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In 1821 John Constable described himself as engaging in a ‘good deal of skying’ by which he meant making sketches of sky-scapes or cloud studies under various weather conditions. On the back of many he noted the time and the place of composition including some details of weather conditions. These sketches created what he termed a ‘Natural History of skies’. Each page on this website features images that are the result of contemporary 'skying'. In the manner of Constable the sky has been documented on a regular basis paying attention to time and place. However, where as Constable conceived of his sketches (and notations) as a 'natural history', the snapshots (and notations) published here are better understood as part of a ‘cultural history of skies’. Each image (and notation) is not a response to the beauty of a particular sky with its unique set of weather conditions, but a photograph taken in order to capture a unique moment of 'blue sky' thinking. Some of these moments have been draw out in the short essays featured here.
Below are the details of (and further links to) the contemporary 'skying' found within the header and footer of each page:
Bibliography (page by page):
www.e-flux.com/announcements/en-el-cielo-online/
In 1821 John Constable described himself as engaging in a ‘good deal of skying’ by which he meant making sketches of sky-scapes or cloud studies under various weather conditions. On the back of many he noted the time and the place of composition including some details of weather conditions. These sketches created what he termed a ‘Natural History of skies’. Each page on this website features images that are the result of contemporary 'skying'. In the manner of Constable the sky has been documented on a regular basis paying attention to time and place. However, where as Constable conceived of his sketches (and notations) as a 'natural history', the snapshots (and notations) published here are better understood as part of a ‘cultural history of skies’. Each image (and notation) is not a response to the beauty of a particular sky with its unique set of weather conditions, but a photograph taken in order to capture a unique moment of 'blue sky' thinking. Some of these moments have been draw out in the short essays featured here.
Below are the details of (and further links to) the contemporary 'skying' found within the header and footer of each page:
December
2003: the sky above Gerhard
Richter’s sky/sea
paintings in his Atlas
exhibition at Whitechapel Gallery, London.
January 2004: the sky above Whitechapel Gallery after a conference on the Archive. I met Dennis Wood who later sent me his essay ‘What Colour is the Sky?’.
12th September 2004: the sky above the launch of Simon Faithfull’s Escape Vehicle no.6 at ‘The Artists’ Airshow’, Farnborough, Hampshire.
18th December 2004: the sky above The British Library in anticipation of reading Gaston Bachelard’s Air and Dreams: An Essay on the Imagination of Movement (1943).
12th February 2005: the sky above ‘Creative Evolutions’ Conference (Goldsmiths, London) on Bergson and New Materialism – in anticipation of hearing Manuel de Landa talk.
12th February, 2005: the sky above ‘Creative Evolutions’ Conference (Goldsmiths, London) after hearing Manuel de Landa talk of the sky as ‘a painting we see every night, a self-organising painting driven by intensive differences’.
10th February 2005: the sky above Tate Britain (Millbank, London) in anticipation of seeing Turner Whistler Monet.
20th February 2005: the sky before seeing Derek Jarman’s Blue, 1993, (Tate Modern, Southwark) London.
30th April, 2005: the sky above Daniel Libeskind’s Jewish Museum (Berlin, Germany). This is a building of shifted perspective - the sky is framed through slanted windows.
28th October 2005: the sky before a screening of James Benning’s Ten Skies 2004 (NFT, London).
28th December, 2005: the sky after watching Werner Herzog’s Wild Blue Yonder, 2005, on DVD (Nunhead, London).
16th May, 2006: the sky after seeing Tomas Saraceno’s installation in the Curve Gallery (Barbican, London). I was disappointed with Saraceno’s ‘spectacular’ skies reflected in the great salt lake of Bolivia.
September, 2008: the sky above Nathan Coley’s Heaven is a Place Where Nothing Ever Happens, 2008 (Folkestone Triennial, Folkestone, Kent).
September, 2008: the sky above the National Gallery (London) in anticipation of a detailed examination of Medieval and Renaissance painted skies.
29th November, 2008: the sky above the British Library after reading Galileo’s Starry Messenger for the first time.
8th April, 2014: the sky above the Science Museum in anticipation of hearing James Lovelock talk - specifically interested in his work around ozone depletion and the Gaia Theory.
19th September, 2014 April: the sky above Correggio's The Assumption of the Virgin (1526-30) in Parma (Italy).
