NOW THEY BELIEVE!!!!

   



        

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Rebus decoder

     
From our archive comes this unconstrained image-detail rebus of a famous artist with vinyl releases in one hand and The Case of the Mystery Label in the other.  Click the image to see more :
           

    

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Things have turned around a bit

     

Noted this morning in Andrew Stephens'

'Visual Arts: A feast for the eyes' (The Age) :
           
Monash University Museum of Art :

It doesn't sound exciting - concrete - but curators at MUMA are looking at this material through the prism of World War I in an international group exhibition examining ''our propensity to memorialise'' by exploring the monumentality of concrete and the politics of memory - how we erase and shift different parts of history. 

Monash is also mounting an ambitious project called Art as a Verb: How to Do Things with Art, whose starting point is the concept of art as action, drawing on the rich history of conceptualism and minimalism, as well as Fluxus and performance art.

Concrete, May 3-July 5
Art as a Verb, October 3-December 13

   

      

Noted this afternoon during the ABC Radio cricket commentary (Sydney Ashes Test_Australia vs England_Day 2), this sequence of observations from Jim Maxwell (ABC cricket commentator for 40 years) in conversation with Kerry "Skull" O'Keefe (with this match, concluding 13 fun-filled years as an astute ABC cricket commentator). 

     
JM : that 8 of the 11 in the present English side are left-handed batsmen

KO'K : that 5 of the 11 in the present English side have surnames starting with B
KO'K : that 3 of the 5 in the present English side with surnames starting with B are left-handers

JM : "Things have turned around a bit since there were 3 verbs at the top of the order."

JM and KO'K : "Cook... Root... "

We are following the cricket, listening to the radio with the TV sound turned down. Frequent images of the Theatre of the Actors of Regard at the Sydney Cricket Ground. Media self-love finds the 400 Richie Benaud meta-commentators irresistible. They verb!

      

From our broadcasting box you can't see any grass at all. It is simply a carpet of humanity.
Read more at http://www.brainyquote.com/quotes/quotes/r/richiebena308152.html#6mIDT4apfk2PQGGV.9        

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Paul Taylor, time-space-experience and the mere absence of presence

      
During this holiday period, the worker ants at bLOGOS/HA HA have been touring the remnant trails of Impresario: Paul Taylor, The Melbourne Years, 1981–1984.
       

              
Impresario: Paul Taylor, The Melbourne Years, 1981–1984 brings together a diverse body of texts focused on Paul Taylor, the Australian editor, writer, curator and impresario, and in particular his important and influential early years in Melbourne between 1981 and 1984. The dates of the texts included span some thirty years and take a variety of different forms — critical essays, reviews, short reflective texts, interviews, transcriptions of lectures — the combination of which seeks to analyse Taylor’s impact on Australian art history in the early 1980s, when he founded Art & Text and curated the landmark exhibition ‘POPISM’ at the National Gallery of Victoria, and the subsequent ripples that continue to encircle us in his wake, thirty years on.
        
Edited and introduced by Helen Hughes and Nicholas Croggon, and featuring contributions by Ashley Crawford, Adrian Martin, Charles Green & Heather Barker, Chris McAuliffe, David Chesworth & Jon Dale, David Pestorius, Graham Willett, Ian McLean, Judy Annear, Janine Burke, Juan Davila, Jonathan Holmes, John Nixon & David Homewood, Jenny Watson & Kelly Fliedner, Lyndal Jones, Merryn Gates, Maria Kozic, Philip Brophy, Paul Foss, Patrick McCaughey, Peter Tyndall, Rex Butler & Susan Rothnie, Ralph Traviato, Imants Tillers, Edward Colless, Russell Walsh, Sue Cramer, Denise Robinson and Vivienne Shark LeWitt.
      
Published jointly by Surplus and Monash University Museum of Art
ISBN: 978-1-922099-08-2
RRP: AUD30.00 inc. GST

Over amber libations at the Ant & Anti, this volume has been the cause of much discussion among the savvy regulars.
         


But something we got stuck on :
When Butler & Rothnie write (p.196), 
"When we look at Taylor's 'POPISM' exhibition, three things are particularly notable...", the publican wants to know how Butler & Rothnie do this? how they actually look at Taylor's 'POPISM' exhibition? so that he might also look at Taylor's 'POPISM' exhibition. This had us stumped.

Everyone started Googling. All the key words and combinations : POPISM_exhibition_NGV_
National Gallery of Victoria_Paul Taylor_1982... Nothing! Not even one online exhibition photo. 

So what-how (voice a little slurred) did they mean
when Butler & Rothnie wrote (p.196), 
"When we look at Taylor's 'POPISM' exhibition...

    

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This famous exhibition that Paul Taylor (supposedly) staged at the National Gallery of Victoria in 1982, and which most articles in Impresario: Paul Taylor, The Melbourne Years, 1981–1984 refer to : where can the installation photos be viewed?

It seems so appropriate (appropriate or appropriate?! -ed.) that this thing-event of so much exegetic regard (the physical exhibition POPISM) should 'be' sans image. It's almost too good and too funny to be true, somewhere among the echoes of second degree and simulacra and supplementarity and locality fails et al.
   
What's a keen young art history student to do? 

What's a keen young art history teacher to do?  

Which is why bLOGOS/HA HA advocates the establishment of AAA_Art Archive Australia 
as a key component of the proposed NGV3.
       
  
     

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Truly, madly...

     

SEASONS GREETINGS

to our readers, regarders and supporters

from everyone at

bLOGOS/HA HA

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A Christmas Tradition: Carols by Strobe Light

        
This article is about the 2013 Christmas tableau vivant 'The Little Drummer Boy' (Theatre of the Actors of Regard / mini cine).

For the movie about a little drummer boy who does not want to grow up, see 'The Tin Drum' (film). For the 1968 stop motion animated film, see 'The Little Drummer Boy' (TV special). 
               
For this article of Christmas Greetings from 
bLOGOS/HA HA please continue reading...

The Little Drummer Boy (originally known as Carol of the Drum) is a popular Christmas song written by the American classical music composer and teacher Katherine Kennicott Davis in 1941. It was recorded in 1955 by the Trapp Family Singers and further popularized by a 1958 recording by the Harry Simeone Chorale. That version was re-released successfully for several years and the song has been recorded many times since. 

Jimi Hendrix recorded a cover of the song in 1969. This was later included on his 1999 holiday EP, 'Merry Christmas & Happy New Year'. It was this that inspired T.A.R. and mini cine to create their version for bLOGOS/HA HA

 
In the lyrics, The Little Drummer Boy tells how, as a poor young boy, he was summoned by the Magi to the nativity where, without a gift for the infant Jesus, he played his drum (and Jimi played his guitar) with the Virgin Mary's approval. He recalls, "I played my best for Him" and "He smiled at me".    (With thanks to Wikipedia)

HO HO !

HO H... um?

Oh yes, it's your bLOGOS/HA HA

Christmas CON UM DRUM
        

    

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UniVerse LABEL Project

Over the Christmas, Solstice and Hanukkah period, many folk decorate their homes inside and out with displays of light. 

Christmas lights around Melbourne, 2013  

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While this is happening, the crack team of artists at BABELab continue their year round efforts to simplify museoLOGOS/HA HA text production. 

Their LABELator often runs late into the night. 

Click tracking to the sounds of Andy Hart (try it yourself: click here) and Melbourne Deepcast, this nightshift artist doubles his beat with eyes well attuned to the phases of LOGOSequencia :

      

    courtesy : mini cine (FIAPCE)  

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Pitcha Makin Fellaz : Our first time - go easy

     

Two groups of artists, unconnected, with so much in common.

Der Blaue Reiter and Pitcha Makin Fellaz.

Der Blaue Reiter (The Blue Rider) was a group of artists from the Neue Künstlervereinigung München in Munich, Germany. The group was founded by a number of Russian emigrants, including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, and native German artists, such as Franz Marc, August Macke and Gabriele Münter. Der Blaue Reiter was a movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded in 1905.

Cover of Der Blaue Reiter almanac, c.1912

Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin, Gabriele Münter, Lyonel Feininger, Albert Bloch and others formed the group in response to the rejection of Kandinsky's painting Last Judgement from an exhibition. Der Blaue Reiter lacked an artistic manifesto, but it was centered around Kandinsky and Marc. Paul Klee was also involved.

- Wikipedia 


Members of „Der Blaue Reiter” : left to right : Maria and Franz Marc, Bernhard Koehler, Vasily Kandinsky (seated), Heinrich Campendonk, and Thomas von Hartmann. Munich, ca. 1911–12

In 1913, Franz Marc painted Tower of Blue Horses (Turm der blauen Pferde). The study, below. 


       
In 2013, one hundred years later, the Ballarat artist collective Pitcha Makin Fellaz, similarly stung by rejection from an exhibition, painted this in response : 'We know where you live'.
       


PW tells the story : "The horse painting came about as a reaction to being knocked back from entering an Indigenous artshow because they work as a group. They were a bit pissed off, and among a variety of responses the one that fired them up was the suggestion that they “send ‘em a horses head…”. So the next show that came up was the Daylesford Art Prize and the Horse was painted specially. It won. No longer so pissed off."

PW : "The group shares credits for all pics…we have a journal that records the individual contributors and their specific contribution but all proceeds from sales(if) etc are shared equally." 

More PMF here :

The Pitcha Makin Fellaz: making friends while making art

Lily Partland / ABC Ballarat

20 September, 2013

click image to enlarge  

Members of „Pitcha Makin Fellaz” : left to right : William Blackall, Ted Laxton, Peter Shane-Royumah, Myles Walsh, Adrian Rigney, Thomas Marks, and Joe Lee. Ballarat, 2013

Pitcha Makin Fellaz first exhibition opens today at B1 Gallery - 14 Camp Street, Ballarat, 11-4 daily until 22 December.

    

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merely, Change of Time

       

1900 : La Grande Roue built for the Exposition Universelle at Paris
        

       
1913 :  'Roue de bicyclette' by Marcel Duchamp, Paris 

              

undated : Carte Postale of La Grande Roue  
with lines drawn and words written 
      

2012, Marco Fusinato : Mass Black Implosion 
(Mikrokosmos: Change of Time, Bela Bartok)
Ink on archival facsimile of score.
                   

    

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Reinventing the Wheel : TEST PATTERN

         
Reinventing the Wheel: the Readymade Century finishes today at Monash University Art Museum.

    

To see the wheel turning was very soothing, very comforting, a sort of opening of avenues on other things than material life of every day. I liked the idea of having a bicycle wheel in my studio. I enjoyed looking at it just as I enjoy looking at the flames dancing in a fireplace. It was like having a fireplace in my studio, the movement of the wheel reminded me of the movement of the flames.

- Marcel Duchamp : Arturo Schwartz, The Complete works of Marcel Duchamp, London: Thames and Hudson, 1969, p.442

           
Doin' wheelies : mini cine (FIAPCE) takes us for a celebratory end-of-season Saturday morning spin round the block :
        
         

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