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 November 2018

see three | the speakers list | Look at what they've become.

The extract below is from Hansard, yesterday :
Tony Burke in the House of Representatives, Canberra
The video of these proceedings can be viewed here

The SPEAKER: Is the motion seconded?
Mr BURKE (Watson—Manager of Opposition Business) (14:53): I second the motion. Look at what they've become. Let's not forget what we were told before they became the government. Let's go back six years to what they told us a Liberal-National Party government would be like. What did they say about a surplus budget back then? Joe Hockey said this: 'We will deliver a surplus budget in our first budget and every budget after that.' Well, since then, they've doubled Australia's debt and taken it to half a trillion dollars and are now boasting that maybe in the financial year after the next election they'll, for the first time, fulfil what they said they'd do before they ever came to government. That's where they're at now.

That's because the first Prime Minister they tried on, the first Prime Minister they had a go with, started by saying, 'We can now bring back adult, stable government.' That's what he said—that he'd be able to deliver a stable government. It might not have been stable, but it's been consistent, because the number of prime ministers is three, the number of treasurers is three and the number of deputy prime ministers is three. There's been a consistency to what they've done, but it has been the exact opposite of what Liberal Party voters thought they were going to get when this mob were elected. They promised cabinet government. That was one of the things they said they would deliver: proper, orderly cabinet government. Well, there's an embassy decision that you might have thought you would have had a cabinet submission for, an embassy decision where you might have thought, 'Maybe we should let the security agencies know before we announce this one.' But there was no process, nothing other than, from the Prime Minister in this despatch box, 'Our candidate told us it would be a good idea.' That was with all the resources of government and all the things they told us they would be.

The Leader of the House, when he was the Manager of Opposition Business, would say time and time again, every time the parliamentary program was brought down, 'The House is not sitting enough.' He'd tell us each time: 'You're running scared if you're not willing to have the parliament sit. It's a test of whether or not you're a government.' And now, for the first time since 1901, the parliament is planning to sit for only 10 days in an eight month period. A lot of the debate has been, 'Maybe that's because they're scared of the numbers on the floor of the parliament,' but we're missing the other point: every time the parliament meets, the party room meets. The Prime Minister says to us: 'You're all getting so cocky. You all think you're going to be able to beat a Morrison government.' Well, we don't even know if we'll be up against a Morrison government. All the indications and the little publicity stunts from the people who are a little bit more popular than the Prime Minister raise a whole lot of questions. I can understand why they want to reduce the number of party room meetings between now and the election.

We were also told that, if they won the election, there'd be no cuts to health, no cuts to education, no changes to pensions and no cuts to the ABC—every single one of them untrue. But we don't need to go through our critique of them because, in truth, the brutality of our critique of them doesn't match the brutality of their critique of them. In the newspaper articles we're reading now, it's really hard to get a Labor Party quote in because we're competing with every anonymous backgrounder from the front bench and the backbench, and their language is so much more colourful than ours. Having promised adult government, they then give us a Prime Minister describing his own mob as a 'muppet show'. It wasn't us who described the Minister for the Environment as being on L-plates; it was one of their own senators. It wasn't us who ridiculed the Leader of the House as being a legend in his own lunchtime; it was the man sitting next to him, the Treasurer of Australia.

The Prime Minister seeks to describe who cares about the real issues and what sort of work people are doing here. This is the speakers list that's been distributed on the Fair Work Amendment (Family and Domestic Violence Leave) Bill, which is being debated in the chamber right now. It's a list of Labor speakers, with only one government member speaking for the government's own bill. It's not that their backbenchers are busy—they're on the phone, ringing up people there. They've got lots to say about the government but very little to offer to the Australian people. (Time expired)

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


28 November 2018

c3 fundraiser

Theatre of the Actors of Regard  
Arts Practice in the Age of the Spectacle 
c3 Annual Fundraiser
29th November - 9th December, 11am – 5pm daily
OPENING LAUNCH: 29th November 6-8pm
Exhibiting Artists
Alexandra Nemaric, Ali McCann, Alicia KING, Allyn Laing, Amy May Stuart, Andrew Atchison, Andy Butler, Audrey Tan, Ben Hattingh, Ben Kelly, Ben Sexton, Bettina Willner-Browne, Betra Fraval, Brigit Ryan, Callum Morton, Casey Jeffery, Chaco Kato, David Attwood, Dell Stewart, Diego Ramirez, Emanuel Rodriguez-Chaves, Georgie North, Grace Wood, Hannah Gartside, Ingmar Apinis, James Little, Janelle Low, Jaye Early, Jem Olsen, Jeremy Eaton, Jo Scicluna, John Brooks, John Gosper, Jon Butt, Jonas Ropponen, Jordan Mitchell-Fletcher, Karima Baadilla, Kate Beynon, Kate Golding, Katie Lee, Katie Paine, Katie Ryan, Kenny Pittock, Kirsten Perry, Lara Chamas, Lauren Dunn, Lorilee Yang, Louise Meuwissen, Marcelle Bradbeer, Matt Fairbridge, Melanie Upton, Miranda Skoczek, MJ Flamiano, Moorina Bonini, Natalie Ryan, Natalie Thomas, Neika Lehman, Nicole Breedon, Olga Bennett, Pascale Dawson, Patricia McCarthy-Henry, Peta Clancy, Peter Tyndall, Pia Murphy, Pierra Van Sparkes, Pip Ryan, Rebecca Delange, Renee Cosgrave, Sangeeta Sandrasegar, Saskia Doherty, Shannon Lyons, Simon MacEwan, Steven Rhall, Tai Snaith, Tessy King, Tom Hvala, Tracey Lamb, Tyson Campbell, Vivian Cooper Smith, Yumemi Hiraki, Yuval Rosinger and Yvette Coppersmith
c3 contemporary art space 
The Abbotsford Convent
1 St Heliers St. Abbotsford
VIC 3067 Australia

