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Fly-over art of timing big sporting event with air traffic, too |
Many visitors to the 2025 Art Prize competition pause to peer at the rich detail from something like 3,000 feet above ground level that the artist, Tyler Leipprandt, has photographed in coordination with excellent helicopter pilots to put him in the right position with the right angle of light and the timing to show a passing aerial spectacle above the packed sporting events; all this with required permissions in hand. The entry is called
The Art of the Flyover. The adjacent video loop at the left end is also captivating, ending with a link to "the making of" some of the rare sights:
www.michiganskymedia.com.
There are many sorts of significance that a viewer can see in the giant prints. Some may have been in attendance at one or more of the mass sporting events that drew the photographer's attention and sparked the weeks of planning to put his lens in the exact alignment for the exact instant that all the elements clicked into place. So there is personal meaning. Then there are fellow (aerial and drone) photographers that marvel at the result so well expressed and in such large prints. Others may have no personal resonance or experiences with this technique, but they simply respond to the novelty of seeing the world in an unfamiliar way. There could be one or two visitors who consider buying a copy for business lobby or for home exhibition. As well, there are social observers and ethnographically inclined viewers who recognize that this frozen moment in time is a kind of mirror for the society in general.
Looking at the patterns visible from a great height there are many things to observe. One is
the relationship of people to nature: trees, grass, garden features, and public parks are allowed, but only in their proper place; only after the livelihoods and living places are catered to. Outside of the cities and suburban settings, the ratio is reversed so that farmland and wildland is in the majority while the built landscape is scattered across it in bridges, culverts, roads, and utility lines. Secondly, the
phenomenon of mass spectacle (broadcast on TV, livestreamed or recorded online, in person in bleachers): ticketing in priced tiers, parking requirements of vast scale, water and sewer demands during the 2 or 4-hour event, traffic complications before and after the occasion, catering to customer tastes in food and beverages, allowing fans suitable ways for them to make souvenir photos of the venue and teams and crowds and event itself. Maybe things have changed from ancient Greece or Rome, but there are surely common threads then and now. Thirdly, there is
the technological wonder: myriad details have to intersect exactly to make the internal combustion engines run, the infrastructure of road maintenance and signage and emergency services; but equally complex are the myriad details going into the moment when the photographer frames and releases the shutter to record the moment when a speeding aircraft passes over the crowded stadium - all eyes looking at it - and also for the weather and piloting of the helicopter to be angled just right, too. From concept to planning & permissions to getting to altitude and recording to finally producing a finished picture is a staggering amount of control and quality assurance. Finally, there is
the phenomenon of the ArtPrize.org competition and the many visitors who see the art for the first time, possibly interacting with the artist, and he with fellow artists and members of the news media on site. In other words, imagining and creating the art is only half the exercise. Until someone buys the picture for public display or private ownership, the full cycle of life is not complete. Living in spaces of social media, cameras for recreation and for surveillance to mediate daily experience, and marketplaces for creative work means that buying and selling art, building a public reputation, and engaging with "followers" and patrons who may commission future work is a living part of being a creator in 2025.
Much of one's own life seems to depend on documenting it for self and for others; something much less common during film camera (still and video) generations; something practically non-existent in the days of no consumer-grade cameras before 1910 or 1900. In other words, now in today's social experience and arc of life, failing to take a few snapshots or video clips along the way means that old-school memory and written notes are the only trace of one's experiences. Lack of visual proof is something that has become a source of distress in these times of ubiquitous cameras. This gives new meaning to FOMO (Fear Of Missing Out - something others do and one's own self failed to do). In the case the gallery display shown in this example, which seems to be more real to gallery visitors (or to the people in the stadium at the moment of the flyover spectacle): the large, mounted photo print or the few seconds of roaring jet engine and rare view of famous aircraft buzzing the crowd?
The society is BOTH an aggregated set of individuals of diverse biographical timelines AND a pattern of collective future expectations, past experiences, and present ways of behaving and reacting. Since almost all the spectators filling the seats on these game days arrived in personal automobiles (or shuttle services by bus from remote parking areas), it is safe to assume all of them share the worldview of personal transportation to buy and maintain. And the value of taking pictures during their big day out also is largely shared. Showing team loyalty in choosing colors to wear or merchandise to buy is another feature of mass sporting events that will be familiar to all those in the photo down below. Finally, there is a delight in technological wizardry that makes possible the mysteriously shaped B-2 Stealth Bomber, the magic of electronic warfare in specialized jets, and the deadliness of a formation of fighter planes.
Taken all together, the big pictures in this year's Art Prize competition capture visitors' interests, as well as capturing the flyover subject at the center of the aerial photo project. The big pictures also give social analysts a big picture view of the society in 2024 and 2025 in which mass sporting events still draw people away from their living rooms to attend the competition on the field of play in person.