voussoirs: SKULL ART

Sunday, 17 December 2017

SKULL ART

The headlines read, in arty lower case:

ron mueck scales-up and stacks 100 sculpted skulls at the national gallery of victoria

The National Gallery of Victoria is holding the world premiere of Ron Meuck’s room full of oversized, resin-cast skulls: see - https://www.google.com.au/search?q=skull+art+gallery+victoria&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjuud63_4vYAhUBULwKHe_tDz8Q_AUICigB&biw=1920&bih=1094#imgrc=8RS5KNJx5Lh_9M:

One is reminded of Cambodia’s tragedy, (see below), but the display of this collection of items, 100 of them, (why not 102?), is in an art gallery, so it must be art. Is this like the difference between war damage and a Gehry? - see: http://voussoirs.blogspot.com.au/2015/02/frank-o-gehry-art-of-war.html and http://voussoirs.blogspot.com.au/2013/12/new-gehry-projects-in-aleppo.html

The comment on the ABC News by the gallery’s curator, as if to explain the idea, was: “We bring our own baggage to it.” Such is art; such is life, so it seems. One wonders what baggage one might take away from the room filled with large skulls. When did art become anything one wants it to be; seeing it for what it might be through one’s own ‘baggage’?

It becomes hard to imagine a transformative art, one that might hold meaning meaningfully and reverberate with life and living - to manage to enrich being, to confirm experience rather than challenge it with puzzling and confronting questions, dark doubts and quirky, ad hoc uncertainties.

Such an approach to art allows anything strange and different to be seen as art, indeed, as important art; as significant art that usually gains its status through mass media’s manic reporting on its strange identity. If one chooses to argue otherwise, to question its standing, the stance becomes an easy matter to criticise as it questions one’s 'baggage,' identifying it, you, as being the problem: “It’s your fault: it's your problem.”

It is happening more and more today in the field of art – and architecture too. Where might anyone start a debate that could be resolved in mutual agreement when issues are encouraged to be so aimlessly fluid; fuzzy? Where is the sense, the presence, when everything and anything might be possible? What are the core, life-enhancing ideas beyond surprising hype and blurb?

The response to the uncritical recognition of this approach to art is for artists to make things increasingly puzzling and enigmatic; outrageous – for everyone to be told to try try to see something in it, whatever, even when there might be nothing, or nothing specific intended. Is art now like looking at ink blots?

It is a little like casting dust to the wind – or ashes, perhaps, (whose?) – and asking folk to see meaning in this: and if one is unable to, then it is one’s own unimaginative weakness that is the problem, as it leaves one’s skull in a spin. Is this the meaning? Who knows; who cares?

The artist apparently has the right to stand aside in almost self-satisfied, contempuous silence, and look on with a knowing, mocking eye: knowing there is nothing there; and mocking those making an attempt to create meaning. One senses that the artist might be present in a void of complete nothingness, waiting for some response that can be owned to be revealed. One thinks here of Doris Lessing on radio some years ago, not because of aimlessness, but because of the baggage brought to her reading. Robyn Williams, an ABC Science reporter, once, after Doris Lessing had read her short story on the dung beetle to the audience, stood up and confidently pontificated on the reason for this choice, cleverly analysing everything in his smart, precise, confident, pseuo-intellectual manner. The writer’s response was, “No. I chose it because it was of the appropriate length for the show.” Williams sat down quietly without saying anything, but, it seemed, with a silent whimper. This is the ‘baggage’ problem. Why do artists rely on it for their substance and standing?

Art as an enigma – and architecture too: see Gehry, Hadid. It becomes a real headache to understand such skull art that can be anything, and can be seen as anything.

Gehry

Hadid

Take for example an art gallery with several spaces available for an exhibition. The first room might be filled with oversized resin-cast skulls – like this exhibition. The next space might, perhaps, – let’s take a random set of somethings by way of example – be a room with a tiny, miniature Giacometti-like skull mounted in the centre of the floor on a fine bronze stand - Man; the third area might be filled with dead cats – fifty of them, all different breeds, called L. All this is art. The fourth space might have three large, empty, antique frames located carefully on the walls, one being slightly askew - Family Portraits; the next area – let’s say it has been made dark and has flashing lights and laser beams buzzing around spelling out words – perhaps obscenities: Urban Diction.