January 2004: the sky above Whitechapel Gallery after a conference on the Archive. I met Dennis Wood who later sent me his essay ‘What Colour is the Sky?’.
12th September 2004: the sky above the launch of Simon Faithfull’s Escape Vehicle no.6 at ‘The Artists’ Airshow’, Farnborough, Hampshire.
18th December 2004: the sky above The British Library in anticipation of reading Gaston Bachelard’s Air and Dreams: An Essay on the Imagination of Movement (1943).
12th February 2005: the sky above ‘Creative Evolutions’ Conference (Goldsmiths, London) on Bergson and New Materialism – in anticipation of hearing Manuel de Landa talk.
12th February, 2005: the sky above ‘Creative Evolutions’ Conference (Goldsmiths, London) after hearing Manuel de Landa talk of the sky as ‘a painting we see every night, a self-organising painting driven by intensive differences’.
10th February 2005: the sky above Tate Britain (Millbank, London) in anticipation of seeing Turner Whistler Monet.
20th February 2005: the sky before seeing Derek Jarman’s Blue, 1993, (Tate Modern, Southwark) London.
30th April, 2005: the sky above Daniel Libeskind’s Jewish Museum (Berlin, Germany). This is a building of shifted perspective - the sky is framed through slanted windows.
28th October 2005: the sky before a screening of James Benning’s Ten Skies 2004 (NFT, London).
28th December, 2005: the sky after watching Werner Herzog’s Wild Blue Yonder, 2005, on DVD (Nunhead, London).
16th May, 2006: the sky after seeing Tomas Saraceno’s installation in the Curve Gallery (Barbican, London). I was disappointed with Saraceno’s ‘spectacular’ skies reflected in the great salt lake of Bolivia.
September, 2008: the sky above Nathan Coley’s Heaven is a Place Where Nothing Ever Happens, 2008 (Folkestone Triennial, Folkestone, Kent).
September, 2008: the sky above the National Gallery (London) in anticipation of a detailed examination of Medieval and Renaissance painted skies.
29th November, 2008: the sky above the British Library after reading Galileo’s Starry Messenger for the first time.
8th April, 2014: the sky above the Science Museum in anticipation of hearing James Lovelock talk - specifically interested in his work around ozone depletion and the Gaia Theory.
19th September, 2014 April: the sky above Correggio's The Assumption of the Virgin (1526-30) in Parma (Italy).
Bibliography (page by page):
Home:
-
Olafur Eliasson, part of a series En el Cielo (2001),
site
specific work by twelve artists redrawn by skywriterswww.e-flux.com/announcements/en-el-cielo-online/
Thinking
Blue Sky:
-
John Ruskin (1843). Modern
Painters Volume I containing Parts I and II. London: The Waverley Book Co,
1920.
- Gotz Hoeppe (1999). Why the Sky is Blue: Discovering the Color of Life. Steward, J. trans. Princeton, Oxford: - Princeton University Press, 2007.
- Peter Pesic (2005). Sky in a Bottle. Cambridge: MIT press, paperback edit. 2007.
- Janet Cardiff, part of a series En el Cielo (2001)
- Gotz Hoeppe (1999). Why the Sky is Blue: Discovering the Color of Life. Steward, J. trans. Princeton, Oxford: - Princeton University Press, 2007.
- Peter Pesic (2005). Sky in a Bottle. Cambridge: MIT press, paperback edit. 2007.
- Janet Cardiff, part of a series En el Cielo (2001)
Skies:
-
John Ruskin (1843). Modern
Painters Volume I containing Parts I and II. London: The Waverley Book Co,
1920.
- NASA archive image (Image Credit NASA)
- Flammarion, C. (1871). The Atmosphere. Glaisher, J. trans. London, Sampson Low, Marston, Low, and Searle, 1888
- NASA archive image (Image Credit NASA)
- Flammarion, C. (1871). The Atmosphere. Glaisher, J. trans. London, Sampson Low, Marston, Low, and Searle, 1888
About:
- Vik Muniz from the series Clouds (2001) - http://vikmuniz.net
- Vik Muniz from the series Clouds (2001) - http://vikmuniz.net
Reference:
- Malcolm Cormack (1986). Constable. Oxford: Phaidon
- Malcolm Cormack (1986). Constable. Oxford: Phaidon
-
John Constable studies (1881-82)
What
is up there?:
-
Stephen Hawking (1988) A
Brief History of Time, New York: Bantam Books
- Gotz Hoeppe (1999). Why the Sky is Blue: Discovering the Color of Life. Steward, J. trans. Princeton, Oxford: - Princeton University Press, 2007.
