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walking in the rain

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car in the rain

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boat3

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train

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airplane

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boat2

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boat

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bike2

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bike

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bus

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walking through people

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car running

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car' engine

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walking on the road

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walking on pice of water

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key and louker

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leave home

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walking throught the road

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walking on the grass 2

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walking on the grass

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To the moon

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They trying to get rid of diesel trains but don’t have funding. 

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They trying to get rid of diesel trains but don’t have funding. 

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More people are using trains after covid.

Less people in the rush hour than there used to be.

More people are using it for leisure travel now.

Trains are busy all day.

Peak travel times decreased
Leisure travel increased.
Weekends especially

Post pandemic:
9 coaches
928 persons
Paddington - Bristol TM

TAXI:

Pre pandemic 21,000 taxis and 21,000 drivers

Now: 14,000 taxis

Price of a new taxi gone up
£70,000

The price should stay equal because the taxis runs on electricity.

Streets are changing that doesn’t benefit the journey

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Hit the road: your art on the theme of transportation

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Just some photography related to transport

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Hit the road: your art on the theme of transportation

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For last month’s readers’ art assignment Madeline Cornell of the Robert Mann Gallery in New York invited you to share your art on the theme of transportation. Here are some of her favourites, with captions by the artists themselves

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Stamps, Scientific Charts, and Hand-Drawn Maps Occupy Every Inch of Travel Notebooks by José Naranja

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Artist Jose Naranja who created a mass produced notebook of his travelling - form of travel documentation in art form.

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Author and artist José Naranja ensures he won't forget any detail of his year-round travels across the globe through a meticulous and unique documentation process. Formerly an aeronautic engineer, Naranja now archives his thoughts while visiting foreign countries by hand-crafting journals replete with items like collected stamps, an illustration of the periodic table, and a study of fountain pens. Each mixed-media page centers on a theme, such as the culture surrounding eating a bowl of ramen or the flamingos found in a zoo.

Since he last spoke with Colossal, the artist published a second work titled The Nautilus Manuscript, a 208-page handbound leather journal chronicling his life from 2015 to 2019. Similar to how he constructs each page, Naranja is committed to maintaining the integrity of his work during the production process. "The project is about offering the people the same feeling as having the originals in their hands: same paper, size, leather cover and mainly the same 'touch.' It's bound by hand, slow but the only way to take care of details," he says. The Nautilus Project, which is written mostly in Spanish, is available for purchase. Keep up with the artist's most recent spreads brimming with insights and elaborate sketches on Instagram.

Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

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Stamps, Scientific Charts, and Hand-Drawn Maps Occupy Every Inch of Travel Notebooks by José Naranja

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Author and artist José Naranja ensures he won't forget any detail of his year-round travels across the globe through a meticulous and unique documentation process. Formerly an aeronautic engineer, Naranja now archives his thoughts while visiting foreign countries by hand-crafting journals replete wi

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Average US Commute Times By City & State [2022 Update]

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This data is based in USA but shows commute times and the average amount of days people from different states spend travelling to and from work

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Average US Commute Times By City & State [2022 Update]

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How long is the average US commute time in the United States? Find out using our interactive map, by city and state. Find out yours today!

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Tate article on artworks revolving around moving

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Tate article on artworks revolving around moving

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https://www.tate.org.uk/art/student-resource/exam-help/journeys

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Journeys in art

Whether documenting a journey from A to B; exploring and responding to places; or using historical or personal journeys in order to better understand identity, artists have used different kinds of journeys to inspire their art over centuries.

Journey can refer to an actual physical journey - travelling from one place to another; wandering around a particular urban or landscape location in order to explore it; or enforced migration such as the journeys made by slaves or refugees. However journeys don't always have to involve physical travel. The term 'journey' is often used to describe the journeys we make in life: such as personal experiences that involve an element of self-discovery or more generally the journey through life - growing up or getting old. Journey might also be used in relation to formal processes in art making, for example in the work of artists whose process dictates the end result of the work.

Land art and urban mapping

Land artists such as Hamish Fulton and Richard Long use walking as a way of exploring landscapes. Hamish Fulton records his experience of the walks he makes in poetic texts. In Wind through the Pines 1981 the things he sees, hears and experiences are transformed into descriptive sentences or single words which together evoke the sense of journeying through a landscape. Richard Long's A Line Made by Walking creates a temporary sculptural intervention in the landscape as the route he takes across a field flattens the grass and becomes a trace of his journey.

