Summarize this content to 2000 words in 6 paragraphs in Arabic The high terrain of the Walking Cane Ranch in north-central Arizona, between the Painted Desert and the Little Colorado River and the San Francisco Peaks, is astoundingly beautiful. Flaxen grasses dust black and red volcanic gravel, which rises in huge, soft mounds \u2014 extinct volcanoes, the newest of which last erupted in 1066.James Turrell, 81, the owner of this ranch and one of America\u2019s most beloved artists, calls it \u201ca land between\u201d.\u201cIt\u2019s between desert and alpine. It\u2019s between the Indian culture and the white culture. For me, the most important thing is that it\u2019s between earth and sky.\u201dWe are driving in Turrell\u2019s dusty Jeep down an unpaved road that winds towards what may be the most logistically and philosophically ambitious artwork of our time.\u00a0In the mauve-tinted gloom, a shard of light explodes below the stone, then swells to a shimmering white circleTurrell, whose hair and long beard are completely white, was eight years old when he first laid eyes on this place. On a road trip along Route 66 from Pasadena, California, the Turrell family scaled the nearby Sunset Crater, from the rim of which young James would have seen, in the distance, a smaller cinder cone \u2014 the Roden Crater \u2014 that would come to occupy most of his life.\u00a0\u201cQuite a view,\u201d he says.Turrell\u2019s \u201cRoden Crater Project\u201d, to give it its full title, appears in practically every scholarly survey of American Land Art, despite the fact that it is unfinished, and very few people have seen it. Turrell spotted the crater again in 1967, when he flew across the western US in search of a suitable site for what he calls \u201ca naked eye observatory\u201d. He was able to purchase 40 acres nearby for $9,000; gradually, he bought up more land, eventually including the crater itself and the surrounding cattle ranch.In his ninth decade, despite slowing down physically, Turrell is as busy as he\u2019s ever been. His large-scale exhibition At One, at Gagosian Le Bourget, Paris, opened in October and runs until the summer. This year, he will also unveil major architectural projects in Aarhus, Denmark, and at the new DIB Bangkok Museum of Contemporary Art in Bangkok, Thailand, and gallery exhibitions at Wadi AlFann in Saudi Arabia and Pace Gallery in Seoul, South Korea.Since the 1960s, when he first experimented with installations of projected and natural light in his Santa Monica studio, light has been both Turrell\u2019s medium and his subject. \u201cI want to award light thing-ness, so we feel its substance,\u201d he says. The crater, which will eventually include 27 \u201csensing spaces\u201d, is the ultimate expression of his ideas. \u201cThis is an art that you don\u2019t have to know much about art to appreciate,\u201d he says.Most of these spaces are stone, concrete and bronze chambers built into the cone\u2019s scoria sides, admitting light from the sky through precisely positioned apertures. Turrell estimates he has shifted more than a million cubic yards of rock and earth around the crater, not counting the roads he has built (and, sometimes, subsequently erased).Three long tunnels will pass through the crater\u2019s sides; only one is completed. Every winter solstice, the light from the setting sun shoots down this nearly 900ft-long tunnel, and projects an image of our star on to a disc of almost flawless white marble 8ft across. Turrell agreed to let me see it.Over the years, his gallery installations have evolved from simple geometric shapes of projected light to immersive \u201cGanzfeld\u201d environments, such as the room-sized \u201cAll Clear\u201d (2024) currently on view in Paris. The Ganzfeld effect is the experience pilots have in cloud, or skiers in a whiteout, when the horizon disappears and orientation is scrambled. (Turrell got his pilot\u2019s licence when he was 16 years old, and owns five aircraft.) In \u201cAll Clear\u201d, shoeless visitors climb steps into a rounded space, entirely bathed in gradually changing coloured light which emanates from hidden LEDs.More monumental still are Turrell\u2019s \u201cSkyspaces\u201d, pavilions with open ceilings that developed from his early trials cutting holes in the walls and roof of his studio. He realised that by isolating a patch of sky, he could alter its colour, depending on the light around the aperture. For Turrell, this was a philosophical, even spiritual revelation, as well as a perceptual one: the appearance of things we understand as external to us is actually created in our minds. \u201cWe give the sky its blue,\u201d he once said. \u201cIf not, I would not be able to change it.\u201dOne of his earliest and best-known \u201cSkyspaces\u201d is at MoMA PS1 in New York: its title, \u201cMeeting\u201d (1980-86\/2016), acknowledged the meeting houses of Turrell\u2019s Quaker upbringing. He has often quoted his grandmother, who instructed him that the purpose of meditation was to \u201cmeet up with the light inside\u201d.This year, Turrell\u2019s largest ever \u201cSkyspace\u201d will open at ARoS, the museum in Aarhus, Denmark. \u201cAs Seen Below (The Dome)\u201d is based on the Pantheon in Rome \u2014 \u201ca pretty good space\u201d, he allows, and a prime example of hypaethral architecture, in which the sky is designed to enter the building through a central oculus. (Greek temples also did this.)At his studio in Flagstaff, about 40 minutes south of Roden Crater, Turrell employs a modest permanent staff of two: architects Udit Goel and David Maples, who have worked for him since December 2023. His wife, Kyung-Lim Lee Turrell, is also closely involved with all aspects of the studio. (Her brother Tony oversees the ranch and the Roden Crater site operation and maintenance.)Rather than a laboratory for perceptual effects, his studio resembles an architect\u2019s office, which is what it is, mostly. Maps and architectural sections of the crater are laid out on tables. Certain details, however, hint that this is no ordinary office, such as the bulky aerial camera he used to bolt on to his plane. Two meteorites, about the size of footballs, sit near flat sections of fossilised tree trunk, which Turrell tells me are 250mn years old.