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.


11 December 2016

KNULP 2016 fundraiser auction today 4pm



AAA_Art Archive Australia  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA



08 December 2016

UPDATE : Let ALL The Flowers Flow!


At a time when gates are being closed to people and trade; when walls ["I WILL BUILD A GREAT WALL"] are being raised rather than tumbled down; and when damning and down-stream water security is increasingly a matter of vital (life!) concern for many... we were interested last weekend to revisit one community's 1982 street banner, paraded in support of the (1976-1983) NO DAMS IN S-W TASMANIA and SAVE THE FRANKLIN campaigns.


Daylesford & District Historical Society Inc
Facebook : 4 December 2016
Margaret Leunig and Dianne Parsons spoke at the Museum on the occasion of their handing over the 1981-2003 Daylesford Embroidered Banners Project archive. The group photograph is of those people attending who contributed letters to the project.
     
The bloke in the photo, who had also stitched an alphabet letter, is holding a scroll from the LET THE RIVERS FLOW banner.

Below, the assembled banner leans against the old Victoria Hotel, ready for the 1982 New Years's Eve Parade : 6 painted scrolls, 16 letters, sign writing, a display structure and willing carriers.
      

A bit more about that black and white scroll. This is it in the studio, a week before the parade :

As well as the meandering black flower, there was also a text written in pencil, extracts from the book "Anti-Oedipus" :

The full quotation :
Desiring-machines are binary machines, obeying a binary law or set of rules governing associations: one machine is always coupled with another. The productive synthesis, the production of production, is inherently connective in nature: "and . . ." "and then . . ." This is because there is always a flow-producing machine, and another machine connected to it that interrupts or draws off part of this flow (the breast—the mouth). And because the first machine is in turn connected to another whose flow it interrupts or partially drains off, the binary series is linear in every direction. Desire constantly couples continuous flows and partial objects that are by nature fragmentary and fragmented. Desire causes the current to flow, itself flows in turn, and breaks the flows. "I love everything that flows, even the menstrual flow that carries away the seed unfecund."* Amniotic fluid spilling out of the sac and kidney stones; flowing hair; a flow of spittle, a flow of sperm, shit, urine that are produced by partial objects and constantly cut off by other partial objects, which in turn produce other flows, interrupted by other partial objects. Every "object" presupposes the continuity of a flow; every flow, the fragmentation of the object. Doubtless each organ-machine interprets the entire world from the perspective of its own flux, from the point of view of the energy that flows from it: the eye interprets everything—speaking, understanding, shitting, fucking—in terms of seeing. But a connection with another machine is always established, along a transverse path, so that one machine interrupts the current of the other or "sees" its own current interrupted.

*Henry Miller, Tropic of Cancer, Ch. 13. See in this same chapter the celebration of desire-as-flux expressed in the phrase: ". . . and my guts spilled out in a grand schizophrenic rush, an evacuation that leaves me face to face with the Absolute."

           
Hence the coupling that takes place within the partial object-flow connective synthesis also has another form: product/producing. Producing is always something "grafted onto" the product; and for that reason desiring-production is production of production, just as every machine is a machine connected to another machine. We cannot accept the idealist category of "expression" as a satisfactory or sufficient explanation of this phenomenon. We cannot, we must not attempt to describe the schizophrenic object without relating it to the process of production. 

     
Richard Lindner - Boy with Machine (1954)       

The satisfaction the handyman experiences when he plugs something into an electric socket or diverts a stream of water can scarcely be explained in terms of "playing mommy and daddy," or by the pleasure of violating a taboo. The rule of continually producing production, of grafting producing onto the product, is a characteristic of desiring-machines or of primary production: the production of production. A painting by Richard Lindner, "Boy with Machine," shows a huge, pudgy, bloated boy working one of his little desiring-machines, after having hooked it up to a vast technical social machine—which, as we shall see, is what even the very young child does.
- extracts from :
Anti-Oedipus by Deleuze & Guattari (Publ. French 1972, English 1977)
from The Desiring-Machines, Ch.1 (translated by Helen R. Lane, Robert Hurley, and Mark Seem)
Also on the scroll, the now-familiar formal meta-Title
as we follow the flow
to the see :
LET THE RIVERS FLOW
LET ALL THE RIVERS FLOW
LET ALL THE FLOWERS FLOW

AAA_Art Archive Australia  
Banner at the ready --
    flowing flowing flowing 
        keep them doggies rollin'...
     

