Four points to start

These cards are an example of a myriorama; a set of interchangable pieces depicting a landscape. Constant and repeated features in the foreground and/or the horizon support different pastural scenes in the middleground. From myriad, an indefinately great number, and 'entertainments' such as panoramas and dioramas, the holder of the cards is able to change around the pieces, creating their own landscape. The designer would start with one landscape, which would then be cut into 16, 24, or 36 individual slices.

Interactive myriorama at http://billdouglas.ex.ac.uk/eve/di/69238.htm

Curiosity Cabinet for the Wexner Center for the Arts - Mark Dion

Apart from the interest of the classification systems used and presented by Dion in the plan for a proposed piece, one of the main things that intrigues me about this image is its own layout; separate from that which it represents. Although we see the area from above in the top illustration (a circular room, which according to the authors of Mark Dion, published by Phaidon, separates the viewers from inspecting the cabinets at close range by means of a 'protective railing') when presented like this, alongside a horizontal view of the cabinets the two vantagepoints combine to form the shape an observatory. I presume this was deliberate; it serves both to present the idea and function with its own connotations - especially when surrounded by the images of paintings and books from the Bodleian Library, and the first image, a photograph from an original Cabinet of Curiosities; a wunderkammer; a wonder-room.

This referencing of where it has come from reminds me a little of the repeated motifs in Pierre Huyghe's Billboards presented earlier. Also the presentations of art history by Andrew Lanyon and Cornelius Galle.

Details.

Dion's cabinets, organized according to Aristotle's classifications of species, when presented like this: each bookshelf encased in its own white box, remind me of the different playing cards of the myriorama, able to be rearranged at will, and still almost make sense visually. To these however, although change would visually acceptable, the entirely concept would be corrupted.

Agonizing Surikov - from an Album by Ilya Kabakov

Click on images to see larger, and read text. Apologies for the awkwardness of scrolling back and forth to read.

Possibilities of three

Aspicientes in Autorem Fedei - Cornelius Galle, Copperplate Engraving, Antwerp, 1601.

Click on 2p.

Redesigning the city to help with paying for taxis

Guildhall University aka London Met has left its mark - the stamps on the pages are stamps on the library book pages.

Image from the Victorian Age.

Image from London As it may have been.

Marcel Broodthaers - A Voyage on North Sea + The Conquest of Space: Atlas for the use of Artists and the Military

Detail: A Voyage on the North Sea.

Shown above is a detail of A Voyage on the North Sea, a book which contains reproductions of a Victorian amateur painting of a fishing boat interspersed with photographs black and white photographs. Most pages contain four details; often repeated enlarged sections of parts of the painting, zoomed in as if intent on allowing close inspection. The repetition and sequence of these images is reminiscent of film editing: the camera travels in an out of the scene, as if in a shot of a moving boat traveling by the standpoint. The artist actually also made a four-minute film - it exists as an alternative version, which lasts four minutes. It, however is organised by page numbers.

The second image in the first image, as they are presented in Conceptual art by Tony Godfrey, is a miniature book, a mickey take, a little laugh at representation: much is revealed in its title: The Conquest of Space: Atlas for the use of Artists and the Military. It contains eight images of eight countries, all produced in silhouette, and scaled to be the exact same size. It is pocketable, seemingly very handy yet utterly useless. It size seems to make it an object for collection, like a little trinket, for enjoyment not use.

The two pieces are not the same size, the yacht book is actually more alike the size of a 'normal one' which presents information in a seemingly useful way; the enlargements also appear to present the painting for inspection; not as a moving shot, but for what it actually is.

Susan Hiller - Dedicated to the Unknown Artists

Detail:

Two Images

Two images - one the image of my Grandmother and Uncle as a baby, the other found on a stall at a market in Zagreb.

Haim Steinbach - Untitled (Hobby Horse, Cookie Jar)