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.
left bank poet,
right bank gourmand --
the river.
after Yosa Buson
Theatre of the Actors of Regard
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AI: More than Human
the Barbican
16 May—26 Aug 2019
Totem
Chris Salter
courtesy of the artist
photography Agustina Isadori
Theatre of the Actors of Regard
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something beginning with c
Theatre of Antarctic Regard
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Tauts Arise
I taut I taw a puddy tat a-creeping up on me
I did, I taw a puddy tat as plain as he could be
collection FIAPCE
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Daruma Crossing the River on a Reed
Fūgai Ekun (1568-1654)
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The current exhibition at ACCA (until 24 March) is The Theatre is Lying. We are reminded of this
in relation to matters below.
The Theatre is Lying is the first in this series of exhibitions, encompassing major works by Anna Breckon and Nat Randall, Sol Calero, Consuelo Cavaniglia, Matthew Griffin and Daniel Jenatsch.
Constructed as an exhibition in five acts, The Theatre is Lying brings together artists who create alternative narratives and worlds through illusionary, cinematic and theatrical devices, including installation, misé en scene, historical re-enactment, digital montage and compositions with video, light and sound. In a series of new commissions, participating artists explore the manipulation of information and images, notions of artifice and illusion, ideas of transparency, reflection and phantasmagoria, and an engagement with the representations and misrepresentations of cinema and media.
Through the white cube of the gallery and the black box of cinema, The Theatre is Lying proposes the gallery as a transformative threshold addressing ideas of truth and fiction, perception and abstraction, and the warping of time and space. The exhibition also considers the role of the spectator as an active agent in a world in which we are all actors, and the increasing interplay between subjective and objective, or psychic and social structures. Set against theatres of media and politics that are increasingly informed by trickery and sleight of hand, The Theatre is Lying offers a means to reflect upon, critique and even escape – if only momentarily – the everyday reality of our fictive life and times.
Today, Cardinal George Pell was sentenced to six years imprisonment for child sexual assaults at Saint Patrick's Cathedral, Melbourne, in 1966.
Cardinal George Pell
by David Roberts
2007 (printed 2012)
National Portrait Gallery, Canberra
2015
This portrait was commissioned through the Knights of Malta to commemorate Cardinal Pell's inauguration as Prefect of Secretariat for the Economy. The Cardinal is a "a Bailiff Grand Cross of the Knights of Malta, that’s the decoration around his neck," Gow said.
In 2016, the portrait was unveiled in the Vatican to commemorate Pell's inauguration as one of the Vatican’s most senior figures, Prefect of Secretariat for the Economy.
cover portrait used for :
Quarterly Essay #51 - September 2013
by David Marr
The Prince : Faith, abuse and George Pell
Last night, as a prolog to today's sentencing, this was the crime scene on the set of Saint Patrick's Theatre of the Actors of Regard, Melbourne.
@evo_lens
Tonight in so called Melb on Wurundjeri land, we honour child sexual abuse survivors, and those who didnt survive. Gather together to tie ribbons to the fence and projections from 8pm to let the catholic church know, we are watching them.
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Recently rediscovered in Des Moines, USA, and now restored, is Apollo and Venus (c.1600) by
Otto van Veen, the teacher of Rubens.
Also recently found, this one in Australia, c.1900,
Venus and Susie at The See, Apollo Bay.
It is thought to be painted 'after Whistler' by one of the Heidelberg School artists, a playful Antipodean response to the 1897 Bliss Sands & Co publication Venus & Apollo in Painting and Sculpture by William Stillman.
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We weren't able to get to Canberra today for the ANU Japan Institute symposium OBJECTively - Connecting Australia and Japan: objects, cultural stories, people.
However, online, we have just enjoyed a similar symposium lecture from 2012 by Louise Allison Cort.
