Sign is the sign of allsign.

On this day, one hundred years ago :

Ulysses is a modernist novel by Irish writer James Joyce. It was first serialized in parts in the American journal The Little Review from March 1918 to December 1920 and then published in its entirety in Paris by Sylvia Beach on 2 February 1922, Joyce's 40th birthday. It is considered one of the most important works of modernist literature and has been called "a demonstration and summation of the entire movement." According to Declan Kiberd, "Before Joyce, no writer of fiction had so foregrounded the process of thinking".

- Wikipedia

Thought is the thought of thought. Tranquil brightness. The soul is in a manner all that is: the soul is the form of forms. Tranquillity sudden, vast, candescent: form of forms.

- James Joyce's ‘Ulysses’

           
Lot 66:           James Joyce Ulysses 1/750 1st edition

Title:              Ulysses

Author:         Joyce, James

Place:            Paris

Publisher:    Shakespeare and Company

Date:            1922

Description:
[8], 732, [1] pp. 24x18 cm. (9½x7¼"), original blue paper wrappers lettered in white, with integral turnovers present; custom, and fairly old, half morocco slipcase & chemise. No. 255 of 750 copies printed on handmade paper, from a total run of 1000 copies. First Edition, First Printing.

A nice, untrimmed copy in the original wrappers of arguably the greatest work of literature of the twentieth century. This is one of the earliest copies from the press - the 750 copies printed on handmade paper were the first copies printed, and the numbering began with 251 - this copy at 255 would have been the fifth to have been completed. Furthermore, according to publisher Sylvia Beach's record of sales, #255 is listed as one of the very first copies to have been sold, being bought on February 9th, 1922. "Ulysses" can be viewed as the pinnacle of the Modernist movement, and its impact on all subsequent western literature is unmistakable. Such writers as Virginia Woolf, John Dos Passos, William Faulkner, Samuel Beckett, Malcolm Lowry, and Anthony Burgess have all paid tribute to Joyce's influence. According to James Spoerri, "This fortunate combination of printer [Maurice Darantiére and publisher [Sylvia Beach] resulted in the appearance of 'Ulysses' as a book whose physical aspect is particularly suited to its content. It is a fair and inviting volume, the blue and white of its covers subtly evocative of the Greece whose epic it so closely parallels." Slocum & Cahoon A17. Bookplate of Ad &Ben Schulberg affixed to inside of front wrapper.

Lot Amendments:

Condition:
Later slipcase worn, repairs to spine and joints; original wrappers with some rubbing to edges, splitting at joints, spine with some wear and portion repaired; a rare copy untrimmed and in the original wrappers.

  Peter Tyndall : Dagger Definitions, Pamela Hansford

  Published by Greenhouse (Melbourne), first edition 1987

Unsheathe your dagger definitions. Horseness is the whatness of allhorse. Streams of tendency and eons they worship. God: noise in the street: very peripatetic. Space: what you damn well have to see. Through spaces smaller than red globules of man's blood they creepycrawl after Blake's buttocks into eternity of which this vegetable world is but a shadow. Hold to the now, the here, through which all future plunges to the past.

- James Joyce's ‘Ulysses’

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A ± B = C / ...D ± E ± F ± G...

Unsheathe your dagger definitions. Horseness is the whatness of allhorse. (James Joyce, Ulysses)

A swarthy boy opened a book and propped it nimbly under the breastwork of his satchel. He recited jerks of verse with odd glances at the text:

    Weep no more, woful shepherd, weep no more
    For Lycidas, your sorrow, is not dead,
    Sunk though he be beneath the watery floor...

It must be a movement then, an actuality of the possible as possible. Aristotle's phrase* formed itself within the gabbled verses and floated out into the studious silence of the library of Saint Genevieve where he had read, sheltered from the sin of Paris, night by night. By his elbow a delicate Siamese conned a handbook of strategy. Fed and feeding brains about me: under glowlamps, impaled, with faintly beating feelers: and in my mind's darkness a sloth of the underworld, reluctant, shy of brightness, shifting her dragon scaly folds. Thought is the thought of thought. Tranquil brightness. The soul is in a manner all that is: the soul is the form of forms. Tranquillity sudden, vast, candescent: form of forms.

