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.
Wednesday 27 March, 1-2pm G104, Building G Monash Art, Design and Architecture Monash University, Caulfield Campus FREE /// All welcome
A Centre for Everything will discuss their project for MUMA’s international group exhibition Shapes of Knowledgein relation to global shifts in art and activism that have influenced their work. Maps of Gratitude, Cones of Silence and Lumps of Coal explores how the fossil fuel industry ingratiates itself to the Australian public. The project adopts A Centre for Everything’s signature triadic formation, bringing together the topics of Ice Coal, Data Networks and Collective Activity to converge in generative and revealing ways.
A Centre for Everything is an independent creative and pedagogical project that engages individuals and communities to learn, create, discuss and eat together founded by artists Will Foster and Gabrielle de Vietri. Their collaborative events bring together diverse topics through performances, presentations, workshops, readings, discussions, demonstrations, critiques and meals. Recurring themes include active responses to current political issues, game-play and its application to wider modes of social behaviour, collective creativity, and the intersection of artistic, social and pedagogical thinking.
A Centre for Everything are participating in Shapes of Knowledge at Monash University Museum of Art, 9 February – 13 April 2018.
Image: A Centre for Everything, Solar circles, Crepe circles &
We, gathered at the 2017 National Constitutional Convention, coming from all points of the
southern sky, make this statement from the heart: Our Aboriginal and Torres Strait Islander tribes were the first sovereign Nations of the
Australian continent and its adjacent islands, and possessed it under our own laws and customs.
This our ancestors did, according to the reckoning of our culture, from the Creation, according
to the common law from ‘time immemorial’, and according to science more than 60,000 years
ago. This sovereignty is a spiritual notion: the ancestral tie between the land, or ‘mother nature’,
and the Aboriginal and Torres Strait Islander peoples who were born therefrom, remain
attached thereto, and must one day return thither to be united with our ancestors. This link is
the basis of the ownership of the soil, or better, of sovereignty. It has never been ceded or
extinguished, and co-exists with the sovereignty of the Crown. How could it be otherwise? That peoples possessed a land for sixty millennia and this sacred
link disappears from world history in merely the last two hundred years? With substantive constitutional change and structural reform, we believe this ancient
sovereignty can shine through as a fuller expression of Australia’s nationhood. Proportionally, we are the most incarcerated people on the planet. We are not an innately
criminal people. Our children are aliened from their families at unprecedented rates. This
cannot be because we have no love for them. And our youth languish in detention in obscene
numbers. They should be our hope for the future. These dimensions of our crisis tell plainly the structural nature of our problem. This is the
torment of our powerlessness. We seek constitutional reforms to empower our people and take a rightful place in our own
country. When we have power over our destiny our children will flourish. They will walk in
two worlds and their culture will be a gift to their country. We call for the establishment of a First Nations Voice enshrined in the Constitution. Makarrata is the culmination of our agenda: the coming together after a struggle. It captures
our aspirations for a fair and truthful relationship with the people of Australia and a better
future for our children based on justice and self-determination. We seek a Makarrata Commission to supervise a process of agreement-making between
governments and First Nations and truth-telling about our history. In 1967 we were counted, in 2017 we seek to be heard. We leave base camp and start our trek
across this vast country. We invite you to walk with us in a movement of the Australian people
for a better future.
The Uluru Statement from the Heart was released 26 May 2017 by delegates to an Aboriginal and Torres Strait Islander Referendum Convention held near Uluru in Central Australia.
The smart little monk’s reputation reached the ears of Shogun Yoshimitsu (1358-1408), and Ikkyū was summoned to the castle for a meeting.
"I’ve heard that you are quite bright,” the shogun said to Ikkyū. "Do you think you can catch a tiger?"
"Yes, my lord, I believe I can,” Ikkyū replied with great confidence. "Here is a rope. Catch that one," the shogun challenged, pointing to a tiger painted on a large screen in the room.
Without hesitation, Ikkyū placed himself in front of the screen, readied the rope, and shouted, "Now, my lord, please drive the tiger out!”
You are warmly invited to attend a FREE canvas stretching demonstration presented by Mark Chapman.
*Chapman & Bailey Melbourne only*
For this demonstration, Mark Chapman, founder of Chapman & Bailey, will be demonstrating: - All about different stretcher profiles and bracing - How to put a stretcher together so it is square
- Cutting the canvas to size - The art of stretching a canvas with and without
stretching pliers - What are wedges for? - Surfaces: The difference between linen and cotton,
unsized and primed canvas,
the different weights and densities of canvas you can use - A brief explanation of surface preparation for raw linen
Chapman & Bailey Melbourne Art Shop 420 Johnston St Abbotsford, VIC 3067 ph 03 9417 7957
Limited numbers! Please book a ticket to reserve a place.
*Wheelchair access
Stretching The Field
The Chapman & Bailey advertisement reminds us of something similar, the arcane preliminary painting practice known as Stretching The Field.
Malcolm Tucker : Yeah. 'Julius Nicholson is a hugely
respected advisor. He now has a wide ranging brief and his blue-sky vision and
helicopter-thinking will enable this government to go, in his own phrase,
beyond delivery and beyond that'. That's the line, ok? And if he does stick his
baldie head round your door and comes up with some stupid idea about
policemen's helmets should be yellow or let's set up a department to count the
moon, just treat him like someone with Helzheimer's disease, you know? Just say
'yes, that's lovely, that's good, we must talk about that later', ok?
