Saturday, 24 June 2017

Cat (June)


 
'Hand with Bowl and Cat', Nuenen, 1885

Visiting Van Gogh. Or not. Stay at home. Inside. No inspiration. Just me, and the cat. Not trying to prove anything. Whatever. The cat, same contained position. Is it important? A world-shattering statement. Poetry, or anything, what’s it doing anyway? Universalising or particularising. The cat watches from her pillow.  It’s not an ego thing. It’s less and less an ego thing. The hand lifts a bowl of water, or milk. Water, milk. A room in June, where the art will do precisely nothing. Or something. Tap a tambourine. Say what? Make a speech. Pencil on paper. Ten minutes. Roly-poly cat!

Wednesday, 21 June 2017

Starry (June)





'Starry Night' (Detail), 1889


Visiting Van Gogh, breaking up in front of us. Breaking news, tonight an unknown artist self-admitted to an obscure clinic. Breaking up before the train goes into a tunnel, those last broken lines of com-mun-i-ca-tion. Breaking down the night into night’s energies: starry transmissions, tree languages, moon strokes. Breaking off relations yet again, the artist immerses ever more with the work, the point where the points break into lines. Breaking all records. Breaking plates. Breaking bread. Breaking through the defences before museums take hold and make it old. Breaking into the place where there’s no taxes, no Napoleon, no June.

Wednesday, 14 June 2017

Wheatfield (June)

 https://www.theguardian.com/artanddesign/2017/jun/13/outside-of-the-land-looking-in-van-goghs-seasons-through-indigenous-eyes

                                                                      'Wheatfield', 1888




Visiting Van Gogh, Tyson Yunkaporta gets things right, like the rest of us. (Guardian, 13 June 2017) His nature writing matches Vincent’s, even down to connections between weather, crops, and wildlife. People will always have to work the land in order to live and survive. The Europeans have been agriculturalists for millennia. But Tyson gets things wrong, like the rest of us. The seasons of Europe predate the Industrial Revolution even if, like the seasons of eastern Australia, they’re now conditioned by industrialisation. Vincent made many images of sowing. The yam is a staple, which is why Vincent painted wheatfields.