tinting strength
About three times the tinting strength of ivory. Not as black as ivory. Hold a magnet up to a tube of grumbacher academy mars black and then hold it next to a tube of Winsor newton artists grade mars black and you can feel the difference in pigment load by the degree of magnetic force involved.
Here a high pigment load can be a negative aspect. Black is one of the most feared pigments. Many have trouble with it and cite the dirtying, muddying nature that it has, yeah, it is black, and sometimes mud is just what you want. So with three times the power, mars can be even harder to handle than ivory. I know some artists who prefer the lower pigment load and tinting strength of winton ivory black. I feel this way about other pigments as well, for instance, I really like winton prussian blue due to the pigment load and my ability to handle it. I won't even try out a tube of Old Holland prussian blue, however, when it comes to other pigments like say yellow ochre, then bring it on because I can handle the highest pigment load there is.
tinting strength
About three times the tinting strength of ivory. Not as black as ivory. Hold a magnet up to a tube of grumbacher academy mars black and then hold it next to a tube of Winsor newton artists grade mars black and you can feel the difference in pigment load by the degree of magnetic force involved.
Here a high pigment load can be a negative aspect. Black is one of the most feared pigments. Many have trouble with it and cite the dirtying, muddying nature that it has, yeah, it is black, and sometimes mud is just what you want. So with three times the power, mars can be even harder to handle than ivory. I know some artists who prefer the lower pigment load and tinting strength of winton ivory black. I feel this way about other pigments as well, for instance, I really like winton prussian blue due to the pigment load and my ability to handle it. I won't even try out a tube of Old Holland prussian blue, however, when it comes to other pigments like say yellow ochre, then bring it on because I can handle the highest pigment load there is.
Functionality of Maintenance 1
Painting
Last time out I was undertaking several pieces, ‘Just three words’ and 100 ways to say bollocks, in fairness it felt a little fake to me, going through some motions of concepts, I felt that I was being true to myself but I reckon I was just kidding myself. I was creatively lost, looking back on it, the work involving writing the word bollocks using one and half inch nails and two inch
nails was the final nail in the coffin. After hours of gluing nail heads onto a board something had to give, in this case I just put it at the back of the studio to gather dust – maybe to return when it felt right, it hasn’t felt right since that decision. Just three little words was just playing, thinking I was being cutting edge, witty, or in fact shoved up my own arse. So what now? Going back to basics, try and find something that I wanted to paint, had a go at looking into my past, the Ladybird book collection that was given to me as a present inspired some ideas based upon my Adidas samba painting,
no matter how I manipulated the images, played around with drawings, layouts and the rest, it didn’t feel right, so yet again in all honesty it was shelved, the result that I had lost my direction, creativity and interest in painting my own ideas.
I still want/need to paint, I’m my most happiest stood/sat in front of a canvas with a paint pallet next to me mixing colours and getting involved with the art of painting.
So what next, who knows, I’m currently undertaking work that has been asked, well, ticking over stuff, it seems that I have been working on wedding stuff, namely signing boards. The first, as a wedding present to my sister in law was a graphite drawing based on their journey together; it was a real challenge as they kept changing their ideas, making the mapping out difficult, but in the end I enjoyed the challenge, trying to make a piece of work that was suitable for the occasion and didn’t veer off to much from my own convictions! Currently, I have been asked, a suggestion from my good lady wife! That I produced a painting for a signing board for a relations wedding in Paris, through some email discussion I have started mapping out a painting, a slightly new approach acrylic on paper – not done it before discovered that with priming part of the paper caused some buckling but hopefully this will go as paint is applied. I will give updates on this as it progresses, the introduction of colour more than the three colours I have used previously is taking me into a new direction, hopefully by undertaking this it might provide me with a new creative direction, its certainly got me thinking more about my work and hopefully it will be the springboard for new work.
Trying to ‘keep my hand in’ over the last year or so, I have set myself a couple of painting challenges, I keep coming back to this word challenges, why is this? What challenges do I want to make in creating art? Do I want to improve my skills, becoming one of the top ten contemporary artists in line with D Hurst, Chapman brothers (previous thoughts about them on blog), it would be nice, but to be honest it aint gonna happen.