- Peter Pesic (2005). Sky in a Bottle. Cambridge: MIT press, paperback edit. 2007.
- Denis Wood (1978). ‘What Colour is the Sky?’ American Geographers in New Orleans, April 1978.
- Dave Muller, sky writing, part of a series En el Cielo (2001)
- Horace-Bénédict de Saussure's Cyanometer (circa 1789)
- The Top of the Atmosphere taken from the International Space Station 20/7/06 (Image credit: NASA)
Where Have all the Gods Gone?:
- John Hollander (1961). The untuning the of sky: Ideas of music and English poetry 1500-1700. New Jersey: Princeton University Press.
- Gotz Hoeppe (1999). Why the Sky is Blue: Discovering the Color of Life. Steward, J. trans. Princeton, Oxford: - Princeton University Press, 2007.
- Peter Pesic (2005). Sky in a Bottle. Cambridge: MIT press, paperback edit. 2007.
- Denis Wood (1978). ‘What Colour is the Sky?’ American Geographers in New Orleans, April 1978.
- Dave Muller, sky writing, part of a series En el Cielo (2001)
- Horace-Bénédict de Saussure's Cyanometer (circa 1789)
- The Top of the Atmosphere taken from the International Space Station 20/7/06 (Image credit: NASA)
Where Have all the Gods Gone?:
- John Hollander (1961). The untuning the of sky: Ideas of music and English poetry 1500-1700. New Jersey: Princeton University Press.
- J. Hillis Miller (1963). The
disappearance of God: Five nineteenth-century writers.
Cambridge, London: The Nelknap press, Oxford University.
- Alexander Koyré (1957). From the Closed World to the Infinite Universe. The Johns Hopkins University Press.
- John Ruskin (1853). ‘Of Modern Landscape’. I Rosenberg, J.D. ed. The Genius of John Ruskin: Selections from his Writings. London: George Allen and Unwin Ltd, 1963.
- Max Weber (1920). ‘Introduction to the Economic Ethics of World Religion’. In Whimster, S. ed. and trans. The Essential Weber. London, New York: Routledge, 2004.
- Allan Chapman (2001) Gods in the sky: Astronomy, Religion and Culture from the Ancients to the Renaissance. London: Channel Four Books.
- Hubert Damisch (1972). A Theory of /Cloud/: Toward a History of Painting. Lloyd, J. trans. California: Standford University Press, 2002
- The Wilton Diptych c.1395-9, wooden altarpiece www.nationalgallery.org.uk
- François Boucher The Setting of the Sun 1752, Oil on canvas www.wallacecollection.org
- John Constable, ‘The Sea at Brighton’, 1 January 1826.
- Alexander Koyré (1957). From the Closed World to the Infinite Universe. The Johns Hopkins University Press.
- John Ruskin (1853). ‘Of Modern Landscape’. I Rosenberg, J.D. ed. The Genius of John Ruskin: Selections from his Writings. London: George Allen and Unwin Ltd, 1963.
- Max Weber (1920). ‘Introduction to the Economic Ethics of World Religion’. In Whimster, S. ed. and trans. The Essential Weber. London, New York: Routledge, 2004.
- Allan Chapman (2001) Gods in the sky: Astronomy, Religion and Culture from the Ancients to the Renaissance. London: Channel Four Books.
- Hubert Damisch (1972). A Theory of /Cloud/: Toward a History of Painting. Lloyd, J. trans. California: Standford University Press, 2002
- The Wilton Diptych c.1395-9, wooden altarpiece www.nationalgallery.org.uk
- François Boucher The Setting of the Sun 1752, Oil on canvas www.wallacecollection.org
- John Constable, ‘The Sea at Brighton’, 1 January 1826.
How
to Tame the Sky?:
-
Hubert Damisch (1972). A Theory of /Cloud/: Toward a History of Painting. Lloyd, J. trans.
California: Standford University Press, 2002.
