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.
We were not surprised yesterday when this 1968 NGV poster for The Field well exceeded the pre-auction estimate.
AAA_Art Archive Australia
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Today, How to look at The Field of Japanese Art
as Attempted via Books by Stephen Addiss.
The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin (with Audrey Yoshiko Seo). Boston and London: Shambhala Publications, 2010.
Stitching Speechless. Chapel Hill, North Carolina: Blue Bluer Books, 2009.
Haiku: An Anthology of Japanese Poems (with Fumiko and Akira Yamamoto). Boston and London: Shambhala Publications, 2009.
Zen Art Book (with John Daido Loori). Boston and London: Shambhala Publications, 2009.
John Cage Zen Ox-Herding Pictures (with Ray Kass), New York City: George Braziller, 2009.
Zen Sourcebook (assisted by Stanley Lombardo and Judith Roitman), Hackett Publications, Cambridge, Massachusetts, 2008.
Mountains of the Heart (with facsimile of 1816 book by Kameda Bosai), George Braziller, New York, 2007.
The Zen Art Box (with John Daido Loori), Shambhala Publications, Boston, 2007.
Haiku Humor (assisted by Fumiko and Akira Yamamoto), Weatherhill-Shambhala, Boston, 2007.
77 Dances: Japanese Calligraphy by Poets, Monks, and Scholars, 1568–1868 Shambhala Publications, Boston, 2006.
Traditional Japanese Arts and Culture: An Illustrated Sourcebook (coeditor), University of Hawaii Press, 2006.
The Art of Chinese Calligraphy, Philadelphia: Running Press, 2005.
Haiku Landscapes (assisted by Fumiko and Akira Yamamoto) Weatherhill, New York, 2002.
Lao Tzu: Tao Te Ching (translation into Portuguese based on that by Stephen Addiss and Stanley Lombardo, plus 21 ink paintings by Stephen Addiss). Martin Fontes, Sao Paulo, Brazil, 2002.
Old Taoist: The Life, Art, and Poetry of Kodojin (with Jonathan Chaves), Columbia University Press, New York City, 2000.
The Resonance of the Qin in Far Eastern Art, China Institute, New York City, 1999.
Three Three Three, Josh Hockensmith, Richmond, Virginia, 1999.
Haiku People (assisted by Fumiko and Akira Yamamoto), Weatherhill, New York City, 1998.
The Art of 20th-Century Zen: paintings and calligraphy by Japanese masters (with Audrey Yoshiko Seo, with a chapter by Matthew Welch), Shambhala, Boston, 1998.
Nakahara Nantenbō (Tōjū Zenchū, 1839-1925) by Matthew Welch
Deiryū Kutsu (Kanshū Sōjun, 1895-1954)
Yūzen Gentatsu (Sanshōken, 1842-1918)
Takeda Mokurai (1854-1930)
Sōhan Gempō (Shōun, 1948-1922)
Yamamoto Gempō (1866-1961)
Nishiari Bokuzan (Kin'ei, 1821-1910)
Taneda Santōka (1882-1940)
Kojima Kendō
Rozan Ekō (1865-1944)
Mamiya Eishū (1871-1945)
Seki Seisetsu (1877-1945)
Shibayama Zenkei (1894-1974)
Fukushima Keido (b.1933)
Six Directions (illustrator), La Alameda Press, Albuquerque, New Mexico, 1997.
River of Stars (illustrator), Shambhala, Boston and London, 1997.
How to Look at Japanese Art (assisted by Audrey Yoshiko Seo), Harry N. Abrams, New York City, 1996.
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A Haiku Garden (assisted by Fumiko and Akira Yamamoto), Weatherhill, New York City, 1996.
Haiga: Takebe Socho and the Haiku-Painting Tradition, University of Richmond Marsh Art Gallery and the University of Hawaii Press, 1995.
Four Huts (Illustrator), Shambhala, Boston, 1994.
Tao Te Ching (translated with Stanley Lombardo, and illustrator), Hackett Publications, Cambridge, Massachusetts, 1993.
Phoenix Papers: 26 Lawrence Poets (coeditor, coauthor, illustrator), Penthe Press, Lawrence, Kansas, 1993.
Art History and Education (with Mary Erickson), University of Illinois Press, 1993.
