{"id":45,"date":"2014-04-24T01:56:40","date_gmt":"2014-04-24T01:56:40","guid":{"rendered":"http:\/\/s198833962.onlinehome.us\/julesmccue\/?page_id=45"},"modified":"2022-02-11T01:58:46","modified_gmt":"2022-02-11T01:58:46","slug":"marfa-texas-catalogue-with-title-glossary","status":"publish","type":"page","link":"http:\/\/julesmccue.com\/?page_id=45","title":{"rendered":"Marfa: Texas Catalogue with Title Glossary"},"content":{"rendered":"

MARFA: TEXAS by Jules McCue \u00a0[2011 – 2014]<\/strong><\/p>\n

See Trailer for film made to accompany this exhibition:\u00a0Marfa Texas: The Hairy Man from the East <\/em>[Utube]<\/p>\n

https:\/\/www.google.com.au\/search?q=jules+mccue+marfa&ie=UTF-8&oe=UTF-8&hl=en-au&client=safari#fpstate=ive&vld=cid:177506a4,vid:WFtryvTahwc,st:0<\/p>\n

\u00a0<\/p>\n

\"6.<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"16.<\/a><\/p>\n

Predella \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Rhyparos<\/p>\n

\u201cHere we have neither the depiction of the invisible nor the imitation of an appearance. It is the unrepresentable and the presence: the effective magic of matter as it is in itself, in its timeless existence before the image and depiction. A place of absence and of human traces, the wall is not a response as an ideal or an image would be, but in the identification of the spirit as the non-representable and of matter in all its nudity there is the persistence of the question above all else.\u201d<\/em> \u00a0 [Youseff Ishaghpour, Antoni Tapies: Works\/Writing\/Interviews. Ediciones Poligrafa, Barcelona, 2006.p.86]<\/p>\n

    \n
  1. Adhocism:\u00a0A design which comes about, not by formulating new solutions to problems but by combining pre-existing elements to achieve a new result.<\/strong><\/li>\n<\/ol>\n

    Even the mountaineer came back from the mountain, from sand, sea, the mineral world, water, empty-handed;<\/em> Aun aquel que volvi\u00f3 del monte, de la arena, del mar, del mineral, del agua, con las manos vac\u00edas, [1]<\/em><\/p>\n

      \n
    1. Adobe:\u00a0Sun baked clay: unfired.<\/strong><\/li>\n<\/ol>\n

      What can I say without touching the earth with my hands? <\/em> Que pod\u00eda decir sin toca sierra?<\/em>[2]<\/p>\n

        \n
      1. Ancona:\u00a0An early type of Italian altarpiece, without folding wings but made up of numerous painted panels.<\/strong><\/li>\n<\/ol>\n

        even the bellringer moving the sky on a cord, fell from the church through the dark of the graveyard;<\/em> O aun el campanero que a mover en la cuerda el firmamento cayo de las iglesias hacia la oscuridad y el cementerio; <\/em>[1]<\/p>\n

          \n
        1. Retablo<\/strong>:\u00a0A painting or sculpture panel behind an altar<\/strong>.<\/li>\n<\/ol>\n

          And I pray that my eyes never shut, even for death: I who need all my vision to learn,<\/em> No me cierren los ojos aun despu\u00e9s de muerto, los necesitare aun para aprender,<\/em> [3]<\/p>\n

            \n
          1. Barbican:<\/strong>\u00a0A fortified structure either detached or projecting from a city or castle wall and designed to protect the entrance to it.<\/strong><\/li>\n<\/ol>\n

            Traveller, beware: keep a curious eye on the glooms of the highway, the mysteries crowding the walls.<\/em> Por so, viajero, cu\u00eddalo con las tristezas del camino, con los misterios en los muros.<\/em> [4] \u00a0<\/em><\/p>\n

              \n
            1. Predella<\/strong>: [altar step]. A painting placed beneath the main scene or main series of panels so as to make a kind of plinth.<\/strong><\/li>\n<\/ol>\n