+61 3 9416 4300
c3 online fundraiser catalog here

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


24 November 2018


The 9th Asia Pacific Triennial of Contemporary Art (APT9) opens today at QAGOMA

 Zico Albaiquni, Indonesia b.1987 
 The Imbroglio Tropical Paradise 2018
 Oil on canvas 
 120 x 80cm 
 © The artist 
 Courtesy: The artist and Yavuz Gallery

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


19 November 2018

Avert, avert!

Theatre of the Actors of Regard : A painting by the British artist David Hockney has sold at a Christie's auction in New York for $US90 million. 

In this TAR tableau, a refusalist turns her gaze away from that work.

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


18 November 2018

Matriarchs: Motherlines of the Yolgnu and Tiwi Islands

by Raelene Kerinauia  
Motherlines of the Yolgnu and Tiwi Islands

15 November to 15 December 2018

Opening conversation: Sunday 18 November at 2 pm
With Will Stubbs, Co-ordinator Buku-Larrnggay Mulka Centre and Nongirrnga Marawili, artist
Exhibition dates: 15 November to 15 December 2018
Artists: Kaye Brown, Raelene Kerinauia, Banduk Marika, Nongirrnga Marawili, Liawaday Marawili, Marrnyula Munungurr, Mulkun Wirrpanda, Mrs Wirrpanda (Galuma Maymuru) and Michelle Woody Minnapinni
Presented with: Buku Art Centre and Jilamara Arts and Crafts Association, Milikapiti Community (Snake Bay), Melville Island, NT
Matriarchs: Motherlines of the Yolgnu and Tiwi Islands brings together generations of artists committed to keeping Yolgnu and Tiwi law and culture strong. The exhibition considers their work from the perspective of a feminist genealogy tracing matriarchal and collegiate relationships.
8 Llankelly Place, Kings Cross, Sydney
Opening Hours
11 to 6 Thursday to Saturday*, (Saturday close at 4pm)
Closed public holidays.

Raelene Kerinauia        
 A Person Looks At A Work Of Art/
 someone looks at something... 

17 November 2018

Chop wood, carry lines

This scroll about a woman carrying firewood and flowers is by the Zen nun Otagaki Rengetsu aka Lotus Moon, renowned in her own time (1791-1875) as now for her poetry, calligraphy and pottery.

collection FIAPCE        
Rengetsu hand-formed her own pottery and painted her own scroll imagery. She also often combined her inscriptions with the work of other potters and painters. The signature and seal on this scroll's image are by another artist. 

Her haiku here appears close to that on a similar scroll dated 1867 :

  The tips of firewood
  she breaks off and bundles
  are also flowery—
  the spring wind
  of Mount Oohara.

Born around this time, the Irish poet WB Yeats (1865-1939) would later write :

  ALL the words that I gather,
    And all the words that I write,
  Must spread out their wings untiring,
    And never rest in their flight,
  Till they come where your sad, sad heart is,
    And sing to you in the night,
  Beyond where the waters are moving,
    Storm-darken'd or starry bright.

click image to enlarge 

                 A Person Looks At A Work Of Art/
                 someone looks at something... 
                 LOGOS/HA HA

16 November 2018

Christ|ie's Laughing Logos

Christie's Post-War and Contemporary Art Evening Sale, New York, yesterday...


Francis Bacon (1909-1992)

Study of Henrietta Moraes Laughing

USD 14,000,000 - USD 18,000,000
Price realised
USD 21,687,500

Francis Bacon (1909-1992)
Study of Henrietta Moraes Laughing
signed, titled and dated :

'Study of Henrietta Moraes Laughing 
Francis Bacon 1969' (on the reverse)
oil on canvas
14 x 12 in. (35.6 x 30.5 cm.)
Painted in 1969.

.  .  .  .  

Noel Counihan (1913-1986)

Laughing Christ (1970)

 A Person Looks At A Work Of Art/
 someone looks at something... 


14 November 2018

The Field : Theatre of Auditory Regard

Last night we listened to the ABC.TV documentary 
Finding The Field.

To a hurlyburly of 1968 imagery, it starts with

not Jimi Hendrix' Crosstown Traffic (1968)   
Gioachino Rossini's William Tell Overture.
Then Jerry Lewis mimes over-typing-self with Title
to LeRoy Anderson's The Typewriter, as we in '68

arrive through the arch of the modernew NGV to Tchaikovsky's Dance of The Sugar Plum Fairy

and reflect there on Mel Ramsden and Ian Burn
to a J S Bach organ composition.
Fifty years pass and staff install The Field Revisited
to Vivaldi's Four Seasons.

