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.


11 July 2017

TAR at ASG


Theatre of the Actors of Regard 
at 
Anna Schwartz Gallery

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extract from the current ASG website :

MIKE PARR
LEFT FIELD


Calling on the tenets of Suprematism and continuing the premise of Painting-out Performance, 2015, in which several large prints were painted red, Mike Parr performed LEFT FIELD [for Robert Hunter] at Anna Schwartz Gallery on the 6th of July 2017.

The title of the performance invokes variously; a position of obscurity, an ideological leaning, a location on a baseball pitch, or even an abandoned site – a field left behind. Such an empty field could be imagined as boundless, one entire entity without edge or seam. Embracing the statement of Kazimir Malevich that “Art… wants to have nothing further to do with the object”, Parr’s minimalistic performance has rendered the gallery void, leaving behind only a trace in the form of video documentation. On display for the period of the exhibition, this ephemeral echo reverberates against the walls, ceiling and floor, intensifying its barely perceptible sight and sound. On view in the upstairs gallery is a new work by Mike Parr, COATED TONGUES [for Shaun Gladwell], in which he continues his tribute to seminal Australian artists.
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Theatre of the Actors of Regard  
 detail
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