\u00a0He admits ruefully that his \u201cmoment of being an artist\u201d typically occurs in the brief period between the construction of his installations and their opening to the public. \u201cThat\u2019s what I live for, because I get to see things I\u2019ve never seen before.\u201dMuch of the rest of his time, in recent years, has been spent fundraising for the crater. Early on, support came from the Dia Art Foundation and patrons including Count Panza di Biumo and J Patrick Lannan Sr. At times, progress slowed down and Turrell subsidised the project by restoring vintage planes and cattle ranching.\u00a0Things picked up in 2013 when Michael Govan, director of the Los Angeles County Museum of Art (and former director of Dia), organised a successful touring retrospective for Turrell. Govan took patrons out to see the crater, and many made donations.\u00a0Turrell has also focused on growing the market for his \u201ccomestible\u201d artworks \u2014 things that can fit in collectors\u2019 homes. Aside from prints and ephemera related to the crater, this typically means installations of translucent glass panels that fit flush into cavity walls, with LED lighting systems behind. These have become sought after by the likes of Kanye West and the Kardashian family; in 2019 it was announced that West had donated $10mn to the crater. In 2024, the rapper Drake also visited, after the 2015 video for his track \u201cHotline Bling\u201d controversially plundered Turrell\u2019s aesthetic.\u201cYou can get a little bit of a shine on your ego from art. But I want to tell you, art\u2019s not the biggest thing in this world,\u201d Turrell reflects. \u201cAll you need to do is have somebody like Drake or Kanye come and talk about your work, and it blows up your website!\u201dIf all the funding came through today, Turrell tells me, Roden Crater could be done in four to five years. (He made a similar estimate to New Yorker writer Calvin Tomkins, in 2003.) The foundations which now own the crater and the land around it are raising endowments that will support the site when it one day opens to the public. The studio will not discuss total costs, in part because inflation is still stretching budgets, but in 2019 it was reported that Turrell and the foundation aimed to raise $200mn over the following two years to complete the project, and that nearly $40mn had already been raised.When finished, 32 \u201clodges\u201d will accommodate guests; electric carts will move them around the site. There will be an intimate Japanese tea room in a spherical capsule, projecting soft light into cups on a fossilised wood tabletop. There will be a pool from which bathers can watch the sunrise. There will be a Mesoamerican ballcourt and an amphitheatre. There will be a space \u2014 almost finished \u2014 with a marble throne, from which visitors, at certain times, can peer through a tunnel at the star Arcturus, which Turrell explains is \u201cpretty much at the centre of our galaxy\u201d. (The tunnel is yet to be funded.)Just before sunset, Goel drives me and three other visitors halfway up the crater to the \u201cSun | Moon Chamber\u201d \u2014 a circular room dominated by a massive disc of white marble set in an even bigger upright wedge of dark granite. Somewhere far up the keyhole-shaped tunnel, assistants have wheeled into position a 6ft diameter crystal lens. We wait for the light.The time Turrell has predicted it will appear comes and goes. Goel admits to feeling nervous \u2014\u00a0he has seen this phenomenon only once before, and fears it may not happen. Then, in the mauve-tinted gloom, a shard of light explodes below the stone, then swells to a shimmering white circle. Over the next few minutes, the image of the sun climbs upwards and across (inverted by the lens) then dwindles on the other side. We have witnessed the earth turning. \u201cI want to bring the sun, I want to bring these objects, into our lived-in territories,\u201d Turrell says.Turrell thinks of his work as a process of self-realisation \u2014 \u201crealising our celestial selves.\u201d He embarked on \u201cRoden Crater Project\u201d as Russia and the US were locked in a costly race to put a man on the moon. \u201cWe don\u2019t have to go to the moon \u2014 a lesser satellite of the Earth \u2014 to declare ourselves in space,\u201d he says.\u2018James Turrell:\u00a0At One\u2019, Gagosian, Le Bourget, France, to June 2025,\u00a0gagosian.com. Fundraising is under way to complete construction on and open Roden Crater.\u00a0rodencrater.com\/supportFind out about our latest stories first \u2014 follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic The high terrain of the Walking Cane Ranch in north-central Arizona, between the Painted Desert and the Little Colorado River and the San Francisco Peaks, is astoundingly beautiful. Flaxen grasses dust black and red volcanic gravel, which rises in huge, soft mounds \u2014 extinct<\/p>\n","protected":false},"author":1,"featured_media":161691,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-161690","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/161690","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=161690"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/161690\/revisions"}],"predecessor-version":[{"id":161692,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/161690\/revisions\/161692"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/161691"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=161690"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=161690"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=161690"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}