Daylesford Community Banner Project, 1982  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA


POST SCRIPT : On 5 March 1983, the Australian Labor Party won the federal election with a large swing. The new prime ministerBob Hawke, had vowed to stop the dam from being constructed, and the anti-dam vote increased Hawke's majority - some federal Victorian seats were notable for having a strong interest in the issue . However, in Tasmania, the vote went against the national trend and the Liberals held all five seats. Hawke's government first passed regulations under the existing National Parks and Wildlife Conservation Act 1975, and then passed the World Heritage Properties Conservation Act 1983, which prohibited Franklin River dam-related clearing, excavation and building activities that had been authorised by Tasmanian state legislation.
However, the Tasmanian government ignored both the federal regulations and legislation and continued to order work on the dam. The issue was brought before the High Court with the first day of hearings on 31 May 1983... (continues here)

   

05 December 2016

Strange Regard


Xenophon : Strange Voice
from Greek ξενος (xenos) "foreign, strange"
and φωνη (phone) "voice"

LOGOS/HA HA : Strange Voice
from Greek Logos λόγος, from λέγω lego "I say" 
("Word of God; speaking into being")
from Cheek(s) HA HA : laughter, farts, unsound dis-eruptions

"Osibisa : criss-cross rhythms that explode 
with happiness"
from The Dawn (tk. 1), 'Osibisa (1971) by Osibisa

This recent Nick Xenophon TAR tableau appears to us so hilariously fulsome ] like that bowl of golden arsehole enso ( that to give the lead-up might constrain the chain reaction... 
      
Nick Xenophon / Theatre of the Actors of Regard  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA



04 December 2016

Playing At Giants


The metaphor of dwarfs standing on the shoulders of giants (Latin: nanos gigantum humeris insidentes) expresses the meaning of "discovering truth by building on previous discoveries".[1] This concept has been traced to the 12th century, attributed to Bernard of Chartres.

Its most familiar expression in English is by Isaac Newton in 1676:
"If I have seen further, 
  it is by standing on the shoulders of giants."[2] 

Below, the blind giant Orion carries his servant Cedalion on his shoulders to serve as the giant's eye.
                                                                    - Wikipedia
   
Playing At Giants :
a beautiful old favourite by Master Goya 


Francisco Goya, Jugando en el Giants/Playing at Giants (c.1792)
        
An Antipodean View 
Mike Parr

Mike Parr, The College of Cardinals (2005)

A Yankee at the Court of TAR 
after FIAPCE
after Luis Jacob
after Davies & Co. (Melb.)
          ] after whom, Houdini (
after The American Frikell
after Washington Simmons
after Dr H. S. Lynn
after Wiljalba Frikell
after Mark Twain


Theatre of the Actors of Regard featuring Luis Jacob's 'Sphinx'  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA
         
         
          

02 December 2016

Theatre of the Actors of Regard : Announcement

 
Dr. H. S. Lynn, magician, to appear in Melbourne as Washington Simmons' The American Frikell

Dr Lynn to be assisted by Sphinx (Luis Jacob)

True photograph by Davies & Co. (Melbourne) 
& FIAPCE (International). 

  
Original performance, un-assisted  
courtesy State Library of Victoria, Melbourne  
click image to enlarge  

Taxonomy of selected detail(s) : see below
Collection : State Library of Victoria, Melbourne
Title : [Dr. H. S. Lynn, magician] [picture]
Author/Creator : Davies & Co. (Melbourne, Vic.), photographer.
Notes : Portrait in 'Old and new magic' by Henry Ridgely Evans (ALMAC 793.8 EV1O), also a file on him as 'Dr. Lynn' in Alma Conjuring Collection.
Notes : Dr. Hugh S. Lynn (John Wesley Simmons Lynn), born (ca. 1835-1899) in Bristol England. Lynn was an ex sailor turned magician who visited Australia (as "Washington Simmons") in Jan-May 1863 appearing as "The American Frikell". He travelled to China and the USA where he obtained a medical degree in Boston. His main claim to fame was as the first Western magician to go into Japan, and as the man who inspired Houdini to go into magic.
Notes : H88.50/5 in 'Role Play', National Gallery of Victoria, October 2007 - April 2008.
Subjects : Lynn, H. S., 1835?-1899.
Subjects: Magicians.
Subjects: H. S. Lynn; magicians; British; United States; Washington Simmons
Date created : [ca. 1855 - ca. 1882]
Series/Collection : Theatre portraits collection.
Terms of use : No copyright restrictions apply.
Copyright status : This work is out of copyright
SLV Source ID : 1786918
SLV Accession : H88.50/5
SLV Accession : H88.50/6
Type : Still Image
Type : Portrait photographs.
Type : Albumen prints.
Type : Cartes de visite.
Description : 2 photographs :
SLV Filename(s) : mp014344:1991608
Update Match Field : 1786918