Gehry

Hadid

Continuing this fantasy, the sixth room might have nothing in it at all but surfaces bright and white - Full Void; while the seventh could be said to be a well-known artist’s bedroom, completely transported as it was, unannounced, on the third day of the third month, to be left on display for three weeks only, named The Trilogy – a little like the Bacon/Olley studio transplants that are to endure forever: see - http://voussoirs.blogspot.com.au/2013/01/bacons-sacrambled-studio-francis.html

Gehry

Hadid

And we could go on: the next space might perhaps be an oversized goldfish tank filled with twenty-one identical Pisces, its title; with the neighbouring area holding three naked figures – one male and two female, (gender self-allocated), wondering what to do with themselves as they wander around slowly and deliberately in the smoky haze that catches beams of light moving just as slowly and deliberately: MEMEME. Again, there might be yet another area with, say, a stuffed bear and a badger standing side by side, with a carrot hanging nearby: Eden.

One could go on and on, but the scene has been set. The point is that any of these scenarios could be real; that we could, at any time, be asked to consider these displays in a gallery as art and be told: “You sort it our with your baggage.” Of course, one can already see the frenzy created by the dead cats in L: the gallery would at first refuse the media’s cry, presented as the public’s demand, for the exhibition to be closed down – animal welfare. And this would go on and on generating huge crowds until someone was silenced. It would be the same response given to, say, a crucified Christ-like figure being displayed upside-down in a red room - Geez!! Protesting crowds might gather around the gallery demanding blood in the very best Christian manner. Perhaps we have already seen all of these works of art and their responses, or ones very like these?

Gehry

Hadid

If art is to be completely value-free – well, might try to be with no serious idea of depth, or statement of intent – then simply anything can be put before the public to allow it to respond: a tangerine room with a red dot in it titled Green; a mirrored room with a moving mirror on a mirror ball - Reflections 2 (there was no number 1; the ball uses Star Wars BB-8 technology); a pool of water shaped as a splash - Dessert (a poor pun); a huge sculpture of nothing at all, called - well, whatever you want it to be: maybe this is a competition with a T-Shirt prize? The public is encouraged by the media hype, and lines up to pay and parade past the art, knowingly. Is this called ‘bringing baggage’? Is this what art/architecture has become: anything at all: the more alarming the better? One can already start to write the artist’s statements to accompany all of the above phantom ‘works’. The range of examples, real copy, is best exampled in the SWELL Sculpture Exhibition catalogues: see - http://voussoirs.blogspot.com.au/2017/09/swell-sculpture-festival-2017-catalogue.html and http://voussoirs.blogspot.com.au/2016/09/swell-sculpture-festival-2016-catalogue.html and http://voussoirs.blogspot.com.au/2015/09/swell-sculpture-festival-catalogue-2015.html and other links in these sites.

Gehry

Hadid

The big challenge for us today is to demand more of our art and our architecture: of our artists and our architects. Using ‘baggage’ is not good enough. ‘Baggage’ is something that is always there. It is how to transcend this raw, personal experience that needs to be pondered: how to transform it; enrich it; to make living something surprisingly otherwise. One has to ask if today’s mental health issues might have something to do with allowing our ‘baggage’ to become the centrepiece of our being.

All above images of Meuck's show by Sean Fennessey

How can things be bettered? Skull art seems to be an excuse rather than anything else; a way for nothing to become something using the techniques of media advertising and promotion: make an attraction; create a public discussion; establish a demand to be counted in the millions; then claim the greatness of the art has been confirmed: and is it in the sales room – again by the millions: see - http://voussoirs.blogspot.com.au/2017/05/graphic-freud-design-as-sex.html

This image and the one below by Tom Ross

What must one do? Where does our ‘baggage’ come from? Ironically, one has to ask if it is being shaped, has been shaped, by media promotions: and art? Do we have to accept art as an enigmatic enigma for everyone to indulge in - for MY and someone else’s ‘baggage’ to become entwined in a ‘meaningful’ mishmash of randomness? What about life and its living - flesh and blood?

CAMBODIA

some images

'Life-sized' skulls

Try bringing your 'baggage' to these Cambodian lives. Do we have to turn things stark, stern, and shocking into a scene to entertain our ‘baggage’ - a stageset for our selfies?

NGV Triennial

NOTE

18 December 2017

The day after publishing this piece, an article on the exhibition appeared in The Guardian: https://www.theguardian.com/australia-news/2017/dec/18/ngv-triennial-astounding-blockbuster-grips-the-heart-and-repels-the-nostrils?CMP=Share_AndroidApp_Gmail

It is strange to see that the hypothetical exhibition outlined in the SKULL ART text appears to be not too different to the actual NGV Triennial show:

https://www.ngv.vic.gov.au/exhibition/ngv-triennial/

also see - https://www.theguardian.com/artanddesign/gallery/2017/jul/24/id-be-crushed-if-this-was-gone-before-anyone-got-to-see-it-rones-omega-house-in-pictures?CMP=Share_AndroidApp_Gmail that is not unlike the envisaged bedroom proposal.

Omega House

NGV Triennial

The article in The Guardian puts yet another layer on things arty – they become props for selfies; decorative backgrounds! So we are able to not only bring our own ‘baggage,’ but we can also photograph its presence too, for personal delight and promotional social requirements, all to confirm and declare ME.

NGV Triennial

Then there is yet another aspect to art and galleries: the commerce. The NGV has, amongst a range of items, a Skull Skateboard, a Temporary Tattoo Set, and a Triennial T-Shirt! It all appears to fit the same mould as that prepared for ‘baggage’ - adding to it as it trivialises everything.

We should not forget the killing fields.

We should heed this request, this history.

No comments:

ON GARDENING

I am strongly of the opinion that the possession of a quantity of plants, however good the plants may be themselves and however ample their number, does not make a garden; it only makes a collection. Having got the plants, the great thing is to use them with careful selection and definite intention. Merely having them, or having them planted unassorted in garden spaces, is only like having a box of paints from the best colourman, or, to go one step further, it is like having portions of these paints set out upon a palette. This does not constitute a picture; and it seems to me that the duty we owe our gardens and to our own bettering in our gardens is so to use plants that they shall form beautiful pictures; that, while delighting our eyes, they should be always training those eyes to a more exulted criticism; to a state of mind and artistic conscience that will not tolerate bad or careless combination or any sort of misuse of plants, but in which it becomes a point of honour to be always striving for the best. Gertrude Jekyll Colour in the Flower Garden Mitchell Beazley London 1998 – Introduction (first published 1908)

MORE IS LESS

Significantly, in the era of the ‘information revolution’, the same process is now affecting disinformation: whereas in the past it was lack of information and censorship which characterized the denial of democracy by the totalitarian state, the opposite is now the case. Disinformation is achieved by flooding TV viewers with information, with apparently contradictory data. The truth of the facts is censured by over-information, as we have seen from the press and television discussing the Balkans. The globalitarian state, built out of economic-strategic alliances, is no longer old ‘Anastasia’ with her scissors: it is Babel. Now more is less. And in some cases, less than nothing. Deliberate manipulation and unintentional accidents have become indistinguishable.

Paul Virilio Strategy of Deception Verso 2007 p.48

(first published Editions Galilee 1999)

‘That which precedes the event is not necessarily its cause,’ claims the wisdom of the ancients. p.76

As Negroponte has rightly remarked, with the ‘liberation of information’ on the Web, what is most lacking is meaning or, in other words, a context into which Internet users could put the facts and hence distinguish truth from falsehood. On the Web, where, as everyone knows, the terrorist temptation is constant and where depredations of hackers are committed with impunity in a strange state of legal indeterminacy, the difference between (true) information and (false) deception fades a little more each day. In entering the looking-glass worlds of television and home computers, we are in the end left in the position of Kinglake’s old ‘English soldiery’. As they saw it,

insofar as the battlefield presented itself to the bare eyesight of men, it had no entirety, no length, no breadth, no size, no shape and was made up of nothing . . . In such conditions, each separate gathering . . . went on fighting its own little battle in happy and advantageous ignorance of the general state of the action; nay, even very often in ignorance of the fact that any great conflict was raging.

As Albert Camus asserted: ‘When we are all guilty, that will be true democracy.’ p.78

ENCOUNTERING CONRAD

Ryszard Kapuściński The Other Verso London 2018, p. 92

At the end of his book, Kapuściński asks whether, in our encounters with others in the future:

Will we jointly wish to refer to what – as Conrad puts it - ‘speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation – and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts: to the solidarity of dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity – the dead to the living and the living to the unborn.’?*

* J. Conrad, Preface to The Nigger of the ‘Narcissus’: A Tale of the Sea, New York: W.W.Norton, 1979.

Architecture stands in between of all of these circumstances of encounter, but how does it explain itself beyond being a bespoke ‘grand design’ of a potential genius?

ON THE CULTURE OF OTHERS

Herodotus . . . wanted to know them because he understood that to know ourselves we have to know Others, who act as a mirror in which we see ourselves reflected; he knew that to understand ourselves better we have to understand Others, to compare ourselves with them, to measure ourselves against them. As a citizen of the world, he did not believe that we should isolate ourselves from Others, or slam the gates in their faces. Xenophobia, Herodotus implied, is a sickness of people who are scared, suffering an inferiority complex, terrified by the prospect of seeing themselves in the mirror of the culture of Others.

Ryszard Kapuściński The Other Verso London 2018, p. 19

CLEVER PEOPLE SELF-DOUBT

I last met him when Philomena came out back in 2013. Back then, Coogan was a bracing, combative interviewee. He saw every question as a potential ambush and moved to thwart any perceived journalistic angle. Today, though, he seems more comfortable with the process, more at ease with himself. It used to be that he felt he always had to have his guard up. Now he accepts that he can sometimes afford to let it drop. He’s middle aged and a mass of insecurity and contradictions. He suspects that, on balance, that’s not such a terrible thing to be.

“And actually I think acknowledging your own fallibility makes you a better artist and a better person,” he says in a rush. “It’s fairly obvious to me that the real wisdom lies in seeing people’s failings and trying to understand them. Because the alternative is that very childlike, Donald Trump thing of believing that admitting any weakness is fatal. What was it Bukowski said? All the clever people are full of self-doubt and all the stupid people are very confident. That’s the era we’re living in now. That’s the era I don’t want to be a part of. So all you can do is try to go about things differently. Do interesting work and don’t be a cunt.”

Coogan gulps for breath. His eyes widen and then he rocks with laughter. “There you go, that’s my big artistic statement,” he says. “Do interesting work and don’t be a cunt. Took me the best part of an hour. Got there in the end.”

https://www.theguardian.com/film/2019/jan/04/steve-coogan-interview-stan-and-ollie

HILLS

The hills bespeak a healing power and closeness to unseen help now lost in the security of modern welfare. Those who befriend the silent peaks in a lifetime's work know well their embracing strength. (p.91)

For only once is it given to man to lie in the arms of the eternal forces which give all matter form. (p.98)

Iain R Thomson Isolation Shepherd Birlinn, Edinburgh, 2007

I will lift up mine eyes unto the hills, from whence cometh my help.

My help cometh from the Lord, which made heaven and earth.

Psalm 121 King James Version (KJV)

SPAN

17 August 2012

This blog began as a co-operative concept. While the idea and the stimulus was generated through discussion, the blog has turned out to be an individual enterprise. SPAN stands for ‘Spence and’ in the context of others. As a word, it fitted in nicely with the idea of voussoirs - parts and pieces, complete with keystones, that could ‘span’ the gaps in understanding and communication. The word SPAN also allowed for a shared input into a blog.

Spence Jamieson is an architect and the author of these articles. The blogs show the scope of his interests.

THE IDEA

chapters and verses as architectural commentary:

the wedge to isolate, array and shape ideas; the keystone to highlight core, supporting issues. voussoirs is a concept to start an architectural discussion to span the large gap in the debate on things architectural; a bridging of the void in architectural issues by exploring considered bits and pieces. The state of the profession today is highlighted by silence and self. It is introvert and protective. Educational centres remain isolated within their own constructs, being run primarily as businesses. They put very little back into the community. They indulge themselves in their own interests and exclude contrary and different ideas and ideals. They constantly avoid any challenge on concepts or strategies that might change the plotted course. Rarely does comment ever come from this academic world into the public or any arena. Very few publications help direct the public interest. Rarely do newspapers grasp the issues and explore them. One aspect may be given space in the popular press, but architectural debates and concerns are rarely given attention. The professional institutes are doing much the same as the educational institutions. Private practice is doing likewise, offering, if anything, only its own pushy propaganda to the public. Yet there is a discussion and debate in these silences that needs a larger and more open platform. Discussion is alive and well amongst a few in at least one curry house, but the debate needs to be a broadened. voussoirs is the place for this discussion. It is a site for ideas, comment, articles, and critiques on things architectural and associated issues. It is here that matters can be aired and ideas discussed and debated without fear of the neglect and disdain that institutions and private groups and publishers give to open speaking and differing ideas.