Exeunt to Happiness Does Not Wait.

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

music credits

William Tell Overture

Composed by Rossini
Performed by the South German Philharmonic Orchestra
Piros Classical Records

The Typewriter
by Leroy Anderson

Dance of the Sugar Plum Fairy

Original composition by Pyotr Ilyich Tchaikovsky
Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution
3.0 http://creativecommons.org/licenses/by/3.0/

Bach, Organ Sonata No 2 BWV 526, 
1st movement, Vivace (C Minor)
Performed by Stephen Malinowski
Keyboard Concerto in A major, BWV 1055, 1. Allegro
Original composition by Johann Sebastian Bach
Synthesized by Carey R. Meltz

Fugue in G Minor, BWV 578 performed by E. Power Briggs
Courtesy of Sony BMG Music Entertainment
By arrangement with Sony Music Entertainment Australia Pty Ltd

Bach’s Sinfonia for Cantata No 29
The Grotto Electrasynth-O-Magneticpolyphonic Orchestra

Bach Brandenburg Concerto No 3, 3rd Movement
As Performed by The Raleigh Ringers, Raleigh, NC, USA
Arranged for Handbells by Hart Morris
Conducted by David M. Harris 

Brandenburg Concerto No 3, BWV 1048, 3rd mvt.
Performed by Early Music ensemble Voices of Music
Original composition by Johann Sebastian Bach

A Soalin
Performed by Robert Johnson

Celestial Cantabile
Composed by St George E/Russe L
Courtesy of EMI Production Music

Le Carneval des Animaux by Saint Saens:
Introduction and Royal March of the Lion

Licensed courtesy of One Media iP Ltd

Ravel’s Daphnis and Chloé, Suite II - Lever du Jour
Performed by The Philharmonia Orchestra
Conducted by Geoffrey Simon
Recording: CACDS4027 Five O’Clock Foxtrot
Used by arrangement with Cala Records Limited

The Four Seasons-Summer-Presto
Composed by Antonio Vivaldi
© Flipper Srl, licensed by Fable Music Pty Ltd (Australia)

Happiness Does Not Wait
Performed by Olafur Arnalds
Published by Kobalt Music Publishing Australia Pty Ltd
Courtesy of Erased Tapes Records Ltd

09 November 2018


We were interested last month to see, online, images of the recent "Dialogue" paintings by the Korean artist Lee Ufan at Pace Gallery, New York.

Exhibition text :  click here
Hyperalleric article : click here 

Lee Ufan, “Dialogue” (2016), acrylic on canvas, 86″ x 115″ 
(image courtesy Pace Gallery, photo by Mark Waldhauser, © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris)

Lee Ufan, “Dialogue” (2017), acrylic on canvas, 90″ × 72″ 
(image courtesy Pace Gallery, © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris)

Same-sui : same as it ever was

In this Edo period sansui (Shan Shui) by Nakabayashi Chikutō (Japan, 1776-1853), in this falling transition from mountains to the see, we note here too, as with Lee Ufan's recent Dialogues, the meticulous systematic horizontal brushstrokes that model this theatre of regard into form and appearance.

                       collection : FIAPCE 
Same-same : same diff

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

06 November 2018

Melbourne Cup


Theatre of the Actors of Regard   
   This old man
   He stayed home
   Stopped The Nation
   On his own.

   With a knick-knack paddywhack,
   Give the nag a name,
   The Cliffsofmoher
   A sporting shame.

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


03 November 2018

Open and yet : ) the eyes of y|our subjects ( :

click image to enlarge 

Book Launch at Ian Potter Museum of Art 

'Australian Art Exhibitions: Opening Our Eyes'

Thursday 29 November 2018, 6.00 - 7.30

This pioneering publication outlines the exciting and often controversial development of Australia’s public galleries and the changing conditions that have determined their exhibition programs from the 1960s to the present. The extravagantly illustrated chapters are based on the extensive research of four authors associated with four universities from three states, which trace the growth and evolution of curatorial practice in Australia’s rapidly changing art scene. Read how initial consultations between state gallery directors in the 1950s and 60s led to the emergence of national endeavors under the guidance of Gough Whitlam.

Richly annotated with multiple appendices and a comprehensive index of more than 1,500 entries, this publication is an incredible resource for Australian art history that 
concludes with an analysis of the value of exhibitions that enables visitors to 'see art with fresh eyes and see the world anew'.

Join Jane Clark, Senior Research Curator, MONA and the authors for the Melbourne launch of Australian Art Exhibitions: Opening Our Eyes by Joanna Mendelssohn, Catherine De Lorenzo, Alison Inglis, Catherine Speck.

Followed by refreshments and book signing.

And so the long eye-opening project continues...


The final words of William Tyndale before he was 
strangled and burned at the stake :

Lord, ope the King of Englands eyes.

click image for more of the scene 
Theatre of the Actors of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something...