Ed Ruscha journeys through the urban spaces of Los Angeles in order to create a portrait of the city, often collecting these photographs together to form photobooks. For his Sunset Strip Portfolio he photographed every single building on the Hollywood Strip in LA, a mile-and-a-half strip of Sunset Boulevard in West Hollywood. In doing so he not only gave a sense of moving from a point at one end of the strip to the other, but also captures the history of the city, and provides a snapshot of its socio-economy as reflected in the changing nature of the buildings and businesses.

Psychogeography: The politics and poetics of locations

The term psychogeography refers to an approach to geography that emphasizes drifting around urban environments in order to explore the effect of particular locations on emotions and behaviour. Ruth Ewan's The Darks is an alternative audio guide to Tate Briatin which invites visitors to navigate the area around the building where the notorious Millbank Prison once stood.

Patrick Keiller's films record the exploratory journeys around England of a fictional, unseen character called Robinson. Robinson's chance encounters with various locations cause him to reflect on the significance of places and what he sees there in relation to greater global themes - such as the economy or politics. For his installation The Robinson Institute at Tate Britain in 2012 Keiller selected images of landmarks and locations in the English landscape from Tate's collection, to illustrate the development of capitalism.

Susan Philipsz uses her own voice to create uniquely evocative sound installations that play upon and extend the poetics of specific, often out-of-the-way spaces. For Lowlands, she uses an old Scottish folk song to explore the spaces around and under three bridges along the River Clyde in Glasgow.

Willie Doherty's photographic work is made up of two views from either end of Craigavon Bridge which crosses the River Foyle in Belfast, marking a point of connection between the Protestant and Catholic communities in the city. The photographs demonstrate that the perspective may be different but the view is almost identical. The bridge divides the two communities but also links them and has the capacity to be a point of meeting and exchange.

Artist Francis Alÿs journeys along borders and boundaries in order to raise awareness of political issues. For The Green Line 2004 Alÿs walked around Jerusalem, trailing a ribbon of green paint behind him. He was following the so-called green line, which was drawn on a map by the Israeli Minister of Defence Moshe Dayan at the end of the Arab-Israeli war of 1948-9 and has become one of the most contestded boundaries in the world. It marked the respective positions of Israeli and Arab forces in the final ceasefire, and it has served as a boundary between Israel and the West Bank ever since.

Migrations

Migration - whether enforced through slavery, through escaping war or disaster, or triggered by economic needs - has played an important role in the lives and histories of many people and is a theme that has been widely explored in art. Ellen Gallagher's Irish and African American origins have shaped the texture and subject matter of her practice. Bird in Hand refers to the experience of slaves of the Cape Verde islands off the West Coast of Africa, the birthplace of the artist's father, a region that was for three centuries a hub of the transatlantic slave trade. Kara Walker's room-sized installations of silhouette cut-outs explore the narratives and journeys of Black history, its telling and re-telling, and the effect this has on African-Americans today.

Lubaina Himid was born in Zanzibar in Tanzania but moved to England with her parents shortly afterwards. One of the founding members of the Blk Art Group - formed by British artists whose parents were Caribbean and African migrants - her paintings, woodcuts, installations, works on paper and curatorial projects emphasise the contribution of African migrants to the development of European culture. Between the Two My Heart is Balanced 1991 is a large painting depicting two black women dressed in African-style clothing at sea in a small grey boat. The title of the work suggests the struggles for identity and belonging faced by migrants.

Cuban performance and installation artist Tania Bruguera's ongoing art project, Immigrant Movement International is an artist-initiated socio-political movement which aims to explore who is defined as an immigrant and the values they share, focusing on the question of what it means to be a citizen of the world. For her 2012 work Surplus Value at Tate Modern, visitors to the gallery were given a taste of some of the experiences immigrants have to face.

Personal journeys: Identity and life journeys

Although all the journeys referenced so far in this resource have included personal experience as well as referencing a geographical journey, there are some journeys that do not involve geographic travel but soley relate to life, personal experience and exploring identity. Bill Viola's Nantes Triptych is a three panel video installation with video footage of birth (on the left), death (on the right) and a metaphorical journey between the two represented by a body floating in water (in the centre). Viola uses his personal experience of birth and death (the birth of his son and his Mother's death) to exlore the universal experience of the journey of life, but in doing so also expresses his own personal response to these two momentous events.