A Haiku Menagerie (assisted by Fumiko and Akira Yamamoto), Weatherhill, New York City, 1992.
Narrow Road to the Interior (illustrator), Shambhala, Boston, 1991.
Shisendo: Hall of the Poetry Immortals (coauthor), Weatherhill, New York City, 1991.
The Art of Zen: Paintings and Calligraphy by Japanese Monks, 1600–1925, Harry N. Abrams, New York City, 1989.
Konoe Nobutada (1565-1614)
Takuan Sōhō (1573-1645)
Kōgetsu Sōhan (1574-1643)
Shōkadō Shōjō (c. 1584-1639)
Ishi Bunshu (1608-1646)
Seigan Sōi (1588-1661)
Fūgai Ekun (1568-1654): "OUTSIDE THE WIND"
Ungo Kiyō (1582-1659)
Gessū Sōko (1618-1696)
Bankei Yōtaku (1622-1693)
Ingen (1592-1673)
Mokuan (1611-1684)
Sokuhi (1616-1671)
Dokutan (1628-1706)
Tetsugyū (1628-1700)
Shin'etsu (1639-1696)
Ryōnen Gensō (1646-1711)
Taihō (1691-1774)
Hakuin Ekaku (1686-1769)
Tōrei Enji (1721-1792)
Suiō Genro (1717-1789)
Reigen Etō (1721-1785)
Gako (1737-1805)
Shunsō Shōjū (1750-1839)
Jiun Sonja (1718-1804)
Ryōkan (1758-1831)
Gōchō Kankai (1749-1835)
Sengai Gibon (1750-1838)
Nantenbō Tōjū (1839-1925)
Tall Mountains and Flowing Waters: The Arts of Uragami Gyokudo, University of Hawaii Press, 1987.
Japanese Quest for a New Vision: The Impact of Visiting Chinese Painters 1600–1900 (editor and coauthor), Spencer Museum of Art, University of Kansas, 1986.
Japanese Ghosts and Demons (editor and coauthor), Spencer Museum and George Braziller, New York City, 1985.
The World of Kameda Bosai, New Orleans Museum of Art and the University Press of Kansas, 1984.
A Myriad of Autumn Leaves (one of five coauthors), New Orleans Museum of Art, 1983.
Samurai Painters (with G. Cameron Hurst III), Kodansha International, Tokyo, 1983.
Japanese Paintings 1600–1900 from the New Orleans Museum of Art (editor and coauthor), Birmingham Museum of Art, 1982.
Tokaido: On the Road: Pilgrimage, Travel and Culture (editor and writer of introduction), Spencer Museum of Art, 1982.
Masterpieces of Sung and Yuan Dynasty Calligraphy (assisting Kwan S. Wong), China Institute, New York City, 1981.
One Thousand Years of Art in Japan (editor and coauthor), Colnaghi Oriental, London, 1981.
Catalogue of the Oriental Collection (coauthor and coeditor), Spencer Museum of Art, 1980.
Tokaido: Adventures on the Road in Old Japan (editor and coauthor), Spencer Museum of Art, 1980.
A Japanese Eccentric: The Three Arts of 村瀬太乙 Murase Taiitsu (1803-1881), New Orleans Museum of Art, 1979.
Obaku: Zen Painting and Calligraphy, Spencer Museum of Art, 1978.
Nanga Paintings, Robert Sawers Publications, London, 1976.
Zenga and Nanga: Paintings by Japanese Monks and Scholars, New Orleans Museum of Art, 1976.
Japanese Calligraphy, Shirley Day Limited, London, 1975.
Buson and His Followers (coauthor, plus writing an addendum on signatures and seals), University of Michigan Museum of Art, 1974.
Stephen Addiss [inset] and The Field of Regard
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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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THE LEPIDOPTERS SLAVE PIANOS - PUNKASILA - MICHAEL KIERAN HARVEY - RACHEL SARASWATI - DOMINIC HARVEY THE BRISBANE INTERVENTION : FLEE,PNEBULONS! FLEE TONIGHT FREE AT THE TURBINE PLATFORM AT BRISBANE POWERHOUSE
AAA_ArtArchiveAustralia
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Standard magic fare reveals... a rabbit from a hat.
Bendigo Art Gallery
Standard illusion... a flower from a pot.
