Take a chair (apart)

and/or

Re.(gard) a thing and/or its parts 
      

after Van Gogh's (Van Gogh's) Chair, 1888

after Picasso's Still Life with Chair Caning, 1912

comes this buster meta-re-de-composition,
for auction today at Sotheby's London :

Fernand Léger's Composition a la chaise (c. 1930)
          

     

after which, after WW2, Corporation America's  
The Office Chair, 1961

       

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then, hereabouts, Theatre of the Actors of Regard performance en passant at the National Gallery of Victoria, 1975 :
          

 T.A.R. after Hugh Ramsay Jeanne, 1901  

         

     
now, upon a chair and/or its parts ...
     

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I CAME, I SAW...

           

Another Successful Performance

by

Theatre of the Actors of Regard

at

West Space Fundraiser
       

photo : West Space Facebook 

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Venice Biennale 2013 : The Encyclopedic Palace

Following on from yesterday's post, "...about the ways some one might order a heap of Art and non-Art things", we note the theme of this year's Venice Biennale : The Encyclopedic Palace.

From a New York Times article :
         

“The Encyclopedic Palace” is the theme. It is taken from the title of a symbol of 1950s-era Futurism - an 11-foot-tall architectural model of a 136-story cylindrical skyscraper that was intended to house all the knowledge in the world. Its creator, the self-taught Italian-American artist Marino Auriti, dreamed it would be built on the National Mall in Washington. The model now belongs to the American Folk Art Museum in Manhattan, which is lending it to the Biennale. “It best reflects the giant scope of this international exhibition,” Mr. Gioni said, “the impossibility of capturing the sheer enormity of the art world today.”

              

courtesy : Theatre of the Actors of Regard  

Within the matrix of interconnectedness : curator of the 2013 Venice Biennale, Massimiliano Gioni looks at Marino Auriti's 1950s model of The Encyclopedic Palace.

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Paolo Baratta, the longtime president of the Biennale, said that “after 14 years of having traditional curators I thought it was time to ask a man of the next generation.

“At a time when contemporary art is flooding the world,” he added, “it seemed to make more sense to present a show that doesn’t just include a list of artists from the present but rather looks at today’s art through the eyes of history.”

 
        

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Practice single-pointed concentration.

       
Stare at a bLOG detail for an hour.

               

 - mid 1980s -                          collection : Ian Potter Museum of Art                   

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Incidently, here comes the Golden Guillotine

      

Yesterday's post started with this image of someone looking at Barnett Newman's Onement VI, 1953, prior to it's New York auction last week.

               

    

Two details that we immediately noticed were the lighting+photography, which here affects our perception of/ the appearance of/the colour of the stripe; and the absence of the object's means of support.

Lighting as a crucial variable is currently foregrounded by David Homewood in the catalog of label/descriptions for his exhibition (here)  

Group Exhibition: Artwork Documentation

As for the absence of any visible means of support for Onement VI, that is not something neutral or accidental. Rather, it is the well established High Modernist code for         disconnectedness.        The Thing at a remove.        Art for art's sake/L'art pour l'art/Ars gratia artis.           Isolationism.           The Thing In Itself/Ding an sich.

"The high end of the market is quite deep," said Tobias Meyer, head of Sotheby’s contemporary art department worldwide and the event auctioneer, speaking of the number of bidders. "People are very educated; they know what is what."

We note this because we know of the 1961 Alexander Liberman Archive photo of Barnett Newman in his studio, standing with Onement VI suspended by heavy chains.

       

        

For the Sotherby's online catalog image (below) this messy world of grime and chains and uneven light has been banished for bland. Now, The Thing self-elevates. Truly Abstract. Free at last, free at last. Even the slim framing surround of wall and floor appears as if a natural extension generated out of the painthing.

     

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Education and its values : regarding what is what ] and what is not (

         

At Sotheby's New York more record prices for something to look at...

"The high end of the market is quite deep," said Tobias Meyer, head of Sotheby’s contemporary art department worldwide and the event auctioneer, speaking of the number of bidders. "People are very educated; they know what is what."

               

BARNETT NEWMAN

Onement VI, 1953
$43,845,000

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GERHARD RICHTER

Domplatz, Mailand, 1968
$37,125,000

       
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At Christie's New York more record prices for something to look at...

"It was the biggest art auction in history", said Marc Porter, chairman of Christie’s Americas.  
             
 
JEAN-MICHEL BASQUIAT
Dustheads, 1982
$48,843,750

Pre-Lot Text
Property of a Distinguished Collector
       

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JACKSON POLLOCK
Number 19, 1948
$58,363,750
            

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At Theatre of the Actors of Regard free entry for something to look at...
           

] The PainTer (

pre-auction performance by White Art Cult 
FREE ENTRY
    

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Today another exhibition that opened last night, then back to the bush.

       
As part of her residency at Gertrude Contemporary, Ash Kilmartin has been inviting others to also make an exhibition in STUDIO 6. 

This time it's David Homewood. He, in turn, has organised (his term) a "Group Exhibition" of a further 50 invitees. One of these, Charles Green, includes via a 1969 artist book a further group of earlier artists, including Ian Burn - significantly linked here to his Xerox Piece - Mel Ramsden, Roger Cutforth...

