Big Stage

Two items brought to our attention 
by
Theatre of the Actors of Regard :

SYMPOSIUM : 

AUSTRALIAN ART FOR THE GLOBAL STAGE

Date: 15 April 2018 - 4:00 PM

Location: Heide III: Central Galleries

Event category:  Art

Admission:  Adult $38 / Concession $32

Members:  $30 

In partnership with VAULT magazine, this panel explores the challenges of maintaining an identity as an Australian artist while making work for a worldwide stage.

From the impact of cultural cringe on Australian art and culture, to our changing relationship with European and Asian art capitals traditions, this discussion surveys the forces shaping the Australian art scene. But it also asks: how can this new cultural moment pave the way for opportunities, evolution and growth?

Chaired by VAULT magazine editor Neha Kale, panel includes Abdul Abdullah (artist), Danny Goldberg (international collector), Mark Feary (Artistic Director, Gertrude Contemporary)

VAULT was established in 2012 in response to an increasingly globalised art world. The magazine has always positioned Australian artists both senior and emerging—alongside their international contemporaries and has sparked dialogues between local contexts and international aesthetics and ideas.

.  .  .  .    

White Tower on a White Stage, after Malevich  

Russian President Vladimir Putin, 1 March 2018,
delivering his lone figure in a white castle tower 
[ sky's the limit ) address to the Federal Assembly in Moscow.

Patriarch with White Koukoulion, front row  

By TV tower to the Russian People.

Theatre of the Actors of Regard 

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

         

 LOGOS/HA HA

  

Self Augmentation

Behind the Selfie

by Jennifer Finney Boylan

CONTRIBUTING OP-ED WRITER | THE NEW YORK TIMES

 Janja Milosevic/EyeEm, via Getty Image

 I know, I know...

  

Theatre of the Apps of Regard  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

Theatre of the Actors of Regard presents Michaelia Cash, former Minister for Women, in Three Whiteboards Outside Estimates Hearing, Canberra

Watch: Cash shielded by whiteboard as PM refuses to condemn minister

- That's it, Robin.

- What's it, Batman?

- It's staring us right in our masks.

Theatre of the Actors of Regard 

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

         

 LOGOS/HA HA

   

- That's it, Robin.
-What's it, Batman? It's staring us right in our masks.

Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=batman-1966&episode=s02e26

NARRATOR".
As you recall, we left Batman and Robin staked out by Shame in the path of a cattle stampede.
Things haven't improved any since we left them.
And in a moment, we'll see what happens.
Just a few seconds left, Batman, and there's no way out.
Courage, Robin.
Keep your mask up.
The rumbling of the cattle zooms has loosened my stake.
Stay right where you are, Robin.
Don't make a move.

Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=batman-1966&episode=s02e26

Batman (1966) s02e26 Episode Script
It's How You Play the Game (2)
NARRATOR".
As you recall, we left Batman and Robin staked out by Shame in the path of a cattle stampede.
Things haven't improved any since we left them.
And in a moment, we'll see what happens.
Just a few seconds left, Batman, and there's no way out.
Courage, Robin.
Keep your mask up.
The rumbling of the cattle zooms has loosened my stake.
Stay right where you are, Robin.
Don't make a move.

Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=batman-1966&episode=s02e26

Batman (1966) s02e26 Episode Script
It's How You Play the Game (2)
NARRATOR".
As you recall, we left Batman and Robin staked out by Shame in the path of a cattle stampede.
Things haven't improved any since we left them.
And in a moment, we'll see what happens.
Just a few seconds left, Batman, and there's no way out.
Courage, Robin.
Keep your mask up.
The rumbling of the cattle zooms has loosened my stake.
Stay right where you are, Robin.
Don't make a move.

Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=batman-1966&episode=s02e26

Rage, rage, rage

On Rage last night, Billy and Zach of Hockey Dad included in their beaut selection Ariel Pink's 
'Dayzed Inn Daydreams'. It's a favourite here, too. 

Clip follows atypical senior citizen through life in Los Angeles

Ariel Pink has always obsessed over the afterlife of Seventies rock, beginning his career with a handful of home-recorded LPs that sounded like lo-fi transmissions arriving 30 years behind schedule. In the video for his new "Dayzed Inn Daydreams," the singer attempts visualizes this effect: Over the clip's five-and-a-half minutes, he shows an aging musician – part glam and part punk – ride the bus, shoot pool, visit a nursing home and perform onstage. At the end, the character hands a cigarette to and briefly chats with a girl named Angel.