One of the reasons for lack of posting/painting on a regular basis will be posted within the ‘functionality of maintenance’ in due course; Pinner Rugby Club, but within the context of this post it is about art and painting I produce (is that the term I want to use?) connected with the rugby club I set up a competition
Following previous successful competitions we have introduced another one. On the website there will posted this image
I know there is one on this post but there’s another one somewhere else on the website (very funny quoting this one!) nor is it the one in the ‘pelican brief’ that again is just advertising the competition – I give up!!
The first one to email me where it is on the website will win. The date it will posted will be Sunday 7th March. The prize…… something a little different; a personal graphite drawing 10”x 8” on paper of the winner in action, signed and dated. (personal choice of image and style) there are examples in the latest newsletter found on website as a pdf or a paper copy in the clubhouse
it has now been posted on the website, as of 8.13pm Good luck
things then transpired
The final presentation was made by Paul Talbot who ran a competition on the website to locate a picture of Tommy Cooper wearing his famous fez with the Pinner RFC logo on it. For the first person to find it the prize was a portrait drawing, completed by Paul Talbot, this was extended by the winner’s request; Neill ‘Bullet’ King for a painting, not only of himself but with three of his first team mates
In fairness, the idea of making this painting did give me a buzz, using colour, trying out something different that extended me was great, I didn’t have a time limited, so as with most things it slipped away, the initial ideas, drawings etc got started but put in the recesses of my mind and studio. I have now come to the conclusion that I need to set my time targets, I work under pressure and with this I set myself a date to finish in time for the end of season awards, I finished it unfortunately, the winner did not turn up! Got some great feed back and may pursue this line of painting further, who knows might get a couple of commissions from it (always nice).
Functionality of Maintenance
Functionality of Maintenance
Having looked briefly at the blog elements of my websites it became apparent that it lacked input of any description over the last year. There have been many reasons for this, one of course is basically burn out; both imaginatively and physically, not just plain lazy! I am aware that I have had a number of people who follow my blogs, in fact I have heard that it has been used as a teaching resource, nice to know there is some value to my rants and oddities!
There are a number of factors which have led me away from posting and I thought I would have a go at explaining a number of them, hopefully they will be honest and at times thought provoking. It will also be a platform for me to start posting regularly again.
I’ve tried to break down some of the main reasons for not posting and came to the conclusion to put them into ‘family’ factors which will allow expansion with related information, images and personal thoughts. These are not meant to be excuses but by going through them I will hopefully be able to resolve many of the constraints I have and more importantly, the desire to post in a creative thinking process. I’m not going to post these thoughts in all one go, too much at one time, but I will get back into the swing of it I’m sure L emoticon number #1 in full use J
Monday, March 02, 2009
The amazing crayon art of Christian Faur
Just incredible....
crayola have a lot to answer for!
I thought my work with nails was time consuming - although I had only to worry about one colour (but two sizes!!!)
this work is not only very clever but also beautiful
heres the link to his website: Christian Faur
enjoy and be amazed
straight from the hart
following a recent post with the sad news about Tony Hart I came across these (source: guardian)
and thought I must post these as many like minded people still love Tony
Featured work was placed outside the Tate (nearly 200 little morphs!)
Thursday, February 26, 2009
current work
I am currently working on a painting as a commissioned piece. My good friends Martin
and Claire who have moved to Wales have been converting an old Chapel house, upon a recent visit it is almost complete and a mighty fine job Martin has made. They had spoken about purchasing a painting from me but this fell by the wayside and instead set a challenge for myself, Jo, Hugh and Su to produce a painting each; we were dually given a blank canvas and told to paint whatever we wanted!!!
Here is the second stage at present, deciding on the rest of the colour schemes - mixing lots of colours tee hee:)
Thursday, February 12, 2009
Worth waiting for (if you know the ad)
Still one of my favourites especially as this is my tipple
then there is this, simple but brilliant I've always wanted to know what to do with my hands whilst a pint is being poured!!
then there is this, simple but brilliant I've always wanted to know what to do with my hands whilst a pint is being poured!!
Horsing around
following recent posts some more horse stuff........ but a little more personal!
A good friend, Ben AKA ASBO who now resides in Australia has informed me via further person in the know (the grudge) won approx 4,000 oz dollars on a horse some years ago
The name of the horse was Octagonal
wiki link:
Octagonal (foaled 1992 in New Zealand) is a retired champion Thoroughbred racehorse, affectionately called the big O or 'Occy'. He was sired by Zabeel, out of the broodmare Eight Carat, a descendant of Man o' War who was ranked No. 1 on the Blood-Horse magazine List of the Top 100 U.S. Racehorses of the 20th Century.
