from Hakuin to Henry

HAKUIN 
paints an enso 
to help us see

 Hakuin Ekaku (1686 - 1768)  

                  
HENRY NO LOGOS

Henry is a comic strip created in 1932 by Carl Anderson. The title character is a young bald boy who is mute (and sometimes drawn minus a mouth). With the exception of a few early episodes, the comic strip character communicates only through pantomime, a situation which changed when Henry moved into comic books. (Wikipedia)

             

                   

Henry steps onto the set of 

I Am Comic Curious (Yellow)

He is carrying a framed portrait by Carl Anderson, 

a can of black paint and a brush.

           

          

Henry hangs the portrait on his free-floating name.

Henry turns to face us.
       
Henry paints an enso round his right eye.

         

Henry turns back to face the portrait.

Henry paints an enso round the portrait's right eye.

     
Standing beside the portrait, Henry regards us.

This is

Black Hole Henry's Meta-Portrait Enso Show 
painted to help us see

      

Henry exits stage right

       

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Rod Moss : Origin of the New Poetics

Rod Moss Origin of the New Poetics      Anna Pappas Gallery 13 May - 18 June 2016

It was a great pleasure last weekend to attend the latest exhibition by Rod Moss and, on Saturday, to listen to him 'In Conversation' with Rex Butler.

click to enlarge photo 

 (left) Rex Butler and                                (right) Rod Moss and

 "Families at Uleralkwe"                        "Considering The Birds"

    
From the discussion came even more to delight in, such as the link between the already wonderful 
The Gift of Butterflies and Gustave Courbet's 1854 La rencontre, ou "Bonjour Monsieur Courbet" (The Meeting or "Bonjour, Monsieur Courbet").

       

 Rod Moss, The Gift of Butterflies, 2015

"Rod Moss has lived in the Aboriginal community, Whitegate on the eastern fringes of Alice Springs, for almost three decades, forging close ties with the community. Breaking the barriers of what Moss considers “a politically correct, insulating silence” within the Australian art scene, Origin of the New Poetics depicts the people of Whitegate in extraordinarily personal, vulnerable and private moments.

Moss’ narrative paintings show resolute scenes in which the impact of alcohol and violence are unflinchingly depicted, contrasted with tender moments showing cultural milestones and family rituals. Appropriating compositions from the Old Masters and religious paintings, his artworks are familiar yet foreign, romantic yet confronting.

This is Moss’ fourth solo exhibition with Anna Pappas Gallery. Moss was awarded the Prime Minister’s Literary Award for Non-fiction in 2011 for his first memoir The Hard Light of Day. Moss’s second memoir, One Thousand Cuts: Life and Art in Central Australia was launched in conjunction with a retrospective exhibition at Anna Pappas Gallery in 2013"

Click here for more exhibition images
Click here to view flip-book catalogue     

 Rod Moss, Origin of the New Poetics, 2015
            

Rod Moss, August We Meet Here To Talk About Water, 2014

After the conversation with Rex, Rod talked further about the Whitegate community. In 2014 the NT government turned their water off - read here and here and here and here - hence the title of this 2014 work, 'August We Meet Here To Talk About Water'.  
Even in the last month further claim difficulties have emerged as the community attempts to gain a ‘special purpose lease’ over the Uleralkwe land (the other 16 town camps all have it).
       

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Robert MacPherson : 200 Frog Poems : 200 Kidman Drovers (Diamond Tail) For J.B+T.P.

   

             

ROBERT MACPHERSON 

April 30th - May 28th 2016 

YUILL | CROWLEY 
Suite 1.01 Eastern Exchange
318 Liverpool Street
Darlinghurst NSW 2010
Australia 

tel +61 2 9332 1590 
email yuill_crowley@bigpond.com 

gallery hours 
Wednesday to Friday 11–6 pm 
Saturday 11-4.30 

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Auction today : The Estate of NGV Curator, Jennifer Phipps

   
Jennifer Phipps was a Curator of Australian Art at the NGV over several periods from the early 1970s to the the 2000s.