Director Grant Singer went as far as to cast an actual aging musician – the former frontman of the L.A. band the Mau-Mau's – for the part. "The video is the story of a man, played by Rick Wilder, who was once the frontman of a band that existed decades ago," the photographer and filmmaker tells Rolling Stone. "Through a series of scenes depicting his everyday life, we tell his story."
 
- Nick Murray/Rolling Stone, January 26, 2015

Do not go gentle into that good night

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

- Dylan Thomas

Theatre of the Actors of Regard 

Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch, but commonly referred to as The Night Watch (De Nachtwacht), is a 1642 painting by Rembrandt van Rijn. It is prominently displayed in the Rijksmuseum as the best known painting in its collection. 

Overnight, as the Rage Watch slept, Matrix Mitch sent from Rotterdam this poem by Seamus Heaney, from his 1991 volume 'Seeing Things'.

The visible sea at a distance from the shore

Or beyond the anchoring grounds 

Was called the offing.

The emptier it stood, the more compelled

The eye that scanned it.

But once you turned your back on it, your back

Was suddenly all eyes like Argus's.

Then, when you'd look again, the offing felt

Untrespassed still, and yet somehow vacated

As if a lambent troop that exercised 

On the borders of your vision had withdrawn

Behind the skyline to manoeuvre and regroup.

After that, over a late breakfast, comes a tribute on Compass (ABC.TV) to another Irish "searcher for truth", as Peter O'Neill is described on his tombstone. 

http://iview.abc.net.au/programs/compass/RN1611H021S00#playing

O'Neill in abode, un-armoured :

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

         

 LOGOS/HA HA

TAR : Stage Name (transl.)

Three Seals of

Iron Beef Traffic Machine 

     

FIAPCE  

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

         

  LOGOS/HA HA


  

Today's endless column...

 Constantin Brâncuși in his studio with various Endless Column(s) 

FIAPCE  

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

         

  LOGOS/HA HA

 

Stable Genius

A LOOK AT WHITE HOUSE BACK-STAIRS

More fake news! Mr Ed and Wilbur laughing at the Los Angeles Mirror. 

Theatre of the Actors of Regard 

Reading in the stable library, Mr Ed studies 'Heredity and the Criminal Mind'.

Following the release of Fire and Fury, Mr Ed and Press Secretary Wilbur address the nation.



Transcript of the Stable Genius :

1. Donald J. Trump‏Verified account @realDonaldTrump 15h15 hours ago
   

   ....to President of the United States (on my first try). I think that would qualify as not smart, but genius....and a very stable genius at that!

1. Donald J. Trump‏Verified account @realDonaldTrump 15h15 hours ago
   

   ....Actually, throughout my life, my two greatest assets have been mental stability and being, like, really smart. Crooked Hillary Clinton also played these cards very hard and, as everyone knows, went down in flames. I went from VERY successful businessman, to top T.V. Star.....

   56,731 replies30,377 retweets106,529 like

   
   

   
   
2. Donald J. Trump‏Verified account @realDonaldTrump 15h15 hours ago
   

   Now that Russian collusion, after one year of intense study, has proven to be a total hoax on the American public, the Democrats and their lapdogs, the Fake News Mainstream Media, are taking out the old Ronald Reagan playbook and screaming mental stability and intelligence.....

   31,736 replies28,018 retweets114,146 likes

   
   

FIAPCE 

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

         

  LOGOS/HA HA

   

Terms of Reference | Re. Royal Commission into Words, Entitlements, Titles and Labels :

Much has been made of the extraordinary backflip this week by the prime minister, Malcolm Turnbull, on the issue of a banking royal commission – from two weeks ago when he was telling Channel Nine’s Karl Stefanovic that a royal commission “doesn’t do anything other than write a report”, to this week announcing one.

But of course this isn’t really a banking royal commission – it is instead a royal commission whose own framers see little need for it. It has been given just one year – a year less than was given to the trade union royal commission – and with terms of reference that are poorly focused, and which you could be excused for believing are designed to produce little change to our financial system.

