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.


30 October 2018

... and acts of ‘hard looking’.



FORM. SPACE. MOVEMENT
Tuesday 30 October, 6pm

Join the roundtable discussion on the intersection of form, 
space and movement in contemporary practice, alongside 
ACCA’s exhibition Eva Rothschild: Kosmos.

Speakers include multidisciplinary practitioners working across 
art, architecture, design, choreography and theory. 

 Together they will consider the social potential of sculpture, 
the idea of deceptive materiality, as well as the negotiation 
between colour, space, scale and disruption in relation to 
our experience of sculpture and acts of ‘hard looking’.

Speakers:
  Jane Caught, architect and co-founder of multi-disciplinary 
       collective, SIBLING
  Jo Lloyd, choreographer and dancer; and choreographer of 
       CUTOUT in collaboration with Eva Rothschild at ACCA
  Grace McQuilten, art historian, artist and curator; Leader of 
       the Contemporary Art and Social Transformation Research 
       Group in the School of Art, RMIT University 
  Simone Slee, artist and academic at the Victorian College of 
       the Arts
  Fleur Watson, curator and editor specialising in architecture 
       and design; and Executive Curator, Lyon Housemuseum, 
       Melbourne
FREE!
Bookings required


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27 October 2018

FROM ARCHITECTURE TO ARCHITEC-TAR FROM VOLUME 3 TO TAR-VOL 1




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25 October 2018

Then, let us paint the see.


Thanks to Jeff, overseas with paintings, for ...

It is better to go to the beach and think about painting than it is to be painting and thinking about going to the beach.
 - Agnes Martin


 Albert Tucker 
 At Sorrento, Sidney Nolan Buried, John Reed, Sunday Reed, 
    and Joy Hester, Pregnant 
 1944 
 gelatin silver photograph 
 30.2 x 40.2 cm 
 Heide Museum of Modern Art, Melbourne 
 Gift of Barbara Tucker 2001


 Sidney Nolan
 Abstract (St Kilda Reflections) 
1939
 enamel on board
 19 x 27 cm
 Heide Museum of Modern Art, Melbourne
 Gift of Barrett Reid 1993
 © Sidney Nolan Trust
  

 Bathers
 1942
 Sidney NOLAN
 enamel paint on cardboard
 64.0 × 76.2 cm
 painted at Dimboola, Victoria
 inscribed in brown paint l.c.: 
    BATHERS / 6. 12.42. N (N reversed).
 inscribed in black chalk on reverse l.l.: 
    Nolan (an underlined) / 1942
  
FIAPCE  
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 someone looks at something... 
         
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23 October 2018

Margaret Plant celebrated with new namesake lecture series




Launching today, Monash University is proud to present the new Margaret Plant Annual Lecture in Art History, named for celebrated academic and prolific author Margaret Plant.

Plant began her teaching career at the University of Melbourne in 1962, as a tutor in the Department of Fine Arts. She then accepted an appointment to RMIT in 1968 as senior Lecturer in the History of Art  – the first academic appointment of an art historian within an Australian art school.

With Monash University, Plant has a long and distinguished association, as Professor of Visual Arts (1982-1996) and
Emeritus Professor from 1996 onwards.

Plant's first book, Impressionists and Post Impressionists (Oxford University Press) was published in 1966. She continues to write and publish to this day, including John Perceval (Lansdowne Editions, 1970), Paul Klee: Figures and Faces (Thames and Hudson, 1979), Painting Australia: A Child’s Guide to Australian Paintings (Craftsman House, 1995), and Venice: Fragile City, 1797-1997 (Yale University Press, 2002). Her most recent work, Love And Lament: An Essay On The Arts In Australia In The Twentieth Century (Thames and Hudson, 2017) features decade-by-decade essays that strive to cover “the entire spectrum of artistic mediums”.

Max Delany, Artistic Director & CEO, Australian Centre for Contemporary Art was taught by Margaret Plant at Monash University in the 1980s. He explains, “It is significant that Monash University is honouring Margaret Plant with this lecture series. As a lecturer, art historian and mentor, Professor Plant has inspired countless artists, curators, writers, art historians and theorists, so many of whom have become prominent protagonists in their fields. Her knowledge, passion and global perspective have been foundational and enduring, introducing new ideas to contemporary art and art history, and continuing to offer new insights and perspectives to the wider community through her on-going writing and research. Her influence cannot be under estimated and this is a wonderful tribute to her immeasurable cultural contribution.”

To launch the series, Monash University will host a talk by James Meyer, curator of art (1945-1974) for the National Gallery of Art (Washington, U.S.A), and previously, Deputy and Curator of Art for the Dai Art Foundation (New York, U.S.A.) He is the author and editor of two definitive books on minimalism, Minimalism (Themes and Movements) (Phaidon Press, 2000) and Minimalism: Art and Polemics in the Sixties (Yale University Press, 2004), has written important catalogue essays on numerous artists including Anne Truitt, Eva Hesse and Ellsworth Kelly, and is curator of upcoming shows on Mel Bochner and Barry Le Va.

Meyer will present The Double: Return and Reenactment, a discussion of how movements of the “long Sixties” (1955-1979) – including antiwar, civil rights, and feminism – are represented in contemporary American art by artists such as Mary Kelly, John Malpede, Mark Tribe, and the collective BLW (Rosalinda Borcila, Sarah Lewison, and Julie Wyman). The talk draws from his forthcoming book, The Art of Return: The Sixties and Contemporary Culture (University of Chicago Press).

Entry to Meyer’s talk is free and is open to the general public.

Tuesday 23 October 2018 @ 6.30pm
The Pavilion, Building H, Level 8
Monash University, Caulfield campus
900 Dandenong Road
Caulfield East, VIC


 Professor Margaret Plant, Monash University Archives                   photographer Adrian Featherston (1982)      
   
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18 October 2018

Vale Alan Abel


Alan Abel, Hoaxer Extraordinaire, Is            (on Good Authority) Dead at 94

 click image to enlarge    

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16 October 2018

] adverTARsment (


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.
Theatre of the Actors of Regard  
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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.
These scholarships are also available for master’s programs at Christie’s Education, London campus.
Scholarship applications must be received by April 30, 2019.
For more information, visit christies.edu.
For gainful employment disclosures, visit christies.edu/gedt.

13 October 2018

The See in Spring



 Sea in Spring, Yosa Buson (1716–1783)


FIAPCE  
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12 October 2018

Shape of Regard



Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern until 14 October.


Theatre of the Actors of Regard  
 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.


Theatre of the Actors of Regard  
 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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10 October 2018

TAR Shredder feat. Banksy



click image to TAR 

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08 October 2018

Polly Borland: Polyverse


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 […]

READ MORE 

NGV AUSTRALIA, FEDERATION SQUARE

LEVEL 3, CONTEMPORARY ART & DESIGN

28 SEPTEMBER 2018 - 3 FEBRUARY 2019

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06 October 2018

the existential intersecTAR



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

Theatre of the Actors of Regard  
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someone looks at something... 
         
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02 October 2018

Ghosts of TAR


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.


Theatre of the Actors of Regard  
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A Person Looks At A Work Of Art/
someone looks at something... 
         
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