Berger

With their parallel lives, animals offer man a companionship which is different from any offered by human exchange. Different because it is a companionship offered to the loneliness of man as a species.

Berger 1977: 15

Mark Wallinger

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Turner Prize winning artist Mark Wallinger believes his new life-sized sculpture of a racehorse may “re-kick-start” funding for a 50 metre version in Kent, which is currently stuck in Limbo.

To read more follow the link -

http://www.independent.co.uk/arts-entertainment/art/news/mark-wallinger-hopes-lifesize-white-horse-unveiled-on-the-mall-will-rekickstart-momentum-for-its-50m-sister-8520911.html 

EQUUS

Appaloosa

Appaloosa

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Appaloosa

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Arabian Abu Dhabi UAE

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Iclandic Horse ICELAND

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Latvian Moscow RUSSIA

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Marwari Rajasthan INDIA

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Marwari Rajasthan INDIA

MustangUtahUSA

Mustang Utah USA

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Suffolk Punch Suffolk UK

Thoroughbred

Thoroughbred

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Thoroughbred Dubai UAE

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Thoroughbred Fetus Day 65

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Thoroughbred Fetus Day 85

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American Paint

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American Paint

EQUUS – Tim Flach

Abrams, New York
2008
PQ Blackwell Ltd

Tim Macmillan – Dead Horse

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Dead Horse 1998, the video installation by Tim Macmillan, is the most visceral and perfect use of his Time-Slice® technique. At the moment of its execution in an abattoir, a horse is photographed simultaneously by an arcing bank of still cameras. The photos are then ordered into a filmic sequence. The result is a static world traversed by a moving gaze. Although it feels strikingly contemporary, the technology for doing this is as old as cinema, if not older. If Muybridge had fired all his cameras at once and animated the results via his Zoopraxiscope, we might have had a century of Time-Slice. That it appeared only relatively recently is less an anomaly than a sign of the fact that for any image form to come into being it must be first imagined or desired. Imagination and desire are historically grounded. Nobody wanted Time-Slice in 1879. The basic structures of photography and cinema have existed for a long time, but they have proved flexible enough to accommodate ever-newer conceptions of time, space, movement and stillness. That is why they are still with us rather than belonging to the nineteenth century. Macmillan’s video alludes to this historical delay with a clear reference back to the work of Muybridge’s very first studies of horses in motion.

http://www.tate.org.uk/context-comment/articles/moving-times