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18_121726-bindex.qxp 4/17/09 2:59 PM Page 486 Index See also Accommodations and Restaurant indexes, below. GENERAL INDEX Ardnagashel Estate, 171 Bank of Ireland The Ards Peninsula, 420 Dublin, 48–49 Abbey (Dublin), 74 Arigna Mining Experience, Galway, 271 Abbeyfield Equestrian and 305–306 Bantry, 227–229 Outdoor Activity Centre Armagh City, 391–394 Bantry House and Garden, 229 (Kildare), 106 Armagh Observatory, 394 Barna Golf Club, 272 Accommodations. See also Armagh Planetarium, 394 Barracka Books & CAZ Worker’s Accommodations Index Armagh’s Public Library, 391 Co-op (Cork City), 209–210 saving money on, 472–476 Ar mBréacha-The House of Beach Bar (Aughris), 333 Achill Archaeological Field Storytelling (Wexford), Beaghmore Stone Circles, 446 School, 323 128–129 The Beara Peninsula, 230–231 Achill Island, 320, 321–323 The arts, 8–9 Beara Way, 230 Adare, 255–256 Ashdoonan Falls, 351 Beech Hedge Maze, 94 Adrigole Arts, 231 Ashford Castle (Cong), 312–313 Belfast, 359–395 Aer Lingus, 15 Ashford House, 97 accommodations, 362–368 Agadhoe, 185 A Store is Born (Dublin), 72 active pursuits, 384 Aillwee Cave, 248 Athlone, 293–299 brief description of, 4 Aircoach, 16 Athlone Castle, 296 gay and lesbian scene, 390 Airfield Trust (Dublin), 62 Athy, 102–104 getting around, 362 Air travel, 461–468 Athy Heritage Centre, 104 history of, 360–361 Albert Memorial Clock Tower Atlantic Coast Holiday Homes layout of, 361 (Belfast), 377 (Westport), 314 nightlife, 386–390 Allihies, 230 Aughnanure Castle (near the other side of, 381–384 All That Glitters (Thomastown), -
Annual Report Tuarascáil Bhliantúil 2017 Annual Report 2017 Tuarascáil Bhliantúil 2017 ISBN: 978-1-904291-57-2
annual report tuarascáil bhliantúil 2017 Annual Report 2017 Tuarascáil Bhliantúil 2017 ISBN: 978-1-904291-57-2 The Arts Council t +353 1 618 0200 70 Merrion Square, f +353 1 676 1302 Dublin 2, D02 NY52 Ireland Callsave 1890 392 492 An Chomhairle Ealaíon www.facebook.com/artscouncilireland 70 Cearnóg Mhuirfean, twitter.com/artscouncil_ie Baile Átha Cliath 2, D02 NY52 Éire www.artscouncil.ie Trophy part-exhibition, part-performance at Barnardo Square, Dublin Fringe Festival. September 2017. Photographer: Tamara Him. taispeántas ealaíne Trophy, taibhiú páirte ag Barnardo Square, Féile Imeallach Bhaile Átha Cliath. Meán Fómhair 2017. Grianghrafadóir: Tamara Him. Body Language, David Bolger & Christopher Ash, CoisCéim Dance Theatre at RHA Gallery. November/December 2017 Photographer: Christopher Ash. Body Language, David Bolger & Christopher Ash, Amharclann Rince CoisCéim ag Gailearaí an Acadaimh Ibeirnigh Ríoga. Samhain/Nollaig 2017 Grianghrafadóir: Christopher Ash. The Arts Council An Chomhairle Ealaíon Who we are and what we do Ár ról agus ár gcuid oibre The Arts Council is the Irish government agency for Is í an Chomhairle Ealaíon an ghníomhaireacht a cheap developing the arts. We work in partnership with artists, Rialtas na hÉireann chun na healaíona a fhorbairt. arts organisations, public policy makers and others to build Oibrímid i gcomhpháirt le healaíontóirí, le heagraíochtaí a central place for the arts in Irish life. ealaíon, le lucht déanta beartas poiblí agus le daoine eile chun áit lárnach a chruthú do na healaíona i saol na We provide financial assistance to artists, arts organisations, hÉireann. local authorities and others for artistic purposes. We offer assistance and information on the arts to government and Tugaimid cúnamh airgeadais d'ealaíontóirí, d'eagraíochtaí to a wide range of individuals and organisations. -
Jack B. Yeats
