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.

24 July 2015

Cultural Capital, The drover of

Extending our Capital theme, we have received through the post, from the University of Queensland Art Museum, an invitation to the travelling (art droving) exhibition :


The invitation reproduces a 1906 painting by Harry Garlick, The drover, from the collection of the National Gallery of Australia.

Before we show that invitation, here is the NGA's online reproduction of The drover from an earlier (2007-2009) travelling (art droving) exhibition :

Ocean to Outback: Australian Landscape Painting 1850–1950

What is the CAPITAL of IMAGE & TEXT ? At that NGA website, this image is accompanied by the following text composition, beginning with the SURNAME of the artist in LARGE(R) CAPITAL LETTERS than the Prenom/Christian Name/ First Name :

Australia 1878 – Australia 1910
The drover 1906
oil on canvas board
60.8 (h) x 45.4 (w) cm
Framed 81.1 (h) x 65.7 (w) x 7.2 (d) cm
signed and dated l.l., oil "Harry Garlick \06"
NGA 1972.135
VIEW: Article |

For the CAPITAL & COUNTRY invitation
the EXHIBITION TITLE is imprinted onto the image 
in steely blue CAPITAL LETTERS

in the manner of a later LANGUAGE or CONCEPTUAL ARTIST

'Value added' landscape No.14
Ian Burn and Hans Selke

or in the manner of a TAR figure & field dualist 
      gone to GOMA droving 
      and we don't know where we are :

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


from the series : AUSTRALIAN ANDSCAPE 
Harry Garlick and FIAPCE
TAR and the mirrors of emptiness : we looked online for earlier stock route camps of the drovers of CAPITAL & COUNTRY and were rewarded with this devoided scene of white/blanc (Fr.) projection-spaces whose spectral reflections appear to indicate something quite other.
Below this image was the following text
Capital and country: the Federation years 1900 - 1914 is the National Gallery of Australia's first major exhibition to focus on Australian painting from this formative era of the nation's history.
Drawing together the art of a newly Federated Australia with the work of Australias residing in Europe, the 46 works in this exhibition invite viewers on a journey from the Australian bush to bohemian enclaves of London and Paris.
Well-known and loved paintings from the national collection will be on display to tell the stories of thie era, as well as works from the collections of the Parliament of Australia and the National Library of Australia.
whereas, above the image was this, as relevant here as there :
 This listing has already occurred and is has now expired, it has been retained for viewing for historical / archival purposes. 

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