Trained by John Hawkes, in 1995 Octagonal was crowned the Australian Champion Two Year Old. The two-year-old Octagonal won the AJC Sires Produce Stakes and earned a second placing in the STC Golden Slipper, and AJC Champagne Stakes.
In his three-year-old season Octagonal won seven times. But what was even more remarkable was the standard of his 3-year-old contemporaries. Saintly had already won the Australian Cup. (In the next season Saintly would win both the W S Cox Plate and the Melbourne Cup). Nothin' Leica Dane had already been runner-up in the Melbourne Cup. While Filante would go on to win the Epsom Handicap in record time.
Octagonal's seven three-year-old victories started with the weight-for-age championship of Australia, the W S Cox Plate at Moonee Valley in his most dominant season. He went on to take out the 3yo Triple Crown consisting of the Canterbury Guineas, Rosehill Guineas and the Australian Derby in record time, and he is still the last horse to have done so. Add to this a victory in the WFA Mercedes Classic marking his fourth Group 1 race win in five weeks. Already the earner of close to $A4 million, Octagonal was voted the 1996 Australian Champion Three Year Old as well as the Australian Horse of the Year title.
Octagonal continued to perform well in 1997 when as a four-year-old he collected his second Mercedes Classic plus further Group I wins in the Australian Cup, Underwood Stakes and Chipping Norton Stakes. Octagonal retired to stud after 28 starts with a record of 14 wins (10xGroup1), 7 seconds (6 in GI or GII races) and a third. He ended his racing career with a stakes tally of $A5,892,231, the highest of any galloper in Australasia to that point.
Octagonal stands at Woodlands Stud, NSW. He is the Sire of Australian Group 1 winning brothers Lonhro and Niello, the South African Group 1 winner, Suntagonal. In 1998 he stood at Haras du Quesnay in France where his most prominent offspring was Laverock whose wins include two Group 1 races: the Prix d'Ispahan at Longchamp Racecourse in Paris and the Gran Premio del Jockey Club at Milan, Italy's, San Siro Racecourse.
On the ASBO front following previous posts re; Obama portraits I managed to locate a website in which you can create your own versions, this is good linking and bringing subjects together, I'm impressing myself here! so I had a go.....
A good friend, Ben AKA ASBO who now resides in Australia has informed me via further person in the know (the grudge) won approx 4,000 oz dollars on a horse some years ago
The name of the horse was Octagonal
wiki link:
Octagonal (foaled 1992 in New Zealand) is a retired champion Thoroughbred racehorse, affectionately called the big O or 'Occy'. He was sired by Zabeel, out of the broodmare Eight Carat, a descendant of Man o' War who was ranked No. 1 on the Blood-Horse magazine List of the Top 100 U.S. Racehorses of the 20th Century.
Trained by John Hawkes, in 1995 Octagonal was crowned the Australian Champion Two Year Old. The two-year-old Octagonal won the AJC Sires Produce Stakes and earned a second placing in the STC Golden Slipper, and AJC Champagne Stakes.
In his three-year-old season Octagonal won seven times. But what was even more remarkable was the standard of his 3-year-old contemporaries. Saintly had already won the Australian Cup. (In the next season Saintly would win both the W S Cox Plate and the Melbourne Cup). Nothin' Leica Dane had already been runner-up in the Melbourne Cup. While Filante would go on to win the Epsom Handicap in record time.
Octagonal's seven three-year-old victories started with the weight-for-age championship of Australia, the W S Cox Plate at Moonee Valley in his most dominant season. He went on to take out the 3yo Triple Crown consisting of the Canterbury Guineas, Rosehill Guineas and the Australian Derby in record time, and he is still the last horse to have done so. Add to this a victory in the WFA Mercedes Classic marking his fourth Group 1 race win in five weeks. Already the earner of close to $A4 million, Octagonal was voted the 1996 Australian Champion Three Year Old as well as the Australian Horse of the Year title.
Octagonal continued to perform well in 1997 when as a four-year-old he collected his second Mercedes Classic plus further Group I wins in the Australian Cup, Underwood Stakes and Chipping Norton Stakes. Octagonal retired to stud after 28 starts with a record of 14 wins (10xGroup1), 7 seconds (6 in GI or GII races) and a third. He ended his racing career with a stakes tally of $A5,892,231, the highest of any galloper in Australasia to that point.
