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.


Showing posts with label Regardism. Show all posts
Showing posts with label Regardism. Show all posts

19 June 2014

Nothing|Changes


Art|Basel


Basel

19-22 June 2014


Art Basel has been described as the ‘Olympics of the Art World’. Over 300 leading galleries from North America, Latin America, Europe, Asia, and Africa show the work of more than 4,000 artists, ranging from the great masters of Modern art to the latest generation of emerging stars. 

The show's individual sectors represent every artistic medium: paintings, sculpture, installations, videos, multiples, prints, photography, and performance. Each day offers a full program of events, including symposiums, films, and artist talks. Further afield, exhibitions and events are offered by cultural institutions in Basel and the surrounding area, creating an exciting, region-wide art week.

Du magazine - Art Basel issue
Du magazine has produced a special bilingual German/English issue on Art Basel – take a look at ....   




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

 LOGOS/HA HA
   

      

04 June 2014

Regardless, a lesson.


We've been enjoying the Samurai film series on SBS.TV over recent weeks.

In Yoji Yamada's 2004 The Hidden Blade there is a very brief scene ] it's as if we pause for a lesson ( in which a man with hands outstretched closely follows a chook, readying to snatch it. Behind them walks a man with a large wicker basket, also at the ready. 

The moment the first man grabs the chook, the second man snares them both!

     
Then back to the main story...


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

LOGOS/HA HA
   

      

16 May 2014

Color Field Regard

          
A large crowd of Color Field enthusiasts attended last night's performance at Civic Hall by some local members of Theatre of the Actors of Regard.
        

            
This 90 minute tableau vivant took as inspiration : someone looking at the reproduction below ] with white trim ( of Mark Rothko's 1956 painted fabric, Orange and Yellow.
          
    
 detail
 A Person Looks At A Work Of Art/
 someone looks at something ... 

 LOGOS/HA HA
   

      

31 March 2014

Red Corner

           
Theatre of the Actors of Regard  
presents

MEMBERSHIP :
 
Together Let Us Regard The Red Right Angle
    

Show your support for the Gallery and become a Member today. You’ll get exclusive offers, special Members-only tours, learn more about art and get great value from regular visits to the Gallery.
           
detail
A Person Looks At A Work Of Art/
someone looks at something ... 

LOGOS/HA HA
   

      

24 March 2014

Theatre of the Actors of Regard at MELBOURNE NOW (7)

       
      
Normal Performance of Regard
by Theatre of the Actors of Regard
Documentation of Normal Performance of Regard
by Peter Tyndall 

         
at NGV-Australia (Federation Square)
6-9pm Friday 14 March 2014

         
The Witness commissioned Actor One.
Actor One commissioned Actor Two.
Actor Two commissioned Actor Three.

In this way, none of the interventionists knew who among them was a normal Actor of Regard and who a paid professional performing the prescribed Act of Regard.

The script was issued on the day : 
just act normally
      

    
Perhaps someone in this tableaux is one of the commissioned Actors? Maybe they all are?
   

        
It never occurred to the Witness that the shoe-
maker might be someone else's Actor. "Would you like to make a shoe?", she asked. The wall text said My name is ... and I'm a shoemaker. So, sure, why not?

Tab A to Tab B then thread the lace and tie. 

The Witness asked the shoemaker, "When did you first think to yourself, 'I want to make shoes'?" At this the shoemaker broke character and admitted to not being a shoemaker but a fill-in paid actor, a lawyer odd-jobbing. 
      

      
What about this group? Maybe one or more of them are the Actors?  
       
Later, The Witness was told this was a different group of TAR participants, seen here after that other synchronous performance.

At 9pm the Witness and Three Actors met for the first time. 
   

left to right : Actor Three, Actor Two, Actor One

They shared their experiences : of watching a security official looking closely at a wall (see: The Daruma Muralists); of dissolving into looking; of suspecting others of suspecting them to be Actors.

Regarding the latter, the Witness told them of some people returning to report that, since they had been informed that some among them were Actors, now everyone appeared to them as possibly Actors.
        

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

LOGOS/HA HA
   

      

12 February 2014

ACCA and Regardism


Ashley and The Regardists :

Performance of Regard
at Image Codes, ACCA, 1985. 
Courtesy ACCA Archive
    

click image to enlarge  
detail
A Person Looks At A Work Of Art/
someone looks at something ...
 
LOGOS/HA HA


      

01 February 2014

Doctorate of Regard

           
        

apoLOGOS/HA HA to Maurice Bonnel  

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

apoLOGOS/HA HA to Dr. Ernest Regard  
    
 detail
 A Person Looks At A Work Of Art/
 someone looks at something ...
 
 LOGOS/HA HA


      

18 January 2014

What Regard Is This? (after Neville Cayley)


Bogart and Bird (1941)

      

The Maltese Falcon Sells for $3.5 Million

by 
Today at Bonhams in New York City, the statuette of the iconic “black bird” from John Huston’s noir classic brought in a whopping $3.5 million at auction after a protracted bidding war between a bidder in the room and an unidentified party on the phone. The remote buyer, whose bids were delivered by Bonhams’ Director of Entertainment Memorabilia Catherine Williamson, emerged victorious, and a cheer arose from the assembled – and somewhat stunned – crowd. (The final sale price, including Bonhams’ service fees, will be $4,085,000.)