Tracey Emin's Exploration of the Soul 1994 also explores the journey of life. It is comprised of thirty-two framed sheets of blue A4 notepaper on which Emin has written a poetic text recounting significant moments in her life from birth up until the age of thirteen.

Facing up to and coping with big things that effect our life such as the break up of a relationship or suffering from an illness can become a journey of self-discovery. Artist Jo Spence was diagnosed with cancer in 1982 and much of her subsequent work was a response to her treatment by the medical establishment and her attempt to navigate its authority through alternative therapies. As well as addressing ideas of identity, family, home and Britishness - particularly with respect to a British, Afro-Caribbean diaspora - Donald Rodney's work explores themes of mortality and his own illness. Rodney suffered from sickle cell anaemia, an inherited disease that affects people of African, Caribbean, Eastern Mediterranean, Middle Eastern and Asian ancestry. In the House of My Father is a photograph of the artist's hand holding a small fragile house constructed from pieces of his own skin removed during one of the many operations he underwent to combat his disease. The artwork symbolizes his illness but also the journey the illness has taken him through, in relation to his identity and his relationship with his father.

Process: Journeys in art making

Journeys in art can also be those that relate to the formal processes of art making. Artist Paul Klee famously described the process of drawing as 'taking a line for a walk'. Some artists create work using systems that dictate the journeys they will make in their creative process. For his Chance and Order Group VII, Drawing 6 1971 Kenneth Martin used number permutations which established systems outside his choice to dictate the journey his drawing would go on and the end result. For his sound installation Raw Materials in the Turbine Hall at Tate Modern, Bruce Nauman used the placement of recorded voices to manoeuvre people's journeys through the space.

Simon Starling is fascinated by the processes involved in transforming one object or substance into another. He makes objects, installations, and pilgrimage-like journeys which draw out an array of ideas about nature, technology and economics. Starling describes his work as 'the physical manifestation of a thought process', revealing hidden histories and relationships. For Work Made-ready, Les Baux de Provence (Mountain Bike) 2001, Starling rode a mountain bike to France, where he collected a few hundred kilograms of bauxite rocks, which he afterwards processed into aluminium. The installation features a do-it-yourself aluminium production line, and ends with the casting of the aluminium to replicate part of the same mountain bike he had ridden to the mine.

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Journeys in art Whether documenting a journey from A to B; exploring and responding to places; or using historical or personal journeys in order to better understand identity, artists have used different kinds of journeys to inspire their art over centuries.

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Article on reportage artist George Butler

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Article on reportage artist George Butler

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https://amp.theguardian.com/artanddesign/2022/mar/26/ukraine-war-artist-george-butler-drawings-kyiv-odesa

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Show caption
George Butler: 'This sweet little coffee tram was parked in Odesa. It was run by a girl called Eliza - she must have been about 17. I thought it was extraordinary it was still open for business, but Ukrainians love their coffee. It provides a sense of community as well as caffeine.'

Two weeks into the Russian invasion, as millions of Ukrainians fled their homes and headed west, artist George Butler began his own journey in the opposite direction. Travelling light, his dip pens, watercolours, Indian ink and drawing board stashed in his customary shoulder bag, he took a flight from London to the city of Iasi in Romania, then jumped on a bus to Chișinău, the Moldovan capital. Another long and very crowded bus journey took him to Odesa in southern Ukraine, where he stayed for a few days before continuing on an overnight train to Kyiv, at the heart of the conflict.

As millions fled the conflict in Ukraine, the reportage illustrator felt compelled to travel there. He​ explains why he wants to depict the human cost of war

Talking to him via Signal while he is under curfew in the apartment that has been lent to him by a Kyiv resident, my first question is: why? What made him undertake such a perilous journey into a living nightmare that others are desperate to escape?

'The Opera and Ballet theatre is easily the most beautiful building in Odesa, now surrounded by sandbags and these big black tank hedgehogs that are made by volunteers in factories around the city. They're cut out of old railway line and put all over the streets and it is impossible for tanks to move through them. Painted or welded on to all of them is the phrase: 'Russian warship, go fuck yourself.' That's become a real slogan. You see it everywhere.'

