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 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 ChikutÅ (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 At A Work Of Art/
someone looks at something...