- posted at cinematically insane on 

Baby and Block (1952)

 You and Blog (-now-)

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


      

17 January 2014

The PolyMonoChrome Inspectorate

           
A brief sub-set of 20th century Painthing Regard

a mnemonic link to a lot

Ripolin Brothers
Paul Klee
Bauhaus
Mondrian and van Doesburg
Instruments (Makers) of the Passion 
Malevich
Gilbert & George
Theatre of the Actors of Regard
Richter

you know ...


 The Diagonalysist                     Theatre of the Actors of Regard

 The Cruciformalist                    Theatre of the Actors of Regard
    
 detail
 A Person Looks At A Work Of Art/
 someone looks at something ...
 
 LOGOS/HA HA


      

11 December 2013

Act/ors of Regard at Melbourne Now

       
Chris McAuliffe begins his article about 'Melbourne Now' (National Gallery of Victoria, until 23 March) with:
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 

Find the balance, then slowly slowly...
     

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


      

09 December 2013

Beyond Beholding

  
We were recently alerted to the online and free
Journal of Art Historiography.

In the December 2013 Issue Number 9, by the titles alone, two articles were of immediate interest; confirmed in the reading. Ian Burn’s Questions: Art & Language and the rewriting of Conceptual Art history by David Pestorius : click here
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.
And ‘Hundreds of eyes’: Beyond Beholding in Riegl's ‘Jakob van Ruysdael’ (1902) by Christopher P. Heue. 

Today, we focus on the latter. To read the full article click here. Below is an extract.


‘Hundreds of eyes’: Beyond Beholding in Riegl's ‘Jakob van Ruysdael’ (1902)

Christopher P. Heuer


... Jacob van Ruisdael, meanwhile, emerges as exemplary of the third phase, in works like the Great Beech Forest, where human activity has been expunged. It is, as Riegl puts it, sheer looking that becomes the subject of the work:
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. 
Tree and sky, anthropomorphized, thus acknowledge the beholder, almost socially. And indeed, the mutual balance between Ruisdael’s subjectivity and that of the purported beholders’ - eye to eyes - is precisely what Riegl tracked in the giant Gruppenporträt article from the same year (1902), a balance based on jointly deferential Aufmerksamkeit, or attention, between observer and sitter. The trees work like Rembrandt’s glaring syndics. ‘…all of Dutch painting can be called, ‘ Riegl writes near the close of the Ruisdael essay, ‘a painting of attention.’

 For this attention, Riegl explains, is uniquely harmonious in Ruisdael’s own ‘mature’ phase, where certain paintings’ design functions almost as an allegory for Dutch egalitarianism: ‘individual things are always coordinated. No single one is emphasized at the expense of another…sky and earth are completely equivalent.’ Riegl writes. This pictorial relationship within the painting models a relationship ostensibly outside the painting between beholder and actual artwork. The painting, that is, anchors a visual transaction. And just as the staffage is depicted in the act of calmly staring at trees, dunes, and water, so is the human beholder - placed before the picture - made aware of their own silent observational performance:
…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 
What the best Ruisdael pictures do, Riegl writes, is engage a ‘pure enjoyment of looking.’ Importantly, this is a looking cleaved from what Riegl calls the ‘expression’ of some extrinsic value - freed from duty to narrative or artistic will. The beholder’s looking remains engaged, however, even without Wille – it is an active attention, but one that never seeks to overpower its subject...
          
Although interestingly/curiously the article doesn't picture 'the Great Beech Forest', we reckon it is probably this, also known as The Great Forest. 
         

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

Regarding : " - eye to eyes - "
        
Theatre of the Actors of Regard
          
presents
          
The Battle of the Blink (continued)
         
CYCLOPS versus ARGUS PANOPTES
                 

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


      

05 December 2013

Dr Who : LOL part 5 _ The Great Curator


Okay, let's round this up. 

Through the inspiration of Bad Wolf/the Interface/conscience of The Moment, the Doctors devise a plan for future-saving Gallifrey. Art meets cosmic cryogenics.

Clara : But where would Gallifrey be?
Dr Who (Tennant) : Frozen. Frozen in an instant of time. Safe and hidden away.
Dr Who (Smith) : Exactly.
Dr Who (Hurt) : Like a painting!
              
.  .  .  .
  
Did their intervention for Gallifrey work?

The fall of a white sugar cube is stilled above a clear dark liquid...



.  .  .  .
  
The three TARDIS and their travellers reconstitute in the Under Gallery of the National Gallery, London. 


Clara and the Doctors sip tea and regard anew the painting of Gallifrey .

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

Dr Who (Tennant) : What is it actually called?
Dr Who (Smith) : Well, there's some debate. Either 'No More' or 'Gallifrey Falls'
Dr Who (Hurt) : Not very  encouraging. How did it get here?
Dr Who (Smith) : No idea.
  