Photograph: George Butler

"I guess doing my job is a compulsion," he says. "I think it's the same for photojournalists and journalists who cover conflicts. We want to tell stories that otherwise we assume would not be told. That's always been my intention in Syria, in Afghanistan, in Yemen and all the other places I've worked in before."

Butler has been illustrating what happens in war zones, refugee camps and conflict situations in beautiful, delicate ink and watercolour paintings since he embedded with the British army in Afghanistan at the age of 21. His work has been published in newspapers and magazines all over the world and shown at the Imperial War Museum and the V&A. He dislikes the term '"war artist" and prefers to describe himself as a reportage illustrator. "The reality is that I draw what is going on around the margins of war," he says. "I think there is always space around the edges of these vulnerable, sensitive places to tell longer, slower, quietly observed stories, a visual account of what is going on there. It is not all about tanks and helicopters being blown up - it is about what happens at the fringes of atrocity."

As Butler waited in Odesa station last week to catch the overnight train to Kyiv, a scene of the kind he is drawn to played out. "The 8pm curfew had begun and it felt eerie in the darkness. Then a man called Volodymyr took out his acoustic guitar and started playing some Ukrainian songs and people began singing along. The guard came along and told him to be quiet but everyone said no, let him play. So he played and his friend handed out flowers, pink tulips, to every woman in the crowd. It was this extraordinary moment."

Photograph: George Butler

'Watching and listening to this guitarist in Odesa station, I was struck by the contrast between what was happening in front of me and the fast-moving stuff we've seen on our front pages and on TV screens this past few weeks. This was the human element of war, the stuff that happens away from the frontline.'

While Butler has the utmost respect for photographers, he believes that an illustration of the effects of war drawn over a couple of hours offers a different perspective. "It's not the snap of a shutter and then walking away. You can't 'steal' a drawing. Everything has to be done with the permission of the people in the image. It's gentle and open. It's unthreatening."

'This is the cafe in Odesa food market. It is totally set up for now for hundreds of young volunteers that are coming through and donating their time. A lot of them work in the morning and then come in in the afternoon to help. All those sort of orange hi-vis are all volunteers. They are packing up donations from civilians and from shops and putting them into boxes and sending them to military units, territory defence, across the country.'

Yesterday, in Kyiv, where you can hear thuds of artillery in the background all day, Butler went out with two volunteers, one a human rights lawyer and the other a mother, who were delivering aid to anyone who couldn't leave their homes. "We visited a woman called Madame Olga. She was 99 and she was terrified of anybody coming into her house because she thought they would be coming to take her away. She wanted to stay in her home, whatever the situation. As I drew her, she told me she was too frail to move down into the bomb shelter when there was an air raid so she and her daughter just stayed in the flat and hoped that any bombs would miss. That is the civilian cost of what is going on. Madame Olga is not at war, but war is very much part of her life.

'This is Madame Olga, 99. She is almost completely blind and deaf, She doesn't want to leave her flat so she stays there through the air raids with her daughter, 79, hoping the missiles will not find them.'

"She's 100 in August and she invited us to her birthday. She lived through the Great Famine - the Holodomor - and the second world war and now she is going through this. She told me she is so worried that she forgets the words to describe how she feels. The anxiety is so great she can't explain it. It was very moving and I think that is an example of a drawing being a gentle way into sitting with someone and listening to what they're saying. That's not to say it can't be done with a camera, but I hope that drawings offer a different dimension."

George Butler's work in Ukraine is part-funded by the Pulitzer Centre for Crisis Reporting

Drawn Across Borders: True Stories of Migration by George Butler is published by Walker Studio (£15). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply

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Artist George Butler: 'I draw what happens at the fringes of atrocity'

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Two weeks into the Russian invasion, as millions of Ukrainians fled their homes and headed west, artist George Butler began his own journey in the opposite direction. Travelling light, his dip pens, watercolours, Indian ink and drawing board stashed in his customary shoulder bag, he took a flight from London to the city of Iasi in Romania, then jumped on a bus to Chișinău, the Moldovan capital.

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Eleni-drawings from British transport museum 

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Eleni-drawings from British transport museum 