David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

11 December 2017

Voidoids of TAR

Urban Dictionary: Voidoid
A voidoid is any such person who belongs to the Blank Generation!

Alex Gawronski with oversaturated void prosthesis at KNULP fundraiser auction on Saturday.

Theatre of the Actors of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something... 


08 December 2017

Vale Ray Hughes

Vale Ray Hughes, legendary art dealer
Katrina Strickland / SMH 

8 December 2017

Ray Hughes: 45 years of adventure in the art trade

Katrina Strickland / Financial Review
24 April 2014
Your correspondent exhibited twice with Ray at his Brisbane Gallery, in 1979 and 1980. Below, the invitation postcard for the first of these :

 A Person Looks At A Work Of Art/
 someone looks at something... 


07 December 2017

KNULP fundraiser


Featuring works from an array of KNULP associates including:

Iakovos Amperidis 
Hany Armanious
Dylan Batty
Margaret Brink 
Vicky Brown
Jessie Bullivant
Mitch Cairns
Camilla Cassidy
Consuelo Cavaniglia
Carla Cescon
Maria Cruz
Mitchel Cumming
ADS Donaldson
Scott Donovan
Jack Lanagan Dunbar
Mikala Dwyer
Alex Gawronski
Matthys Gerber
Sarah Goffman
Agatha Gothe-Snape
Jasmine Guffond
Michelle Hanlin
Patrick Hartigan
Shane Haseman
Matt Hinkley
Matthew Hopkins
Anna John
Locust Jones
Sean Kerr
Geoff Kleem
Hyun Lee
Del Lumanta
Jason Markou
Luke Parker
Kenzee Patterson
Tanya Peterson
Elizabeth Pulie
Robert Pulie
Elvis Richardson
Zoe M. Robertson
Nicola Smith
Nick Strike
Isabelle Sully
Jelena Telecki
David M. Thomas
Teo Treloar
Justin Trendall
Ronnie van Hout
Philipa Veitch
Justene Williams
Gianni Wise

15 Fowler St
Sydney, Australia
Saturday and Sunday 12-5pm
Monday to Friday by appointment

 Ronnie van Hout / Study for Hercules (2017)  
 A Person Looks At A Work Of Art/
 someone looks at something... 


06 December 2017

Again, again! ( Felix )

 A Person Looks At A Work Of Art/
 someone looks at something... 


03 December 2017

Terms of Reference | Re. Royal Commission into Words, Entitlements, Titles and Labels :

Much has been made of the extraordinary backflip this week by the prime minister, Malcolm Turnbull, on the issue of a banking royal commission – from two weeks ago when he was telling Channel Nine’s Karl Stefanovic that a royal commission “doesn’t do anything other than write a report”, to this week announcing one.
But of course this isn’t really a banking royal commission – it is instead a royal commission whose own framers see little need for it. It has been given just one year – a year less than was given to the trade union royal commission – and with terms of reference that are poorly focused, and which you could be excused for believing are designed to produce little change to our financial system.
It is the weirdest announcement for a royal commission that I can recall.
Shades of Sir Humphrey in banking royal commission terms of reference
Greg Jericho / The Guardian
3 December 2017


a beginning, an origin 
In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum. 
In the beginning was the Word and the Word was with God and God was the Word. 
a groundwork, a foundation

principium - Wiktionary


In the beginning was the Word, and the Word was with God, and the Word was God...
And the Word was made flesh, and dwelt among us.

John 1:1, 14King James Version


Logos (UK: /ˈloʊɡɒs, ˈlɒɡɒs/, US: /ˈloʊɡoʊs/; Ancient Greek :
λόγος, from λέγω lego "I say") is a term in western philosophy,
psychology, rhetoric, and religion derived from a Greek word meaning "ground", "plea", "opinion", "expectation", "word", "speech", "account", "reason", "proportion", "discourse", 
but it became a technical term in philosophy beginning with Heraclitus (c. 535–475 BCE), who used the term for a principle of order 
and knowledge. Logos is the logic behind an argument.

Logos tries to persuade an audience using logical arguments and supportive evidence. Logos is a persuasive technique often used in writing and rhetoric. Ancient Greek philosophers used the term in different ways. The sophists used the term to mean discourse, and Aristotle applied the term to refer to "reasoned discourse" or "the argument" in the field of rhetoric. The Stoic philosophers identified the term with the divine animating principle pervading the Universe. Under Hellenistic Judaism, Philo (circa 20 BCE - 

50 CE) adopted the term into Jewish philosophy. The Gospel of John identifies the Logos, through which all things are made, as divine (theos), and further identifies Jesus Christ as the incarnate Logos. The term is also used in Sufism, and the analytical psychology of Carl Jung.

