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A Person Looks At A Work Of Art/
someone looks at something ...
Phillipe de Montebello, former director of New York's Metropolitan Museum of Art, once remarked that museums are no longer about art, they're about visitors. Having popularised the blockbuster show, he realised that exhibitions were more about the looker than what is looked at.
'NGV exhibition shines light on the peculiar poetry of Melbourne's soul'
Chris McAuliffe /THE AGE (Melbourne)
11 December 2013
"... the most comprehensive retrospective of this important Australian artist collective, which in the early 1980s gained international recognition for its conflation of experimental music, punk and post-conceptual strategies.
An umbrella term for a large number of recording groups comprised mainly of artists with little or no musical training, ANTI–MUSIC was founded in 1979 by John Nixon, who also co-ordinated its activities over the five year duration of the project. Experimenting with a wide-range of musical genres, including folk, rock, pop, electronica, improv, film music, noise, muzak, and even opera, ANTI–MUSIC eschewed live performance, instead preferring anonymity and concentrating on DIY cassette-tape recording processes..."
- full text here
Formed in 2007 by artist John Nixon, The Donkey’s Tail is an experimental artmusic ensemble featuring diverse artists, musicians and amateur collaborators who perform Nixon’s unconventional compositions on instruments made from found objects and orthodox instruments played in unorthodox ways. The group has been prolific in the experimental music scene, releasing more than sixty-five recordings on CD and playing regularly in Melbourne galleries and music venues. For Melbourne Now, The Donkey’s Tail has conceived an installation encompassing homemade instruments, CDs, photographs, paintings, graphic scores, sheet music cover designs, flyers and posters, and abstract kinetic videos. The project also incorporates The Donkey’s Tail Jnr, a special commission for kids encouraging experimentation with sound.
- Melbourne Now catalog
Abstract: In the 1970s, the Australian artist Ian Burn (1939–1993) was a key member of the pioneering Conceptual Art group Art & Language. However, since Burn’s untimely death in 1993 his name and important contribution to Conceptual Art have been slipping away in official accounts of Art & Language history published in the context of career-defining exhibitions in major museums. What might be at stake in minimizing the inputs of an artist who had been central to the Art & Language project? And what are the consequences of this short-circuiting of museum scholarship? This paper charts the writer’s investigation of this art historical manipulation. It also reflects on how Art & Language has reacted when called upon to account for their actions. It is a cautionary tale to be sure, but it is one that raises important ethical and legal questions about the role and responsibility of major art museums having effectively colluded with living artists to re-construct art history.
one perceives almost nothing but trees, each of them comes forward as an individual…None of the trees has that insistent tactile dimension - as experienced on every walk in a forest - that transfixes the eye, taking up the entire visual field and thus never graspable at once. And yet, between the trees, the bright sky looks at the beholder with hundreds of eyes.
…we see a wanderer sitting and resting contemplatively. [...] Any remnant of action as an expression of will has been done away with; what the artist represents and the beholder experiences in now pure sensation.8