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.


23 August 2012

Temple of the Four Regards


EXPRESS YOURSELF 
GREAT CHARACTERS, BIG THINKING AND ENERGETIC NEW WAYS OF PAINTING GALVANISED THE WORLD MORE THAN HALF A CENTURY AGO AND ART WOULD NEVER BE THE SAME AGAIN
   
Australian Weekend Review front cover_Four women look at painthing_sRGB_400  
EXPRESS YOURSELF 
GREAT CHARACTERS, BIG THINKING AND ENERGETIC NEW WAYS OF BEING GALVANISED THE WORLD MORE THAN TWENTY-FOUR CENTURIES AGO AND ART WOULD NEVER BE THE SAME AGAIN
    
 

THE FOUR REGARDS
... AND ART WILL NEVER BE THE SAME AGAIN
    
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17 August 2012

John Brack : movements of pens and pencils

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Earlier this week one of John Brack's pens and pencils works - Journey, 1980 - was sold at a Sotheby's auction, Melbourne. Many prefer Brack's earlier works, Collins St, 5 p.m. and so on; we like the lot, but most of all the late refinements.
     
Here's  Journey, 1980 :

 
Monash University Collection owns Crossing, 1978:
  
 
Arrival and departure, 1980, adds another level :
   
 
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16 August 2012

Everything is Everything

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From a GOMA Media Release received today : 

Sculpture is both a way of looking and an action, just like drawing, painting, film or theatre … when it appears, an act of magic occurs. 
 - Marina De Caro 

What is contemporary sculpture? Sculpture is Everything explores the diverse and often unexpected forms we may consider sculptural — from film, photography, painting and performance, through to three-dimensional objects that fall outside what has been defined as ‘sculpture’ at different times. 

'SCULPTURE IS EVERYTHING' OPENS AT GOMA
 
A brooding mass of 300 tyre tubes hovering like clouds; dance machines from the Torres Strait Islands; two giant red polar bears and a seal balancing a baby grand piano on its nose are among more than 130 contemporary sculptures that will transform GOMA's ground floor in a major exhibition opening on August 18.
 

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"WHY MAKE ONE MORE SCULPTURE?" :

From 1981, another someone regards another suspension of tyres (Tyre Week, Melbourne). 

From the cataLOGOS/HA HA
SCULPTURE IS AN ADJECTIVE, NOT A NOUN.
SOMETHING IS DESCRIBED AS SCULPTURE.
SOMEBODY DESCRIBES SOMETHING AS SCULPTURE.
SCULPTURE IS A NAMING (DIVIDING) ACTIVITY.

WHY MAKE ONE MORE SCULPTURE?
Exhibited simultaneously at Art Projects, Melbourne (Feb. 1981) and at The First Australian Sculpture Triennial (Non-catalogized Section) - Preston Institute of Technology and LaTrobe University, curator Tom McCullough.
   
click image to enlarge                                       Peter Tyndall
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"WHY MAKE ONE MORE SCULPTURE?"



    

13 August 2012

LESS IS MORE : Heide Museum of Modern Art


Let's say it again

LESS IS MORE : MINIMAL & POST-MINIMAL ART IN AUSTRALIA
Heide Museum of Modern Art

3 August – 4 November 2012
 

"The more stuff in it, the busier the work of art, the worse it is. More is Less. Less is More." 
- Ad Reinhardt

 
image courtesy SLAVE GUITARS

Knowing about the show at Heide, it was a Laugh Out Loud moment last night to hear Yngwie Malmsteen on Metal Evolution : Episode 1 Pre-Metal :
I don't want to just play, say, 2-string 3-string 4-string 5- 6-string arpeggios. But people kept on telling me to slow down. "Hey, slow down. You don't remember Less is more?" I always say, "How could that be? How could less be more? It's impossible. MORE is more."

 
click image to enlarge                         Peter Tyndall,  -1978
     
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08 August 2012

COVER EVERYTHING! someone said

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At the Regarding pain/t/hing lecture, several images were shown of the Sherwin-Williams Paints (SWP) sky-spill logo and their mission statement COVER THE EARTH. 
On Friday, June 23, 1905, a U.S. federal trademark registration was filed for COVER THE EARTH by SWIMC, INC., Newark 197150657. The USPTO has given the COVER THE EARTH trademark serial number of 71008851. The current federal status of this trademark filing is REGISTERED AND RENEWED. The correspondent listed for COVER THE EARTH is ROBERT E. MCDONALD of THE SHERWIN-WILLIAMS COMPANY, 1100 MIDLAND BLDG.-LEGAL DEPT., 101 PROSPECT AVE., N.W. CLEVELAND, OH 44115-1075 . The COVER THE EARTH trademark is filed in the category of Paper Goods and Printed Material . The description provided to the USPTO for COVER THE EARTH is MIXED PAINTS, PAINTERS' COLORS, STAINS, AND OILS.
From Cleveland, Ohio, here's the company flag, embroidered both sides.
 

image courtesy FIAPCE Archive

Here's an addendum to that. New to the archive, this undated envelope of Geo. D Wetherill & Co. Inc. promoting their ATLAS READY MIXED PAINT (Warranted To Give Satisfaction) as used by an agent, Taber Motor Co. Inc., CATO, N.Y.

