‘The new Australian Poetry Journal (Volume 2, Issue 2) arrived this week, just in time to be added to my pile of summer reading.
I’ve blogged about this journal before; and it’s now beginning to develop an identity of its own, with its own cast of familiars (Robert Adamson seems to be a regular) and its own style: I particularly like the ‘Spotlight’ feature, which focuses on an established Australian poet (this time round, Francis Webb) with a little inro and some poems to remind us of the work.
This edition contains some well established names: Adamson, Luke Davies, Diane Fahey, and others I didn’t know as well. This edition is edited by Bronwyn Lea and is loosely themed around ‘Art’.
I’ve always been convinced about the connection between poetry and visual imagery; the ‘painterly’ poem, the essential image or the word picture and have admired poets who combine the two.
So, I was interested to find Jenni Mitchell’s work on the Varuna site; a poet, photographer and artist, who has completed ‘residencies’ aboard a Norweigan coastal steamer among other exotic places.
She’s about to head off to colder climes again; you can see something of her painting and photography at her web site.
Went to the Mornington Gallery this morning to see the Freud work ‘After Cezanne’, and it was pretty good but I was more interested in the landscape work of Australian artist William Robinson, whose multi-perspectives were quite different and arresting. Dizzying actually, like you were lying on the forest floor craning your neck following the slim trunk of a tree up to the very tips and the stars.
I liked some of the things he was saying too, in quotes, about EVOKING landscape, not trying to capture it in its instant-ness. It’s like some of those archetype things I was working on; where some pattern of image or sound EVOKES a response which is about all landscape, and not just this one now.
William Robinson Home page at Queensland Art Gallery
Mornington Peninsula Regional Gallery
Reminded about again today about the intimate connection between poetry and art with Pat Pillai’s latest contribution;some images of ruin and poetry in the suburban margins part of the website. The connections between the art, and the thinking and the poems are obvious, and point again to the visual medium that is poetry. This week I’m going to the launch of a new exhibition of paintings by Graeme Drendell so no doubt the connections will be raised again.
Painting the Ruins by Pat Pillai
Spent the morning at the Gallery seeing the ‘Renoir to Picasso’ exhibition from L’Orangerie in Paris. Bit of a crowd and while we shuffling along in the line I was looking at the Asian art, which I don’t really understand, and thinking, is that because it’s not part of ‘Western’ culture? In a week of cultural conflict with all this talk about defending civilization and barbarism etc. there’s these beautiful Chinese bowls that I don’t understand, but are beautiful, and we’re all shuffling past to see the things we (kinda) do; the paintings from Monet, Cezanne, Renoir, Picasso, which are our cultural heritage in some way.
And they were beautiful too, some of them, the warm colours of the strawberries and the still life, the strange innocent floating cutout tin ship, a bizarre wedding scene, two minstrels without strings in their instruments. I suppose I was most impressed with the Rousseau in it all, but it was an odd feeling as well this week of all weeks, thinking: is this the treasure of our culture and could I ever feel the same way about the Chinese bowls? Or learn to understand them?
From Renoir to Picasso at the National Gallery