- Mircea Eliade (1958). Patterns in Comparative Religion. Sheed and Ward Stagbooks
- Sir James G. Frazer (1926). The Worship of Nature: Volume One. London: Macmillan
- Yves Klein (1959). ‘The Evolution of Art Towards the Immaterial’. In Ottman, K ed. Overcoming the Problematics of Art: The Writing of Yves Klein. Ottman, K. trans. New York: Spring Publications, 2007.
- Kasimir Malevich (1919). 'Non-Objective Creation and Suprematism'. In Andersen, T. ed. K S Malevich: Essays on Art 1915-1933 Vol.1. Glowacki-Prus, X. and McMillin, A. trans, London: Rapp & Whiting, 1969, pp. 120-122.
- Kasimir Malevich (1919). ‘On New Systems in Art’. In Andersen, T. ed. K S Malevich: Essays on Art 1915-1933 Vol.1. Glowacki-Prus, X. and McMillin, A. trans, London: Rapp & Whiting, 1969, pp.83-117.
- Antoine de Saint-Exupéry The Little Prince (1943)’ Woods K. trans, London: Mammoth, 1991
- Maurizio Nannuci Image du Ciel (Image of the sky), Venice Biennale, 1978.
Cory Arcangel:
- Mircea Eliade (1958). Patterns in Comparative Religion. Sheed and Ward Stagbooks
- Sir James G. Frazer (1926). The Worship of Nature: Volume One. London: Macmillan
- Yves Klein (1959). ‘The Evolution of Art Towards the Immaterial’. In Ottman, K ed. Overcoming the Problematics of Art: The Writing of Yves Klein. Ottman, K. trans. New York: Spring Publications, 2007.
- Kasimir Malevich (1919). 'Non-Objective Creation and Suprematism'. In Andersen, T. ed. K S Malevich: Essays on Art 1915-1933 Vol.1. Glowacki-Prus, X. and McMillin, A. trans, London: Rapp & Whiting, 1969, pp. 120-122.
- Kasimir Malevich (1919). ‘On New Systems in Art’. In Andersen, T. ed. K S Malevich: Essays on Art 1915-1933 Vol.1. Glowacki-Prus, X. and McMillin, A. trans, London: Rapp & Whiting, 1969, pp.83-117.
- Antoine de Saint-Exupéry The Little Prince (1943)’ Woods K. trans, London: Mammoth, 1991
- Maurizio Nannuci Image du Ciel (Image of the sky), Venice Biennale, 1978.
Cory Arcangel:
-
An interview with Cory Arcangel
at the Evolution Conference, Leeds, 2003 www.coryarcangel.com
- Katherine Hayles (1999). How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago, London: University of Chicago Press
- Kate Soper (1995), What is Nature? Culture, Politics and the Non-human. Oxford: Blackwell Publishers.
- Katherine Hayles (1999). How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics. Chicago, London: University of Chicago Press
- Kate Soper (1995), What is Nature? Culture, Politics and the Non-human. Oxford: Blackwell Publishers.
Lisa
Autogena:
-
Most Blue Skies I and II by Lisa Autogena and Josh
Portway www.autogena.org
- An interview with Lisa Autogena, London, 19th September 2011
- Alexander von Humboldt, (1844). Cosmos: A Sketch of a physical description of the universe, Otté E.C. trans. London: Henry G Bohn
- Peter Pesic (2005). Sky in a Bottle. Cambridge: MIT press, paperback edit. 2007. (source of quotes from Saussure)
- John Ruskin (1869). The Queen of the Air: Being a Study of the Greek Myths of Cloud and Storm. Kent: George Allen, 1887
- the apparatus used in 1869 by John Tyndall to create a blue sky (image credit: Paul Wilkinson)
- An interview with Lisa Autogena, London, 19th September 2011
- Alexander von Humboldt, (1844). Cosmos: A Sketch of a physical description of the universe, Otté E.C. trans. London: Henry G Bohn
- Peter Pesic (2005). Sky in a Bottle. Cambridge: MIT press, paperback edit. 2007. (source of quotes from Saussure)
- John Ruskin (1869). The Queen of the Air: Being a Study of the Greek Myths of Cloud and Storm. Kent: George Allen, 1887
- the apparatus used in 1869 by John Tyndall to create a blue sky (image credit: Paul Wilkinson)
Gaston
Bachelard:
- Gaston Bachelard (1943). Air and Dreams: An Essay on the Imagination of Movement. Farrell, E. and Farrell, C. F. trans. USA: The Dallas Institute, 1988, (Second Edition, 2002).