It is the weirdest announcement for a royal commission that I can recall.

Shades of Sir Humphrey in banking royal commission terms of reference
Greg Jericho / The Guardian
3 December 2017

principium

a beginning, an origin 

In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum. 

In the beginning was the Word and the Word was with God and God was the Word. 

a groundwork, a foundation

principium - Wiktionary



flesh

In the beginning was the Word, and the Word was with God, and the Word was God...
                 
And the Word was made flesh, and dwelt among us.

John 1:1, 14King James Version

Logos

Logos (UK: /ˈloʊɡɒs, ˈlɒɡɒs/, US: /ˈloʊɡoʊs/; Ancient Greek :
λόγος, from λέγω lego "I say") is a term in western philosophy,
psychology, rhetoric, and religion derived from a Greek word meaning "ground", "plea", "opinion", "expectation", "word", "speech", "account", "reason", "proportion", "discourse", but it became a technical term in philosophy beginning with Heraclitus (c. 535–475 BCE), who used the term for a principle of order 
and knowledge. Logos is the logic behind an argument.

Logos tries to persuade an audience using logical arguments and supportive evidence. Logos is a persuasive technique often used in writing and rhetoric. Ancient Greek philosophers used the term in different ways. The sophists used the term to mean discourse, and Aristotle applied the term to refer to "reasoned discourse" or "the argument" in the field of rhetoric. The Stoic philosophers identified the term with the divine animating principle pervading the Universe. Under Hellenistic Judaism, Philo (circa 20 BCE - 
50 CE) adopted the term into Jewish philosophy. The Gospel of John identifies the Logos, through which all things are made, as divine (theos), and further identifies Jesus Christ as the incarnate Logos. The term is also used in Sufism, and the analytical psychology of Carl Jung.

Despite the conventional translation as "word", it is not used for a word in the grammatical sense; instead, the term lexis (λέξις) was used. However, both logos and lexis derive from the same verb legō (λέγω), meaning "count, tell, say, speak"

Jeanne Fahnestock describes logos as a "premise". She states that, to find the reason behind a rhetor's backing of a certain position or stance, one must acknowledge the different "premises" that the rhetor applies via his or her chosen diction. The rhetor's success, she argues, will come down to "certain objects of agreement...between arguer and audience". "Logos is logical appeal, and the term logic is derived from it. It is normally used to describe facts and figures that support the speaker's topic." Furthermore, logos is credited with appealing to the audience's sense of logic, with the definition of "logic" being concerned with the thing as it is known. Furthermore, one can appeal to this sense of logic in two ways: 1) through inductive logic, providing the audience with relevant examples and using them to point back to the overall statement; 2) through deductive enthymeme, providing the audience with general scenarios and then pulling out a certain truth.

Philo distinguished between logos prophorikos ("the uttered word") and the logos endiathetos ("the word remaining within").  The Stoics also spoke of the logos spermatikos (the generative principle of the Universe), which is not important in the Biblical tradition but is relevant in Neoplatonism. Early translators from Greek, such as Jerome in the 4th century, were frustrated by the inadequacy of any single Latin word to convey the Logos expressed in the Gospel of John. The Vulgate Bible usage of in principio erat verbum was thus constrained to use the (perhaps inadequate) noun verbum for "word", but later romance language translations had the advantage of nouns such as le mot in French. Reformation translators took another approach. Martin Luther rejected Zeitwort (verb) in favor of Wort (word), for instance, although later commentators repeatedly turned to a more dynamic use involving the living word as felt by Jerome and Augustine.

-  Wikipedia : Logos


  
Wovon man nicht sprechen kann, 

darüber muss man schweigen.  

Whereof one cannot speak,

thereof one must be silent.  

so wrote Ludwig Wittgenstein

images via imgrum / instagram  

identify

One of the more unusual techniques, which she learned from a psychologist many years ago, was to give her paintings long titles.

Her first solo show at the ­National Gallery of Victoria, Our Knowing and Not Knowing, will show works such as the one titled: The Rose Petal Scrolls, become the Scrolls of our Ancient Past; of the Law; of Wigs, still worn. The Hands of Now, of Doing. The Pear that is Flesh and Heart. The Conflict with Arrogance. Also, the Flicker of Life, and the Question Mark. 2014. And that’s one of the shorter ones.