Ceci n'est pas une fleur; ceci n'est pas un pot.
Bendigo Art Gallery
Standard regard, then... Ah, such beauty, wot!
Bendigo Art Gallery
Theatre of the Actors of Regard
presents
A Primrose From England
by Edward Hopley (c.1885)
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Matrix magic fare... ------ from ------
Theatre of the Actors of Regard
Theatre of the Actors of Regard
presents
A Primrose From England
after Edward Hopley (c.1885)
as Performed by the Inmates of Punkasila & Slave Pianos : The Trial (Regarding Certain Deliberations of the National Committee for Art Purification)
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After yesterday's post (and even as the 2016 Melbourne Art Fair is cancelled) there's been a clamour from the Art Cult faithful for more Ar Cul.
From c.1976, long before the recent fashion for artistic finger nail decoration, here's a Hand Space Theatre publicity still : white page mise-en-scène projection screen and a white painted finger actor with black-on-white Ar Cul nail mask.
AAA_Art Archive Australia
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We have received an invitation to the March 16 opening of the 20th Biennale of Sydney :
The future is already here – it’s just not evenly distributed
The invitation features this image of regard.
Shahryar Nashat, Parade (still), 2014, HD video, 38 mins.
Image courtesy the artist, Rodeo Gallery, London
and Silberkuppe, Berlin © the artist
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We are reminded of a similar Prime Scene from the recent Theatre of the Actors of Regard production of Melencolia 1 featuring the Culture Hero turned Deity of the Art Cult, Ar Cul.
Theatre of the Actors of Regard
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So weird to wake up - still white, yes - with this insistent earworm courtesy Kendrick Lamar by way of Boris Gardiner...
Every nigger is a star, ay, every nigger is a star
Who will deny that you and I and every nigger is a star?
...to then sing it, to be sung it, all day.
After yesterday's highly addictive A New Ground by Henry Purcell ("Here the Deities approve" Z.339/3) and with the "every nigger is a star" earworm still at the mindophone it seems an appropriate moment to record here Lamar's question to 2Pac on "Mortal Man", the last track of To Pimp A Butterfly :
[Outro: Kendrick Lamar & 2Pac]
[Kendrick Lamar]
"I remember you was conflicted
Misusing your influence
Sometimes I did the same
Abusing my power, full of resentment
Resentment that turned into a deep depression
Found myself screaming in the hotel room
I didn’t wanna self destruct
The evils of Lucy was all around me
So I went running for answers
Until I came home
But that didn’t stop survivor’s guilt
Going back and forth trying to convince myself the stripes I earned
Or maybe how A-1 my foundation was
But while my loved ones was fighting the continuous war back in the city, I was entering a new one
A war that was based on apartheid and discrimination
Made me wanna go back to the city and tell the homies what I learned
The word was respect
Just because you wore a different gang color than mine's
Doesn’t mean I can’t respect you as a black man
Forgetting all the pain and hurt we caused each other in these streets
If I respect you, we unify and stop the enemy from killing us
But I don’t know, I’m no mortal man, maybe I’m just another nigga”
Shit and that’s all I wrote
I was gonna call it Another Nigga but, it ain’t really a poem, I just felt like it’s something you probably could relate to. 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
[Kendrick Lamar]
Aight so let me ask you this then...
The Ground is a key term and reference for many, which is why we were so interested to hear it focussed on in this Kendrick Lamar album.
Here, we sometimes use that term for the undifferentiated matrix of interconnectedness out of which and into which...
Theatre of the Actors of Regard
detail
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here today
Patrick Jones : Theatre of the Actors of Regard
The Gnu Glove Puppets : Towards A New Ground
Henry Purcell : Published in "Musick's Hand-Maid", 1689
detail
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D T Suzuki & John Cage (1962) Theatre of the Actors of Regard
Some Kid (1952) Theatre of the Actors of Regard
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Sweet Gloves
"When Catherine de' Medici came to France by way of marriage, she brought with her several trends from her native Florence, including cooking utensils and techniques, Italian architecture, and beauty rituals. Italy in the 16th century was a fragrant place where perfume was used to scent skin as well as all articles of clothing. Catherine arrived in France with her personal perfumer, René le Florentin, and a vast collection of custom perfumes.
