Pilgrim (after The Journeys of TARzen)

In mythology, folklore and the Shinto religion of Japan,

Tenjin (天神) is the patron kami (deity) of academics, scholarship, of learning, and of the intelligentsia.  

Tenjin is the deification of Sugawara no Michizane 

(845–903), the famous scholar, poet and politician of the Heian period.  

Ten (天) means sky and jin (神) means god or deity. The original meaning of Tenjin, sky deity, is almost the same as that of Raijin (a god of thunder)

  Title: “Tenmangū,” Sugawara no Michizane as Tenjin 

              Traveling to China

  Artist: Sengai Gibon (Japanese, 1750–1837)

  Period: Edo period (1615–1868)

  Date: early 19th century

  Culture: Japan

  Collection: Metropolitan Museum, NY

  Below: TARist as TARzen carrying Title branch from 

               Bonzaview to Melbourne

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cat. 'found Label'

   

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Four Melbourne exhibitions

Japan, Japan, Japan, ....

 Kevin Lincoln at Niagara Galleries

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  Kevin Lincoln, Untitled, 2020 

 Rosslynd Piggott at Sutton Gallery

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  Rosslynd-Piggott, Gift - folded-quince, 2019/2020 

  photo Andrew Curtis

 Criss Canning at Smith & Singer

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  Criss Canning, Memories of Oshino, 2020

   © Criss Canning/Copyright Agency, 2020

  Stephen Bram at Anna Schwartz Gallery2

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  Stephen Bram, Untitled, 2019             

  photo Christian Capurro

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COVID-19 Melbourne : masks not required when outdoors | still required indoors

photo from today's Guardian  

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TARebus

bLOGOS/HA HA 💛 rebus

"Largely gone from the funny pages but alive and well on the rear bumper of the car, the rebus is a visual puzzle that, in its various forms, encapsulates the history of alphabetic writing from ideograms (pictures designating concepts or things) to pictographs (pictures representing specific words or phrases) to phonograms (pictures representing specific sounds or series of sounds). Dictionaries struggle to define the term in such a way as to capture the range of shapes a rebus can take, typically focussing on its pictographic and phonogrammic attributes, forgoing mention of the ideographic. For example, the OED defines rebus as “a. An enigmatical representation of a name, word, or phrase by figures, pictures, arrangement of letters, etc., which suggest the syllables of which it is made up. b. In later use also applied to puzzles in which a punning application of each syllable of a word is given, without pictorial representation.”

... The simplest rebuses are those consisting only of letters: IOU, the (in)famous title of Marcel Duchamp’s moustached Mona Lisa “l.h.o.o.q.” (Elle a chaud au cul, literally something like ‘Her ass is hot,’ figuratively, ‘She’s horny’), and such staples of modern day texting as CUL8R or French @2m1 (à deux m un, i.e., “à demain” ‘[See you] tomorrow’)."

- Alexander Humez

Humez starts at "the funny pages", which is also how we know the rebus best. From 19th and 20th century French newspapers and trade cards, both of which we've collected. 

  original rebus artwork for Petit Illustri Amusant c.1906

(above and below by unknown artists) collection FIAPCE  

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  Le Chien Savant, a French trade card c.1890, 

  aka a TAR card, in which 

  - we regard...

  - a man with pipe and three cornered hat regards...

  - a clown-hatted clever dog regards... 

  a rebus of physical objects.

The young Marcel Duchamp would have grown up with such rebus word-image games as part of the day-to-day popular culture of France. Before we understood this, his LHOOQ work seemed intellectual, rarified, exotic. Now we appreciate that it follows upon the disruption-to-art news of the period (Mona Lisa stolen in 1911, recovered 1913) and is crudely street playful. 

Marcel Duchamp and Francis Picabia : Marcel Duchamp, 1919, L.H.O.O.Q. originally published in 391, n. 12, March 1920

When one knows of that popular culture common ground, of that mass daily multi-layered challenge of language and image play... after the newsprint and actuality collages, and the expanded view matrix of the various stages of Cubism,

Pablo Picasso, Siphon, Glass, Newspaper and Violin, 1912

and after Marcel Duchamp's LHOOQ, the productions of daDA and Surrealism appear obvious and inevitable. Works by children grown up, continuation rather than revolution.

