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.
Unlock the Art Market with Christie’s Education Scholarships
The Christie’s Education Reginald Browne joint scholarship offers tuition fees and living expenses for one student enrolled in each of the master’s programs.
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Christie’s Education is unique as the only academic institution wholly owned by an auction house.
All programs at Christie’s Education have been developed to provide focused and intensive training for students looking to start a career in the art world. master’s students also get the opportunity to complete an integrated art world internship as part of their coursework.
Christie’s Education is committed to facilitating access to their programs and expanding opportunities to students from all backgrounds. To support this endeavor, The Christie’s Education Trust, in conjunction with Christie’s Education Inc., is offering a
joint tuition and living expenses scholarship for one student in each of the master’s degree programs at Christie’s Education, New York in 2019–2020:
To be eligible for consideration students must:
- meet the admissions requirements for the relevant master’s degree program
- be able to demonstrate financial need, which will be assessed based on requested details of income, other financial information and plans for financing studies.
Scholarship applications must be received by April 30, 2019.
Sea in Spring, Yosa Buson (1716–1783)
FIAPCE
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Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern until 14 October.
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Installation view of the exhibition
Shape of Light: 100 Years of Photography and Abstract Art
at Tate Modern, London
showing Nathan Lerner's
Light Tapestry top left,
and Otto Steinert's
Luminogram II centre right.
Photo: © Tate / Sepharina Neville.
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Installation view of the exhibition
Shape of Light: 100 Years of Photography and Abstract Art
at Tate Modern, London
showing Sigmar Polke's Untitled (Uranium Green) 1992.
Hans Georg Näder © The Estate of Sigmar Polke /
VG Bild-Kunst Bonn and DACS London, 2018.
Photo: © Tate / Seraphina Neville.
Shape of Regard at TAR Modern...
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Polly Borland: Polyverse presents new and recent work by the celebrated Australian-born, Los Angeles–based artist. While perhaps most widely known for her portraits of prominent figures including Queen Elizabeth II and musician Nick Cave, many works included in the exhibition explore more surreal imagery in which magnetic visual qualities embody a distorted, punkish humour. Through […]
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NGV AUSTRALIA, FEDERATION SQUARE
LEVEL 3, CONTEMPORARY ART & DESIGN
28 SEPTEMBER 2018 - 3 FEBRUARY 2019
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Continuing ACCA’s ongoing series of significant solo exhibitions by leading international artists, ACCA is excited to present a major show by Irish-born, London-based artist Eva Rothschild.
Curated by Max Delany and Annika Kristensen,
Eva Rothschild: Kosmos brings together new sculptural commissions with recent work spanning the last decade of the artist’s diverse yet distinct practice. Shaped by a myriad of influences from minimal art of the 1960s and 70s to classical architecture, spiritualism and pop-culture, Rothschild has developed an international reputation for sculptural works that are both striking and spare, as sharp geometric forms morph into flamboyant, enigmatic compositions. Stripped of excess, Rothschild’s abstract arrangements draw the mind into spaces where power, ritual, the architectural and the existential intersect.
Eva Rothschild,
Crystal healing 2018,
fibreglass, polyurethane, jesmonite, paint, concrete plinth,
247.0 x 30.0 x 30.0 cm,
installation view,
Australian Centre for Contemporary Art, Melbourne.
Courtesy the artist and 303 Gallery, New York.
Photograph: Jacqui Shelton
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Recently overthrown Australian Prime Minister Malcolm Turnbull, who has since resigned from Parliament, yesterday described fellow-felled hangers-on Tony Abbott and Kevin Rudd as 'miserable ghosts'. It rings true.
From the TAR files, snapped from the 27 August ABC Four Corners episode 'A Form of Madness' (another quote from Turnbull), former Prime Minister Tony Abbott stands in a Parliament House interior courtyard before an artwork by Akio Makigawa.
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This is Nobel Prize announcements week.
Due to a sex abuse scandal within the Swedish Academy, however, no Nobel Prize for Literature will be awarded in 2018.
Earlier this year, before the cancellation announcement, a profile of Gerald Murnane and his writing featured in The New York Times Magazine. The article, by Mark Binelli, was titled
Is the Next Nobel Laureate in Literature Tending Bar in a Dusty Australian Town?
photo by Morganna Magee for The New York Times
Last week, The Wheeler Centre (Melbourne) published online an audio record of a conversation between Gerald Murnane and Sean O'Beirne. Heartily recommended.
Sean O'Beirne and Gerald Murnane - photo by Scott Limbrick
Twenty years ago, when I first arrived on the plains, I kept my eyes open. I looked for anything in the landscape that seemed to hint at some elaborate meaning behind appearances.
My journey to the plains was much less arduous than I afterwards described it. And I cannot even say that at a certain hour I knew I had left Australia. But I recall clearly a succession of days when the flat land around me seemed more and more a place that only I could interpret.
- the opening of The Plains (1982) by Gerald Murnane
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terminology
ˌtəːmɪˈnɒlədʒi/
noun
the body of terms used with a particular technical application in a subject of study, theory, profession, sport etc.
AFL TARminoLOGOS/HA HA
AFLˌTARːmɪˈnɒlədʒi/
noun
the body of terms used with a Theatre of the Actors of Regard application to Aussie Rules Football
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Lowering The Eyes – See : intent
Intent – Term of dubious provenance and application used with great flourish and emphasis by football people to mean more or less whatever they feel like at the time. Conspicuously fails to correspond to identical-looking expression in the dictionary.
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... this year it's lower the eyes used to tell a player running forward to look to closer options rather than bombing it long. Once again, I have never heard the saying prior to this year. Listen tonight fellas, you'll hear it at least twice a qtr.
I've tried it, playing footy with my 9 & 6 year old sons about 3 weeks ago. Left the "fat side" of the park, starting "running the lines", looked up to see that there wasn't any "plus 1's", (there wasn't), I thought, shit is there a closer option, so I lowered the eyes and fell flat on my stupid ******* face. Give it a try, stop what you're doing, trying running a half a dozen paces and then actually lower your eyes. There's a fair chance you'll be head-butting the floor.
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The term lace out has generally been used by commentators in the past to describe a perfect foot pass to a leading forward. The kick used is generally a drop punt, which spins backwards, the ball is kicked to a leading forward who marks it on his chest lace out, referring hypothetically to the main laces at the area where the ball is pumped up. (Not the stitches that connect the four pieces of the ball but the main laces at the top centre.) So, when the forward has marked this ball on his chest, the back of the ball is hugged to him and theoretically the laces of the ball are facing outwards... it's not anything that is ever practised or realistically is aimed for, it is just a piece of verbal hyperbole used by the commentators when they say, "Look at that, delivered lace out to the forward" ...
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this night's full moon
Hakuin's little bird
on one branch
...I’ve appended in my teaching notes a comment by Chuang-tzu: “Even in the densest wood, the wren is content with one branch.” Isn’t that wonderful?!
- R.P.
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