She promptly introduced perfumed gloves–or sweet gloves–to the French court, where men and women wore them as the ultimate emblem of prestige. Leather was the most popular choice for sweet gloves, but scenting a leather glove was no easy feat. To start with, the leather tanning process at the time used animal excrement, which gave the finished product a smooth finish but a repulsively rancid odor. This was why leather glove makers had turned to perfume to mask the less than luxurious smell in the first place."
- extract from
Julia Davis / Atlas Obscura 12 February 2016
Polly Krome + The Gnu Glove Puppets
That's Polly out front in the mosh pit...
Theatre of the Actors of Regard
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courtesy AAA_Art Archive Australia
detail
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Curious about why contemporary art looks
the way you do?
Then this may be for you :
Curious about why contemporary art looks the way it does?
Ask all the questions you ever wanted to know about contemporary art but were too afraid to. This new lecture series is an open and casual forum for looking critically at the art of our time.
Tap into Contemporary Art
is a new series of informal lectures and discussions exploring what is contemporary art.
Don’t know your Fluxus from your elbow?
Confused about why contemporary art looks the way it does?
Learn the basics, ask questions and gain insight in a fun, yet informative fashion. This entry-level series offers the curious art mind a space to develop confidence and new understandings.
Complete with a glass of beer at the MCA Cafe.
DATES & PRICES
Single Tickets $20/$15 MCA Members and Concessions*
Veolia Lecture Theatre, Level 2
Package tickets Buy all 4 sessions for $75/60 MCA Members and Concessions*
Meet Gill Nicol, Director, Audience Engagement for the 18 February session, which takes an insightful look at ‘Britishness’ in contemporary art. Book in for all four
sessions here.
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Theatre of the Actors of Regard at MCA
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Tap into Contemporary Art & Collecting
What is a collection and why do institutions collect things? This talk takes you on a journey to investigate why collections of art look the way they do?
Complete with a glass of beer at the MCA Cafe.
DATES & PRICESThursday 20 Oct, 6-7.730pmVeolia Lecture Theatre, Level 2
Single Tickets $20/$15 MCA Members and Concessions*
Veolia Lecture Theatre, Level 2
Package tickets Buy all 4 sessions for $75/60 MCA Members and Concessions*
This is the fourth event in this series
Image: Kerrie Poliness, Red Matter wall drawing #2, 1994, Red fibre tipped pen on wall, Installation view, MCA Collection, Museum of Contemporary Art, 2015. Purchased with assistance of Dr Edward Jackson AM and Mrs Cynthia Jackson AM, 1995. Image courtesy and © the artist. Photograph: Maja Baska
Theatre of the Actors of Regard at MCA
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© ML fakefotos
© ML fakefotos
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Posted that late at night. Next morning in "The Age" (Melbourne) this is the featured cartoon, FAKE VISION et al, by Andrew Dyson :
Andrew Dyson - The Age
detail
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Rita Angus, Billy Apple, Daniel Buren, Fiona Connor, Julian Dashper, Colin McCahon, Dane Mitchell, Milan Mrkusich, John Nixon, John Reynolds, Peter Robinson, Marie Shannon, Imants Tillers, Peter Tyndall, Jan van der Ploeg and Gordon Walters. Curator : Robert Leonard.
continues at City Gallery Wellington NZ until 25 April 2016
The front cover of the exhibition catalog features a Julian Dashper tribute (band) to New Zealand's most famous artist, Colin McCahon.
The image below is scanned from the catalog, where the caption given is :
Judge Charlotte Huddleston with Dane Mitchell's Collateral 2009, in the 2009 Trust Waikato National Contemporary Art Award, Waikato Museum, Hamilton. © Fairfax Media
Here at bLOGOS/HA HA, regarding this image rings many bells. Theatre of the Actors of Regard, of course. Most deeply, it returns us to the ground, the tradition, the lineage we link to in our blog header:
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
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Happy Losar
Happy Spiral Point of Unceasing Return
(Show me your Original Mask)
Happy Year of the Monkey Mind - Ooops!
Mind monkey or monkey mind, from Chinese xinyuan and Sino-Japanese shin'en 心猿 [lit. "heart-/mind-monkey"], is a Buddhist term meaning "unsettled; restless; capricious; whimsical; fanciful; inconstant; confused; indecisive; uncontrollable" - Wikipedia.
PT 1995
detail
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