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 August 1984, Linda Marrinon, Geoff Lowe and I were staying at The Royalton (44 West 44th Street) in New York. For Linda and I, it was our first overseas excursion. With Vivienne Shark LeWitt, we started our Grand Tour in Rome, exhibited at ‘ANZART’ in Edinburgh, then continued to London where Vivienne stayed on. Steven Bush joined us in NY (*his exhibition at Sutton Gallery has just opened) where we spent our days mostly visiting museums. (Experiencing 'Ghost Busters' in a New York cinema was fun, too. Very meta.) After a substantial renovation, MoMA had just re-opened with ‘An International Survey of Recent Painting and Sculpture’. It included some Australians, a rare event even for white Anglo male non-indigenous: Peter Booth, Paul Boston, Tony Coleing, Mike Parr.
I had grown up admiring Tina Turner’s awesome 'River Deep, Mountain High' (1966), before my similar regard for Aretha Franklin, Nina Simone and Janis Joplin. While in NY, one afternoon I heard on local radio that Tina Turner was about to start a new tour in the wake of her breakthrough return single ‘What’s love got to do with it?’. She would be at The Ritz (119 East 11th Street) that night.
So, beer and pizza in an East Village restaurant with another music survivor Screamin' Jay Hawkins busking us with his ‘I put a spell on you’ (1956), then off to join the queue at The Ritz. Hawkers stalked the queue trying to sell us their (real or fake?) inflated-price tickets. Eventually I bit and was one of the last to get inside before FULL HOUSE and a great performance.
Today, news that Tina has died aged 83. The final para of a New York Times review of that August 1984 Ritz concert season :
“Miss Turner doesn't mind mocking herself; after a hip-shaking, knee- swinging rendition of a rock song, she pauses for a deep, sweeping, bow, delivered with a diva's hauteur. Yet in her own way, Miss Turner has as much dignity as any performer now working. If there have to be sex symbols, Tina Turner is the best kind - wise, tough and adult.”
VALE TINA
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Tina's Audience of Respect
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Behind ] and Before ( the Curtain at the Ballet
by Henri Gervex (1890) and TAR
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Ye Gods of Rock, it's another 50th anniversary!
Barefoot in the Grass : 50 Year Anniversary of the Sunbury Music Festival is at Hume Global Learning Centre, Sunbury, until March 27.
Tonight, there will be a panel discussion featuring festival lighting director and author Peter Evans, plus roadies, musicians and fans, and performances by Mike Rudd of Spectrum and Brenden Mason of Madder Lake.
Your correspondent was there too, with a notebook a nib pen and a bottle of India Ink.
Theatre of the Anniversaries of Rock
In 1971, Mary Macqueen was one of our RMIT Architecture faculty tutors. At Crossley Gallery, I had seen her rapid impression pencil drawings of zoo animals. Hence... Theatre of the Actors of Regard
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Ai Weiwei
The high court in the UK overturned a ruling earlier this year and judged in favor of the US in appeal to extradite Julian Assange. Since 2012 he has lived under asylum and imprisonment, and his health has deteriorated. He suffered a stroke in prison and would not be able to survive the conditions he would be held under if sentenced to 175 years in prison in the US.
Today, freedom of press is under attack and journalists’ safety is at stake, as the powerholders circle and suppress those who provide real information in defense of social justice. Assange represents the fairness of press, which is the most important foundation to guarantee the development of a healthy society. It is only with this foundation that we can measure human rights in a society. Without freedom of press, the entire society’s human rights will be damaged.
In October 2016 Julian Assange gave me a treadmill as a present when he was at the Embassy of Ecuador in London. Today I decided to make a video of myself running on the treadmill and would like to call for everyone’s involvement through uploading short videos of running on a treadmill on the Internet. With this performance, we can show our concern with human rights and freedom of press, as well as our pursuit of social justice. Please upload your videos with #RunForOurRights and #Treadmill.
#RunForOurRights- in defense of freedom of press and human rights for all.
treadmill runner at Bonzaview
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TAR dancer photo by James McArdle : click image to enlarge
In Conversation : SINCLAIR+GALLERY : 18 December 2021
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Yesterday's drawing by Josh Bowes is dreadfully and personally familiar.
"as driven by desire/attachment."
