Preparations for funeral of yachtsman Sir Peter Blake + arrival of NZ PM



Warblington, West Sussex
1. Various exteriors of Saint Thomas-A-Becket parish church
2. Marquee in church yard, erected for people who wish to attend the funeral but who cannot fit inside the church
3. Various of groundskeeper cutting grass, as part of preparations for funeral
4. Set up shot of Canon Douglas Caiger, who is conducting the funeral service
5. Stained glass window
6. SOUNDBITE: (English) Canon Douglas Caiger, Conducting service:
“Well the honour of being invited to do our best for this great occasion, you don’t get prime ministers ever day at services and that sort of thing. We love this church, it’s a thousand years old. Its walls are soaked in prayer, we shall be adding to those prayers tomorrow.”
7. Various of Louise, sister-in-law of Peter Blake, playing flute – she will be playing the same piece at the service

Emsworth, West Sussex
8. General view of village
9. Looking down street towards bay
10. Various set-up shots of Alan Sefton, Former crew mate of Blake and family spokesman – helping to organise funeral
11. SOUNDBITE: (English) Alan Sefton, Former crew mate of Peter Blake and family spokesman, speaking on behalf of Lady Pippa Blake, Peter Blake’s widow:
“The volume of message of condolences and so on that have been coming through have just got Pippa, to use that awful term, gob-smacked but she just can’t come to terms with it.”
12. Various exteriors of Emsworth sailing club
13. Various of Emsworth sailing club head, Rear Commodore John Cruickshank, looking at book of condolence set up in club (photograph of Peter Blake above book)
14. SOUNDBITE: (English) Rear Commodore John Cruickshank, Emsworth sailing club head:
“A huge loss, a big, big loss. Although he wasn’t here very much, one got the feeling they (Peter and Pippa Blake) would have retired to Emsworth, that is pretty categoric.”
15. Set up shot of New Zealand Prime Minister Helen Clarke
16. SOUNDBITE: (English) Helen Clarke, New Zealand Prime Minister:
“Sir Peter Blake is a national hero to New Zealanders. People are very, very distressed at what happened in the Amazon and it’s important that we mark his passing appropriately at the funeral here in England.”
17. Various of yachts in the bay

STORYLINE:

Sir Peter Blake, the New Zealand yachtsman killed last week by river pirates in Brazil, will be buried on Friday in the English coastal town he had made his home.

Blake, a hero in his native country, will be laid to rest at the thousand-year-old Saint Thomas-A-Becket parish church in Warblington, just outside of Emsworth in West Sussex on the English south coast.

He had lived in Emsworth for the past twenty years and had met his wife, Lady Pippa Blake, at the local sailing club, of which Peter was a member.

Her family live in the area and her sister will be playing the flute during the the service at the family’s church local church.

New Zealand’s Prime Minister, Helen Clark, flew to England on Thursday to attend the funeral.

She will give an address at the funeral.

Between eight hundred and a thousand people are expected to attend, including many big names from the yachting community.

Blake was shot dead last Wednesday during a robbery attempt by river pirates who boarded his yacht, the Seamaster, which was anchored near Macapa in the mouth of the Amazon River.

Blake and a crew of 10 were returning from a two-month stay in the upper reaches of the Amazon and Rio Negro rivers.

Blake, 53, who led New Zealand to America’s Cup victories in 1995 and 2000, was on a worldwide expedition to monitor global warming and pollution.

Earlier this year, he was named special envoy for the United Nations Environment Programme.

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Art and Rubble

Art and Rubble

The Majestic Theatre demolition on a walk around the city, May 21, 2014 Christchurch New Zealand.

Opened on 1st March 1930 The Majestic Theatre was built for John Fuller & Sons and was leased to Christchurch Cinemas Ltd. Billed as ‘The Showplace of Christchurch’, the exterior was an Art Deco style containing three floors of offices, known as Majestic House.

In 1946, it was sold to the Kerridge-Odeon chain, and later that year, it was badly damage by a fire. It was renovated to the designs of architect Harry Francis Willis. In the 1960’s, live stage shows became popular at the Majestic Theatre, with ‘Startime Spectacular’ running for quite some time, and also appearances by pop groups from Great Britain, including The Kinks, The Dave Clark Five and Manfred Mann. In 1964 The Beatles played their only concert in Christchurch at the Majestic – this was their final New Zealand concert.

