Telling the children about TAR [ The Art of Rego )

Theatre of the Actors of Regard 

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A Person Looks At A Work Of Art/

someone looks at something...

  

LOGOS/HA HA

        

from The Archives of ResisTARs (-1992-)

Theatre of the Actors of Regard
presents

Truth Advances the Revolution
Theatre of an Abstract Russia
Terrors of the Angle-Right
The Anvil of Truths

Theatre of the Actors of Regard 

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Vale Hossein Valamanesh (1949-2022)

 A beautiful person, widely respected and loved. 

  Hossein Valamanesh, Longing belonging, 1997, Collection AGNSW

 A great artist of the world.

  Hossein Valamanesh, Breath, 2013, cast bronze, 143 x 140 x 5cm

 Condolences to Angela and Nasseim

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

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TAR type

Typography of the Actors of Regard   

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 A Person Looks At A Work Of Art/

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HAND SPACE : Label -- Title -- detail etc

beholding pattern

Holding Patterns Part One: Kien Situ (installation view) 
Front, Kien Situ, Shanshui (Column), 2020, Chinese Mò ink, gypsum plaster, 136 x 24 x 24cm. 

Back left: Kien Situ, Shanshui (Scroll), 2020, Chinese Mò ink, gypsum plaster, 88 x 64 x 8cm. 

Courtesy the artist. Photo by Kai Wasikowski. 

4A Centre for Contemporary Asian Art

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

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 LOGOS/HA HA
     

     

    

One and Free ] Australia In Lockdown ( continues

Yesterday, Australia poet laureate Scott Morrison PM announced that, to recognise the ancient and continuous Aboriginal presence in this land, one word would be changed in the national anthem Advance Australia Fair : young and free changes to one and free. One crumb.

https://www.pm.gov.au/media/australians-one-and-free    

Meanwhile, where it matters most, his government disregards the Uluru Statement From the Heart :

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.

One and Free The Refugees ] Australia In Lockdown ( continues 

members of RARD (Rural Australians for Refugees. Daylesford) continue the vigil to FREE THE REFUGEES

Theatre of the Actors of Regard & Ripolin Bros. 

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 A Person Looks At A Work Of Art/

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 LOGOS/HA HA
     

  

    

The mysterious guest.

We don't understand what's meant by we. 

Abstractly speaking, we don't understand what's meant by abstraction.

Scrivere Disegnando  

 Writing by Drawing. When Language Seeks Its Other
 (English version)

 Edited by Andrea Bellini and Sarah Lombardi
 Skira editore, Milan-Paris-Geneva

 English edition
 June 2020
 ISBN 9788857243504

 Hard cover
 21 × 29 cm
 312 pages

 PRICE
 CHF 75

This morning we received an email from FontHaus promoting a new font family from Los Andes Type : Abstract

 Abstract Complete Family

  Abstract Black

  Abstract Thin Italic

  Abstract Light Italic

  Abstract Regular Italic

  Abstract Medium Italic

  Abstract Bold Italic

  Abstract Semi Bold Italic

  Abstract Bold Italic

  Abstract Black Italic

  Abstract Family

  Abstract Thin

  Abstract Italics Family

  Abstract Light

  Abstract Regular

  Abstract Medium

  Abstract Semi Bold

  Abstract Bold

enlarge  

Theatre of the AbstracTARs of Regard    

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 A Person Looks At A Work Of Art/

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TAR : Blood, sweat and canvas

 

BARTON FINK -- film script 

LIPNIK 

Hell, I could take you through it step by step, explain why your story stinks, but I won't insult your intelligence. Well all right, first of all: This is a wrestling picture; the audience wants to see action, drama, wrestling, and plenty of it. They don't wanna see a guy wrestling with his soul – well, all right, a little bit, for the critics – but you make it the carrot that wags the dog. Too much of it and they head for exits and I don't blame 'em. There's plenty of poetry right inside that ring, Fink. Look at "Hell Ten Feet Square". 

LOU 

"Blood, Sweat, and Canvas". (John Ford, 1934)

 

LIPNIK 

Look at "Blood, Sweat, and Canvas". These are big movies, Fink. About big men, in tights – both physically and mentally. But especially physically. We don't put Wallace Beery in some fruity movie about suffering – I thought we were together on that. 