JACK B. YEATS Biography 1871 August 29, Jack Butler Yeats born at 23 Fitzroy Road, London, son of John Butler Yeats, artist, and Susan Pollexfen of Sligo 1879 Went to Sligo to live with his grandparents, William and Elizabeth Pollexfen. He went to school there, and stayed with them until 1887 1887 Rejoined his family in London in order to attend art school. His grandmother was strongly in favour of him following a career as an artist. Attended classes at South Kensington School of Art, Chiswick School of Art, Westminster School of Art. Season ticket for the American Exhibition at Earls Court, starring Buffalo Bill 1888 First black and white illustrations accepted for publication in The Vegetarian in April 1891 Illustrating for Ariel and Paddock Life . First book illustrations 1892 Designing posters for David Allen & Sons in Manchester. Illustrated Irish Fairy Tales by his brother W.B.Yeats 1894 Staff Artist on Lika Joko. In August he married Mary Cottenham White, who had been a student with him in Chiswick, and was eight years older that Jack. They rented a house called 'The Chestnuts' on the River Thames, at Chertsey 1895 First exhibited at the Royal Hibernian Academy in Dublin, a watercolour called Strand Races, West of Ireland 1897 Moved to Strete, Devon to live at 'Snail's Castle' (Cashlauna Shelmiddy). Began to concentrate on watercolour painting. Painted his first oil. First one-man show of watercolours in November, at the Clifford Gallery, Haymarket 1898 Jack and Cottie visited Northern Italy, on what seems to have been a belated honeymoon, combined with a celebration of the success of his first solo exhibition the previous year. -
Curated by Michael Dempsey Sara Reisman Introduction
Curated by Michael Dempsey Sara Reisman Introduction SELECT AN ARTIST t Lieven De Boeck Elaine Byrne John Byrne Tony Cokes Chto Delat Dor Guez Lawrence Abu Hamdan Dragana Juriši´c Ari Marcopoulos Raqs Media Collective Dermot Seymour Mark Wallinger “In the year 2000 there was a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents.” — Lawrence Abu Hamdan, 2018 Introduction Historically, borders tend to be the location of international trouble spots. Prior to the global lockdown, there was a utopian vision of open borders, alongside the reality of a populist push towards border fortification. This dichotomy has now been eclipsed by a pandemic that doesn’t respect borders. Politicisation of the pandemic, displacement of people, and contagion, as well as the drive towards an ever-increasing economic globalisation, have created further complex contradictions. The curatorial idea for the exhibition Worlds Without End (WWE) was first conceived a year ago as a research-based collaboration between Sara Reisman, Executive and Artistic Director of the Shelley & Donald Rubin Foundation, New York and Michael Dempsey, Head of Exhibitions, Hugh Lane Gallery, who are the co-curators of WWE. WWE is a visual dialogue on the impact of borders on individuals and communities. The twelve participating artists are drawn from different regional traditions and challenge our perceptions of national identities, envisioning utopian possibilities for understanding the place of borders, their proliferation and seeming obsolescence, in contemporary society. These artists reveal their deep interest in current geo-political positions and social conditions with works that interrogate power structures, positions of privilege and human rights issues. -
Constellations Creative Arts Practice at Trinity College Dublin
CONSTELLATIONS CREATIVE ARTS PRACTICE AT TRINITY COLLEGE DUBLIN EDITED BY NICHOLAS JOHNSON & PHILIP COLEMAN 1 CONTENTS The Pregnant Box 9 The Lir 6-7 Raising the Curtain on Performance Pedagogy 10 Trinity Journal of Literary Translation 8 The Stoic Man 12 COPD Behavioural Change, Self- Management, and Peer Perspectives 13 Postcards from the Near Future 11 A rainbow in the palm of my hand 20 Samuel Beckett Laboratory 16-17 Time Present and Time Past 18 Trinity Long Room Hub 14-15 Tall Ships: Obedienta Civium Urbis Felicitas 21 Synaptic Serenades 19 Produced by the Creative Arts Practice Research Theme Steering Committee Funded by the Trinity Long Room Hub Arts and Humanities Research Institute Design and Production by Vermillion © 2015 Mapping the Former Soviet Union 25 Samuel Beckett Theatre 22-23 A PhotoVoice Project 28-29 Dynamo Island: The History and Geography of a Utopia 24 Engineering Fictions 27 Nyet! Nyet! Soviet 26 Viking Ghost Hunt / The Stoic Man 12 Haunted Planet 33 BLAST at 100 32 Border Play: TARDIGRADE 34-35 Science Gallery 30-31 Green-graphs The Long Goodbye 36 and IRIS 37 Pen & Palette 40-41 Douglas Hyde Gallery 38-39 AntiMidas, or Book of Kells Bankers in Hades 43 for iPad 42 How Do Artists Learn? 