Despite the conventional translation as "word", it is not used for a word in the grammatical sense; instead, the term lexis (λέξις) was used. However, both logos and lexis derive from the same verb legō (λέγω), meaning "count, tell, say, speak"

Jeanne Fahnestock describes logos as a "premise". She states that, to find the reason behind a rhetor's backing of a certain position or stance, one must acknowledge the different "premises" that the rhetor applies via his or her chosen diction. The rhetor's success, she argues, will come down to "certain objects of agreement...between arguer and audience". "Logos is logical appeal, and the term logic is derived from it. It is normally used to describe facts and figures that support the speaker's topic." Furthermore, logos is credited with appealing to the audience's sense of logic, with the definition of "logic" being concerned with the thing as it is known. Furthermore, one can appeal to this sense of logic in two ways: 1) through inductive logic, providing the audience with relevant examples and using them to point back to the overall statement; 2) through deductive enthymeme, providing the audience with general scenarios and then pulling out a certain truth.
Philo distinguished between logos prophorikos ("the uttered word") and the logos endiathetos ("the word remaining within").  The Stoics also spoke of the logos spermatikos (the generative principle of the Universe), which is not important in the Biblical tradition but is relevant in Neoplatonism. Early translators from Greek, such as Jerome in the 4th century, were frustrated by the inadequacy of any single Latin word to convey the Logos expressed in the Gospel of John. The Vulgate Bible usage of in principio erat verbum was thus constrained to use the (perhaps inadequate) noun verbum for "word", but later romance language translations had the advantage of nouns such as le mot in French. Reformation translators took another approach. Martin Luther rejected Zeitwort (verb) in favor of Wort (word), for instance, although later commentators repeatedly turned to a more dynamic use involving the living word as felt by Jerome and Augustine.

-  Wikipedia : Logos

Wovon man nicht sprechen kann, 
darüber muss man schweigen.  

Whereof one cannot speak,

thereof one must be silent.  

so wrote Ludwig Wittgenstein

images via imgrum / instagram  

One of the more unusual techniques, which she learned from a psychologist many years ago, was to give her paintings long titles.

Her first solo show at the ­National Gallery of Victoria, Our Knowing and Not Knowing, will show works such as the one titled: The Rose Petal Scrolls, become the Scrolls of our Ancient Past; of the Law; of Wigs, still worn. The Hands of Now, of Doing. The Pear that is Flesh and Heart. The Conflict with Arrogance. Also, the Flicker of Life, and the Question Mark. 2014. And that’s one of the shorter ones.

She said people often imposed their own fantasies on artworks because it wasn’t obvious what the artist was portraying.

“I would love it if people could read the titles and identify what’s happening there,” she said. “That would be lovely but I don’t have much hope of that happening.”

Helen Maudsley to have first solo show at NGV
Tessa Ackerman / The Australian
16 November  2017

 , actually,

It is the titles, actually, that are at once the most difficult and, through their play with the visual imagery, also most rewarding elements of Maudsley's work. Difficult because, despite Maudsley repeating that her intention is to have us look at and not look for something in the work, the titles constantly get in the way of our ability to simply look. They invest and 'fill up' sight with language so that the eye becomes a searching-eye, searching for something that the works never end up betraying. One option to overcome this would of course be to just ignore the titles. This option, however, never feels viable, especially when confronted with thirty-two works in a single room (with their oft repeated motifs and formal similitudes): the titles are one of the few reprieves from what, at worst, could be a visual monotony.

However, if the titles are difficult because they get in the way of simply looking, their rewarding aspect is that they actually compel one to be conscious of, and ultimately adjust one's very attitude to, looking. If the titles are not accepted at face-value as clues to a visual analogy that needs to be unlocked like the discrete, unified answer to a cryptic crossword; if, after filling sight up with Maudsley's language one actually empties sight of this language, then the titles start to function as a kind of semiotic or symbolic atmosphere that shrouds the work, keying in sight to a semiotic register. Instead of a visual search, they produce a visual 'mood'

This 'overcoming' of the titles, however, was only one challenge of Our Knowing and Not Knowing: Helen Maudsley... 