James Joyce, Ulysses (Nestor p.26) 

* "It follows that the soul is analogous to the hand; for as the hand is a tool of tools, so the mind is the form of forms and sense the form of sensible things." [Aristotle : On the Soul, Book III, Part 8]

whatness of allhorse = horseness

an actuality of the possible as possible = a movement

thought of thought = thought 

form of forms = soul 

analog of the hand = soul

tool of tools = hand 

form of forms = mind 

form of sensible things = sense 

Theatre of the Analogs of Regard   

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The Sign of the Four

                  

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Just published, the second of ACCA's 2020 'Defining Moments' series of lectures : 'Recession Art & Other Strategies'

HAND SPACE material (1982) mailed by Robert MacPherson to Peter Tyndall 

Lecture Topic: Recession Art & Other Strategies,
1985, Institute of Modern Art, Brisbane

Speaker: Peter Cripps
Respondent: Channon Goodwin

In response to the social, political and cultural contexts of the 1970’s and 80’s, Peter Cripps curated the exhibition Recession Art & Other Strategies, at the Institute of Modern Art (IMA), Brisbane in 1985. According to Cripps, ‘Recession art refers to art which is made under the pressure of little money and an insignificant market. It tends to be small, easy to produce, store and dispose of. It included the development of new strategies for the sale of works; the possibility of replacing parts as they sell with replicas. It is an art based on the limited means of production, speed of production and small size of constituent units, which, since they can form larger works, do not restrict the artist in the scale of his work. It is an art based on intellect rather than on formal qualities.’

In his lecture, Cripps reviews this exhibition, interrogating its legacy, as well as exploring perceived synergies between historical and contemporary independent art practice. Additionally, he assesses the role and impact of this type of artist thinking and practice on the contemporary context.

Peter Cripps is an artist and a former Director of the Institute of Modern Art (IMA), Brisbane (1984–86). As an artist has exhibited widely in Australia and internationally since the 1970s, with recent major individual survey exhibitions including Peter Cripps: Endless Space at the IMA, Brisbane in 2012, and Peter Cripps: Towards an Elegant Solution, ACCA, Melbourne in 2010. Between 1973 and 1988, Cripps worked as a curator and various other roles within a number of major Australian museums, galleries and alternative art spaces, as well as in a freelance capacity.

 

Permanent Recession: Art Labour & Circumstance – Channon Goodwin and Peter Cripps in conversation :

Channon Goodwin is an artist and arts-worker based in Melbourne. Goodwin is the Director of Bus Projects, founding Convener of the All Conference network, and makes films and podcasts for Fellow Worker.

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anthoLOGOS/HA HA

anthology (n.) : mid 17th century: via French or medieval Latin from Greek anthologia, from anthos ‘flower’ + -logia ‘collection’ (from legein ‘gather’). In Greek, the word originally denoted a collection of the ‘flowers’ of verse, i.e. small choice poems or epigrams, by various authors.

Theatre of the Anthologists of Regard  

'I have gathered a posie of other men's flowers and nothing but the thread which binds them is my own'

- Michel de Montaigne (1533-92)

if it flows

it's a flower --

The Dam Busters

- poetsoftheinterverse

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Vale GERMANO CELANT

Germano Celant, the Towering Italian Art Critic Who Gave the World Arte Povera, Has Died at Age 80 From Coronavirus Complications

Naomi Rea / artnet  April 29, 2020

The widely influential Italian art historian, critic, and curator Germano Celant, who coined the term Arte Povera to describe the radically economical art of Jannis Kounellis, Mario and Marisa Merz, and Giuseppe Penone, among others, has died at age 80 in Milan due to complications from the coronavirus.

His death, which was reported by various Italian news outlets, followed his hospitalization at San Raffaele hospital several weeks ago.