There can be no true understanding of any idea if discussion and debate are curtailed in favour of a preferred position.

ON COMMUNICATION

. . . there has been a growing feeling of concern to solve what is now commonly called “the problem of communication.” But if one observes efforts to solve this problem, he will notice that different groups who are trying to do this are not actually able to listen to each other. As a result, the very attempt to improve communication leads frequently to yet more confusion, and the consequent sense of frustration inclines people ever further toward aggression and violence, rather than toward mutual understanding and trust.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.2

ON ART & METHOD

Even in relationships with inanimate objects and with nature in general, something very like communication is involved. Consider, for example, the work of an artist. Can it be properly said that the artist is expressing himself, i.e., literally “pushing outward” something that is already formed inside him? Such a description is not in fact generally accurate or adequate. Rather, what usually happens is that the first thing the artist does is only similar in certain ways to what he may have in mind. As in a conversation between two people, he sees the similarity and the difference, and from this perception something further emerges in his next action. Thus, something new is continually created that is common to the artist and the material on which he is working.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.4

THE NECESSITY OF THE INCOMPLETE

The early 50's and 60's is a period that is gaining interest in architectural ideas. Perhaps this is why Princeton chose to republish The Tao of Architecture. It is a beautiful little book that discusses the implications of traditional wisdom in architecture. Given the astonishing lack of direction in current architectural theory, the publication is very timely.

Amos Ih Tiao Chang, The Tao of Architecture, Princeton University Press, Princeton, 1956, reprinted 2017.

p.26

Laotzu's idea of formation is heavily concerned with emptiness or non-existence. To him who regards nothing as persistent, what is essentially important in things is the possibility of becoming something, not the opportunity of remaining as something confronting deterioration. Consequently, meaningful incompletion is taken as the most desirable state of tangible being.

p.22

. . . the full meaning of existence is beyond the power of any manifestation. What appears tangible, architectural or natural, is only a means to suggest that which is lacking in appearance and existing in man's intangible understanding and aesthetic feeling.

LIVING IN IMPERMANENCE

Maybe it is a good thing for us to keep a few dreams of a house that we shall live in later, always later, so much later, in fact, that we shall not have time to achieve it. For a house that was final, one that stood in symmetrical relation to the house we were born in, would lead to thoughts – serious, sad thoughts – and not to dreams. It is better to live in a state of impermanence than in one of finality.

Gaston Bachelard The Poetics of Space

see: THE NECESSITY OF THE INCOMPLETE in the sidebar

THE REAL AND THE IMAGINARY

I prefer, by far, real islands to imaginary islands, just as I prefer prime documents to novelistic remakes. That's because the real is richer than the imagination. The real demands investigation and is an invitation to sensitive knowledge, whereas the imaginary is more often than not just a collection of stereotypes, a soup of clichés offering an infantile kind of satisfaction. Then, a relationship to the real and its resistance requires changes in thought, in ways of being, in ways of saying, it leads to a transformation of the self. Whereas imagination is nothing but compensation. There's even something horribly autistic about sitting in one spot and spinning out invention by the yard. How much more interesting an open and poetic process involving contemplation, study, movement, meditation and composition.

Kenneth White Across The Territories Travels from Orkney to Rangiroa Polygon Edinburgh 2004 p.86

VISION, CIVILIZATION & SPIRIT

The architect who combines in his being the powers of vision, of imagination, of intellect, of sympathy with human need and the power to interpret them in a language vernacular and time - - - is he who shall create poems in stone.

When you look on one of your contemporary 'good copies' of historical remains, ask yourself the question: Not what style, but what civilization is this building? And the absurdity, vulgarity, anachronism and solecism of the modern structure will be revealed to you in a most startling fashion.

It cannot for a moment be doubted that an art work to be alive, to awaken us to life, to inspire us sooner or later with its purpose, must indeed be animate with a soul, must have been breathed upon by the spirit and must breathe in turn that spirit.

Louis Sullivan

AN UNCHANGING PROFESSION

ARCHITECTURAL PRACTICE

. . . no one can relieve (the architect) from the need to rely on his own discretion, for that discretion is linked to a responsibility which belongs to no one but (the architect). It is the exercise of discretion hampered by considerations of cost, of risk, of exact justice, of conflicting interests, of uncertainty as to facts, of misunderstandings and of diverse individualities and dishonest or incapable agents, which is the chief care and preoccupation of architectural practice. To design a building, to draw and specify every part of it, and to direct its construction and see it completed with no other anxieties and dilemmas than belong to the exercise of those duties, is unknown.

H.B.Creswell The Honeywood Settlement Faber and Faber Limited London 1967 (fourth edition: first edition 1930 Architectural Press) p.128

MENDING WALL

Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun,
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
'Stay where you are until our backs are turned!'
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, 'Good fences make good neighbors'.
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
'Why do they make good neighbors? Isn't it
Where there are cows?
But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn't love a wall,
That wants it down.' I could say 'Elves' to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me~
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."

Robert Frost

CATHEDRALS and SYMBOLISM

Everything is the symbolical representation of an idea. p.28

The same artists, who had to follow a strict rule when treating the history of God, could use all of their imagination when treating the ornamental: whence the blossoming of the grotesque and the original. p.38

In those days religion, drama, and art had the same aim and sought to provoke the same thoughts. They did not pretend to amuse the people; they endeavoured to teach them. p.51

This way of thinking and reasoning takes sometimes a very subtle turn. p.53

Hélène Fouré The French Cathedrals Their Symbolic Significance Bruce Humphries Inc. Publishers, Boston, 1931

THE COMPLIMENT & THE CRITIC 2

ON DEMOLISHING BUILDINGS

Nothing appears to me much more wonderful, than the remorseless way in which the educated ignorance, even of the present day, will sweep away an ancient monument, if its preservation be not absolutely consistent with immediate convenience or economy. Putting aside all antiquarian considerations, and all artistical ones, I wish that people would only consider the steps, and the weight of the following very simple argument. You allow that it is wrong to waste time, that is, your own time; but then it must be still more wrong to waste other people’s; for you have some right to your own time, but none to their’s. Well, then, if it is thus wrong to waste the time of the living, it must be still more wrong to waste the time of the dead; for the living can redeem their time, the dead cannot. But you waste the best of the time of the dead when you destroy the works they have left you; for those works they gave the best of their time, intending them for immortality.

John Ruskin Lectures on Architecture George Routledge & Sons Limited, London p.109

THE COMPLIMENT & THE CRITIC 1

How to avoid insult

But how much of nature have you in your Greek buildings? I will show you, taking for an example the best you have lately built; and, in doing so, I trust that nothing that I say will be thought to have any personal purpose, and that the architect of the building in question will forgive me; for it is just because it is a good example of the style that I think it more fair to use it for an example. If the building were a bad one of the kind, it would not be a fair instance; and I hope, therefore, that in speaking of the institution on the mound, just in progress, I shall be understood as meaning rather a compliment to its architect than otherwise. It is not his fault that we force him to build in the Greek manner.

John Ruskin Lectures on Architecture and Painting George Routledge & Sons Limited; New York: F.P.Dutton & CO - p.64-65

ON EDUCATION

'. . those who are responsible for giving instruction in the theory of architecture should be practising architects. The warning is necessary because, strange though it may seem, English schools of architecture to-day tend to be run by men who either do not practise at all, or whose practices are for them a very subsidiary spare-time occupation. Often a teaching appointment is a means by which a clever student avoids the humiliation of entering an office as a junior assistant, thus depriving himself of the only opportunity he will ever have of learning something of the practical side of his profession from the bottom upwards. There can be no doubt whatever that the teaching of theory has suffered severely as a result of this habit: and this leads me to the conclusion that no man should be permitted to teach until he is recognized by his Faculty as a Master of Theory and Practice. In other words, he should be not only a practising architect but also, what is unfortunately a much rarer specimen, a good architect.'

W.A. Eden, The Process of Architectural Tradition, Macmillian & Co. Ltd, London, 1942, p.p. 86-87

ETHICS

Thus Pugin laid the foundation stones of that strange system which dominates the nineteenth-century art criticism and is immortalised in the Seven Lamps of Architecture: the value of a building depends on the moral worth of its creator; and a building has a moral value independent of, and more important than, its esthetic value. We must not consider this emphasis on morality peculiarly Victorian. Whenever esthetic standards are lost, ethical standards rush in to fill the vacuum; for the interest in esthetics dwindles and vanishes, but the interest in ethics is eternal.

Kenneth Clark The Gothic Revival - An Essay in the History of Taste, (1^st edition Constable 1928); third edition John Murray 1962, reprinted 1974, p.149.