- extract from 
Paris Lettau / MEMO Review, 2 December 2017

Theatre of the Actors of Regard  
But wait, there's more is less

Another challenge was the curator's appropriation of Maudsley's artistic strategies, in which, through a series of mimetic acts by the curator, the same formal structure of Maudsley's work is repeated at the level of exhibition design. What are these 'mimetic acts'?

One is the curator simply utilising a painting of Maudsley's as a design for an all-encompassing wallpaper [one quickly recognises the design to be taken form The Self: Part of it But not Merging (2017)]. (According to rumour, there is a wallpaper mandate at the NGV because "a million dollars" was blown on a wallpaper machine). In doing this, the spatial poetics of Maudsley's work is literalised within the exhibition space. This all-over nature of the wallpaper has the effect of consuming Maudsley's individual works, much like Sam Songailo's wall painting notoriously did in Painting. More Painting at ACCA in 2016... 
- continuation of extract from
Paris Lettau / MEMO Review, 2 December 2017

  1. marichina_bose

    @sallyrossartist I feel the same way. That wallpaper does the incredible works a serious disservice
  2. marichina_bose

    Why is the wall like that
  3. marichina_bose

    Helen’s paintings are enough thankyou. They are formally intelligent complete and they have tremendous integrity that can be contemplated at eye level. Their form and structure refer to very specific criteria from Western Modernism. They are not toys that need echo chambers to distract us. @sallyrossartist
  4. marichina_bose

    @john_young_zerunge yes was just wondering why a non-existent void needed to be filled... xx
  5. marichina_bose


21 pencil salute
Every so often bLOGOS/HA HA tips our hats to someone we admire.

Today, Helen Maudsley. Artist, teacher, matriarch and champion custodian of the work of her late-husband John Brack.

- extract from 21 March 2012 [ full post here ]
Came to the aid of the party

Helen, second from the left, at the free pencil movement silent 
protest against no-sketching regulation, NGV, 9 December 2004

photo : Christian Capurro  
 A Person Looks At A Work Of Art/
 someone looks at something... 

02 December 2017

Not necessarily stoned, but beautiful

Instagram changing place on Blueprint for Living

with Jonathan Green on RN ( listen here )

Extract from this morning's conversation :

Jonathan Green : Emily, in the museum setting this is a really interesting thing because you’re putting on shows for people to see and now you’re pushing these ideas of ‘instagram moments’ you’re sculpting what places like Museum of Victoria are putting on for people on social media.

Emily Siddons (producer, exhibitions Museum Victoria) :
We are, yes, and I guess what we’ve found to be most impactful is the way in which people consume information and what they expect out of a museum or a gallery, indeed, and I guess they’ve always been beautiful places, they’ve always had amazing architecture and housed really incredible objects but what we’re really trying to play with now is you used to be more of a passive observer where you really weren’t allowed to take photos a lot of the time and now we’re trying to encourage that and we’re trying to engage them in an active dialog and how do we do that in a way that is really playful and fun and exciting?

J. Well, you’re changing your experience.

E. We are, we are. In fact we don’t refer to our exhibitions as exhibitions any more, we now talk about them as experiences and how can we really play on that engagement and surprise audiences and yes we have even built-in a ‘selfie-moment’…

J. Uh oh…

E. …into, well it’s a bit of a commentary on ‘a selfie-moment’.

J. Ah, it’s ironic.

E. Yes, it will be interesting to see how it lands. It’s part of an exhibition, a very experimental exhibition we’re developing. 

J. But you want people to be in your space, experiencing your exhibition, but then translating that to social media. Bingo! for you is for that post to appear as you planned it, as you intended it.

E. Exactly.

collection : FIAPCE  

[Verse 1]
If you can just get your mind together
Then come on across to me
We'll hold hands, and then we'll watch the sunrise
From the bottom of the sea

But first, are you experienced?
Have you ever been experienced?
Well, I have

[Verse 2]
I know, I know you probably scream and cry
That your little world won't let you go
But who in your measly little world
Are you trying to prove that
You're made out of gold and, eh, can't be sold

So uh, are you experienced?
Have you ever been experienced?
Well, I have

[Verse 3]
Let me prove to you
Trumpets and violins I can hear in distance
I think they're calling our names
Maybe now you can't hear them, but you will (haha)
If you just take hold of my hand

Oh, but are you experienced?
Have you ever been experienced?
Not necessarily stoned, but beautiful

 A Person Looks At A Work Of Art/
 someone looks at something... 