Reproduced on the front cover of the auction catalog is Robert Rooney's 'Canine Capers 1' (1968) :


               
As is mentioned in the AGNSW online commentary about their 'Canine Capers 3' (1969), Robert Rooney participated in the important opening exhibition of contemporary Australian art at the then new NGV (St. Kilda Rd, Melbourne) in 1968.

The poster for THE FIELD is also in this personal collection :

Lot 150

ARTIST UNKNOWN The Field 1968

        

[Kendrick Lamar]
Other than that, now that I finally got a chance to holla at you, I always wanted to ask you about a certain situa--, about a metaphor actually, you spoke on the ground. What you mean ‘bout that, what the ground represent?

[2Pac]
The ground is gonna open up and swallow the evil

[Kendrick Lamar]
Right

[2Pac]
That’s how I see it, my word is bond. I see--and the ground is the symbol for the poor people, the poor people is gonna open up this whole world and swallow up the rich people. Cause the rich people gonna be so fat, they gonna be so appetising, you know what I’m saying, wealthy, appetising. The poor gonna be so poor and hungry, you know what I’m saying it’s gonna be like… there might be some cannibalism out this mutha, they might eat the rich

FIAPCE  

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... ideomoji!

        

      ... dial!

   
           ... ugly mug!
       
                ... boat race!
      
                ... projection-space!

         

      FIAPCE  

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stars of TAR : Victory over death 3 : I’m the Great I Am (I’m a blacksTAR)

                   

Colin McCahon  Victory over death 2  1970

"I look back with joy on taking a brush of white paint and curving through the darkness with a line of white." Colin McCahon1

Track 3 on David Bowie's last album is Lazarus
               
"I rediscovered good old Lazarus. Now this is one of the most beautiful and puzzling stories in the New Testament … It hit me, BANG! At where I was: questions and answers, faith so simple and beautiful and doubts still pushing to somewhere else. It really got me down with joy and pain."

McCahon on his painting Practical Religion:  the resurrection of Lazarus showing Mount Martha (Victory over death 1) 1969–702

McCahon as quoted by Deborah Hart here
          
Track 1 on David Bowie's last album is Blackstar

This is the sTAR version by
stars of Theatre of the Actors of Regard :
         
In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah-ah, ah-ah
In the centre of it all, in the centre of it all
Your eyes
​
On the day of execution, on the day of execution
Only women kneel and smile, ah-ah, ah-ah
At the centre of it all, at the centre of it all
Your eyes, your eyes
​
Ah-ah-ah
Ah-ah-ah
​
In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah-ah, ah-ah
In the centre of it all, in the centre of it all
Your eyes
Ah-ah-ah

Something happened on the day he died
Spirit rose a metre and stepped aside
Somebody else took his place, and bravely cried
(I’m a blacksTAR, I’m a blacksTAR)
​
How many times does an angel fall?
How many people lie instead of talking tall?
He trod on sacred ground, he cried loud into the crowd
(I’m a blacksTAR, I’m a blacksTAR, I’m not a gangsTAR)
​
I can’t answer why (I’m a blacksTAR)
Just go with me (I’m not a filmsTAR)
I’m-a take you home (I’m a blacksTAR)
Take your passport and shoes (I’m not a popsTAR)
And your sedatives, boo (I’m a blacksTAR)
You’re a flash in the pan (I’m not a marvel sTAR)
I’m the Great I Am (I’m a blackstar)
​         

 Colin McCahon  I Am  1954
           

I’m a blacksTAR, way up, on money, I’ve got game
I see right, so wide, so open-hearted pain
I want eagles in my daydreams, diamonds in my eyes
(I’m a blacksTAR, I’m a blacksTAR)
​
Something happened on the day he died
Spirit rose a metre then stepped aside
Somebody else took his place, and bravely cried
(I’m a blacksTAR, I’m a sTAR's sTAR, I’m a blacksTAR)
​
I can’t answer why (I’m not a gangsTAR)
But I can tell you how (I’m not a film sTAR)
We were born upside-down (I’m a sTAR's sTAR)
Born the wrong way ‘round (I’m not a white sTAR)
(I’m a blacksTAR, I’m not a gangsTAR
I’m a blacksTAR, I’m a blacksTAR
I’m not a pornsTAR, I’m not a wandering sTAR
I’m a blacksTAR, I’m a blacksTAR)