Bingo!
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The Laughing TAR of near and farmarched to the top of the hill
They marched on down again
And when they were up, they were up
And when they were down, they were down
And when they were only half-way up
They were neither up nor down
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stance (n.)1530s, "standing place, station," probably from French
stance "resting place, harbor" (16c.), from Vulgar Latin
*stantia "place, abode" (also source of Italian stanza
"stopping place, station, stanza," Spanish stancia
"a dwelling"), from Latin stans (genitive stantis),
present participle of stare "to stand" (from PIE root *sta- "to stand, make or be firm").
Sense of "position of the feet" (in golf, etc.) is first recorded 1897; figurative sense of "point of view" is recorded from 1956. The sense of the French word has since narrowed.
Stand Dance (TAR)
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Further to the earlier pangrams, this endless round we learned when young.
This old man, he played one,
He played knick-knack on my drum;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
Yosa Buson (1716-1784)
This old man, he played two,
He played knick-knack on my shoe;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
This old man, he played three,
He played knick-knack on my knee;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
This old man, he played four,
He played knick-knack on my door;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
This old man, he played five,
He played knick-knack on my hive;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
This old man, he played six,
He played knick-knack with my sticks;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
This old man, he played seven,
He played knick-knack up in heaven;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
This old man, he played eight,
He played knick-knack on my gate;
Give the dog a bone,
This old man came rolling home.
This old man, he played nine,
He played knick-knack on my spine;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
This old man, he played ten,
He played knick-knack once again;
With a knick-knack paddywhack,
Give the dog a bone,
This old man came rolling home.
collection FIAPCE
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Isamu Noguchi, My Mu, 1950
no me
no my
no mu
- TAR after Noguchi/Cage
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Struttin' With Some Barbeque (Lil Hardin)
Raku Ryonyu
(1756-1834) Scrollin'...
Raku Ryonyu (1756-1834) Stampin'...
Raku Ryonyu (1756-1834) plate with matrix ideogram
Finally, some speculative etymology. I think with affection of the Czech novelist Josef Skvorecky, who wrote in his novel THE COWARDS (or his novella THE BASS SAXOPHONE) of his difficulties with jazz-related English (he was a youthful amateur tenor player during the Second World War): encountering “Struttin’ With Some Barbecue” for the first time, he was puzzled by the word-by-word translation: could it really mean “Walking pompously with an animal carcass roasted whole”?
I have the same feelings about “Drop that sack!” Is it really an old-time racially-based joke about chicken-stealing, or did it mean, “Let’s get out of here” or “Get rid of that unattractive person”?
It adds something to the resonance of the words that DROP THAT SACK was one of the two titles that Louis recorded “anonymously” with Lil’s Hot Shots for a competing label while he was under contract to OKeh — trying to hide Louis’s conception and sound would be like pretending the great Chicago Fire wasn’t burning . . . . but I wonder if there are hidden meanings to the expression, just as we later learned that “Struttin’ with some barbecue” was a pre-PC way of saying, “Walking proudly with my beautiful girlfriend.”
- from JAZZ LIVES
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Screaming Teens Mob Paintings
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Yesterday, a closing scene.
Another one today -
TAR
I can't believe we made it (this is what we made, made)
This is what we're thankful for (this is what we thank, thank)
I can't believe we made it (this a different angle)
Have you ever seen the crowd goin' apeshit? Rah!
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This was drawn a few days ago to House of Pain's
Jump Around.
I came to get down, I came to get down
So get out your seat and jump around!
Jump around!
Jump around!
Jump around!
Jump up, jump up and get down!
Jump! Jump! Jump! Jump! (Everybody jump)
Jump! Jump! Jump! Jump!
Jump! Jump! Jump! Jump! (Everybody jump)
Jump! Jump! Jump! Jump!
Jump! Jump! Jump! Jump! (Everybody jump)
Jump! Jump! Jump! Jump!
Jump! Jump! Jump! Jump! (Everybody jump)
Jump! Jump! Jump! Jump!
Jump!
Today, in Hyperallegic, this article :
Swizz Beatz in front of a work from Nick Cave’s Tondo series
(image courtesy the Dean Collection)
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watch : final three rap battles
read : final three rap battles
HAND SPACE Theatre of the Actors of Regard
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