- Gaston Bachelard. (1942). Water and Dreams: An Essay on the Imagination of Matter. Farrell, E. and Farrell, C. F. trans. USA: The Dallas Institute, 1993.
- Gaston Bachelard. (1958). The Poetics of Space. Jolas, M. trans. USA: The Orion Press, 1964, 1994 edition.
- S. T. Coleridge (1796). ‘Preface’. In A Pamphlet of Sonnets by Various Authors. Published privately
- Mary McAllester Jones (1991). Gaston Bachelard, Subversive Humanist. Wisconsin, London: The University of Wisconsin Press
- Paul Virilio (1995). Open Sky. Rose, J. trans. London: Verso, 1997
- Kodwo Eschun (2005). ‘On the Use and Abuse of Microgravity for Life’. In Triscott, N. and Frenais, R. ed. Zero Gravity: A Cultural User’s Guide. London: The Arts Catalyst, 2005.
- Giacomo Balla Abstract Speed - The Car has Passed 1913, oil on canvas
- Paul Nash Battle of Britain 1941, oil on canvas
- British Hawker Hurricanes fly in formation during the Battle of Britain in 1940
James Benning:
- Gaston Bachelard (1943). Air and Dreams: An Essay on the Imagination of Movement. Farrell, E. and Farrell, C. F. trans. USA: The Dallas Institute, 1988, (Second Edition, 2002).
- Gaston Bachelard. (1942). Water and Dreams: An Essay on the Imagination of Matter. Farrell, E. and Farrell, C. F. trans. USA: The Dallas Institute, 1993.
- Gaston Bachelard. (1958). The Poetics of Space. Jolas, M. trans. USA: The Orion Press, 1964, 1994 edition.
- S. T. Coleridge (1796). ‘Preface’. In A Pamphlet of Sonnets by Various Authors. Published privately
- Mary McAllester Jones (1991). Gaston Bachelard, Subversive Humanist. Wisconsin, London: The University of Wisconsin Press
- Paul Virilio (1995). Open Sky. Rose, J. trans. London: Verso, 1997
- Kodwo Eschun (2005). ‘On the Use and Abuse of Microgravity for Life’. In Triscott, N. and Frenais, R. ed. Zero Gravity: A Cultural User’s Guide. London: The Arts Catalyst, 2005.
- Giacomo Balla Abstract Speed - The Car has Passed 1913, oil on canvas
- Paul Nash Battle of Britain 1941, oil on canvas
- British Hawker Hurricanes fly in formation during the Battle of Britain in 1940
James Benning:
-
James
Benning Ten
Skies
(2004), 16mm, colour, 1hr 41
mins
- Email correspondence with James Benning, September 2011
- still from James Benning Ten Skies (2004)
- still from James Benning 13 Lakes (2004)
- Email correspondence with James Benning, September 2011
- still from James Benning Ten Skies (2004)
- still from James Benning 13 Lakes (2004)
Correggio:
-
Correggio’s
The
Assumption of the Virgin
(1526-1530),
Parma Cathedral, Italy
- Carolyn Smyth (1997). Correggio’s Frescoes in Parma Cathedral. Princeton, NJ: Princeton University
- Hubert Damisch (1972). A Theory of /Cloud/: Toward a History of Painting. Lloyd, J. trans. California: Standford University Press, 2002
- Alessandra Buccheri (2014) The Spectacle of Clouds, 1439–1650: Italian Art and Theatre Surrey: Ashgate
- NASA Archive (image credit: NASA)
Gilles Deleuze:
- Gilles Deleuze and Félix Guattari (1991). What is Philosophy?. Tomlinson, H. and Burchell, G. trans. London: Verso, 1994
- Mark Bonta and John Protevi (2004). Deleuze and Geophilosophy: A guide and Glossary. Edinburgh: Edinburgh University Press
- Rene Magritte, The Future of Statues, 1937
- Carolyn Smyth (1997). Correggio’s Frescoes in Parma Cathedral. Princeton, NJ: Princeton University
- Hubert Damisch (1972). A Theory of /Cloud/: Toward a History of Painting. Lloyd, J. trans. California: Standford University Press, 2002
- Alessandra Buccheri (2014) The Spectacle of Clouds, 1439–1650: Italian Art and Theatre Surrey: Ashgate
- NASA Archive (image credit: NASA)
Gilles Deleuze:
- Gilles Deleuze and Félix Guattari (1991). What is Philosophy?. Tomlinson, H. and Burchell, G. trans. London: Verso, 1994
- Mark Bonta and John Protevi (2004). Deleuze and Geophilosophy: A guide and Glossary. Edinburgh: Edinburgh University Press
- Rene Magritte, The Future of Statues, 1937
Simon
Faithfull:
-
Simon Faithfull, Escape
Vehicle
No. 6 (2004) commissioned
by Arts Catalyst
www.simonfaithfull.org
- Email interview with Simon Faithfull, 2011
- Email interview with Simon Faithfull, 2011
Camille
Flammarion:
-
Camille Flammarion (1871). The Atmosphere. Glaisher, J. trans. London, Sampson Low, Marston,
Low, and Searle, 1888.