Octagonal stands at Woodlands Stud, NSW. He is the Sire of Australian Group 1 winning brothers Lonhro and Niello, the South African Group 1 winner, Suntagonal. In 1998 he stood at Haras du Quesnay in France where his most prominent offspring was Laverock whose wins include two Group 1 races: the Prix d'Ispahan at Longchamp Racecourse in Paris and the Gran Premio del Jockey Club at Milan, Italy's, San Siro Racecourse.
On the ASBO front following previous posts re; Obama portraits I managed to locate a website in which you can create your own versions, this is good linking and bringing subjects together, I'm impressing myself here! so I had a go.....
Wednesday, February 11, 2009
horse whispering
Monty Roberts, the American horse trainer and author, best known as the "original horse whisperer", has been around the animals all of his 73 years but has never seen one 50 metres tall. A computerised impression of Mark Wallinger's giant sculpture drew a gasp. "I'm absolutely gobsmacked," he said.
The former stunt double, who, after watching wild mustangs in Nevada as a boy, devised ways of communicating with horses that did not involve forcibly "breaking them in", is not just wowed by the scale of the proposed sculpture. "This man is a genius, there's no question about it. There's an incredible sense of balance and symmetry to the horse. I don't know if he even knows what he's done in terms of the skeletal balance and symmetry of the horse - he may well do. But often times sculptors ... simply have a mind's eye that recreates what they see as perfection. [Wallinger] has captured reality to the extreme. Often times it doesn't have to a person who really understands horses at all but they have the artistry to imprint in their minds what they see as excellence, and then to do it."
A fan also of the ancient white horses cut into chalk hillsides of the English countryside, Roberts has unsuccessfully asked for a similar one, of his own, at his California ranch. Pat, his wife, is a sculptor, with a perhaps inevitable horse specialisation. "I've tried desperately for the last 10 or 15 years to get my wife to do one on a hill that overlooks our farm. I've said to her, 'I'll provide the stones, get a horse on that hillside'."
As someone who concedes he "can't tolerate" abstract work, Roberts admires Wallinger's unadorned reality, and cannot wait to see the full- size sculpture. "I just feel like the guy and I have an eye that is similar. Not that I can make it happen. I've tried that damned thing with the clay and the clay doesn't go where I want it to go. To see it would be overwhelming. It would be a shock to the system to drive down the road and see that. I would love it, myself. It's just pretty amazing."
And what if the horse, which, to Roberts, looks like "a classic hunter", were real, and even the loftiest ladder wouldn't permit a soothing blow into the nostrils?
"I wouldn't call it frightening at all," the horse whisperer said. "Awesome, stunning - but I suppose that if you didn't know you were coming up on it, it would be a real shock to the system."
The former stunt double, who, after watching wild mustangs in Nevada as a boy, devised ways of communicating with horses that did not involve forcibly "breaking them in", is not just wowed by the scale of the proposed sculpture. "This man is a genius, there's no question about it. There's an incredible sense of balance and symmetry to the horse. I don't know if he even knows what he's done in terms of the skeletal balance and symmetry of the horse - he may well do. But often times sculptors ... simply have a mind's eye that recreates what they see as perfection. [Wallinger] has captured reality to the extreme. Often times it doesn't have to a person who really understands horses at all but they have the artistry to imprint in their minds what they see as excellence, and then to do it."
A fan also of the ancient white horses cut into chalk hillsides of the English countryside, Roberts has unsuccessfully asked for a similar one, of his own, at his California ranch. Pat, his wife, is a sculptor, with a perhaps inevitable horse specialisation. "I've tried desperately for the last 10 or 15 years to get my wife to do one on a hill that overlooks our farm. I've said to her, 'I'll provide the stones, get a horse on that hillside'."
As someone who concedes he "can't tolerate" abstract work, Roberts admires Wallinger's unadorned reality, and cannot wait to see the full- size sculpture. "I just feel like the guy and I have an eye that is similar. Not that I can make it happen. I've tried that damned thing with the clay and the clay doesn't go where I want it to go. To see it would be overwhelming. It would be a shock to the system to drive down the road and see that. I would love it, myself. It's just pretty amazing."
And what if the horse, which, to Roberts, looks like "a classic hunter", were real, and even the loftiest ladder wouldn't permit a soothing blow into the nostrils?
