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.
Theatre of the Actors of Regard have directed our attention to this recent newspaper item & caption
CONTEMPORARY VIEW
Attempts to define the contemporary in art - beyond it being art made today - can lead to a paralysing notion that the globalised "contemporary movement" is too vast and too slippery to be grasped at all. Influential New York based critic Claire Bishop gives a lecture at the NGV on Wednesday night (Clemenger BBDO Auditorium, 5.30pm) titled 'What is contemporary in museums of contemporary art?'. She will look at three European museums that act "as a radical and transdisciplinary space of experimentation".
Dylan Rainforth/The Age
Wednesday 19 Dec 2012
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A Person Looks At A Work Of Art/
someone looks at something ...
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