MODERNITY

The everyday is covered by a surface: that of modernity. News stories and the turbulent affectations of art, fashion, and event veil without ever eradicating the everyday blahs. Images, the cinema and television divert the everyday by at times offering up to its own spectacle, or sometimes the spectacle of the distinctly noneveryday; violence, death, catastrophe, the lives of kings and stars – those who we are led to believe defy everydayness. Modernity and everydayness constitute a deep structure that a critical analysis can work to uncover.

Henri Lefebvre, The Everyday and Everydayness, in Stephen Harris and Deborah Berke, Architecture of the Everyday, Princeton Architectural Press, New York, 1997, p.37.

NAMING

The simplest act of substitution is to put the name of a maker in the place of his or her work, which amounts to a paraphrase in itself. . . . All paraphrase sets aside the original: To put the name in place of the painting is to remove it from immediate consciousness; to narrate the life of an individual is an act profoundly different from looking into a painting and one that cannot be conducted simultaneously with it. To substitute a temporal narrative, already present in a name, for the physical work of art is to give up those features of the thing that were transient and unrepeatable, bound to a moment that is irrevocably ended; the unique insistence is, for the moment at least, sacrificed on the altar of continuity.

Thomas Crow, The Intelligence of Art, The University of North Carolina Press, 1999, p.1.

ON BRANDING

Branding is now the art of getting people to think what something might be rather than what it necessarily is. It's about the manipulation of the virtual reality in which so many live. The manipulators include anyone with an interest in what we might think of them - not just big companies with products to sell but political parties with votes to win, design gurus with clients to attract - anyone, in other words, acting in some kind of market. They all have an interest in controlling their appearance to make us believe it is the reality.

John Humphrys Beyond Words How Language Reveals The Way We Live Now Hodder and Stoughton. Great Britain 2006, p. 86-87

see:

http://voussoirs.blogspot.com.au/2015/10/faking-provenance-misuse-of-meaning.html

PRECONCEPTION

Leone Huntsman Sand in Our Souls The Beach in Australian History Melbourne University Press 2001, p.16:

Thus first impressions were filtered through existing preconceptions, starkly revealed in Sir Joseph Banks's description of the people seen from Captain James Cook's Endeavour when it first touched on the Australian continent in 1770:

In the morn we . . . [discerned] 5 people who appeared through our glasses to be enormously black: so far did the prejudices which we had built on Dampier's account influence us that we fancied we could see their Colour when we could scarce distinguish whether or not they were men.

Here Banks refers to William Dampier's unfavourable accounts of the West Australian aboriginal people in published accounts of his landings in 1688 and 1699, and reveals his own awareness of the extent to which perception was influenced by expectation.

see: http://voussoirs.blogspot.com.au/2014/04/seeing-what-we-believe-idyllic-visions.html

THE MUSE - GETTING IT RIGHT

"It can be in the morning, any old time, I wake up with an idea and it starts following you around.

"You go, 'Ah that's good' because you know when it's going to work, it's going to be fruitful.

"Other times you'll get the edge of an idea and maybe it fades away or there's just no way it can be made to serve, you know?

"Then you just, it takes its time and you work on it and if necessary you work on it more than once. I'm known to work on it two or three times before you get it right."

Les Murray

http://www.abc.net.au/news/2015-10-02/les-murray-latest-volume-reflects-on-bunyah/6816714

http://www.lesmurray.org/

JARGON

The world seems to find it necessary to use more and more jargon in general reporting and conversation. It is especially noticed in accounts and discussions on the arts. The ABC TV arts programme presented on 7 January 2017 at 6:15pm had more jargon than usual; indeed, had more unusual expressions than previously encountered, ones that had not been heard before:

"unpicking the tapestry" of one's life;

and

looking at "the fan deck of what you do."

These reminded one of other popular fashionable expressions:

“to unpack an issue,” meaning to analyse it in some detail;

and

“to segue,” meaning to shift to a new topic or activity.

This last term is a favourite of radio announcers. The Italian word is often misspelt as ‘segway’ because of the similar phonetic sounding that is more commonly understood as Segway, the brand of a human transporter.

The parallel is interesting, as the idea of being ‘transported’ is common to both words, but it seems to hold little interest to the radio voices that appear just too cleverly happy with the use of this different, interesting expression.

Sunday, 17 December 2017

SKULL ART

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