BARTON 

I'm sorry if I let you down. 

LIPNIK 

You didn't let ME down. Or even Lou. We don't live or die by what you scribble, Fink. You let Ben Geisler down. He liked you. Trusted you. And that's why he's gone. Fired. That guy had a heart as big as the outdoors, and you fucked him. He tried to convince me to fire you too, but that would be too easy. No, you're under contract and you're gonna stay that way. Anything you write will be the property of Capitol Pictures. And Capitol Pictures will not produce anything you write. Not until you grow up a little. You ain't no writer, Fink – you're a goddamn write-off. 

 

BARTON 

I tried to show you something beautiful. Something about all of US –

Theatre of the Actors of Regard  

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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  

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ACCA presents Defining Moments : POPISM, National Gallery of Victoria, 1982

    

AAA_Art Archive Australia  

Lecture Topic: POPISM, National Gallery of Victoria, Melbourne, 1982 Speaker: Judy Annear The exhibition POPISM was held at the National Gallery of Victoria in 1982. At 24 years old, recent honours graduate and founder and editor of Art & Text magazine, Paul Taylor was invited to curate an exhibition of contemporary Australian art. The NGV was usually described as ‘the bunker’ with apparently little connection to the local art scene or experimental practice. POPISM came like a bolt from the blue, hard on the heels of the first five issues of Art &Text. This lecture will discuss the exhibition and the artists (Howard Arkley, David Chesworth, Ian Cox, Juan Davila, Richard Dunn, Paul Fletcher, Maria Kozic, Robert Rooney, Jane Stevenson, The Society for Other Photography, Imants Tillers, Peter Tyndall, Jenny Watson, and Tsk Tsk Tsk), provide some background and context to the ideas and practices, and the evolution of Taylor’s thinking and working. I will trace this through Taylor’s published writings, the various reactions to his activities, and the recollections and interpretations of his peers – then and now. Judy Annear is an independent researcher and writer based in Victoria on Dja Dja Wurrung land, never ceded, and Honorary (Principal Fellow) School of Culture and Communication, University of Melbourne. Her fields of research include literary feminisms, and modern and contemporary art practice underpinned by a focus on periods of major technological change. Amongst other projects, she is currently researching Allan Sekula’s first visit to Australia in 1980, as a guest of Working Papers On Photography, Melbourne. Her recent publications include a small book of experimental texts The Ls 2019, as well as contributions to Photomedia Now/Everything is Interesting’ in Art Monthly Australasia October 2018, and an encyclopaedic history, The Photograph and Australia 2015. ABOUT THE SERIES: ACCA’s Lecture Series, Defining Moments: Australian Exhibition Histories 1968–1999, will take a deeper look at the moments that have shaped Australian art since 1968. In the second year of this two-year series, seven more guest lecturers will analyse the game changers in Australian art, addressing key contemporary art exhibitions staged over the last three decades of the twentieth century and reflecting on the ways these exhibitions shaped art history and contemporary Australian culture more broadly. Ambitious, contested, polemical, genre-defining and genre-defying, contemporary art exhibitions have shaped and transformed the cultural landscape, along with our understanding of what constitutes art itself. This program traces the legacies of artists and curators, addresses the critical reception of selected significant projects, and reflects on a wide range of exhibitions and formats; from artist run initiatives to institutions, as well as interventions in public space and remote communities.   click HERE for 2020 season listings

ACCA (Melbourne)  

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A Person Looks At A Work Of Art/

someone looks at something...

  

LOGOS/HA HA

   

TARzen's Adventures of Regard

Tarzan swings, Tarzan falls
Tarzan hangs by the hair of his...
Don't be mistaken
Don't be misled,
Tarzan hangs by the hair of his head.

- as remembered, after drawing this :

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

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PUNS R US

A vehicle registration plate, also known as a number plate, license plate, or licence plate, is a metal or plastic plate attached to a motor vehicle or trailer for official identification purposes. All countries require registration plates for road vehicles such as cars, trucks, and motorcycles. 

Our favourite ever registration plate was GOGH on an old brown combie van often seen about here.

This Holden Commodore Calais V BIGPUN is a self-declared
(auto-motivated) claimant, but is it a legit contender?