"I wouldn't call it frightening at all," the horse whisperer said. "Awesome, stunning - but I suppose that if you didn't know you were coming up on it, it would be a real shock to the system."
A horse with a name
As said, I would post more horse connections, someone at the telegraph had the same idea
I'll post this list and add some more myself, some overlap
White horse video
The horse in Guernica
At the heart of Picasso's monumental depiction of the bombing of a northern Spanish town by the Nazis in 1937 stands the twisted, agonised figure of a horse, which has been pierced by a spear. The suffering of the townspeople all around is echoed in the human skull discernible in the shape of the horse's nostrils and teeth.
The Rain Horse
"At the wood top, with the silvered grey light coming in behind it, the black horse was standing under the oaks, its head high and alert, its ears pricked, watching him." Never has equine hostility been more effectively captured than in Ted Hughes's short story about a walker menaced during a downpour on a treacherously muddy northern hillside.
The Guinness surf horses
Lloyd's Bank's black beauty may have enjoyed a longer screen life, but the best commercial with an equine element was Guinness's black-and-white, 119-second epic of 1999 in which a curling, crashing wall of Hawaiian surf transmogrifies into a thundering stampede of wild white horses. Two years later, it was voted number one in Channel 4's 100 Greatest TV Adverts.
Khartoum in The Godfather
In Mario Puzo's bestselling Mob story, movie producer Jack Woltz makes the mistake of not acquiescing to a request from Don Corleone, with the result that he wakes up one morning to find himself in bed with the severed head of his prized stud. The white silk sheets are ruined for ever.
Patti Smith's Horses
New York punk poet Smith looks rather equine herself on the cover of Horses, her incendiary debut album of 1975. The sprawling track Land is a savage, surreal and delirious odyssey, which takes off when "suddenly Johnny gets the feeling he's being surrounded by/Horses, horses, horses, horses/Coming in in all directions/White shining silver studs with their nose in flames."
"Coconuts" in Monty Python and the Holy Grail
King Arthur "rides" up to an imposing castle as his trusty servant Patsy provides appropriate sound effects. The gatekeeper isn't fooled, exclaiming: "You're using coconuts!" There then follows a ludicrous debate about the logistics of tropical fruit being carried to temperate Mercia by migrating swallows.
Black Beauty
"The autobiography of a horse, translated from the original equine by Anna Sewell," claims the title page of the 1877 novel about the upbringing, career (as a London taxi-horse), love life (with the playful Ginger) and happy twilight years of the best-loved horse in literature.
Edwin Muir's The Horses
"Barely a twelvemonth after/The seven days war that put the world to sleep,/Late in the evening the strange horses camee_SLps" Muir's powerful poem presents a devastated post-apocalyptic world transformed by the arrival of an equine population that uncomplainingly pulls ploughs and provides transport – "Their coming our beginning".
Mr Ed
In the American sitcom of the early Sixties, architect Wilbur Post finds that the previous owners of his new house have left behind a horse who engages him – and only him – in conversation. It was said the horse "playing" Mr Ed had peanut butter spread on his gums to make him move his lips, though it later emerged that his trainer tugged on a nylon wire at least some of the time.
The Byrds' Chestnut Mare
"I'm gonna catch that horse if I can/And when I do I'll give her my brand." The Byrds' strange country-rock epic about an elusive wild horse refers to her as "a fine lady" who will be "just like a wife". Then things start getting really weird as they fly towards the sun, encounter exploding seagulls and end up in a mile-deep crevice.
Whistlejacket
George Stubbs's massive, magnificent 1762 painting of a celebrated racehorse marks a radical break with convention by dramatically floating its equine subject in empty space – though there's a theory that this is actually an unfinished equestrian portrait of George III, minus monarch and background landscape.
Seabiscuit
Laura Hillenbrand's 2001 biography re-established the Thirties horseracing legend in the American psyche. Hollywood followed her lead two years later to bring the story to the big screen, thrillingly placing us right in the middle of the thunderous racing action.
The Lascaux herd
Of the 600 verified depictions of animals on the walls of the Lascaux caves in central France more than half are horses leaping gracefully through what is, in effect, a 16,000-year-old comic strip.
