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.


Showing posts with label books. Show all posts
Showing posts with label books. Show all posts

30 June 2020

re. the liTARary artist

 

literary (adj.)
1640s, "pertaining to alphabet letters," from French littéraire, from Latin literarius/litterarius "belonging to letters or learning," from littera/litera "alphabetic letter" (see letter (n.1)). Meaning "pertaining to literature" is attested from 1737. Related: Literariness.

liTARary
after literary, "pertaining to Theatre of the Actors of Regard"


Theatre of the Actors of Regard  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something...
  
 LOGOS/HA HA

  
  

30 March 2019

Basho, Kerouac, Canned Heat... On The Road Again



TAR + TAR = TAR  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA


30 September 2018

Gerald Murnane and the possible present


This is Nobel Prize announcements week. 

Due to a sex abuse scandal within the Swedish Academy, however, no Nobel Prize for Literature will be awarded in 2018.

Earlier this year, before the cancellation announcement, a profile of Gerald Murnane and his writing featured in The New York Times Magazine. The article, by Mark Binelli, was titled 
Is the Next Nobel Laureate in Literature Tending Bar in a Dusty Australian Town?


photo by Morganna Magee for The New York Times 

Last week, The Wheeler Centre (Melbourne) published online an audio record of a conversation between Gerald Murnane and Sean O'Beirne. Heartily recommended.


Sean O'Beirne and Gerald Murnane - photo by Scott Limbrick

Twenty years ago, when I first arrived on the plains, I kept my eyes open. I looked for anything in the landscape that seemed to hint at some elaborate meaning behind appearances.
My journey to the plains was much less arduous than I afterwards described it. And I cannot even say that at a certain hour I knew I had left Australia. But I recall clearly a succession of days when the flat land around me seemed more and more a place that only I could interpret.

- the opening of The Plains (1982) by Gerald Murnane

 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA


  

07 January 2018

Stable Genius


A LOOK AT WHITE HOUSE BACK-STAIRS

More fake news! Mr Ed and Wilbur laughing at the 
Los Angeles Mirror. 


Theatre of the Actors of Regard 

Reading in the stable library, Mr Ed studies 'Heredity and the Criminal Mind'.



Following the release of Fire and FuryMr Ed and Press Secretary Wilbur address the nation.



Transcript of the Stable Genius :

  1. ....to President of the United States (on my first try). I think that would qualify as not smart, but genius....and a very stable genius at that!
  1. ....Actually, throughout my life, my two greatest assets have been mental stability and being, like, really smart. Crooked Hillary Clinton also played these cards very hard and, as everyone knows, went down in flames. I went from VERY successful businessman, to top T.V. Star.....
  2. Now that Russian collusion, after one year of intense study, has proven to be a total hoax on the American public, the Democrats and their lapdogs, the Fake News Mainstream Media, are taking out the old Ronald Reagan playbook and screaming mental stability and intelligence.....
FIAPCE 
  detail
  A Person Looks At A Work Of Art/
  someone looks at something... 
         
  LOGOS/HA HA


   

21 April 2017

Vale Ti Parks (1939 - 2017)

     
The experimental artist Ti Parks had a major influence on the development of conceptual art in Australia, especially in Melbourne.
 Introduction to Biography (stub) at National Library of Australia

 More info here.

 Ti Parks, Black desks, 1967                                 collection NGV

 Ti Parks, The Tent, 1968 
 1980 reconstruction at Art Projects, Melbourne (above)
 see (below) the 2005 text for Pitch Your Own Tent :