He began exhibiting symptoms after returning home from New York, where he had visited the Armory Show, according to the Italian publication Artibune.

The eminent curator launched his career in 1967, when he published his Arte Povera manifesto, “Notes for a Guerilla War,” in Flash Art magazine, where he championed the work of artists who made “poor art, committed to contingency, to events, to the non-historical, to the present.”

Arte Povera—largely a response to Italy’s post-war industrial culture and economy—contrasted with the bright colors and commercial sensibility of the American Pop Art movement. Celant cast his favored artists, who used unconventional materials such as plywood and rags in their work, in political terms. In the background, as Celant was writing his polemics, a recession in Italy hampered what was previously a period of sustained economic growth, and students influenced by Marx were protesting at universities.

As he helped to build the reputations of anti-establishment artists in the 1960s and ’70s, Celant climbed the ranks of the art world in an increasingly distinguished career.

In 1997, he curated the Venice Biennale, and also held roles as a curator at the Guggenheim, a contributing editor of Artforum and Interview magazines, and was the artistic director of the Prada Foundation in Milan at the time of his death. In October, he announced that he was planned a show dedicated to KAWS.

“I don’t feel like a man of power,” he once said. “I’ve always been interested in the power of art. Artists know that: that’s why they trust me.”

Celant was born in Genoa in 1940. He studied art history at the University of Genoa with the critic Eugenio Battisti, with whom he later worked at the art and design magazine Marcatrè, which was founded by a group of critics including Umberto Eco.

Celant’s exhibition, “Im Spazio,” which was mounted at Genoa’s Galleria La Bertesca in 1967, is often seen as the beginning of the Arte Povera movement. Among his many other significant exhibitions was a 1993 show at the Prada Foundation in which he reimagined “When Attitudes Become Form,” Harald Szeemann‘s influential 1969 show. Other significant exhibitions by Celant included “Italian Metamorphosis, 1943–1968,” which was staged at the Guggenheim in New York. 

“The loss of Germano Celant is a catastrophe,” Carolyn Christov-Bakargiev, director of the Castello di Rivoli museum in Turin, wrote in a Tweet. “One of the most serious people in the art world, of the most intelligent, profound.”
  

          

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d|r|e|a|d

   

 Dread Poetry and Freedom : Linton Kwesi Johnson and the 
 Unfinished Revolution (David Austin)

FIAPCE  

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stabat muTAR (Good Friday 2020)

The Japanese and Korean term mu (Japanese: 無; Korean: 무) 
or Chinese wu (traditional Chinese: 無; simplified Chinese: 无), 
meaning "not have; without", is a key word in Buddhism, especially Zen traditions.

The Gateless Gate, which is a 13th-century collection of Chan or Zen kōans, uses wu or mu in its title (Wumenguan or Mumonkan 
無門關) and first kōan case ("Zhao Zhou's Dog" 趙州狗子). 
Chinese Chan calls the word mu 無 "the gate to enlightenment".
The Japanese Rinzai school classifies the Mu Kōan as hosshin 
発心 "resolve to attain enlightenment", that is, appropriate for beginners seeking kenshō "to see the Buddha-nature"'.
- Wikipedia
   

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gaze anaTARmy

Gray's Anatomy (1858)

- wikipedia  

gaze anaTARmy 

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Recession Art & Other Strategies | revisited

   1. panic buy pens pencils & pocket notepads

   2. keep on blogging

   3. sell copy of Recession Art & Other Strategies

RECESSION ART & OTHER STRATEGIES :
GUNTER CHRISTMANN, PETER CRIPPS, ROBERT MACPHERSON, JOHN NIXON, PETER TYNDALL

1986, English
Softcover, 32 pages, 20.5 x 25 cm
1st edition, Out of print title /
Published by IMA / Brisbane

$120.00 - OUT OF STOCK

"Recession Art & Other Strategies presents a selection of work by Robert MacPherson, Peter Tyndall, Gunter Christmann, Peter Cripps and John Nixon involving recessional techniques and strategies. The works span the period 1974 to 1985." - Peter Cripps