In the villa of Ormen stands a solitary candle
Ah-ah, ah-ah
At the centre of it all, your eyes
On the day of execution, only women kneel and smile
Ah-ah, ah-ah
At the centre of it all, your eyes, your eyes
Ah-ah-ah               
     

 Colin McCahon  A candle in a dark room  1947

          

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Label rhymes with Babel

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 Picture Titles:
 How and Why Western Paintings Acquired
 Their Names
 Ruth Bernard Yeazell

  Hardcover | 2015 | $35.00 | £24.95 | ISBN: 9780691165271
  352 pp. | 6 x 9 | 16 color illus. 108 halftones.

             
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Our copy has just arrived and we're looking forward to reading it, particular the earlier section. The final section disembarks at Jasper Johns.

           

FIAPCE @ MELBOURNE NOW  

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 Summer reading, perhaps, under the Label Tree.

AAA_ART ARCHIVE AUSTRALIA   

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TAR-presents-STOP-MOTION-mini-cine-or-It's-not-HOW-LONG-is-a-piece-of-string?-JUST-THAT-IT-IS-A-LENGTH-OF-STRING-OK!-1974-Two-persons-regard-a-suspended-projection-space-x-meta-view-person(s)-all-as-perpetual-motion-empty-tempty-teasy-NESS-

     

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Elvis & The Two Truths

The two truths : relative and emPTy

Post script to yesterday's blog post : just in, this Biennale JOGJA X111 T.A.R tableau vivant of Nicolas Bourriaud with Punkasila & Slave Pianos.

Relational art

From Wikipedia, the free encyclopedia

       

Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud. Bourriaud defined the approach as "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space."[1] The artist can be more accurately viewed as the "catalyst" in relational art, rather than being at the centre.[2]

Upon first seeing NB with P & SP : 

Much have I travell'd in the realms of gold,
And many goodly states and kingdoms seen;
Round many western islands have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-browed Homer ruled as his demesne;
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He star'd at the Pacific — and all his men
Look'd at each other with a wild surmise —
Silent, upon a peak in Darien.

- John Keats, On First Looking into Chapman's Homer

Kissin' Cousins

From Wikipedia, the free encyclopedia

Kissin' Cousins is a 1964 American musical Panavision Metrocolor comedy film directed by Gene Nelson and starring Elvis Presley. Written by Gerald Drayson Adams and Gene Nelson, the film is about an Army officer who returns to the Great Smoky Mountains assigned to convince his kinfolk to allow the Army to build a missile site on their land. His mission is complicated when he meets his look-alike cousin and two beautiful country cousins who compete to win his affections. Presley played two roles in the film: the Army officer, with dark hair, and his look-alike cousin, with blond hair.

Looking back:
Figure and ground at 100

   

Jörgen L. Pind examines Edgar Rubin’s dissertation on the figure–ground distinction, one of the great classics of perceptual psychology

"In July 1915 Edgar Rubin, a 28-year-old Dane, defended a doctoral thesis titled Synsoplevede Figurer (Visually experienced figures) at the University of Copenhagen (Rubin, 1915). His official opponents were the two outstanding representatives of psychology at the university: the philosopher Harald Høffding, and the experimental psychologist Alfred Lehmann. Neither of them, it is fair to claim, could have foreseen the influence this thesis and its findings would eventually come to play in perceptual psychology. It was in this work that Rubin first elucidated the figure-ground distinction, now a staple of every introductory textbook of psychology...

Two views of double mPT with that? 

Yeah, thanks, fill 'em up.

 Nat Finkelstein. Andy, Bob Dylan, and Elvis. 1965. ©
             
TAR : Dried Pixel Arrangement

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 PPS : Yes, it can all get very messy.

      

  

Matthys Gerber at MCA Sydney

               

Sydney artist Matthys Gerber is a deft painter who deliberately makes work in an array of contrasting styles. From photorealism to fluid abstraction, portraits and still lifes, Gerber’s interests remain wide-ranging and his approach incessantly experimental.

The motif of the Rorschach reappears in his paintings. In varying colours, sizes and styles that morph into different physical forms, from the canvas to the wall, the Rorschach epitomises the intentions of Gerber’s work to reflect the nature of desire and the will to find figurative elements in abstract forms. This will be the most comprehensive exhibition of Gerber’s work ever staged in Australia.

Curated by MCA Senior Curator, Natasha Bullock.

22 September-6 December 2015

#matthysgerber

Discover: hear from the artist and gain a deeper insight into the artworks

 Matthys Gerber

 Painting for Peter 

 2003

 Museum of Contemporary Art

 purchased with funds provided by the MCA Foundation

 2015

 image courtesy and © the artist

 photo: Ashley Barber

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LOGOS/HA HA : a series of talks

         
We have received the following announcement from the MCA (Museum of Contemporary Art), Sydney, sent with the headline Paint in polar opposites :

If images are exhausted, where does that leave painting?  Explore the past, the now and the tomorrow of painting during a series of talks presented in association with Sydney College of the Arts, University of Sydney, including Dr Jacqueline Millner and Leonhard Emmerling from the Goethe Institut, Delhi. In the galleries, Matthys Gerber’s exhibition is a wonderful opportunity to get to know the many styles of painting, from photorealism to geometric abstraction. .  .  .  .

If images are exhausted, where does that leave painting?          If images are exhausted, where does that leave painting?                     corella-as-image in cwest of correlation  If images are exhausted, where does that leave painting? On December 14, 2010, Linden Tibbets, the creator of IFTTT, posted a blog post titled “ifttt the beginning...” on the IFTTT website, announcing that the new project was called IFTTT.   IFTTT is a web-based service that allows users to create chains of simple conditional statements, called "recipes", which are triggered based on changes to other web services such as Gmail,  Facebook, Instagram and Pinterest.[4] IFTTT is an abbreviation of "If This Then That" (pronounced like "gift" without the "g").[5]      If images are exhausted, where does that leave painting? If images are exhausted, where does that leave painting?  cumulative attendance of TAR  Clouds #2 (1995) by Matthys Gerber  MCA survey          detail  A Person Looks At A Work Of Art/  someone looks at something...  LOGOS/HA HA

DOUBLE DISILLUSION PLAN HEADED OFF BY TURNBULL!

   
There was loud appreciative laughter in the bLOGOS/HA HA Canberra Office this morning when our politics staff heard the ABC political editor Chris Uhlmann accidentally reveal the PM's plan to save his Prime Ministerial skin. Uhlmann stumbled-out that if this weekend's Canning by-election went badly, Abbott just might call "a double disillusion". His pronunciation was clear.

Realising that Uhlmann had inadvertently divulged a confidence, we called an immediate editorial meeting at which an editorial was committed to, several opinion pieces were proposed, tomorrow's banner was sketched (below) and Laughter Models were hired from an agency.

At 4pm it was Stop the Presses : Malcolm's challenging!

              

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Head of TAR

     

titular

                   
[tich-uh-ler, tit-yuh-]

                 
adjective

1.    existing or being such in title only;

       nominal;
       having the title but none of the associated duties, 

       powers, etc.:
       the titular head of a shell company.

2.    from whom or which a title or name is taken:
       His titular Saint is Vitus.

3.    of, relating to, or of the nature of a title.

4.    having a title, especially of rank.
       

5.    designating any of the Roman Catholic churches in

       Rome whose nominal incumbents are cardinals. 

noun

6.    a person who bears a title. 

7.    a person from whom or thing from which a title 

       or name is taken. 

8.    Ecclesiastical. a person entitled to a benefice but 

       not required to perform its duties.

example

9.    Laughing Logos (aka Laughing Christ)
           
  Laughing Christ, Noel Counihan, 1970

see also

10.   "Owls of laughter from an ole in is Titular Head." 

        (ornithoLOGOS/HA HA)

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