Monash University Museum of Art presents Pitch Your Own Tent: Art Projects | Store 5 | 1st Floor, an exhibition and publication examining the recent history of contemporary Australian art from 1979-2002 through the activities and practices of three influential artist-run spaces: Art Projects, Melbourne 1979-1984, established by John Nixon; Store 5, Melbourne 1989-1993, established by Gary Wilson; 1st Floor, Melbourne 1994-2002, established by David Rosetzky.
The exhibition explores a strong lineage in the recent history of contemporary Australian art; of avant-garde, experimental and innovative practices and discourses developed by communities of artists through independent artist-run exhibition and publishing initiatives.
Each of the three respective artist-run spaces will be represented through one of MUMA’s three galleries, which will provide the opportunity to represent each organisation in context, whilst also allowing a comparison of the ideas, modes of display, and material culture of each respective enterprise. One contention of the exhibition is the degree to which it is artists themselves who are responsible for the interpretation and writing of art history.
One important parameter that has been established within the curatorial framework is to involve only those works of art which were actually presented in the programs of the respective artist-run spaces, thereby invoking the forms, production values and materiality of the respective periods.
The title, Pitch Your Own Tent, makes reference to Gustave Courbet who pitched his own tent in front of the 1855 Exposition Universelle in Paris, to Ti Parks tents (one of which was exhibited at Art Projects and will be included in the exhibition), to Rikrit Taravanija’s tent installed in front of the AGNSW, and to the perpetually provisional and itinerant nature of artist-run spaces generally.
Given that the programs of Art Projects, Store 5 and 1 st Floor were each ambitious, diverse and encompassed exhibition and publishing programs conducted over periods of 5-9 years, the exhibition will inevitably focus upon the principal artists, and selected works which have made influential and/or lasting contributions, or are strongly representative of innovative visual arts culture of the time.
Artists include:
Art Projects – Anti-Music, Tony Clark, Peter Cripps, John Davis, John Dunkley-Smith, Richard Dunn, Robert Jacks, Robert MacPherson, John Nixon, Imants Tillers, Ti Parks, Mike Parr, Peter Tyndall, Ania Walwicz, Jenny Watson.
Store 5 – Stephen Bram, Sandra Bridie, Tony Clark, Bronwyn Clark-Coolee, Marco Fusinato, Diena Georgetti, Melinda Harper, Gail Hastings, Anne-Marie May, John Nixon, Rose Nolan, Kerrie Poliness, Kathy Temin, Gary Wilson, Constanze Zikos.
1st Floor Artists and Writers Space – Amanda Ahmed, Guy Benfield, Kate Beynon, Martine Corompt, Michael Delany, Kate Ellis, Mira Gojak, Eliza Hutchison, Raafat Ishak, Brendan Lee, Andrew McQualter, John Meade, Sean Meilak, Callum Morton, David Noonan, Alex Pittendrigh, David Rosetzky, Jacinta Schreuder, John Spiteri, Lyndal Walker.
Text: Carolyn Barnes, Max Delany, Tessa Dwyer, D.J Huppatz, Andrew Hurle, Robyn McKenzie, Sarah Tutton, edited by Max Delany.

Ti Parks lived in Melbourne from 1964 to 1973 
and during that period was one of the number of significant artists associated with Bruce Pollard's Pinacotheca Gallery at St Kilda then Richmond.

The final exhibition at Pinacotheca was in August 2002, of recent artwork by Ti Parks. The images below come from a film of that event - Parks at Pinacotheca by Nicholas Nedelkopoulos - with commentary by Ti. 


 Parks at Pinacotheca by Nicholas Nedelkopoulos  2002 / revised 2011


 Parks at Pinacotheca by Nicholas Nedelkopoulos  2002 / revised 2011

In 2007, Christian Capurro collaborated with Parks at the Venice Biennale, as recorded here :

  
Ti Parks

Pensa con i sensi - Senti con la mente. L'arte al presente /
Think with the Senses - Feel with the Mind. Art in the Present Tense

'Off-Site' Performances, June: Venice


As an invited collaborator for the 'off-site' component of the Another Misspent Portrait of Etienne de Silhouette work at this year's Venice Biennale 52nd International Exhibition of Art, Ti Parks will be presenting a series of performances - 'performontages' as the artist calls them - twice a day in public spaces across Venice from June 11 to 13, 2007.



 Ti Parks performance at 52nd Venice Biennale, 2007
 photograph by Christian Capurro


 detail 
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA 


  

27 March 2017

Vale Robert Rooney (1937-2017)


Robert Rooney, Melbourne artist photographer writer reviewer and musician, died last Tuesday, 
21 March 2017.

Robert Rooney was born on 24 September 1937. 
           
Every artist born in 1937 so far located 
1970-2009
Robert Rooney


Medium                    ballpoint pen on 204 cardboard index cards, 
                                 cardboard box
Measurements         (1-230) 9.8 × 15.0 × 13.7 cm (overall)
Accession Number   2009.501.1-230
Department              Australian Prints & Drawings
Credit Line               National Gallery of Victoria, Melbourne
                                 Gift of Robert Rooney through the Australian
                                 Government's Cultural Gifts  Program, 2009
Gallery location        Not on display

During the last decade, Robert made colourful paintings from black and white line illustrations derived from a 1937 edition of the weekly French magazine Le Rire (The Laugh/Laughter). 

Robert Rooney, Le Rire: Beard and Baby (PIcq), 2008

Several years ago, on Robert's birthday, we were able to send him the edition of Le Rire published on his actual birth day, 21 Sept 1937. Such fun.

____________________________________________

Our first encounter with Robert was in the early 1970s at The Source in central Melbourne.