40. Charles Green: with apologies to Art Press, July 1969 (1969), artist book / laminate table / natural and fluorescent, 10:45am, 8 May 2013, Parkville

 

The title and description of this exhibition is :

Group Exhibition: Artwork Documentation

The gallery-sheet catalog is of interest to this attendee for what it includes and for what it does not. We blogged recently about the oddness of museoLOGOS/HA HA orthodoxy regarding Medium description. In that regard, this list refreshes. Especially so for the inclusion of a new sub-category : light source description at the time and place (both also given) that each photograph was made (or rather, when the camera was clicked). For instance :

                

8. Simon Zoric: postcard / bubblewrap / Planet lamp, 11:50am, 3 May 2013, East Melbourne

28. Luke Sands: stick / ground / natural, 10:25am, 7 May 2013, Kensington

 

46. Nick Selenitsch: circle / desk / fluorescent, 5:35pm, 8 May 2013, Northcote

    

The catalog does not provide information about the author(s) of these same size, same surface photographs. Nor does it offer an origin story for this organisation of figure-on-field documentations. No problem, why should it?

Lots of knowing complexity and simplicity 
hereabouts, methinks

meta-Artwork Documentation : FIAPCE  

23. Ash Kilmartin: rubber heels / studio floor / natural directed with mirror, 1:00pm, 6 May 2013, Fitzroy

meta-Artwork Documentation : David Homewood & Lydia Wegner  

            

meta-Artwork Documentation : David Homewood & Lydia Wegner  

         

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An overnight flit to Marvellous Melbourne

      

Primarily for the Friday night footy (unbeaten Cats vs unbeaten BOMBERS) as art appears to appear at every turn...

     

 COLOURS ON!   

We are walking up Franklin Street on the way to the game and... there's an exhibition opening. It's by HA HA (Regan Tamanui), one of Melbourne's best known street artists, recently returned from New Zealand.  'METAMORPHOSIS' at Dark Horse Experiment. Really enjoyed it. 

Below, some snaps of Metamorphosis, the mural. More such at The Unreal Adventures of HA HA where he describes this work as the seed of life, which he links to the wikipedia site Flower of Life.
        

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As one who appreciates the theatre of supporting evidence - something because... and ...to be seen to be done - there was much here to enjoy. The open room of work strewn stencils. Masks as masks, indeed!
                
     
Tape remains and first squirts...
         

  THE CATS WON !  

Walking back from the game we take a path through a new Docklands arcade. In front of us there's a young (10-12)  BOMBERS  supporter. On his red-on-black jumper stripe an impressive collection of Essendon team signatures. 

Now, on our right, there's a smart new artwork by Melbourne artist Emily Floyd. We the football homeward push quickly past, too fast to read the text. The young  BOMBER  gently pads, taps and raps his hand on each next coloured metal thing. Each drum|ming produces a different sound. We note the composition and the performance with amused delight. Incidental Art Music_Melbourne.

Emily Floyd

New Ways of Thinking, 2012

We note also in that passing place the suspended projection-space ideograms of dependent-arising.
         
                                            click image to enlarge
Each awaits its signage overlay and passage of eye drum|mers.

All as ever.
            

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MAY THE FOURTH be with you!

        

click image to enlarge  

        

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Blog Viewer with Form

    

Child Actor with Form

    

 Theatre of the Actors of Regard             ] your correspondent, 1951 (

Adult with Form

    

 Buckminster Fuller with tetrahedron, circa 1970s

     

Adult with Mask and Form

      

 Petr Jandacek in the persona of R. Buckminster Fuller   :  more here

      

Extra-Terrestrials with Form

     

This ripper Mike Brown work is in Vista the current exhibition at Charles Nodrum Gallery. Ooooooh!

 

 Man witnessing the arrival of extra-terrestrial objects   c. 1992


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If we look at this ...

            
Transcript of Joint Press Conference

                 
Subject(s): National plan for school improvement; Gonski reforms
 

SUN 14 APRIL 2013
          

PRIME MINISTER : I turn now to Minister Garrett for some comments.

MINISTER GARRETT : Thanks Prime Minister, and there’s no question that education is the great enabler.

And today, what we’re saying is that the nation needs a plan to make sure that kids around the country get the support they need to do the best they can and of course correspondingly for both those children and their families, and the nation to benefit in the future.

A National Plan for School Improvement means that we’re putting education right at the front of our vision for Australia; an Australia that is well-trained, highly skilled and where kids in schools now get high-paying jobs in the future, not only here but of course in the increasingly important Asian region.

If I look at schools, in all of the schools that I visit, I know that we can provide targeted additional resources and investment that will make a big difference to the kids in those schools.

And if we look at an average figure of $4000 per student that is the kind of money which might help that kid read or write better...

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Re. Ph.D

    

Act of Regard (1)

           

        

"My name is Diana Smith and primarily I'm a performance artist working with a group called Brown Council. I'm also currently undertaking my Ph.D., which is looking at the History of Performance Art in Australia."

Artscape: Don't Try This At Home - 
Performance Art in Australia 
ABC TV  9 April 2013

     

Act of Regard (2)

   

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Prepared Hammers

         

bLOGOS/HA HA is always interested in|visible means of support and the musics thereof - the tensioning of machine-heads, the plucking of strings, the striking of hammers... Slave Musics

          

Here is the (repeatable) score to a ...

Prepared Hammers event # 

LE PORTRAIT DE LA PRIMA DONNA

    

Place framed projection-space
LE PORTRAIT DE LA PRIMA DONNA
on floor and leaning against wall

   

   

Above that  

- hold prepared nail to wall with one hand  

- hold prepared hammer in other hand 

- fix regard at point of hammerfall  

Duration : preset period or as long as possible

      

Below is a lithographic record of this tableau vivant - LE PORTRAIT DE LA PRIMA DONNA - as performed for Theatre of the Actors of Regard by a member of the preCagean percussion collective Prepared Hammers

 Paul Gavarni (Sulpice-Guillaume Chevalier)                      1858 

  
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 [LE PORTRAIT DE LA PRIMA DONNA)
    

 

       

Today is SUNDAY

        

 click image to enlarge   

         

 And these things write we unto you 

 that your joy may be full    
 1 John 1 : 4

            

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The researchers research the research.

       

click image to enlarge        

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