 Francis Picabia, Chapeau de Paille?, 1921

 M... pour celui qui le regarde! Literally, it is addressed to

        for whoever looks at it! 

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The view of  LHOOQ  from the distant Anglo-Antipodes is Shock of the New. Much less so where it happened. 

 Rene Magritte, L'Apparition, 1928

Above is a rebus-like portrait of Robert Rauschenberg, made in 2005 by the photographer Irving Penn. 

Today's ArtDaily Newsletter has an image of a TARist posed in regard of Robert Rauchenberg's 1955 "Rebus", now on show at MoMA. It's such a dynamic application of a title : a challenge to each person who regards this (and any other) arrangement to de-code the given, as if the world is a puzzle that can be solved and known.

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  Robert Rauschenberg's 'Rebus' on display during a press 

  preview of MoMA's first ever Fall Reveal at the Museum of 

  Modern Art on November 13, 2020 in New York City. 

  Cindy Ord/Getty Images/AFP

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TARedact

Ellen Fanning displays redacted Afghanistan Report into possible war crimes by Australian SAS. The Drum, ABC.TV, 19 November 2020

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text paperweights

 

A paperweight, elongated brass cube inscribed on two sides with poetry by Yosa Buson. We use it to heap and hold recent Spirax drawings such as that below.

collection : FIAPCE  

Title paperweight with copper green patina...

FIAPCE  

...after Edgar Degas's 'Danseuse regardant la plante de son pied droit, quatrième étude' (Dancer looks at the sole of her right foot, fourth study) c.1882–1900 [collection QAGOMA] in which a woman of bronze regards her pedestal Title reflection/growth/formation/installation.

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class system

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re. object matter

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Definition of Object Matter by Oxford Dictionary :

noun.
the matter that is the object of an action or study,
the matter dealt with or treated.
"subject matter" is the more commonly used term.

By binary convention, we usually write 

    the subject regards the object

Similarly, we might further write 

    the subject matter regards the object matter

However, if we write 

    the subject matter regards the subject matter

that suggests a very different view : 

    meta-matter

meta- 

The third sense, "higher than, transcending, overarching, dealing with the most fundamental matters of," is due to misinterpretation of metaphysics (q.v.) as "science of that which transcends the physical." This has led to a prodigious erroneous extension in modern usage, with meta- affixed to the names of other sciences and disciplines, especially in the academic jargon of literary criticism: Metalanguage (1936) "a language which supplies terms for the analysis of an 'object' language;" metalinguistics (by 1949); metahistory (1957), metacommunication, etc. 

Expert, texpert choking smokers

Don't you think the joker laughs at you 

(ho ho ho, hee hee hee, hah hah hah)

See how they smile like pigs in a sty, 

    see how they snide

I'm crying

- 'I Am The Walrus', John Lennon/The Beatles

matter (n.) 

c.1200, materie, "the subject of a mental act or a course of thought, speech, or expression," from Anglo-French matere, Old French matere "subject, theme, topic; substance, content; character, education" (12c., Modern French matière) and directly from Latin materia "substance from which something is made," also "hard inner wood of a tree." According to de Vaan and Watkins, this is from mater "origin, source, mother" (see mother). The sense developed and expanded in Latin in philosophy by influence of Greek hylē (see hylo-) "wood, firewood," in a general sense "material," used by Aristotle for "matter" in the philosophical sense.

I am he as you are he as you are me

and we are all together

- 'I Am The Walrus', John Lennon/The Beatles

matter derives from mater, mother, origin

as does material 

matrix, too, to which all matter returns :

  matter to matter

  mother to matrix

  dust to dust

  

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TAR Landmark Event

Twenty Classics of Australian Art

+
Important Australian and International
Fine Art

AUCTION TO BE STREAMED LIVE ONLINE
Deutscher and Hackett, Melbourne
Wednesday 11 November 2020
7.00 pm

VIEW CATALOG

This specially curated auction, which places a strong emphasis on standout, high-quality Australian and International works of art from the nineteenth, twentieth and twenty-first centuries, will be a landmark event.  

