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.
Striking Vignettes Illustrate the Influence
of Africa and Oceania on Impressionist, Modern and Contemporary Art
Theatre of the Actors of Regard
Chaim Soutine,
La femme en rouge.
Estimate $6,000,000–8,000,000.
Iatmul Hook Figure,
Blackwater River Region,
Middle Sepik River,
East Sepik Province,
Papua New Guinea.
Estimate $250,000–350,000.
detail
A Person Looks At A Work Of Art/
someone looks at something...
Theatre of the Abderian Rockers
detail
A Person Looks At A Work Of Art/
someone looks at something...
Tu es TAR ...
Theatre of the Actors of Regard
Tu es Petrus, et super hanc petram
Aedificabo Ecclesiam meam,
Et portae inferi non praevalebunt adversus eam:
Et tibi dabo claves
Regni coelorum.
Quodcumque ligaveris super terram,
Erit ligatum et in coelis;
Et quodcumque solveris super terram
Erit solutum et in coelis.
Matthew 16:18-19
James Brunt at 2018 European stone stacking championships
Thou art Peter,
and upon this rock I will build my church;
and the gates of hell shall not prevail against it.
And I will give unto thee the keys
of the kingdom of heaven:
and whatsoever thou shalt bind on earth
shall be bound in heaven:
and whatsoever thou shalt loose on earth
shall be loosed in heaven.
Matthew 16:18 King James Version
detail
A Person Looks At A Work Of Art/
someone looks at something...
Theatre of the Acorns of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
Swanston & Flinders Sts intersection, Melbourne, 8 April 2019
Theatre of the Actors of Regard
Behold, the Lamb of God who takes away the sins of the world
- John 1 : 29
Today on ABC RN
False necessities: Is 'taste' enough to morally justify the mass slaughter of animals?
WHEN THE SCREEN SCREAMS
YOU'LL SCREAM TOO...
IF YOU VALUE YOUR LIFE!
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
Victor Hugo
Vision of Notre-Dame, 1831
charcoal and India ink on paper
Theatre of the Actors of Regard
evening of 15 April 2019
Paris
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
While on this Harry Shunk sequence, here's a reworking by TAR of Shunk's 1969 portrait of Barnett Newman at Universal Limited Art Editions, New York, regarding an edition print of his Untitled Etching #2.
click image to enlarge
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
Harry Shunk and János Kender (photography)
and TARpists
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
thoughts arise...
This sequence ends with the image that sparked it, or rather, with the caption published under it,
A crowd...
A crowd at TEFAF Maastricht, 2018. Photo: Natascha Libbert.
1. Yves Klein leaps into the Void
2. Yves Klein surfs into a crowd (hand-stretched canvas TARp)
3. A crowd surfs the void
4. Elation (Aldous Harding)
The beauty is so close to me
The beauty is so close to me
A crowd at TEFAF Maastricht, 2018. Photo: Natascha Libbert.
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
Long Play is a boutique Cinema & Bar
in Melbourne that has a bar up the front,
and a small dedicated cinema at the back
INFO FOR ALL SCREENINGS
As seats are limited, please book by emailing
Do not go to St. Georges Rd, Northcote.
All sessions start at 7:30 pm. If booked out, there may
be (no guarantee) another session at 9:30 pm.
There is a small entry charge of $5 per person.
Cash only, and try to have the right amount on you.
Unknown Pleasures: Australian independent cinema is a series of semi-regular screenings curated and presented by Chris Luscri & Bill Mousoulis, featuring the best of Australian indie cinema, both new and old, narrative and non-narrative, with discussions with most of the filmmakers, presented at Long Play Cinema.
read more
--------------
Thursday, April 11, 2019, 7:30 p.m.
$5 entry. To book a seat, email bill@innersense.com.au
55 PHASES OF LOOKING
(2018, 53 mins, James Clayden)
Intro & Q&A with James Clayden
Recently, James Clayden has been experimenting with web-based video forms, consciously refining his practice through a unique methodology that makes extensive use of prior film and video works. The culmination of this is 55 PHASES OF LOOKING– comprised of re-filmed and digitally altered fragments (some originally shot on Super 8) from almost a half-century of film-making, “chopped and screwed” to profoundly personal effect, tremulous with anxiety and deep melancholy.