 Theatre of the Actors of Regard featuring Luis Jacob's 'Sphinx'  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA
         
         
          

30 November 2016

AAANZ 2016 : THE WORK OF ART


AAANZ 2016 Conference

The Work of Art

School of Art, Australian National University, Canberra

1-3 December 2016


 detail : A Person Looks At A Work of Art/someone looks at 
 something… 1987 (Fosterville Institute of Applied & Progressive
 Cultural Experience) National Gallery of Australia, Canberra. 
 Australian Print Workshop Archive 2. purchased with the 
 assistance of the Gordon Darling Australasian Print Fund 2002

The 2016 conference will be held at the School of Art at the Australian National University, Canberra from Thursday, December 1 to Saturday, December 3, 2016, 9-5 pm.
The AAANZ 2016 Conference Committee are pleased to announce an exciting timetable of events for the annual conference.
Thursday December 1 is the dedicated Postgraduate Student Day to which all conference registrants are warmly invited to attend.
On Thursday December 1 at 6pm Dr Melissa Chiu will be presenting the first keynote at the James O’Fairfax Theatre, National Gallery of Australia. Dr Chiu is Director of the Hirshhorn Museum and Sculpture Garden in Washington D.C.
On Friday December 2 at 9am Professor Anthea Callen will present the second keynote at the Australian National University. Professor Callen is Emeritus of the Australian National University, Canberra, and Professor Emeritus of Visual Culture, University of Nottingham, UK. Her new book is entitled The Work of Art: Plein Air Painting and Artistic Identity in Nineteenth-Century France.
Conference Registration closes 21st November, 2016.
On Friday December 2 from 5.30- 7.30 pm the AAANZ 2016 Conference Committee and National Portrait Gallery will be hosting a ‘party’ at the National Portrait Gallery. This is a ticketed event and numbers are limited. All conference participants are eligible to purchase a ticket for themselves, and up to one invited guest, at a cost of $25 per person. This event includes entry to the current exhibition The Popular Pet show. To purchase a ticket to this event please note that you must use a credit card via the ANU online portal system, no invoices will be generated. NPG Party Registration  is available until 24 November or unless tickets sell out earlier.
While there are no accommodation partners for AAANZ 2016, information about a range of accommodation in Canberra is available on the registration page.
The Call for Sessions and Call for Papers has closed. Call for Postgraduate Student Day participation and applications for Student Bursaries has closed.
AAANZ annual conferences present opportunities to re-examine art history, art theory and studio practice and generate innovative perspectives on histories and cultural traditions. For this conference, based around the theme ‘The Work of Art’, we invite discussion on how works of art, craft, design and architecture operate and are operated on in different ways and contexts, historically, socially, politically, aesthetically and affectively. Given the location for the conference in Australia’s national capital with its concentration of national cultural institutions we would also welcome sessions on how art is made to work in institutional contexts.
Panel sessions might consider issues such as:
  • The function of art in broad social terms
  • The ways in which art “works upon” its viewers (its affect)
  • The practice of art and the various processes of creation
  • Art in which labour or work is the subject
  • The changing character of work and its impacts on art
  • The economic frameworks of art production and development of different ways of working
  • The singular work of art as a subject for close reading
  • Curatorial processes and other interventions that make art work
We welcome proposals for panels from scholars, postgraduate students, practitioners and professionals in the field whose work focuses on art, design and architecture. Conference sessions are timetabled for three 20 minute papers plus 10 minute questions, totalling 90 minutes. We also invite alternative formats, such as round table or open discussions providing that they can be accommodated by the timetable structure.
Conference sessions will be held at the Australian National University with evening events at the National Gallery of Australia and the National Portrait Gallery.