- The Thick of It : Episode #2.2 (2005)
Fosterville Institute of
Applied & Progressive
Cultural Experience
presents
Department to Calculate
Distances of Portraits
from Surfaces of the Earth
Theatre of the Actors of Regard - photo David van Dam
detail A Person Looks At A Work Of Art/ someone looks at something...
Two items brought to our attention by Theatre of the Actors of Regard :
SYMPOSIUM :
AUSTRALIAN ART FOR THE GLOBAL STAGE
Date: 15April2018 -
Location: Heide III: Central Galleries
Event category: Art
Admission: Adult $38 / Concession $32
Members: $30
In partnership with VAULT magazine, this panel explores the challenges of maintaining an identity as an Australian artist while making work for a worldwide stage.
From the impact of cultural cringe on Australian art and culture, to our changing relationship with European and Asian art capitals traditions, this discussion surveys the forces shaping the Australian art scene. But it also asks: how can this new cultural moment pave the way for opportunities, evolution and growth?
Chaired by VAULT magazine editor Neha Kale, panel includes Abdul Abdullah (artist), Danny Goldberg (international collector), Mark Feary (Artistic Director, Gertrude Contemporary)
VAULTwas established in 2012 in response to an increasingly globalised art world. The magazine has always positioned Australian artists both senior and emerging—alongside their international contemporaries and has sparked dialogues between local contexts and international aesthetics and ideas.
. . . .
White Tower on a White Stage, after Malevich
Russian President Vladimir Putin, 1 March 2018, delivering his lone figure in a white castle tower [ sky's the limit ) address to the Federal Assembly in Moscow.
Patriarch with White Koukoulion, front row
By TV tower to the Russian People.
Theatre of the Actors of Regard
detail A Person Looks At A Work Of Art/ someone looks at something...
Yesterday, Stage Name and the slippery seals [RR] of the artist/author/creator's name in translation. Today, across the matrix way, the WOA untethered:
In fact, artists naming their own works at all is a fairly recent phenomenon; for hundreds of years, art historians used descriptions instead of official titles to identify specific works. It’s unclear when exactly naming an artwork became so important to the artist that created it, but these days, even WikiHow has a guide on “How to Title Your Work of Art.”
Picasso ... called his 1907 painting Le Bordel Philosophique, or more simply, mon bordel. But in 1916, when it was displayed for the first time at André Salmon’s Salon d’Antin, Antin labelled it Les Demoiselles d’Avignon. Although the reference to the famous Carrer d’Avinyo brothels in Barcelona was clear, Picasso was annoyed by the prudishness of the word “demoiselles” (young ladies).
Theatre of the Actors of Regard
Label Title detail A Person Looks At A Work Of Art/ someone looks at something...
To talkinsultinglyto or about someone or something.
To purify by melting and removingslag.There is a lot of copper oxide, but I can remove that by melting everything and slagging it off.
After the launch of After Words at City Recital Hall, Paul Keating launched (into) the Balmain basket weavers.
"The man who talked about the recession we had to have (and sent some fraction of the middle class to the wall) was hated and feared by one part of the Australian electorate and adored by another. Former Hawke government minister John Button once said you could track the stretch of Australian politics with Keating's one-liners. Remember the banana republic and the arse end of the universe?
Keating's tough charm carried him the longest distance with the constituency that adored him, the chatterati he described as "the basket weavers of Balmain". When he declared, "Mate, if you live in Australia and you don't live in Sydney, you're just camping out", we laughed at the sheer insolent wit of the man, however secure we thought we were in our Melbourne houses.
He was one of the greatest talkers in the history of Australian politics. Part of what gave him the right to put his signature on the reformist government that carried Australia into the harder but more profitable world of the open marketplace was that as treasurer and then prime minister he gave a new politics, a tough economically liberal one, all the vernacular charm of an old and familiar larrikinism. "He's got a front on him as big as Mark Foys," he'd say. Or, addressing the question of a politician's privacy, "Mate, we can't even shit in the ocean."
The correlative of that street fighter's charm (which could also be extraordinarily powerful in the negative mode) was that Keating knew how to ice the cake. He gave the basket weavers Mabo; he gave them, as no one else could, the dream of the republic.
He was, in any case, a man of the word more than a man of the book." ...
byDavid Holmgren( 30 May 2017 ) One of Australia’s ecological farming pioneers, and a close friend, passed away today. Rod May aged 63 died in intensive care after a road accident between Ballarat and his family farm at Blampied 5 days previously. Rod was a 4th generation farmer on 200 acres at the foot of Kangaroo Hills in the prime red cropping country of central Victoria. In the late 1970’s Rod returned to the farm motivated by interest in self reliance, organics and tree crops and “fell back into farming” as something to do in between starting the Central Victorian Tree Planting Co-op and getting elected to the very conservative Creswick Council.
The Landcare movement emerged simultaneously in several regions across Australia in the late 70’s and early 80’s. One of those places was central Victoria and Rod May played a leading roll in it...