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As best we can discover, this logo was registered in 1926, twenty years after that of Sherwin-Williams (1906).

It's like a behind-the-scenes exposé of the Sherwin-Williams logo's support system. How is The Earth suspended there? Aha, it's Atlas! And how is that SWP paint can suspended and a'pourin thus? Aha, Angels! Good Angels or Fallen Angels? Cherubim (God Made The World) or putti (Devil Rules.OK)? 


The white winged-ones apply their (white) paint - WE MUST COVER THE EARTH WITH ATLAS PAINT they say - as poor Atlas balances the Globe to lower his arms and hitch-up yet again his saggy old underpants. Ah, COVER ME COCK! he grumbles to himself.

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04 August 2012

Ripolin Brothers (Melbourne)

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Below is a version of Eugene Vavasseur's 1898 meta-painting, made for Lefranc to advertise Ripolin paint. The scan used here is from a later postcard reproduction


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Yesterday, our Arts correspondent attended Regarding pain/t/hing at Melbourne Museum, part of the four days of lectures and forums accompanying the 2012 Melbourne Art Fair.

Some members of Ripolin Brothers (Melbourne) were also there.

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And, after the scheduled Regard, they performed an impromptu tableau vivant : Painting Eyes on the Void. The title derives from
'In this very breath that we take now lies the secret that all great teachers try to tell us, what one lama refers to as "the precision and openness and intelligence of the present.(1)" The purpose of meditation practice is not enlightenment; it is to pay attention even at unextraordinary times, to be of the present, nothing-but-the-present, to bear this mindfulness of now into each event of ordinary life. To be anywhere else is "to paint eyeballs on chaos (2)".'
Peter Matthiessen, Nine Headed Dragon River
1. Chogyam Trungpa, Cutting Through Spiritual Materialism
2. Dogen Zenji, Shobogenzo


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left to right : Nick Ripolin, Kelly Ripolin, Ash Ripolin, Helen Ripolin, Peter Ripolin (in 1990 Tour de France - Team Ripolin maillot) - photo by Kim Ripolin
     
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30 July 2012

Melbourne Art Fair _ lectures and forums

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Melbourne Museum Theatre
2 - 5 August 2012

Melbourne Art Fair 2012 Plenary Program Presented in Association with Museum Victoria. Four days of informative and lively discussions on contemporary art includes Lectures, Forums and Artist Talks.

Thursday 2  - Friday 5 August 2012 10am - 4pm

Free Admission. Bookings essential. 

 
In the occurrence of a session being booked out, Melbourne Art Fair will endeavor to operate stand-by queues. Admission to sessions is not guaranteed. 


To see the program for the full four days  click here

Meanwhile, here's the program for

Friday 3 August 2012
Melbourne Museum Theatre

   

Why paint? Concerns in contemporary painting
Why paint? Concerns in contemporary painting
Why paint? Concerns in contemporary painting


Morning Lecture, 10am-11am

Contemporary painting: "Stones really are precious sometimes, just as fingers are sometimes delicate…"

Jan Bryant

Perhaps the most brutal and devastating allegation levelled against painting last century was the widespread claim that it was too tired, too weighed down by the burden of its own history, to make us think or see anew. But while we know that something very particular arises from the materiality of making and from the affect of materials, it seems unproductive today to argue for the 'supremacy' of one material over another. Instead, painting has absorbed the lessons of conceptualism, claiming both an appreciation for the specificity of materials, while also encouraging broad, non-denominational thinking. Painting has survived its premature death sentence to persist today as a resilient and vibrant area of contemporary practice. This lecture will propose that it is now possible for painting to be both itself and to be not itself, to be both painting and not painting, without losing sight of its essential difference.

To make a booking, click here



Morning panel session, 11.30am-1pm

In this place now…Painting: A discussion of contemporary, post-conceptual painting


Jan Bryant (convener)
Rebecca Coates
André Hemer
Ryan Renshaw


This forum is dedicated to discussing concerns in contemporary painting, framed by questions, provocations, debates and lectures that address directly the question of painting as a post-conceptual medium. Rather than attempting to dredge up old dichotomies or discipline-specific biases, this forum brings together an academic, a curator, a dealer and a painter to encourage debate around where painting, in its broadest definition, sits today.

To make a booking, click here



Lunchtime artist forum

1.30pm-2.30pm

Amber Wallis
Grant Nimmo
Julia Gorman
Matthew Hopkins


This panel comprises four painters, each of whom work in vastly different manners: alternatingly utilising the visual languages of abstraction, figuration and appropriation, as well as expanding painting to incorporate elements of collage, drawing, sculpture, installation art and spatial practices. In this panel, each of the artists will speak on the work of another artist — not necessarily a painter — who has impacted on the direction of their own painting practice in some way. Amber Wallis will speak on the American late-modernist painter Cy Twombly and the Russian expressionist Wassily Kandinsky; Grant Nimmo will speak on the contemporary American painter Dana Schulz; Julia Gorman will speak on the contemporary American sculptural and installation artist, Jessica Stockholder; and Matthew Hopkins will speak about the American artist Jim Shaw, specifically his 'Thrift Store Paintings' and his ongoing series of 'Dream Drawings'.