The wonderful and very scarce publication to accompany the exhibition "Recession Art & Other Strategies" at the Institute of Modern Art, Brisbane, in 1986, curated by artist Peter Cripps. In our opinion, this is one of the finest Australian art exhibition catalogues ever made. Thoughtfully curated, beautifully designed and typeset, with photo documentation of works by the exhibiting artists and a great accompanying essay by curator and artist Peter Cripps. This text addresses and traces "a recurrence of a 'Recessional based' art practice in Australia". "The pressure of little money and a small art market has meant that many artists still own the greater part of their life's production. The initial difficulty of producing and the subsequent difficulty of disposing of art works is ever present...". Touching on Percy Grainger's 'Free Music' machines, to the recent histories of Australian exhibition spaces such Q Space, V Space, IMA, Q Space Annex, n-Space, and printed exhibition spaces such as Blunt Report, Hand Space, Pneumatic Drill, as well as projects such as The Fosterville Institute of Applied and Progressive Cultural Experience and The Anti-Music Collective, this text provides a clear insight into the many productions of these artists and their peers in Australia in the 1980's, as well as the climate that surrounded their activities.

File under: Gunter Christmann John Nixon Peter Cripps Peter Tyndall Robert Macpherson Peter Cripps IMA / Brisbane Art Australian Art Conceptual Art Minimal Art Out-of-print / Rare Painting

https://worldfoodbooks.com/item/recession-art-other-strategies

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WHO labels COVID-19 as pandemic : everything cancelled

  

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A Scene At The See | dark seescape with figure inTitled

Marcus Bunyan at Art Blart has just posted an extensive account of the William Blake exhibition at Tate Britain :

european research tour exhibition: ‘william blake’ at tate britain, london part 1

Today, the temperature for Melbourne is predicted to be 43 degrees (110 F). One of the Blake images Marcus shows is Titled : Small Book of Designs: Plate 8, ‘dark seascape with figure in water’ (1794)

photo British Museum  

On New Years's Eve in the east of Victoria extreme bushfires drove people onto the beaches and into boats. The sky was darkened.

photo of her son by Allison Marion  

photo The Australian  

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Vale Milton Moon (1926-2019)

Milton, John (1608-1674) 
Author of Paradise Lost and Paradise Regained.

    

Lotus Moon / Otagaki Rengetsu (1791-1875)  

Lotus rising from the mud, reaching for the moon [enlightenment). 

   

collection FIAPCE   

Milton Moon (29 Oct 1926 - 6 Sept 2019) 
Lineage name bearer. Potter, Australia.

Robert Yellin's Japanese Pottery Blog 
26 May 2008

A good friend of mine recently returned from 'Down Under' and brought back a wonderful book, 'The Zen Master, the Potter and the Poet' by Milton Moon.

It is a special book full of Moon-sensei's anecdotes of many journeys to Japan, his insights into good pots and the wisdom that can be found when one listens to them in silence. Mr. Moon, if you ever visit Japan again please allow me to take you to Ryutakuji, if you haven't already been, and we can retrace the steps of Hakuin, and also Tsuji Seimei, the photo of him in the previous posting was taken at Ryutakuji. Blessings abound....

Milton Moon leaves us his own excellent archive website :

A free-form platter 33 by 34 cms.

This is the last entry on my website, which, I hope will be still here after I am gone, at least for a few years. The last pots of my life I make will be for me.

I do have a last comment: it is an archival website and shows just some of my journey with clay, and I hope it brings inspiration to some younger potters, but as a wise friend countenanced, 'to copy is not creative, it is merely contrivance.'

Finally, I am grateful for those agents, who over the long period of my creative life, have believed in my work and have supported me. To them I say 'thank-you.'

  

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Trans Reader

 Yosa Buson reading by Yosa Buson brushing

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Waiting For Yves

Harry Shunk and János Kender (photography) 

and TARpists 

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