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.
In the inbox from Lyon Housemuseum Galleries :
THE WORLD OF THE CURATOR
Sunday 27 February 2022, 3:00pm
What is the role of the curator in contemporary art practice? What skills do curators need to deliver effective and engaging exhibitions in these changing times?
Join our panel of leading curators Pip Wallis, Curator, Contemporary Art at National Gallery of Victoria and Anthony Fitzpatrick, Curator at TarraWarra Museum of Art, as they discuss the role of the curator and curatorship in the contemporary museum.
$15.00 PER PERSON
Image courtesy of PLATFORM, platformart.com
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The Special Ks (Nick Kyrgios and Thanasi Kokkonakis ) celebrate today on Rod Laver Court, Melbourne.
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"Horseness is the whatness of allhorse."- James Joyce. 'Ulysses' detail
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The Fourteen Precepts of Engaged Buddhism (click here)
on office wall at bLOGOS/HA HA
Penguin | Random House
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HAND SPACE/AS SEEN IN VOGUE
Bonnie and Kind
Luxurious leather kits for baby & toddler & travel essentials. detail
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David Zwirner is presenting Primary Colors, an exhibition of work by Josef Albers (1888-1976). On view at the gallery’s Hong Kong location, this is the first solo presentation of Albers’s work in Greater China.
- ArtDaily Newsletter (today)
Exhibition Title Primary Colors
Hong Kong
Exhibition Title Primary Regard(s)
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a World in a Grain of Sand And a Heaven in a Wild Flower
- William Blake, the opening lines of Auguries of Innocence
Painting on silk, 9.2 x 4.3 cm. Toyok, 8th-9th century.
(Ethnic Uighurian region in Northwestern China)
Museum fur Indische Kunst (MIK III 6348)
The Flower Sermon is a story of the origin of Zen Buddhism in which Gautama Buddha transmits direct prajñā (wisdom) to the disciple Mahākāśyapa. In the original Chinese, the story is Niān huā wēi xiào (拈花微笑, literally "Pick up flower, subtle smile").
In the story, the Buddha gives a wordless sermon to his disciples (sangha) by holding up a white flower. No one in the audience understands the Flower Sermon except Mahākāśyapa, who smiles. Within Zen, the Flower Sermon communicates the ineffable nature of tathātā (suchness) and Mahākāśyapa's smile signifies the direct transmission of wisdom without words. The Buddha affirmed this by saying:
I possess the true Dharma eye, the marvelous mind of Nirvana, the true form of the formless, the subtle [D]harma [G]ate that does not rest on words or letters but is a special transmission outside of the scriptures. This I entrust to Mahākāśyapa.[1]
One day the Buddha silently held up a flower before the assembled throng of his disciples. This was the famous "Flower Sermon." Formally speaking, much the same thing happened in Eleusis when a mown ear of grain was silently shown. Even if our interpretation of this symbol is erroneous, the fact remains that a mown ear was shown in the course of the mysteries and that this kind of "wordless sermon" was the sole form of instruction in Eleusis which we may assume with certainty.[2]
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A beautiful person, widely respected and loved.
Hossein Valamanesh, Longing belonging, 1997, Collection AGNSW
A great artist of the world.
Hossein Valamanesh, Breath, 2013, cast bronze, 143 x 140 x 5cm
Condolences to Angela and Nasseim
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TV PresenTAR : "Also, he works with a stopwatch. The reason he does this is because these sounds are in no sense accidental in their sequence. They each must fall mathematically at a precise point, so he watches his watch as he works."
John Cage, 'Water Walk' performed on TV in USA, 1960
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Further to yesterday's post re. The Sign of the Four comes this cosmic affirmation (sic), this rejoinder from ZOOM in today's email inbox.
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Light & Darkness
Opening on 10 January 2022
This evocative theme unites 70 artworks from the Power Collection, exploring luminosity, colour, movement, race and politics across three decades of late modernism.
Light & Darkness is a major exhibition drawing on the University of Sydney’s Power Collection. It spans the luminal, op and kinetic works of the 1960s by major artists such as Jean Tinguely and Bridget Riley; the political and conceptual art of the 1970s with Ed Kienholtz, Joseph Beuys and On Kawara; and Australian and New Zealander artists in the 1980s, including Peter Tyndall, Jenny Watson and Colin McCahon. The exhibition and accompanying book are the first projects from the University’s extensive collection of international contemporary art in its new home at the Chau Chak Wing Museum.
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‘Light works’ are a major feature of the early Power acquisitions in the late 1960s. Significantly, a planetary grammar of solar discs, spheres and orbs is a common vocabulary for many artists who employ light, whether literally or in abstraction. Other kinetic works, such as those by Julio Le Parc and Lucio Fontana, have a lightness, moving according to air currents. As the utopian dreams of the 1960s soured, many artists turned to language; the darker side of the collection features major text paintings by New Zealanders McCahon and Maori artist Ralph Hotere, alongside a multiple by Kienholtz who spotlights a horrific race crime, and Beuys who is represented by ‘a hair shirt masquerading as a felt suit’. Today the Power Collection, spanning 25 years, appears like a time-capsule.Entry is free and no bookings are required.
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Ensō
In Zen, an ensō (円相, "circular form") is a circle that is hand-drawn in one or two uninhibited brushstrokes to express a moment when the mind is free to let the body create.
- Wikipedia
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Ne pas encourager ce peintre. Il fait trop toujours la meme chose!
Do not encourage this painter. He always does the same thing!
- Le Charivari, 1877
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Ne pas encourager ce blogger. Il fait trop toujours la meme chose!
Do not encourage this blogger. He always does the same thing!
- bLOGOS/HA HA, 2022
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And an answer came directed in a drawing unexpected,
(And I think the same was figured in a thumbnail
dipped in TAR)
after Tiepoloafter 'Banjo' Paterson
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