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.
Nanquan, Guizong, and Mayu were on their way to see
Master Nanyang.
Halfway there, Nanquan drew a circle on the ground and said,
“If you understand it, we’ll go.” Guizong sat in the middle of the circle. Mayu made a curtsy. Nanquan said, “If this is so, we don’t need to go.” Guizong said, “What makes you think so?”
It's getting better all the time I used to get mad at my school (No I can't complain) The teachers who taught me weren't cool (No I can't complain) You're holding me down (Oh), turning me round (Oh)
Filling me up with your rules (Foolish rules) I've got to admit it's getting better (Better) A little better all the time (can't get no worse) I have to admit it's getting better (Better)
It's getting better since you've been mine Me used to be angry young man Me hiding me head in the sand You gave me the word, I finally heard
I'm doing the best that I can I've got to admit it's getting better (Better) A little better all the time (can't get no worse) I have to admit it's getting better (Better) It's getting better since you've been mine Getting so much better all the time It's getting better all the time Better, better, better It's getting better all the time
Better, better, better I used to be cruel to my woman I beat her and kept her apart from the things that she loved Man I was mean but I'm changing my scene
And I'm doing the best that I can (Ooh) I admit it's getting better (Better) A little better all the time (can't get no worse) Yes I admit it's getting better (Better) It's getting better since you've been mine Getting so much better all the time It's getting better all the time Better, better, better It's getting better all the time Better, better, better Getting so much better all the time
MELBOURNE.- The National Gallery of Victoria has launched a new four-part virtual series of its popular Drop-by Drawing program.
This virtual iteration of the program invites audiences to watch a video tutorial of a Drop-by Drawing class, which features tips and tricks on how to draw from some of Victoria’s most engaging contemporary artists.
The series features Victorian artists Minna Gilligan, Lily Mae Martin and Kenny Pittock giving a step-by-step guide on how to draw, whilst taking inspiration from some of their favourite artworks in the NGV Collection.
Tony Ellwood AM, Director, NGV said: “Our Drop-by Drawing program is one of the NGV’s much-loved programs where our visitors can hone their drawing skills in the setting of the wonderful NGV Collection. We know drawing is a very mindful and therapeutic activity, and during this time we are delighted to be able to give audiences a chance to experience virtual Drop-by Drawing tutorials at home.”
PART ONE - SUNDAY 5 APRIL PRESENTED BY LILY MAE MARTIN ON NGV CHANNEL The first virtual drawing class hosted by Lily Mae Martin, takes viewers into the NGV’s 19th Century European Paintings Gallery where she takes inspiration from the life-size marble sculpture Musidora, 1878 by Marshall Wood. Musidora was a mythological ancient Greek goddess, who inspired all forms of literature and the arts and is the striking centrepiece of the gallery.
Martin encourages at-home participants to focus on simple drawing exercises, including observational drawing and mark making, to begin their sketch of Musidora. These practical skills demonstrate to viewers how working on a drawing in stages builds consistency in their work.
“It is about getting comfortable with drawing and embracing the practice of mastering the technique. The key to drawing is practice! Take time to look at the object and study it. Be comfortable in your setup and your space, whether you are drawing a sculpture or the kettle in your kitchen. It's something you can do at home with everyday objects,” she said.
Baby, everything is all right Uptight, out of sight Stevie Wonder, Uptight (1966) Today, some earlier pre-SIGN FIELD material. This is from the Hepburn Shire Council Meeting of 16 December 2019 in which your correspondent pushes on regarding the unsightly.
Theatre of the Actors of Regard
The interupTAR : "Excuse me, I asked to speak." The Mayor : You are not permitted to speak."
click image to watch video
Beaten above by the hubbub and the bell, the full text is below :
Regarding : Draft Local Law No. 2
Dangerous and Unsightly Land
I observe that we're gathered here tonight in the presence of a portrait of Our Queen.
Recently, I’ve been watching ‘The Crown’, the Netflix series.
In Series 1 Episode 9, we are party to an exchange of views between the proud old landscape painter Winston Churchill and the young so-called Modernist Graeme Sutherland, commissioned by members of the Houses of Parliament to paint a portrait of their senior statesman.
Churchill mocks the portrait when it is officially presented to him at his 80th birthday celebration in Westminster Hall. It is not how he sees himself, and not how he wishes to be seen. Writing to Lord Moran, he describes the work as “filthy” and “malignant”.
One of Churchill's Labour critics, calls it, "A beautiful work". A Conservative colleague and friend calls it "disgusting".
The painting was intended to hang in the Houses of Parliament after Churchill's death, but it had been given to Churchill as a personal gift, and he took it away to Chartwell, where it was never displayed.
Within a year, Lady Spencer-Churchill oversaw the destruction of the portrait. She had already destroyed earlier portraits of her husband that she disliked, including those by Walter Sickert and Paul Maze.
Theatre of the Actors of Regard
Last night, I watched Series 2 Episode 5.
The young Lord Altrincham so loves the British Monarchy that he is prepared to speak out and risk vilification when he observes that the public, after the humiliations of the Suez debacle, are losing respect for the crown because of its tradition-bound out-of-touch relationship with those it oversees.
In his own small publication, Altrincham makes his dutiful criticism and for a while is indeed pilloried. The establishment press refer to him as the SNEER PEER.
The Palace, warned of the seeds of revolution, takes note and is concerned.
In a secret meeting to discuss reform, Lord Altrincham presents the queen with a list of three things to STOP and three things to START.
Lord Altrincham | Theatre of the Actors of Regard
Tonight, I will suggest just one STOP and one START. From my earlier submission to you : I move that the term “unsightly” be removed from all Local Laws, to be substituted with the term “sight-seeing”. And that “sight-seeing” be represented NOT as the touristic seeing of this or that “sightly” place or “unsightly” object; rather that the term “sight-seeing” be offered to all, residents and visitors alike, as an invitation to look within and without. To visit the safe and unsafe make-do construction sites of our own individual acts of seeing the world into being : to witness in wonder and with wisdom the well-spring of our streaming projections of “sightliness” and “unsightliness”.
bLOGOS/HA HA (the editor) In December 1975, I entered two small finely drawn ideogram works in the prestigious Mornington Peninsula Drawing Prize. Alan McCulloch, art critic for 'The Herald', was the director of the Mornington Peninsula Regional Art Gallery and it was he who initiated this competition to promote drawing. This was an open-entry opportunity from which a selection of works would be hung and from these a select few acquired by the gallery. Alan and a panel of artist judges would make the final assessment. I attended the opening and was pleased to see both my works on display. Before the final selection was announced, Alan spoke about the practice and qualities of drawing that were important to him. I agreed. My drawings, however, didn't make the final cut and I was very disappointed as these were a breakthrough for me. Some weeks later, the Mornington gallery phoned to say that James Mollison had visited the exhibition and bought both my works (and no others) for the National Gallery collection. It was a great confirmation of my altered path - the first such support. More purchases were to follow. National Gallery of Australia : facebook It is with deep sadness that we note the passing of one of Australia’s greatest museum directors, National Gallery founding director James Mollison AO.
During twenty years at the helm, he showed us how bold risk taking could build an unrivalled world class art collection. In bringing together so many influential and extraordinary works, he wanted visitors to experience art history and leave knowing much more about art than when they first arrived.
By inspiring and provoking Australians with everything from Sidney Nolan’s ‘Ned Kelly’ series to Jackson Pollock’s ‘Blue poles’, he invited us to think and talk about art. This pioneering spirit together with his courage is what we carry into the future. Our thoughts are with his family and friends at this sad time.