              Ask me where have I been and I\u2019ll tell you \u201cThings keep happening.\u201d<\/em> Si me pregunt\u00e1is en donde he estado debo decir \u00ab\u00a0Sucede.\u00a0\u00bb<\/em>[5]<\/p>\n

                \n
              1. Caravanserai<\/strong>: A building generally consisting of vaulted shelters round a court yard offering shelter to travellers along a caravan route.<\/strong><\/li>\n<\/ol>\n

                I am glad to have come from such faraway country: . . . never dreaming of permanence, intent on my vagrant humanity, to live and unleaf like a tree.<\/em> Estoy alegre de venir de tan lejos, de tan tierra: . . . sin esperanza de permanecer, decidido al humano transitorio, destinado a vivir y deshojarse<\/em>. [6]<\/p>\n

                  \n
                1. Bozzetto<\/strong>: [rough stone] Strictly speaking, a small three-dimensional sketch in \u00a0wax or clay made by a sculptor in preparation for a larger and more finished work<\/strong>.<\/li>\n<\/ol>\n

                  O fated to dark perpetuity, to singular being\u2014imageless granite, matter made perfect, irreducible, cold.<\/em> Ah ese destino de la perpetuidad oscurecida, del propio ser —granito sin estatua, material pura, irreductible, fr\u00eda<\/em>: [6]<\/p>\n

                    \n
                  1. Durbar<\/strong>: An audience hall in India or Persia.<\/strong><\/li>\n<\/ol>\n

                    Among vanishing bodies, I alone sat down in the motionless train.<\/em> Entre los cuerpos que partieron me sent\u00e9 solo en el tren inm\u00f3vil. <\/em>[7]<\/p>\n

                    10.\u00a0Reliquary: A container for sacred relics.<\/strong> At dawn, I stumbled inside, looking for secrets, things lost in the coaches, <\/em> Entre titubeando en la aurora: anduve buscando secretos, cosas\u00a0 perdidas en los vagones, <\/em>[7]<\/p>\n

                    11.\u00a0Enfilade<\/strong>: The alignment of the doors in a suite of rooms so as to create a vista through them.<\/strong> I am glad of the great obligations I imposed on myself.<\/em> Estoy contento con tantos\u00a0 deberes que me impuse, en mi vida [8]<\/em><\/p>\n

                    12.\u00a0Propylaeum<\/strong>: The entrance to a temple. By extension, the porch or entrance gateway to any important building.<\/strong> Many strange and material things have crowded together\u2014<\/em> Se amasaron extranos materiales<\/em>: [8]<\/p>\n

                    13.\u00a0Fictile<\/strong>: Made of clay or of any substance capable of being moulded.<\/strong> The breaker of horses came back unhorsed, broken by death in a box;<\/em> Aun el domador que volvi\u00f3 del caballo en un caj\u00f3n, quebrado y fallecido [1]<\/em><\/p>\n

                    14.\u00a0Oubliette<\/strong>: A pit or shaft in the thickness of a wall of a fortress or one of the floors, used in medieval times as a dungeon or for the secret disposal of bodies.<\/strong> Because the hand\u2019s work is a destiny and life shapes itself to their scars.<\/em> Porque hacer fue el destino<\/em>de las manos y en cada cicatriz cabe la vida<\/em>. [1]<\/p>\n

                    15.\u00a0Chantry:<\/strong> A small chapel where Masses could be sung for the soul of the person who had endowed the structure.<\/strong> And I in the train, a dead smoke among improvident spirits, bent under the burden of so many deaths, felt lost in a journey in which nothing else moved but my own way-worn heart.<\/em> Y yo en el tren como humo muerto con tantos inasibles seres,\u00a0 por tantas muertes agobiado me sent\u00ed perdido en un viaje en el que nada si movi\u00f3, sino mi Coraz\u00f3n cansada.<\/em>[7]<\/p>\n

                    16. Rhyparos<\/strong>: Rubbish and those things that are discarded.<\/strong> Time writes in the ciphers of water and rock for no one at all,<\/em> Y que la edad escribe letras con agua y piedra para nadie,<\/em> [9]<\/p>\n