- Alexander Koyré (1957). From the Closed World to the Infinite Universe. The Johns Hopkins University Press
- Alexander Koyré (1957). From the Closed World to the Infinite Universe. The Johns Hopkins University Press
Werner
Herzog:
-
Werner Herzog (2005) The
Wild Blue Yonder. Filmproduktion.
- Werner Herzog (2007) Encounters at the End of the World. Discovery Films
- John Palvis (2006) ‘The Intergalactic Mashup King’ in Wired Magazine, Issue 14:07
Derek Jarman
- Derek Jarman, Blue, 1993, 95 mins (originally shot on 35mm)
- Yves Klein (1928-1962). Selected Writings. Wright, B. trans. London: Tate Gallery Publications, 1974
Gerhard Richter
- Gerhard Richter, Atlas Show, Whitechapel Gallery, 2002 www.gerhard-richter.com
- Gerhard Richter, Notes, 1986
- Adrian Searle, 'Slow Developer', 2003
- Werner Herzog (2007) Encounters at the End of the World. Discovery Films
- John Palvis (2006) ‘The Intergalactic Mashup King’ in Wired Magazine, Issue 14:07
Derek Jarman
- Derek Jarman, Blue, 1993, 95 mins (originally shot on 35mm)
- Yves Klein (1928-1962). Selected Writings. Wright, B. trans. London: Tate Gallery Publications, 1974
Gerhard Richter
- Gerhard Richter, Atlas Show, Whitechapel Gallery, 2002 www.gerhard-richter.com
- Gerhard Richter, Notes, 1986
- Adrian Searle, 'Slow Developer', 2003
Jacques
Tati:
-
Jacques Tati (1967) Play
Time. Specta Films
- Gaston Bachelard (1943). Air and Dreams: An Essay on the Imagination of Movement. Farrell, E. and Farrell, C. F. trans. USA: The Dallas Institute, 1988, Second Edition, 2002.
- Gaston Bachelard (1943). Air and Dreams: An Essay on the Imagination of Movement. Farrell, E. and Farrell, C. F. trans. USA: The Dallas Institute, 1988, Second Edition, 2002.
-
Michel Chion (1987). The
films of Jacque Tati. D’Alfonso, A. trans. Canada:
Guernica Editions Inc, 2003
Joelle
Tuërlinckx:
-
Joelle Tuërlinckx, Series
of Holes, South London Gallery, 2002,
- Hubert Damisch (1972). A
Theory of /Cloud/: Toward a History of Painting.