She said people often imposed their own fantasies on artworks because it wasn’t obvious what the artist was portraying.

“I would love it if people could read the titles and identify what’s happening there,” she said. “That would be lovely but I don’t have much hope of that happening.”

Helen Maudsley to have first solo show at NGV

Tessa Ackerman / The Australian
16 November  2017

 , actually,

It is the titles, actually, that are at once the most difficult and, through their play with the visual imagery, also most rewarding elements of Maudsley's work. Difficult because, despite Maudsley repeating that her intention is to have us look at and not look for something in the work, the titles constantly get in the way of our ability to simply look. They invest and 'fill up' sight with language so that the eye becomes a searching-eye, searching for something that the works never end up betraying. One option to overcome this would of course be to just ignore the titles. This option, however, never feels viable, especially when confronted with thirty-two works in a single room (with their oft repeated motifs and formal similitudes): the titles are one of the few reprieves from what, at worst, could be a visual monotony.

However, if the titles are difficult because they get in the way of simply looking, their rewarding aspect is that they actually compel one to be conscious of, and ultimately adjust one's very attitude to, looking. If the titles are not accepted at face-value as clues to a visual analogy that needs to be unlocked like the discrete, unified answer to a cryptic crossword; if, after filling sight up with Maudsley's language one actually empties sight of this language, then the titles start to function as a kind of semiotic or symbolic atmosphere that shrouds the work, keying in sight to a semiotic register. Instead of a visual search, they produce a visual 'mood'

This 'overcoming' of the titles, however, was only one challenge of Our Knowing and Not Knowing: Helen Maudsley... 

- extract from 

'OUR KNOWING AND NOT KNOWING : HELEN MAUDSLEY'

AT NGV AUSTRALIA

Paris Lettau / MEMO Review, 2 December 2017

Theatre of the Actors of Regard  

But wait, there's more is less

Another challenge was the curator's appropriation of Maudsley's artistic strategies, in which, through a series of mimetic acts by the curator, the same formal structure of Maudsley's work is repeated at the level of exhibition design. What are these 'mimetic acts'?

One is the curator simply utilising a painting of Maudsley's as a design for an all-encompassing wallpaper [one quickly recognises the design to be taken form The Self: Part of it But not Merging (2017)]. (According to rumour, there is a wallpaper mandate at the NGV because "a million dollars" was blown on a wallpaper machine). In doing this, the spatial poetics of Maudsley's work is literalised within the exhibition space. This all-over nature of the wallpaper has the effect of consuming Maudsley's individual works, much like Sam Songailo's wall painting notoriously did in Painting. More Painting at ACCA in 2016... 

- continuation of extract from
'OUR KNOWING AND NOT KNOWING : HELEN MAUDSLEY'
AT NGV AUSTRALIA
Paris Lettau / MEMO Review, 2 December 2017

1. 
   
2. 
   

   
   

   LEGOFLAMB1

   @sallyrossartist I feel the same way. That wallpaper does the incredible works a serious disservice
3. 
   

   
   

   EMILYROSSBESPOKE

   Why is the wall like that
4. 
   

   
   

   JOHN_YOUNG_ZERUNGE

   Helen’s paintings are enough thankyou. They are formally intelligent complete and they have tremendous integrity that can be contemplated at eye level. Their form and structure refer to very specific criteria from Western Modernism. They are not toys that need echo chambers to distract us. @sallyrossartist
5. 
   

   
   

   SALLYROSSARTIST

   @john_young_zerunge yes was just wondering why a non-existent void needed to be filled... xx
6. 
   

   
   

   TWINK_PEAKS

   Agreed!                                                                                                                                                     

21 pencil salute

Every so often bLOGOS/HA HA tips our hats to someone we admire.

Today, Helen Maudsley. Artist, teacher, matriarch and champion custodian of the work of her late-husband John Brack.

- extract from 21 March 2012 [ full post here ]

    

Came to the aid of the party

Helen, second from the left, at the free pencil movement silent 

protest against no-sketching regulation, NGV, 9 December 2004

photo : Christian Capurro  

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

         

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