FIAPCE Fotos (see: Instruments of the Passion)  

The catalogue cover will illustrate Russell Drysdale’s major painting, Going to the Pictures, 1941, 

a masterpiece of Australian art.

“Drysdale as a consciously modern artist takes the rural motifs of the old guard and uses them for his own purpose, preparing the way for artists after him, for Nolan and Boyd,” Dr Heathcote says. “This is where modern Australian art starts to go somewhere different and takes on the old guard and beats it at its own game.”

The auction includes further, remarkable works by luminaries such as Streeton, Williams, Fairweather, Smart, Olsen, Audette and Upward and quintessential works of contemporary art by Gascoigne, Arkley, Onus and Quilty.

FIAPCE Fotos | Theatre of the Actors of Regard  

Featuring a selection of extraordinary works, 

a special feature of the auction will be 

Twenty Classics of Australian Art.

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How to tell if you are/not a clairvoyant/dog/ curator regarding a crystal ball/picture/1000 words/more/less

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‘A picture tells a thousand words.’ This adage is the inspiration for an innovative new exhibition, in which the public becomes the curator.

A Thousand Words presents 100 of the most compelling photographic images from the rich collections of Sydney Living Museums and the State Archives and Records Authority of NSW, created between the 1880s and the 1980s.

A Thousand Words adopts a philosophy that everyone can interpret history through the lens of their background, experiences, values and aspirations. Unlike a standard exhibition, the images are presented without traditional curatorial interpretation. Instead, the public have been invited to contribute responses – whether emotive, nostalgic or imaginative – and this ‘crowdsourced’ material translated into the exhibition design. New creative works have also been commissioned from established and emerging writers and artists, each responding to an image from the exhibition.

View and respond to some of the unique images at #OneWordWednesday and #SayitonSaturday, on Twitter, Facebook and Instagram.

A Thousand Words is also available as an online exhibition.

A Thousand Words is a collaboration between Sydney Living Museums and State Archives.  

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Jean-Pierre Laffont & Reg V. Brock

  
NEW YORK, NY. - In 2020, French-American photographer Jean-Pierre Laffont received The Lucie Award for Achievement in Photojournalism and The Visa D’Or Award of the Figaro Magazine for Lifetime Achievement.

To celebrate those achievements, Sous Les Etoiles Gallery is presenting a collection of photographs that represent the twenty five icons of his long carrier as a photo journalist in United States from November 3rd to December 12th, 2020.

For more than three decades, starting in 1964, Jean-Pierre Laffont travelled all fifty states seeking to document as wide of a range of compelling American stories, and he also photographed celebrities both French and American along with all the politicians of the times. He spent eight years at the White House as a foreign correspondent and photographed several presidents. He produced in-depth photo essays of the rise of the World Trade Center, the gangs in the Bronx, and the violence on 42nd Street.

"When I look back at the individual photographs I took during this quarter-century period, comments Jean-Pierre Laffont, the images at first seem to depict a ball of confusion… riots, demonstrations, disintegration, collapse and conflict. Taken together, the images show the chaotic, often painful, birth of the country where we live in today: 21st-century America. They do what photographs do best: freeze decisive moments in time for future examination. These photographs form a personal and historical portrait of a country I have always viewed critically but affectionately, and to which I bear immense gratitude."

Jean-Pierre Laffont attended the School of Graphic Art in Vevey, Switzerland, where he graduated with a Master’s Degree in Photography. He is a founding member of the Gamma USA and Sygma Photo News agencies. His photos were published in the world's leading news magazines, including Le Figaro, London Sunday Times, Newsweek, Paris Match, Stern, and Time Magazine.

- ArtDaily Newsletter: Wednesday, Nov 04 2020

  Andy Warhol in his office on Union Square, 1 March 1974, 

  New York City. Photo by Jean-Pierre Laffont 

  Warhol impersonaTAR in the studio of Reg V. Brock, View Point, 

  Bendigo, 1952. Photo by Reg V. Brock 

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