Lloyd, J. trans. California: Standford University Press,
2002
- Paolo Veronese's Christ Addressing a Kneeling Woman (circa 1548)
- Paolo Veronese's Christ Addressing a Kneeling Woman (circa 1548)
-
Road Runner (Looney Tunes c.1963)
Richard
Wilson:
-
Richard
Wilson's Set North For
Japan 74 33' 2" (2000)
www.richardwilsonsculpor.com
- Paul Virilio (1995). Open Sky. Rose, J. trans. London: Verso, 1997
- Friedrich Nietzsche (1886) Beyond Good and Evil
- Alexei Leonov, legs visible outside Vostok 2, 18 March 1965 (@ Ria Novosti/Science Photo Library)
- Paul Virilio (1995). Open Sky. Rose, J. trans. London: Verso, 1997
- Friedrich Nietzsche (1886) Beyond Good and Evil
- Alexei Leonov, legs visible outside Vostok 2, 18 March 1965 (@ Ria Novosti/Science Photo Library)
Peter
Weir:
-
Peter Weir (1998) The
Truman Show. Paramount Pictures
- How’s it Going to End: The Making of ‘The Truman Show’ (2005) Paramount Pictures
- A. Niccol (1998). The shooting script: The Truman Show. New York, London: Newmarket Press, Nick Hern Books.
- How’s it Going to End: The Making of ‘The Truman Show’ (2005) Paramount Pictures
- A. Niccol (1998). The shooting script: The Truman Show. New York, London: Newmarket Press, Nick Hern Books.
Quadratura:
-
Quadratura (1995), initiated by artist Ed Allington
in collaboration with architects Catrina Beevor and Robert
Mull
- Quadratura Essays by James Roberts and David Turnbull, 1995, Commissions East and The Architecture Gallery
- Correggio’s Assumption of the Virgin (1526 -30)
What of our Planetary Sky?
- Robert Poole, Earthrise: How Man First Saw the Earth (2010)
- Chesley Bonestell, artwork featured on the front cover of Beyond the Solar System (1964);
- Blue Marble (1972) Image Credit NASA;
- Stanley Kubrick, 2001:A Space Odyssey (1968);
- Luc Besson, The Fifth Element (1997)
- Alfonso Cuarón, Gravity (2013)
- Quadratura Essays by James Roberts and David Turnbull, 1995, Commissions East and The Architecture Gallery
- Correggio’s Assumption of the Virgin (1526 -30)
What of our Planetary Sky?
- Robert Poole, Earthrise: How Man First Saw the Earth (2010)
- Chesley Bonestell, artwork featured on the front cover of Beyond the Solar System (1964);
- Blue Marble (1972) Image Credit NASA;
- Stanley Kubrick, 2001:A Space Odyssey (1968);
- Luc Besson, The Fifth Element (1997)
- Alfonso Cuarón, Gravity (2013)
John Constable, ‘Study of Cirrus Clouds’ circa 1821 (Victoria and Albert Museum, London)
John Constable, ‘Cloud Study’, 1822.
(David Thomson)
John Constable, ‘A Altocumulus Clouds’, 1821. Notation on back: "Sept. 13th one o’clock. Slight wind at North West, which became tempestuous in the afternoon, with Rain all the night following" (Yale Centre for British Art, Paul Mellon Collection)
John Constable, ‘Cloud Study’, c.1821
(Yale Centre for British Art, Paul Mellon Collection)
John Constable, ‘Study of Cumulus Clouds’, 1 August 1822. Notation on back: "Aug 1. 1822 11 o clock A.M. very hot with large climbing Clouds under the Sun. wind westerly" (Yale Centre for British Art, Paul Mellon Collection)
John Constable, ‘ Cloud Study’ 1822
(Yale Centre for British Art, Paul Mellon Collection)
John Constable, ‘Study of Clouds at Hampstead', 1821. Notation on back: 'Hampstead. Sepr 11. 1821. 10 to 11. Morning under the sun - Clouds silvery grey, on warm ground Sultry. Light wind to the S.W. fine all day - but rain in the night following' (Royal Academy of Arts, London)
John Constable, ‘Cloud Study’, 1821.
(Whitworth Art Gallery, University of Manchester)
John Constable, ‘Study of Sky and Trees’, 1821. (Victoria and Albert Museum, London)
John Constable, ‘A Rain Storm over the Sea’, 1824-28 (Royal Academy of Arts, London)
John Constable, ‘Cloud Study’, 31 September 1822. Notation on back: '31st Sepr 10-11 o'clock morning looking Eastward a gentle wind to east' (Ashmolean Museum, Oxford)
John Constable, ‘Cloud Study: Evening’, 31 August 1822. Notation on back: '5-6 oclock Eveng Augt 31st 1822. Large clouds to the Eastward - light wind [?West]'. (Birmingham Museums and Art Gallery)