To make a booking, click here



Afternoon Lecture, 3pm-4pm

Regarding pain/t/hing
   
Peter Tyndall

A brief history of the typo in Art : 
Dear Theo, Send more pain. Vincent


To make a booking, click here


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28 July 2012

Pop Eye Loves Lucy

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L⦿G⦿S/HA HA



L⦿G⦿S/HA HA

Fulgurant, indeed!  This statue of Saint Lucy (Lux, Lucis : Light) and her eyes (in and out) is at St. Roch Chapel, Faubourg, New Orleans.


L⦿G⦿S/HA HA

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25 July 2012

The only way to hide facts

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MOMUS

Greek myth.
    1. the god of blame and mockery.
    2. a cavilling critic.

  Scotch myth.
    1. the god of futuristic vaudeville and analog baroque.
    2. a tender pervert.

    3. a writer of songs.
 
    
... as described at phespirit.info
    
And now...   

The Age Of Information
Track 7 : lyrics from the album Ping Pong (1997)
released on Satyricon Records - 724384517823
    
This is a public service announcement

Ladies and gentlemen, we are now entering
The age of information
It's perfectly safe
If we all take a few basic precautions
May I make some observations?

Axiom 1 for the world we've begun:


Your reputation used to depend on
What you concealed
Now it depends on what you reveal

The age of secretive mandarins who creep on heels of tact
Is dead: we are all players now in the great game of fact instead
So since you can't keep your cards to your chest
I'd suggest you think a few moves ahead
As one does when playing a game of chess

Axiom 2 to make the world new:

Paranoia's simply a word for seeing things as they are
Act as you wish to be seen to act
Or leave for some other star

Somebody is prying through your files, probably
Somebody's hand is in your tin of Netscape magic cookies
But relax:
If you're an interesting person
Morally good in your acts
You have nothing to fear from facts

Axiom 3 for transparency:

In the age of information the only way to hide facts
Is with interpretations
There is no way to stop the free exchange
Of idle speculations

In the days before communication
Privacy meant staying at home
Sitting in the dark with the curtains shut
Unsure whether to answer the phone
But these are different times, now the bottom line
Is that everyone should prepare to be known
Most of your friends will still like you fine

X said to Y what A said to B
B wrote an E mail and sent it to me
I showed C and C wrote to A:
Flaming world war three

Cut, paste, forward, copy
CC, go with the flow
Our ambition should be to love what we finally know
Or, if it proves unloveable, simply to go

Axiom 4 for this world I adore:

Our loyalties should shift in view according to what we know
And who we are speaking to

Once I was loyal to you, and prepared to be against information
Now I am loyal to information, maybe I'm disloyal to you
My loyalty becomes more complex and cubist
With every new fact I learn
It depends who I'm speaking to
And who they speak to in turn

Axiom 5 for information workers who wish to stay alive:

Supply, never withhold, the information requested
With total disregard for interests personal and vested

Chinese whispers was an analogue game
Where the signal degraded from brain to brain
Digital whispers is the same in reverse
The word we spread gets better, not worse

X said to Y what A said to B
B wrote an E mail and sent it to me
I showed C and C wrote to A:
Flaming world war three

Cut, paste, forward, copy
CC, go with the flow
Our ambition should be to love what we finally know
Or, if it proves unloveable, simply to go

Well worth a listen, we reckon. Hear it at
Playlist for World of Echo with Dave Mandl - July 22, 2012
Click on the link above _ choose the Pop-Up Player _ 
move the slider on the Pop-Up Player to 4.01minutes

Fact(or) this:
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23 July 2012

Un Tour du Cerceau


Every year, the night-shift crew at bLOGOS/HA HA watch in full the Tour de France on SBS. Every stage, with rarely a moment missed.

What a seasonal treat it is for the thousands who line the way and the millions who tune-in around the globe.

The poetry of  ) the circulation of ) the sounds ) of the names ) old & new ) of the teams ) ) ) )

EUSKALTEL - EUSKADI )
ORICA GREENEDGE ) )
TEAM SKY ) ) )
OMEGA PHARMA-QUICK STEP ) ) ) )

of the riders ) ) ) )

Ryder HESJEDAL ) Cadel EVANS ) George HINCAPIE ) André GREIPEL ) Alexandre VINOKOUROV ) Mark CAVENDISH ) Bradley WIGGINS ) Andy & Frank SCHLECK ) Matty GOSS ) Stuart O’GRADY ) ) ) )

of the commentators )

Phil LIGGETT ) and Paul SHERWEN ) )

of the colour ) the movement ) photography ) countryside ) spectators ) architecture ) ) ) )

Stage 19 
(52 km - time trials)
BONNEVAL - CHARTRES 

) after which a helicopter delivers us a turning bird's view of that miraculous construction ) what more ) ?! ( ) ) ) )

*This year, the team we followed most closely was LES ENFANTS DU VIDE (Children of the Void : see below) with their sticks and cerceaux and monochrome uniforms all in International Klein Blue.


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