Conference committee

Professor Helen Ennis, Mr Peter Alwast, Dr Christopher McAuliffe, 
Dr Ursula Frederick, Dr Sarah Scott and Dr Robert Wellington -
School of Art at Australia National University.
Dr Shaune Lakin, National Gallery of Australia
Dr Anthea Gunn, Australian War Memorial
Dr Christopher Chapman, National Portrait Gallery.
Head of the conference committee: Professor Helen Ennis
Conference coordinator: Dr Ursula Frederick
Assistant conference coordinator: Mr Alex Burchmore
Postgraduate student day coordinator: Dr Sarah Scott

Contact

Please address correspondence to : conf@aaanz.info


AAA_Art Archive Australia   
  detail
  A Person Looks At A Work Of Art/
  someone looks at something... 
         
  LOGOS/HA HA
         
         
          

27 November 2016

THIS LOOKING THING


Another postcard recently received. From P&S at Spare Room 33
(Opening soon : LAWRENCE WEINER : EARLY WORKS)
   
On the picture side, a circle amid rectangle(s), the West Australian artist Howard Taylor's Day time moon (1997). Plus, a bonus Australia Post orange banding P.O.em


       
On the verso, Peter quotes Howard Taylor :
         

          
The day before this THIS LOOKING THING moon pointer arrived we posted here an image of ("Bring me...) the sculpted behead of Paul Signac on a Block, as Daruma Muralist, as circle and square, as rounded and rect....

Bust of Paul Signac (1863-1935), 1935 
by Jan and Joël Martel (Nantes 1896 – 1966 Paris)

At the same time, we encountered this article at Hyperallergic:

At the Montreal Biennial, Lessons in How to Look

Across the city, many works by the 55 artists participating in the 2016 Biennale Montréal deal with the possibilities, limitations, and consequences of spectacle and spectatorship.

Luis Jacob's high pedestalled headless HAND SPACE guillotine-gazer abregardist hugely tickled our fancy. Paricularly, when combined with the reverso bust of Paul Signac.

All just too ]----(plosively funny for words. lots of lollies!


  Luis Jacob, “Sphinx” (2015)               Theatre of the Actors of Regard
              
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA
         
         
          

24 November 2016

Battle of the Banzz


The winner of this week to go up against Blue Tongue Brown...


Sound Theatre of the Actorzz of Regard  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA
         
         
          

22 November 2016

ekphrHaHasis


ekphrasis : a poem in response to a work of art


collection : FIAPCE  
We don't know the name(s) of the painter-poet(s) of this ethereal silk and paper Japanese scroll. The image is a well established genre scene of sky, moon and wild geese in flight.

The great painter-poet Yosa Buson (1716-1783) wrote of such:
一行の雁や端山に月を印す 
ikkou no kari ya hayama ni tsuki o in su 
Calligraphy of geese
against the sky --
the moon seals it. 
- translation by Robert Haas

ekphrHaHasis : a poem of laughter in response to a projection-space as work of art

The minor drawer-poet 'Bonza View' on the Wild Geese of TAR :
This ghostly line,
in passing  --
TAR  
- translation by FIAPCE

collection : Theatre of the Actors of Regard  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA
         
         
          

20 November 2016

POST CARD

     
A special pleasure shared by artists is an ease of giving and receiving. 

Here, such things are often delivered by Postman Nick, himself an artist and leaver of fruit from his trees, sometimes a drawing, or a letter, a photo... Recently, he delivered this unexpected handmade postcard sent several weeks before the TRUMP ascendency, postmarked Briefzentrum 12 (Berlin-South Postal Distribution Center) and stamped with a yellow TRUMPet on white surrounds - Narcissus.
                 


From whom, by whom? By an obviously skilled hand, it declares itself a DANIUS postcard. Is it from International Melbourne Man of Action Danius K of Slave Pianos and Punkasila ...?
     

     
It is. Commissioned by him, the unfamiliar skilled calligrapher, drawer, colourist and image maker is a young Mexican artist-clown who lives in Berlin, Ernesto Lucas. (Hello Ernesto. Thank you!)
             

                   
Theatre of the Actors of Regard 
presents  

click image to enlarge  
 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 
         
 LOGOS/HA HA
        

Goodbye cruel world, we're off to join the Circus


 Gambas Circus, Berlin. Ernesto Lucas and Camille Phelep with
 members of Junior TAR