The horses in Equus
In Peter Shaffer's 1973 play, Alan, a seemingly well-adjusted stable lad is one night driven inexplicably to blind six horses: an overworked psychiatrist is charged with finding out why. Harry Potter star Daniel Radcliffe played Alan in the West End and last month(Sept) opened to rave reviews in the Broadway production.
Thelwell's ponies
An acute observer of countryside ways, Punch cartoonist Norman Thelwell struck a chord with his first pony picture in 1953. The fan mail poured in and his niche for charming, gently humorous drawings of little girls and their reluctant mounts (each with "a leg at each corner") was established.
Silver in The Lone Ranger
"Hi-yo Silver, away!" The long-running TV series boasted probably the best-known horseback battle-cry, uttered as the masked Texas Ranger gallops through the desert dust to dispense justice accompanied by his loyal companion Tonto (on his own horse Scout).
Pilgrim in The Horse Whisperer
After a bone-crunching accident, jittery rider Grace and her mount Pilgrim are whizzed across the States by Mom to Montana, where all three fall under the spell of tetchy, taciturn rancher Tom Booker.
America's A Horse With No Name
The band America's gentle, hippy anthem about a horseback journey through a scorched desert was actually written in rain-sodden Britain and features such memorably silly lines as, "The first thing I met was a fly with a buzz" and "The heat was hot."
Rocinante in Don Quixote
The self-styled knight-errant expresses unbounded confidence in his skinny mount, fancying that "neither Alexander's Bucephalus nor Cid's Babieca was equal to him". He then spends four days trying to think of what to call him, finally plumping for Rocinante, a name "lofty and sonorous".
The mount in Napoleon Crossing the St Bernard Pass
With its rearing steed and heroic windswept rider, this is one of the most celebrated equestrian images in art, painted by Jacques-Louis David – in five versions – to mark the First Consul's jaunt into Italy at the head of 40,000 troops in 1800.
Pi in National Velvet
In the 1944 movie adaptation of Enid Bagnold's story, 12-year-old Elizabeth Taylor stars as plucky Velvet Brown, who wins Pi in the village lottery and, with the help of trainer Mickey Rooney, eventually gallops to glory in the Grand National. Heart-warming to heart-stopping excitement.
Champion the Wonder Horse
"The time will come when everyone will know/The name of Champion the Wonder Horse!" The Fifties television series is memorable more for its rollicking theme song than its tales of a wild stallion repeatedly required to rescue his hapless 12-year-old friend Ricky.
Shadowfax in The Lord of the Rings
"Shadowfax, the lord of all horses," murmurs wise old wizard Gandalf warmly as his beloved silver-grey stallion – the swiftest steed in Middle-Earth – trots into view.
Uffington White Horse
Why Britain's oldest hillside figure was cut into the chalky slopes of the Berkshire Downs 3,000 years ago remains a mystery, although it's said that, since the elegant galloping creature can be properly appreciated only from the air, it was created for the bird's-eye view of the gods.
The Houyhnhnms in Gulliver's Travels
They're sophisticated intellectuals who practise eugenics, prize reason above all else, and have no word for "lie". And they're horses. Once Gulliver has persuaded the Houyhnhnms that he's not the scruffy human-like Yahoo they mistake him for, he feels more at home than anywhere on his travels – until they banish him back to Europe.
The White Horses
A teatime TV favourite in the late Sixties, imported from Europe by the BBC and over-dubbed, White Horses featured the adventures of Belgrade schoolgirl Julia, who holidays on the stud farm where her Uncle Dimitri trains Lipizzaners. The theme song went top-10 in 1968.
Trigger (1)
Warbling cowboy Roy Rogers's palomino buddy starred with him in more than 100 films and was immortalised in the song A Four-Legged Friend ("He'll never let you down"). Forty three years after his death, the stuffed figure of Trigger is the star attraction at the Rogers museum in Branson, Missouri, which draws 200,000 visitors a year.
Trigger (2)
"One lunchtime Ted saw Ernie's horse and cart outside her door/It drove him mad to find it was still there at half past four." That horse was Trigger, who, according to Benny Hill's 1971 number-one hit Ernie, pulled "the fastest milkcart in the west".
Hercules in Steptoe and Son
Domiciled in Oil Drum Lane with the eternally warring rag-and-bone men Albert and Harold, Hercules was seen every week in the opening credits, accompanied by the suitably plodding theme tune Old Ned.