March 15, 2012, Louise Allison Cort, Curator for Ceramics, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C. gives her lecture "Fine autumnal tones": Charles Lang Freer's Collecting of Asian Ceramics ( click the lecture title to watch video ) for the symposium The Dragon and the Chrysanthemum : Collecting Chinese and Japanese Art in America organized by the Center for the History of Collecting at The Frick Collection, March 15-16, 2012.
from the lecture : Charles Lang Freer in 1903 looks at his 'Venus
Rising from the Sea' by Charles McNeill Whistler (c.1869-1870)
FIAPCE
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Theatre of the Actors of Regard
Seal of the Permanent Observer Mission of the Holy See
to the United Nations
Theatre of the Actors of Regard
Cardinal George Pell and the Coat of Arms of the Holy See
FIAPCE
Dream of 18/19 January 1989 : Sacred Sight
I am in Saint Peter's Basilica, Rome, at the entrance to
a small side altar where a Mass is always being celebrated.
This area is curtained and only the Faithful (No Tourists)
are permitted to enter, to pray and to partake in the Mass.
I am permitted to enter and go to a pew at the front,
on the right hand side.
Here, I watch the priest very closely.
He is not doing this out of habit or duty.
He is thoughtful, deliberate and very precise
in his saying of this Mass.
I empathise with his conviction, his intensity.
Then I understand that he is saying his First Mass
and that every part of his being
- his past, his present and his future -
is concentrated on his proper movement through
every moment of it.
I become aware - did he announce it?
did I simply realise it?
that he is offering his first Sacrifice of the Mass
in praise and thanks for the Gift of Sight.
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We offer this description of "the fatherland (as) a string of rivers that flow into the see" in the context of the man-dammed rivers crisis in Australia this summer.
Luis Buñuel (Exterminating Angel) / FIAPCE ] the see (
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Theatre of the Actors of Regard
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May 30, 1930 – February 8, 2019
https://en.wikipedia.org/wiki/Robert_Ryman
Theatre of the Actors of Regard
Robert Ryman’s Surface Veil II & Surface Veil III, 1971, at the Museum of
Modern Art’s retrospective exhibition, 1993-94. Photograph: Ted Thai/
Life Images Collection/Getty
Theatre of the Actors of Regard
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Sengai Gibon (1750-1837)
collection FIAPCE
FIAPCE
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Magus/Magi - magician, sorcerer
image - magical appearance
imagination - visit of the Magi
Baby Jesus - Word (LOGOS) made flesh (HA HA)
aka LOGOS/HA HA (Laughing Christ)
Girolamo da Santacroce (1480/1485-1556) detail
Theatre of the Actors of Regard
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Cy Twombly
Three studies from the Temeraire
1998-1999
Art Gallery of New South Wales
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We were interested last month to see, online, images of the recent "Dialogue" paintings by the Korean artist Lee Ufan at Pace Gallery, New York.
Exhibition text : click here
Hyperalleric article : click here
Lee Ufan, “Dialogue” (2016), acrylic on canvas, 86″ x 115″
(image courtesy Pace Gallery, photo by Mark Waldhauser, © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris)
Lee Ufan, “Dialogue” (2017), acrylic on canvas, 90″ × 72″
(image courtesy Pace Gallery, © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris)
Same-sui : same as it ever was
In this Edo period sansui (Shan Shui) by Nakabayashi Chikutō (Japan, 1776-1853), in this falling transition from mountains to the see, we note here too, as with Lee Ufan's recent Dialogues, the meticulous systematic horizontal brushstrokes that model this theatre of regard into form and appearance.
collection : FIAPCE
Same-same : same diff
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Thanks to Jeff, overseas with paintings, for ...
It is better to go to the beach and think about painting than it is to be painting and thinking about going to the beach.
- Agnes Martin
Albert Tucker
At Sorrento, Sidney Nolan Buried, John Reed, Sunday Reed,
and Joy Hester, Pregnant
1944
gelatin silver photograph
30.2 x 40.2 cm
Heide Museum of Modern Art, Melbourne
Gift of Barbara Tucker 2001
Sidney Nolan
Abstract (St Kilda Reflections)
1939
enamel on board
19 x 27 cm
Heide Museum of Modern Art, Melbourne
Gift of Barrett Reid 1993
© Sidney Nolan Trust
Bathers
1942
Sidney NOLAN
enamel paint on cardboard
64.0 × 76.2 cm
painted at Dimboola, Victoria
inscribed in brown paint l.c.:
BATHERS / 6. 12.42. N (N reversed).
inscribed in black chalk on reverse l.l.:
Nolan (an underlined) / 1942
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