01 December 2017

Everyone at Once or What the Worm Saw

A bird's-eye view is an elevated view of an object from above, with a perspective as though the observer were a bird, often used in the making of blueprintsfloor plans, and maps.
It can be an aerial photograph, but also a drawing. Before manned flight was common, the term "bird's eye" was used to distinguish views drawn from direct observation at high locations (for example a mountain or tower), from those constructed from an imagined (bird's) perspectives. Bird's eye views as a genre have existed since classical times. The last great flourishing of them was in the mid-to-late 19th century, when bird's eye view prints were popular in the United States and Europe.
- Wikipedia  
LONDON — Sometimes, curatorial conceit need be nothing more than a conceit, a frame that occasions the presentation of stellar art. While lacking a sharp concept, the exhibition Everything at Once offers a bird’s-eye view of the global contemporary art scene’s ascendance, convergence, and rupture.
- full article here  
 Anish Kapoor, “At the Edge of the World II” (1998)
 photo by Jack Hems
, © Anish Kapoor, courtesy Lisson Gallery

Theatre of the Actors of Regard   

 A Person Looks At A Work Of Art/
 someone looks at something... 


29 November 2017

2017 West Space Fundraiser

Nick Austin, Glenn Barkley, Jack Brown, Lauren Burrow, Trevelyan Clay, Georgina Cue, Vittoria di Steffano, Hana Earles, Clementine Edwards, Emily Floyd, Briony Galligan, Agatha Gothe-Snape, Ry Haskings, Greatest Hits, Heidi Holmes, Raafat Ishak, Lucina Lane, Merryn Lloyd, Alex Martinis Roe, Kym Maxwell, Sanné Mestrom, John Nixon, Ruth O'Leary, Taree Mackenzie, Nicholas Mangan, Nik Pantazopoulos, Nell Pearson, Oscar Perry, Joshua Petherick, Jason Phu, Patrick Pound, Lisa Radford & Masato Takasaka, Ander Rennick, Kiron Robinson, Christopher Sciuto, David Sequeira, Kieren Seymour, Nicholas Smith, Peter Tyndall, Grace Wood and Simon Zoric. 

Catalogue available as an online store here.

edition by FIAPCE  
 A Person Looks At A Work Of Art/
 someone looks at something... 


28 November 2017

'cause baby won't you look at you now

It all started out so well for this baby boomer 
Baby Bomber actor of regard...

 1952 portrait of the artist of TAR by Reg V. Brock 
 at his View Point photography studio, Bendigo

"You Must Have Been a Beautiful Baby"
words by Johnny Mercer
version below by Bobby Darin

Oh … you know, you know, you know, you know …

You must a been a beautiful baby
You must a been a beautiful child
When you were only startin'
To go to kindergarten
I bet you drove those other childs wild!

Oh yeah … oh yeah … oh yeah …
An' when it came to winnin' blue ribbons
Well ... I bet you taught the other kids how
Well, I can see the judge's eyes
As they handed you the prize
I bet you took the cutest bow!

Yeah! You must a been a beautiful baby
'cause baby won't you look at you now

Oh yeah ... oh yeah ... oh yeah ...

You must a have been a beautiful baby
You must a have been a beautiful child
When you were only startin'

To go to kindergarten
I know you drove the other childs wild
An' I wasn't even there

An' when you came to winnin' blue ribbons
Hey … I know you taught those other kids how
Well, I can see the judge's eyes
As they handed you the prize
I know you made the cutest bow!

Yeah! You must a been a beautiful baby
‘cause baby won't you look at you now
Oh, I mean … I mean … oh, beautiful …
Oh, beautiful ...
Oh, beautiful ...

Oh, beautiful ...
Oh, beautiful ...
Oh, beautiful ...

Aah, I know you're beautiful … too beautiful for words ...

    Yeah! You must a been a beautiful baby
    ‘cause baby won't you look at you now...
click image to enlarge 

           recent portrait of the artist with TAR branding iron 
           by Graeme Harrison at FIAPCE Bonzaview studio

        A Person Looks AA Work Of Art/
        someone looks at something... 
        LOGOS/HA HA 

26 November 2017

Chin Music

Australia v England
at the Gabba, Brisbane
first match of The Ashes 2017/18
day 4

           A Person Looks AA Work Of Art/
           someone looks at something... 
           LOGOS/HA HA