Theatre of the Automotives of Regard 

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A Person Looks At A Work Of Art/

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LOGOS/HA HA

      

a SIGN FIELD Symphony

Jen Bray (at lectern) presents the list of amendments sought : 
see previous post


Hepburn Shire Mayor, Councillor Licia Kokocinski counts the votes.

LOCAL LAW 2 enacted

Those in favour (Local Law 2 )
   Cr Licia Kokocinski (Mayor) – Coliban Ward
   Cr Kate Redwood AM – Birch Ward
   Cr Don Henderson – Creswick Ward
   Cr John Cottrell (Deputy Mayor) – Holcombe Ward
   Cr Greg May – Creswick Ward

Those against (Local Law 2)
   Cr Fiona Robson – Birch Ward
   Cr Neil Newitt – Cameron Ward

SIGN FIELD  enacts

SIGN

SIGN

SIGN

RESIGN

RESIGN

RESIGN

Theatre of the Actors of Regard 

'A Symphony 'O' Signs'

after Charles Ives

'Three Places in New England (Orchestral Set No. 1)'

orchesTAR 1 : Theatre of the enActors of Regulation

+

orchesTAR 2 : Theatre of the Actors of disRespect

Theatre of the Actors of Regard 

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 A Person Looks At A Work Of Art/

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 LOGOS/HA HA

  

SIGN FIELD : Singing & Signing

 6pm

 Tuesday 18 Feb 2020

 Daylesford Town Hall

 Sign Riders arriving at the Town Hall

 David Holmgren and Su Dennett, permaculture pioneers

 Andrea Lindsay and an earlier campaign's re-purposing of a 

 Hepburn Shire councillor's address to "You people...

 Meg Ulman referencing the disputed LL2 (Local Laws version2) 
 to be voted on at this evening's Shire Council Meeting

 Patrick Jones

 Peter O'Mara

 Petrus Spronk

 Mark Dickenson and Jen Bray                 photo Natasha Morgan

 SINGing and SIGNing against LL2 busking laws

Theatre of the Actors of Regard 

 ...and many more. Tomorrow, what happens when the Festival 
 moves inside for the Shire Council Meeting and vote on LL2.

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

STOP THE PRESS 
just in from Mr D

Signs
The 5 Man Electrical Band
lyrics as recorded by The Five Man Electrical Band in 1971 and included on the 1990 compilation album "Made In Canada - Volume Three 1965-1974"  

And the sign said "Long-haired freaky people need not apply"
So I tucked my hair up under my hat and I went in to ask him why
He said "You look like a fine upstanding young man, I think you'll do"
So I took off my hat, I said "Imagine that. Huh! Me workin' for you!"
Whoa-oh-oh

Sign, sign, everywhere a sign
Blockin' out the scenery, breakin' my mind
Do this, don't do that, can't you read the sign?

And the sign said anybody caught trespassin' would be shot on sight
So I jumped on the fence and-a yelled at the house, 
"Hey! What gives you the right?"
"To put up a fence to keep me out or to keep mother nature in"
"If God was here he'd tell you to your face, Man, you're some kinda sinner"

Sign, sign, everywhere a sign
Blockin' out the scenery, breakin' my mind
Do this, don't do that, can't you read the sign?

Now, hey you, mister, can't you read?
You've got to have a shirt and tie to get a seat
You can't even watch, no you can't eat
You ain't supposed to be here
The sign said you got to have a membership card to get inside
Ugh!

------ lead guitar ------

And the sign said, "Everybody welcome. Come in, kneel down and pray"
But when they passed around the plate at the end of it all, 
I didn't have a penny to pay
So I got me a pen and a paper and I made up my own little sign
I said, "Thank you, Lord, for thinkin' 'bout me. I'm alive and doin' fine."
Wooo!

Sign, sign, everywhere a sign
Blockin' out the scenery, breakin' my mind
Do this, don't do that, can't you read the sign?

Sign, sign, everywhere a sign
Sign
Sign, sign

  

 

SIGN FIELD

 INAUGURAL HEPBURN SHIRE FESTIVAL 'O' SIGNS

 6pm

 Tuesday 18 Feb 2020

 Daylesford Town Hall

 Bring a sign

 bring a friend with a sign

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 A Person Looks At A Work Of Art/

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 LOGOS/HA HA

 . . . . . . . . . .

 SIGN HERE