                    17.\u00a0Matiere<\/strong>: The physical substance of a work of art.<\/strong> My penchant for loneliness—to keep to myself in the frailty of my personal whims.<\/em> Mi inclinacion a sera solo yo mismo en la debilidad de mis placeres.<\/em> [8 ]<\/p>\n

                    18.\u00a0Pastose<\/strong>: Thickly painted.<\/strong> That is why— water on stone—my whole life has sung itself out between chance and austerity.<\/em> pore so—agua en la piedra—fue mi vida cantando\u00a0 entra la dicha y la dureza.<\/em>[8]<\/p>\n

                    19.\u00a0Bodegone<\/strong>: A Spanish painting whose subject is primarily still life, though in the background there may be an interior, with or without figures.<\/strong> How with my soul and my tears, I have cherished your obstinate soil, your destitute bread and your peoples;<\/em> Como, hasta el\u00a0 llanto, hasta el alma amo tu duro suelo, tu pan pobre, tu pueblo pobro, <\/em>[9]<\/p>\n

                    20\u00a0Vanitas<\/strong>: An allegorical still life, often featuring a skull, in which all the objects depicted are meant to be reminders of the transience of human life.\u00a0<\/strong> Bone-dry and taut, day\u2019s drumskin, a sounding opacity: that\u2019s how Spain was: an eyrie for eagles, flat- landed, a silence under the thong of the weathers.<\/em> Era Espa\u00f1a tirante y seca, diurno tambor de son opaco, Llanura y nido de \u00e1guilas, silencio de azotada intemperie<\/em>. <\/em>[9]<\/p>\n

                    Reference for Titles: The Thames and Hudson Dictionary of Art Terms. 1984. Lucie-Smith, Edward. London.<\/strong><\/p>\n

                    All paintings are 600x600mm, oil on board. Completed between 2011 and 2014.<\/p>\n

                    Excerpts from: Neruda Pablo. [1974] Five Decades: Poems 1925-1970: PABLO NERUDA. <\/em>A bilingual edition and translatedfrom the Spanish by Ben Belitt. New York: Grove Press. [1]. The Bellringer [El Campanero], <\/em>p. 327. [2]. Ceremonial Songs XIII [Cantos Ceremoniales<\/em>], p.249. [3]. The Truth [La Verdad],<\/em> p.311. [4]. The Traveller [El Caminate<\/em>], p. 239. [5]. There\u2019s No Forgetting: Sonata [No Hay Olvido: Sonata],<\/em> p. 45. [6]. Skystones XXIII, [Las Piedras del Ciels],<\/em> p.419.<\/p>\n\n\n

                    https:\/\/www.google.com.au\/search?q=jules+mccue+marfa&ie=UTF-8&oe=UTF-8&hl=en-au&client=safari#fpstate=ive&vld=cid:177506a4,vid:WFtryvTahwc,st:0<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

                    MARFA: TEXAS by Jules McCue \u00a0[2011 – 2014] See Trailer for film made to accompany this exhibition:\u00a0Marfa Texas: The Hairy Man from the East [Utube] https:\/\/www.google.com.au\/search?q=jules+mccue+marfa&ie=UTF-8&oe=UTF-8&hl=en-au&client=safari#fpstate=ive&vld=cid:177506a4,vid:WFtryvTahwc,st:0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 Predella \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 […]<\/p>\n","protected":false},"author":1,"featured_media":51,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-45","page","type-page","status-publish","has-post-thumbnail","hentry","content-columns-1"],"_links":{"self":[{"href":"http:\/\/julesmccue.com\/index.php?rest_route=\/wp\/v2\/pages\/45","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/julesmccue.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/julesmccue.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/julesmccue.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/julesmccue.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=45"}],"version-history":[{"count":10,"href":"http:\/\/julesmccue.com\/index.php?rest_route=\/wp\/v2\/pages\/45\/revisions"}],"predecessor-version":[{"id":8246,"href":"http:\/\/julesmccue.com\/index.php?rest_route=\/wp\/v2\/pages\/45\/revisions\/8246"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/julesmccue.com\/index.php?rest_route=\/wp\/v2\/media\/51"}],"wp:attachment":[{"href":"http:\/\/julesmccue.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=45"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}