Others also associated him with that excellent bookshop. 
Sol LeWitt, 1967 :


     
Ian Robertson, today :

clearly remember buying poetry books from him in Sweeney Reed’s bookshop in Exhibition Street in the late ‘60s/early ‘70s

… I think it was called East End

we always had cryptic conversations and he perpetually wore a small and somehow quite private smile, something was quietly amusing him

in ’89-90 I visited his house with Philip Brophy when putting together an issue of Stuff on Graphics, to which Robert contributed a compendium of quotes from Ed Ruscha

the house was like a 3D spotless scaled up image from a late 1950/early 1960s Australian Home Beautiful pictorial, perfectly maintained… 


the pantry was memorable, with rows and rows of tinned foods and packaged goods as though in preparation for a Nuclear bomb


a glimpse into his room has left an image of packed bookshelves on four walls

From Robert's more recent bookshop associations, pinned to our office wall here, is this Black Square edition of his design for the Sainsbury's Books tote bag.


AAA_Art Archive Australia  
____________________________________________

Robert Rooney was the only artist to be included in these two generations of breakthrough exhibitions at the NGV :

The Field in 1968 with Kind-hearted kitchen-garden IV (ref.)

 Robert Rooney, Kind-hearted kitchen-garden 11, 1967

...and POPISM in 1984, curated by Paul Taylor.
(Philip Brophy essay : Re-Generation: Robert Rooney as Pop)


Robert Rooney, Portrait of Paul Taylor, 1984

Robert was also a key inclusion in Melbourne Cool, curated by Daniel Thomas and Mary Eagle at the NGA in 1983.
  
____________________________________________

ROBERT ROONEY


I have always preferred to work from secondary sources, particularly mass-media ones, rather than paint or draw from the actual subject. Robert Rooney 1986


The sources for Rooney’s highly regarded 1960s abstract paintings were breakfast cereal cut-outs and other found material such as knitting patterns. His work has changed considerably over the years but the one constant, as Charles Green pointed out in 2000, is a ‘love affair with the legible signs of nomadic suburbia (logos, trademarks, street signs).’


From the 1990s Rooney’s hand-painted acrylic pictures have been based on illustrations in esoteric children’s books. More recently he has been concerned with artworks made by children themselves, though it is not his aim to draw or paint like a child. Rooney’s interest is more in ‘modern Art (or Modernism) and childhood, or, if you like, the early childhood of Modernism.’


Acknowledged as one of the most important abstract painters in the landmark 1968 exhibition The Field at the National Gallery of Victoria, Robert Rooney has exhibited widely during his long career. A major retrospective - From the Home Front - was held at Monash University Gallery in 1990.

His work has always had the freshness of youth but also the elegance and intelligence of maturity. It wears wonderfully well, and therefore must be as good as any works of art can be.

- Daniel Thomas 1997


____________________________________________

In the 1980s we were able to acquire one of the edition of two Corners, Robert Rooney's photo series of Bruce Pollard's Pinacotheca Gallery, Richmond. Such a treasure. Corners 1/2 is in the collection of the NGV; Corners 2/2 now at AGNSW.

Robert Rooney, Corners, 1972  (click to enlarge)

Two other Robert Rooney photo series are now on show at 
Spare Room 33 in Canberra.

Robert Rooney, Luna Park: St Kilda, January 1975, 1975 


Robert Rooney, Scorched Almonds, 1970 


This exhibition, Serial and Conceptual Photography, opened on Tuesday last, the day of Robert's death. That sad news has reached us only today. Vale Robert.

____________________________________________

Robert Rooney, Portrait photographs 1978–1987, Tolarno Galleries, 11 September–11 October 2014

At the 2014 opening of 'Portrait photographs 1978-1987' 
Jon Campbell, Robert Rooney, Doug Hall and a photographer
all photographed, and here regarded

detail 
A Person Looks At A Work Of Art/
someone looks at something... 
         
LOGOS/HA HA


   

09 January 2017

Keeper of the Label Drawers


Accordionist of TAR : Geoff Sobelle in The Object Lesson 
Gerd Arntz for Nederlandse Stichting voor Statistiek 
FIAPCE for AAA_Art Archive Australia 

Theatre of the Actors of Regard  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA


   

07 January 2017

] ] ] ] ] ] ] ] ] Accordionist of TAR ( ( ( ( ( ( ( ( (

   
That most of us maintain - and effectively are - our own museums is the premise of “The Object Lesson” 
Ben Brantley / The New York Times (6 Nov 2014)
Geoff Sobelle’s ‘The Object Lesson’
Geoff Sobelle  
HAND SPACE 
Theatre of the Actors of Regard 
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA