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.


13 January 2014

Edith Through the Looking Lace

     
Art historian Edith Hoffmann :
I Am Curious (yellow matrix )
  
'The Burlington' article here of 8 January concludes with this clarification :
Nota bene : There was another art historian named Edith Hoffmann (1888-1945) who worked at the Printroom of the Budapest Szépművészeti Múzeum and published on Dürer and Hungarian art literature.

BP, Jan. 2014 (with thanks to Yonna Yapou)
 
    
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09 January 2014

Love's Brother, Love's Sister

        
This is Sam and Connie, brother and sister, thirty years ago.



Thanks for the beautiful birthday message bro. You have been by my side for as long as I can remember.
The 7 year old in me enjoyed playing cars and dress-ups with the boys today.
The 30 year old in me is long forward to dinner and drinks with my gorgeous hubby tonight.
And all 37 years of me loves the birthday messages I have received today. I feel humbled and privileged to be a part of Love Your Sister which brings love and laughter to my life every day, but especially today as I celebrate another important milestone.
xx Connie

facebook -  4 January 2014



Now, Connie is terminally ill with breast cancer and Sam has committed to an epic challenge. He’s riding around Australia on a unicycle, to keep this promise to Connie :
1. To raise a million dollars for breast cancer research
2. To raise awareness of the disease that’s killing her 
3. To break the Guinness World Record for the longest journey on a unicycle
Samuel and Connie were born a year apart, so they’ve always been close. Growing up they played together, explored the neighbourhood together… and fought cancer together.
Connie has fought cancer three times in her life and Samuel has been with her every step of the way. This time things are different. Connie is dying and she doesn’t have much time left.
Faced with the fight of her life, she set Samuel the toughest challenge she could think of. It started as a joke in the kitchen. It turned into a promise.
The goal?
  • Set a new Guinness World Record for the most distance travelled on a unicycle
  • Raise $1 million
  • Spread Connie’s message of breast cancer awareness.
Samuel has consulted all the experts, taken none of their advice and he’s setting off on the challenge of a lifetime. He made a promise and is determined to keep it!
- See more at: http://loveyoursisterorg.tumblr.com/thestory#sthash.uFGiRhVg.dpuf
So far, he has ridden 13.660 km and raised $1.2million.

Read more at loveyoursister.org and follow Sam and Connie's progress on facebook at loveyoursister

There's still has a month of cycling across the Nullarbor before Sam completes the journey at Federation Square, Melbourne on 13 February.

Samuel Johnson was born at Daylesford in 1978. Over recent weeks, his and Connie's friends have been readying the community for his return home, yesterday evening.


5pm: the town begins to gather. Another local, the author and journalist Andrew Masterson, arrives at The Savioa.

5.30pm: a pink mural billows on the main road.


6pm: Sam is sighted up the road, on his way from Daylesford with an escort of pinked-up bikies and the local Police.
       

Lisa Gervasoni (of many generations hereabouts) prepares to document as Andrea Lindsay signals Sam and the escort to stop for a moment so that members of the Daylesford Community Brass Band can lead them the last few streets.
     
Imagine arriving home like this.
        




Under the banner you can just see Sam's pink unicycle wheel, up there in the thick of things.

And from the other side of the banner, how the official photographer saw the rosy-hued scene.
       

click image to enlarge  
My hometown of Daylesford-Hepburn Springs turned on one heck of a LYS party! So proud to be born into such a diverse and giving community. My heart is so full. Thank you. xsj

- Samuel Johnson, facebook 9 Jan 2014

The building you see here, across the road from The Savoia, is known as The Macaroni Factory. It goes back to the gold days of the 1850s.

How very curious that twelve years ago we were all gathering around that building to witness the filming of Jan Sardi's 'Love's Brother' (2004).
 

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Finally, here's the scene in Love's Brother in which, much like yesterday, residents of Hepburn Springs line the street to await THE RETURN of the legendary Love Your Sister unicyclist.
      
     
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08 January 2014

NOW THEY BELIEVE!!!!


   



        
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06 January 2014

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 otherClick the image to see more :
           

    
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04 January 2014

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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02 January 2014

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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