The Majestic Theatre closed on 28th August 1970, and was converted into a nightclub, named Moby Dick’s Nite Spot. Six years later it was again badly damaged by fire and the night club closed. It was later owned by the Christchurch Revival Fellowship Church. Taken from: www.highstreetstories.co.nz/stories/93-the-majestic-theatre

www.stuff.co.nz/the-press/news/christchurch-earthquake-20…

Posted by Jocey K on 2014-06-03 04:57:34

Tagged: , Christchurch , New Zealand , architecture , autumn , buildings , lights , road , street , Majestic Theatre demolition , roadcones , tree , sky , clouds , CBD , trees , cars , rubble , diggers , people , truck , art , mural , streetart

Billy Apple 比利·亞普 1935 Conceptual art Pop art New Zealand



tonykwk39@gmail.com
BILLY APPLE 比利·亞普was born Barrie Bates in Auckland, New Zealand in 1935. He left New Zealand in 1959 to study graphic design at the Royal College of Art in London. After graduating in 1962, he changed his name to Billy Apple. In 1964 he moved to New York where he continued to produce pop-related paintings and objects before developing a body of neon sculptures, showing at various venues including the Bianchini Gallery, Howard Wise Gallery and the Pepsi Cola Gallery. By 1969 Apple had shifted to a more conceptual and process-oriented practice. To create a venue for his work he established Apple, a not-for-profit space at 161 West 23rd Street which he operated between October 1969 and May 1973. A major survey of Apple’s work, which brought together his pop and conceptual works from 1960 to 1974, was staged at the Serpentine Gallery in London in 1974. He exhibited regularly at various venues in New York’s alternative art scene including 3 Mercer Street, Holly Solomon and the Clocktower, and for one year was director of 112 Greene Street Gallery (1975-76). Apple remained in New York until 1990, continuing to exhibit his work in various venues, including Leo Castelli Gallery (in 1977, 1978, 1980, and 1984). He also made two extended tours to New Zealand in 1975 and 1979-80, producing a string of site-specific installations in dealer and public galleries throughout the country. Since the early 1980s Apple has complemented his installation practice with text-based works that draw attention to the art system and highlight the network of relations that operate between artist, dealer, and collector. A survey of these, As Good as Gold: Billy Apple Art Transactions 1981-1991, was organised and toured by Wellington City Art Gallery in 1991. He became a registered trademark in 2007 to formalise his art brand status and continues to develop projects that address this, for example working with apple growers over the production and branding of a new apple cultivar and a collaborative art/science project, The Immortalisation of Billy Apple®, in which cells from his blood have been virally transformed to create a cell line that will live outside the body for use in studies like cancer research. Apple is currently working on a large scale public art commission for the city of Auckland for the 2011 IRB Rugby World Cup.
Based in Auckland since the 1990s, Apple exhibits regularly in dealer, public and artist-run galleries throughout New Zealand and in Australia, and his works have been included in major international and national touring exhibitions. These include: Toi Toi Toi: Three Generations of New Zealand Artists (Kassel & Auckland, 1999); Global Conceptualism: Points of Origin (New York, 1999); Kronos + Kairos: die Zeit in der Zeitgenössischen Kunst, (Kassel, 1999); Shopping: A Century of Art and Consumer Culture (Frankfurt & Liverpool, 2002-3); American Supermarket (Pittsburgh, 2002), and Art of the ’60s from Tate Britain (Auckland, 2006). In 2009 a second major survey exhibition of Apple’s work was staged in two parts at Witte de With, Center for Contemporary Art in Rotterdam (Billy Apple®: A History of the Brand and Revealed/Concealed). In New Zealand aspects of his career have been reevaluated in exhibitions such as Billy Apple: New York 1969-1973 (Wellington 2009). A retrospective curated by Christina Barton is in development for the Auckland Art Gallery and is scheduled for 2012 to celebrate the artists 50 years as Billy Apple.
Billy Apple is represented in public and private collections throughout New Zealand and Australia as well as the Tate Britain, London; Guggenheim Museum, New York; Detroit Institute of Arts, Detroit; The Chrysler Museum of Art, Norfolk, Virginia; and the Corning Museum of Glass, New York.

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