More chat about this and that, then two of the Doctors whizz off in their Police boxes. Clara and her Doctor return to the painting.


 
 detail
 A Person Looks At A Work Of Art/
 someone looks at something ...
 
 LOGOS/HA HA
  
Clara : Need a moment with your painting?
Dr Who (Smith) : How did you know?
Clara : Those big sad eyes. Oh, by the way, there was an old man looking for you. I think it was the curator. (She steps into the waiting
TARDIS)

Dr Who (Smith) : (Sits. Looks at the painting) I could be a curator. I'd be great at curating. I'd be The Great Curator. (chuckles) I could retire and do that. I could retire and be the curator of this place.

Voice of Tom Baker : You know, I really think you might.
Dr Who (Smith) : (Looks hard at the speaker) I never forget a face...
Dr Who (Baker) : I know you don't. And in years to come you might find yourself revisiting a few. But just the old favorites, eh.

(The two Drs Who turn to look together at the painting)


    
 detail
 A Person Looks At A Work Of Art/
 someone looks at something ...
 
 LOGOS/HA HA
     
Dr Who (Baker) : You were curious about this painting, I think. I acquired it in remarkable circumstances. What do you make of the Title?
Dr Who (Smith) : Which Title? There's two. 'No more' or 'Gallifrey Falls'.
Dr Who (Baker) : No, you see, that's where everybody's wrong. It's all one Title : Gallifrey Falls No More. Now, what would you think that means, eh?
Dr Who (Smith) :  That Gallifrey didn't fall. It worked. It's still out there.
Dr Who (Baker) :  I'm  only a humble curator; I'm sure I wouldn't know.
Dr Who (Smith) : Where is it? 
Dr Who (Baker) : Where is it, indeed? Lost : Shhh! Perhaps. Things do get lost, you know. Now you must excuse me. Ooh, you have a lot to do.
Dr Who (Smith) :  Do I? Is that what I'm supposed to do now; go looking for Gallifrey?
Dr Who (Baker) : That's entirely up to you. Your choice. I can only tell you what I would do; if I were you.... Oh, if I were you... (a chuckle shared) Oh, perhaps I was you, of course. Or, perhaps, you are me. Congratulations.
Dr Who (Smith) : Thank you very much.
Dr Who (Baker) : Or perhaps it doesn't matter either way. Who knows? WHO KNOWS. (Confirms this affirmation with a touch to his nose. Then exits)


W   H   O


K   N   O   W   S   E

Dr Who (Smith) : (Turns back to look again at the painting of Gallifrey. He smiles, knowing that Gallifrey is no longer lost to him.)


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


epiLOGOS/HA HA 
Homer Dreams of Home : Journey of the Hero

Doctor Who steps from his TARDIS. Where is he this time? He's on a cosmic opera stage where waiting for him are the previous eleven. 

The theme of this overview has been LOL aka 
Lots Of Looking. And so, for the curtain call, one grand summary Act of Regard. From their stage of 50 TeleVision Earth Years the twelve look, as one, at Gallifrey.

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

The voice of Dr Who (Smith) : Clara sometimes asks me if I dream. Of course I dream, I tell her; everybody dreams. But what do you dream about, she asks. The same thing everybody dreams about, I tell her. I dream about where I'm going. She always laughs at that: You're not going anywhere; you're just wandering about. That's not true; not any more. I have a new destination; my journey is the same as yours; the same as anyone's. It's taken me many life-times but at last I know where I'm going; where I've always been going: home, the long way round.

Where Gallifrey is, now we are. 

For Theatre of the Actors of Regard :
we look at the Doctors
and the Doctors look at us. 
            
    
 detail
 A Person Looks At A Work Of Art/
 someone looks at something ...
 
 LOGOS/HA HA


      

07 September 2013

Australia Votes

              
Theatre of the Actors of Regard 
presents 
The Apocalypse
(after Albrecht Dürer's The Apocalypse & Luis Buñuel's The Exterminating Angel)         
     
On the eve of the 2013 Australian Federal Election, members of the White Art Cult arrive for an exclusive viewing of The Apocalypse by Albrecht Dürer.
     


 They regard the images of The Candidates 


  
 and talk of the better times soon to come.
    


     
 No more Refugee Boats!
    


       
 No more Carbon Tax!
      


 No more Mining Tax!
    

 Remember the Pink Bats!
       

 The evening is a great success. 

          
 A waiter trips and falls. He spills the canapés...

 Everybody laughs!

    
 A fat man is shakin' his ass, shakin his ass*
      

      
 Such relief! The Lucky Country back to normal.


 If only we could stay this way this forever.



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


      

06 July 2013

HEAD 2 HEAD

    
THE HEAD OF U

REGARDS
               


THE HEAD OF DJ SHADOW

REGARDS 



THE HEADS OF THE OBSERVERS OF THIS DRAWTHING BY ERHARD SCHON

REGARD

THE HEAD OF U

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