The Wooden Horse
Despite playing a key role in this tense Second World War POW-camp drama, the eponymous hero is distinctly lacking in noble mien – and the acting's a bit creaky.
source:By Marc Lee
I have some up my sleeve and will post shortly, although I spent time finding images
I'll post this list and add some more myself, some overlap
White horse video
The horse in Guernica
At the heart of Picasso's monumental depiction of the bombing of a northern Spanish town by the Nazis in 1937 stands the twisted, agonised figure of a horse, which has been pierced by a spear. The suffering of the townspeople all around is echoed in the human skull discernible in the shape of the horse's nostrils and teeth.
The Rain Horse
"At the wood top, with the silvered grey light coming in behind it, the black horse was standing under the oaks, its head high and alert, its ears pricked, watching him." Never has equine hostility been more effectively captured than in Ted Hughes's short story about a walker menaced during a downpour on a treacherously muddy northern hillside.
The Guinness surf horses
Lloyd's Bank's black beauty may have enjoyed a longer screen life, but the best commercial with an equine element was Guinness's black-and-white, 119-second epic of 1999 in which a curling, crashing wall of Hawaiian surf transmogrifies into a thundering stampede of wild white horses. Two years later, it was voted number one in Channel 4's 100 Greatest TV Adverts.
Khartoum in The Godfather
In Mario Puzo's bestselling Mob story, movie producer Jack Woltz makes the mistake of not acquiescing to a request from Don Corleone, with the result that he wakes up one morning to find himself in bed with the severed head of his prized stud. The white silk sheets are ruined for ever.
Patti Smith's Horses
New York punk poet Smith looks rather equine herself on the cover of Horses, her incendiary debut album of 1975. The sprawling track Land is a savage, surreal and delirious odyssey, which takes off when "suddenly Johnny gets the feeling he's being surrounded by/Horses, horses, horses, horses/Coming in in all directions/White shining silver studs with their nose in flames."
"Coconuts" in Monty Python and the Holy Grail
King Arthur "rides" up to an imposing castle as his trusty servant Patsy provides appropriate sound effects. The gatekeeper isn't fooled, exclaiming: "You're using coconuts!" There then follows a ludicrous debate about the logistics of tropical fruit being carried to temperate Mercia by migrating swallows.
Black Beauty
"The autobiography of a horse, translated from the original equine by Anna Sewell," claims the title page of the 1877 novel about the upbringing, career (as a London taxi-horse), love life (with the playful Ginger) and happy twilight years of the best-loved horse in literature.
Edwin Muir's The Horses
"Barely a twelvemonth after/The seven days war that put the world to sleep,/Late in the evening the strange horses camee_SLps" Muir's powerful poem presents a devastated post-apocalyptic world transformed by the arrival of an equine population that uncomplainingly pulls ploughs and provides transport – "Their coming our beginning".
Mr Ed
In the American sitcom of the early Sixties, architect Wilbur Post finds that the previous owners of his new house have left behind a horse who engages him – and only him – in conversation. It was said the horse "playing" Mr Ed had peanut butter spread on his gums to make him move his lips, though it later emerged that his trainer tugged on a nylon wire at least some of the time.
The Byrds' Chestnut Mare
"I'm gonna catch that horse if I can/And when I do I'll give her my brand." The Byrds' strange country-rock epic about an elusive wild horse refers to her as "a fine lady" who will be "just like a wife". Then things start getting really weird as they fly towards the sun, encounter exploding seagulls and end up in a mile-deep crevice.
Whistlejacket
George Stubbs's massive, magnificent 1762 painting of a celebrated racehorse marks a radical break with convention by dramatically floating its equine subject in empty space – though there's a theory that this is actually an unfinished equestrian portrait of George III, minus monarch and background landscape.
Seabiscuit
Laura Hillenbrand's 2001 biography re-established the Thirties horseracing legend in the American psyche. Hollywood followed her lead two years later to bring the story to the big screen, thrillingly placing us right in the middle of the thunderous racing action.
The Lascaux herd
Of the 600 verified depictions of animals on the walls of the Lascaux caves in central France more than half are horses leaping gracefully through what is, in effect, a 16,000-year-old comic strip.
The horses in Equus
In Peter Shaffer's 1973 play, Alan, a seemingly well-adjusted stable lad is one night driven inexplicably to blind six horses: an overworked psychiatrist is charged with finding out why. Harry Potter star Daniel Radcliffe played Alan in the West End and last month(Sept) opened to rave reviews in the Broadway production.