(Chris Luscri)
Apart from 55 PHASES OF LOOKING, the short film GLASLOUGH 64 (2018, 3 mins) will also screen.
The project began about eight years ago with the working title LOOKING FOR CÉZANNE (Perception & Illusion). After shooting material in France, I thought I knew what I was doing but I struggled to find my way to put it together.
Then by chance, I read a book – THE ENTANGLED EYE by James Krasner – which inspired me to abandon my original idea, out of which came 55 PHASES OF LOOKING. My approach was to treat the everyday things that took my fancy in the same manner that I treated my dreams and memories in my previous works, more or less like an improvisational visual essay, with Darwin’s “entangled bank” in the back of my mind, as if making improvised music, where the way it feels is everything.
The idea of making the piece for a small screen appealed to me a lot, as it does to have no protagonist or victim nor obvious narrative, as in painting the mystery is an essential thing.
-- James Clayden
This presentation of 55 PHASES OF LOOKING is something of an experiment – borne of curiosity but innately animated by something more mysterious. A way of testing the limits, both audience and artist? Of parsing over, imbibing, 'turning' the object, glint by glint against the light? Of plumbing hidden depths, of image blown all out of proportion? All of these things, for sure – but this list is not exhaustive. No other Australian artist works with texture quite like James, so definitive and violent are his interventions. To suggest a canonical presentation gestures toward an inert deadness, a sense of composure and containment that I suspect James would instinctively react against: tools in hand dissolved, awash in the interstitial sensations that arise from the practice of looking, perceiving and reacting. For all the dizzying and rhizomatic formal complexities at play, the motivation is as simple as this – an Impressionism borne of deep personal truths (as in the inaugurably canonical GHOST PAINTINGS series) and passionate devotion to his vocation, complete with its own iconography of wonders, terrors and trancendents. James Clayden is an extraordinary human being.
-- Chris Luscri (curator)
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
SPECIAL "MIDDLE-OF-THE-ROAD" ISSUE
collection FIAPCE
detail
A Person Looks At A Work Of Art/
someone looks at something...
FRENCH
rangement
ENGLISH
arrangement
noun
arrangement, classification
Ikebana (生け花, 活け花, "arranging flowers" or "making flowers alive") is the Japanese art of flower arrangement. It is also known as Kadō (華道, "way of flowers").
Kadō is counted as one of the three classical Japanese arts of refinement, along with kōdō for incense appreciation and chadō for tea and the tea ceremony.
Artists of the Kanō school such as Sesshū Tōyō (1420–1506), Sesson, Kanō Masanobu, Kanō Motonobu (1476–1559), and Shugetsu of the 16th century were lovers of nature, so that ikebana advanced in this period a step further than temple and room decoration and commenced in a rudimentary way to consider natural beauty in floral arrangement. At this time ikebana was known as rikka.
This same age conceived another form called nageirebana. Rikka and nageirebana are the two branches into which ikebana has been divided. Popularity of the two styles vacillated between these two for centuries. In the beginning, rikka was stiff, formal, and more decorative while nageirebana was simpler and more natural...
- Wikepedia
TARkado is a more recent development, a confluence of Kadō and Theatre of the Actors of Regard. Nature ranged in the painted world. It originates from country Victoria.
TARkado
detail
A Person Looks At A Work Of Art/
someone looks at something...
something beginning with c
Theatre of Antarctic Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
Tauts Arise
I taut I taw a puddy tat a-creeping up on me
I did, I taw a puddy tat as plain as he could be
collection FIAPCE
detail
A Person Looks At A Work Of Art/
someone looks at something...
inscription by free pencil movement
inscription by HAND SPACE
inscription by Theatre of the Actors of Regard
fpm HAND SPACE TAR
detail
A Person Looks At A Work Of Art/
someone looks at something...
TAR thoughts arise : relax
TAR thoughts arise : relax
TAR thoughts arise : relax
TAR thoughts arise : relax
detail
A Person Looks At A Work Of Art/
someone looks at something...