Thelwell's ponies
An acute observer of countryside ways, Punch cartoonist Norman Thelwell struck a chord with his first pony picture in 1953. The fan mail poured in and his niche for charming, gently humorous drawings of little girls and their reluctant mounts (each with "a leg at each corner") was established.
Silver in The Lone Ranger
"Hi-yo Silver, away!" The long-running TV series boasted probably the best-known horseback battle-cry, uttered as the masked Texas Ranger gallops through the desert dust to dispense justice accompanied by his loyal companion Tonto (on his own horse Scout).
Pilgrim in The Horse Whisperer
After a bone-crunching accident, jittery rider Grace and her mount Pilgrim are whizzed across the States by Mom to Montana, where all three fall under the spell of tetchy, taciturn rancher Tom Booker.
America's A Horse With No Name
The band America's gentle, hippy anthem about a horseback journey through a scorched desert was actually written in rain-sodden Britain and features such memorably silly lines as, "The first thing I met was a fly with a buzz" and "The heat was hot."
Rocinante in Don Quixote
The self-styled knight-errant expresses unbounded confidence in his skinny mount, fancying that "neither Alexander's Bucephalus nor Cid's Babieca was equal to him". He then spends four days trying to think of what to call him, finally plumping for Rocinante, a name "lofty and sonorous".
The mount in Napoleon Crossing the St Bernard Pass
With its rearing steed and heroic windswept rider, this is one of the most celebrated equestrian images in art, painted by Jacques-Louis David – in five versions – to mark the First Consul's jaunt into Italy at the head of 40,000 troops in 1800.
Pi in National Velvet
In the 1944 movie adaptation of Enid Bagnold's story, 12-year-old Elizabeth Taylor stars as plucky Velvet Brown, who wins Pi in the village lottery and, with the help of trainer Mickey Rooney, eventually gallops to glory in the Grand National. Heart-warming to heart-stopping excitement.
Champion the Wonder Horse
"The time will come when everyone will know/The name of Champion the Wonder Horse!" The Fifties television series is memorable more for its rollicking theme song than its tales of a wild stallion repeatedly required to rescue his hapless 12-year-old friend Ricky.
Shadowfax in The Lord of the Rings
"Shadowfax, the lord of all horses," murmurs wise old wizard Gandalf warmly as his beloved silver-grey stallion – the swiftest steed in Middle-Earth – trots into view.
Uffington White Horse
Why Britain's oldest hillside figure was cut into the chalky slopes of the Berkshire Downs 3,000 years ago remains a mystery, although it's said that, since the elegant galloping creature can be properly appreciated only from the air, it was created for the bird's-eye view of the gods.
The Houyhnhnms in Gulliver's Travels
They're sophisticated intellectuals who practise eugenics, prize reason above all else, and have no word for "lie". And they're horses. Once Gulliver has persuaded the Houyhnhnms that he's not the scruffy human-like Yahoo they mistake him for, he feels more at home than anywhere on his travels – until they banish him back to Europe.
The White Horses
A teatime TV favourite in the late Sixties, imported from Europe by the BBC and over-dubbed, White Horses featured the adventures of Belgrade schoolgirl Julia, who holidays on the stud farm where her Uncle Dimitri trains Lipizzaners. The theme song went top-10 in 1968.
Trigger (1)
Warbling cowboy Roy Rogers's palomino buddy starred with him in more than 100 films and was immortalised in the song A Four-Legged Friend ("He'll never let you down"). Forty three years after his death, the stuffed figure of Trigger is the star attraction at the Rogers museum in Branson, Missouri, which draws 200,000 visitors a year.
Trigger (2)
"One lunchtime Ted saw Ernie's horse and cart outside her door/It drove him mad to find it was still there at half past four." That horse was Trigger, who, according to Benny Hill's 1971 number-one hit Ernie, pulled "the fastest milkcart in the west".
Hercules in Steptoe and Son
Domiciled in Oil Drum Lane with the eternally warring rag-and-bone men Albert and Harold, Hercules was seen every week in the opening credits, accompanied by the suitably plodding theme tune Old Ned.
The Wooden Horse
Despite playing a key role in this tense Second World War POW-camp drama, the eponymous hero is distinctly lacking in noble mien – and the acting's a bit creaky.
source:By Marc Lee
I have some up my sleeve and will post shortly, although I spent time finding images
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