45 Centre for Literary Index of Projects by Title / Translation 44 Researchers 48 Synaptic Serenades 19 Index of Organisations / Collaborators 49 - 52 Acknowledgments 54 Courses in Creative Arts Practice Fields at TCD 53 Oscar Wilde Centre 46-47 About the Research Theme CREATIVE ARTS PRACTICE Creative Arts Practices are integrated into a range of their practices are analysed as social processes in the research activities and themes across all disciplines social sciences; they might be purveyed as content in Trinity: Humanities, Engineering, Science, and for creative technologies, as economic markers for Medicine. -
Irish Journalists and the 1968 Mexico City Olympics* Citation: Stephen D
Firenze University Press https://oajournals.fupress.net/index.php/bsfm-sijis Irish Journalists and the 1968 Mexico City Olympics* Citation: Stephen D. Allen (2021) Irish Journalists and the 1968 Mexico City Olym- Stephen D. Allen pics. Sijis 11: pp. 91-108. California State University (<[email protected]>) doi: 10.13128/SIJIS-2239- 3978-12876 Copyright: © 2021 Stephen D. Allen. This is an open access, Abstract: peer-reviewed article published Th is article examines how Irish journalists depicted Mexico City as a suitable host by Firenze University Press for the 1968 Olympic Games. Mexican elites believed the event would attract (https://oajournals.fupress.net/ foreign investment and tourists but faced an uphill battle as many European ob- index.php/bsfm-sijis) and dis- tributed under the terms of the servers criticized the city as undeserving. Irish journalists often presented images Creative Commons Attribution of Mexico that were impacted by Ireland’s own struggles of achieving sporting License, which permits unre- modernity and its sense of global importance as a white European nation. Th e stricted use, distribution, and image that emerged portrayed Mexico as rich in history and sporting infrastruc- reproduction in any medium, ture, but also mired in disorganization, superstition, and violence. Th ese negative provided the original author and images may have propelled journalist and president of the Olympic Committee source are credited. of Ireland, Lord Killanin, to the International Olympic Committee presidency. Data Availability Statement: Keywords: Ireland, Lord Killanin, Mexico, 1968 Olympics, sport All relevant data are within the paper and its Supporting Infor- mation fi les. Competing Interests: The Author(s) declare(s) no confl ict of interest. -
SIOBHÁN HAPASKA Born 1963, Belfast, Northern Ireland. Lives and Works in London, United Kingdom
SIOBHÁN HAPASKA Born 1963, Belfast, Northern Ireland. Lives and works in London, United Kingdom. Education 1985-88 Middlesex Polytechnic, London, United Kingdom. 1990-92 Goldsmiths College, London, United Kingdom. Solo Exhibitions 2021 Douglas Hyde Gallery, Dublin, Ireland. 2020 LOK, Kunstmuseum St. Gallen, St. Gallen, Switzerland. 2019 Olive, Andréhn-Schiptjenko, Paris, France. Snake and Apple, John Hansard Gallery, Southampton, United Kingdom. 2017 Kerlin Gallery, Dublin, Ireland. 2016 Andréhn-Schiptjenko, Stockholm, Sweden. 2014 Sensory Spaces, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands. 2013 Hidde van Seggelen Gallery, London, United Kingdom. Siobhán Hapaska, Magasin 3 Stockholm Konsthall, Stockholm, Sweden. 2012 Siobhán Hapaska and Stephen McKenna, Kerlin Gallery, Dublin, Ireland. Andréhn-Schiptjenko, Stockholm, Sweden. 2011 A great miracle needs to happen there, Kerlin Gallery, Dublin, Ireland. 2010 The Nose that Lost its Dog, Tanya Bonakdar Gallery, New York, USA. The Curve Gallery, the Barbican Art Centre, London, United Kingdom. Ormeau Baths Gallery, Belfast, United Kingdom. 2009 The Nose that Lost its Dog, Glasgow Sculpture Studios Fall Program, Glasgow, United Kingdom. 2007 Camden Arts Centre, London, United Kingdom. Tanya Bonakdar Gallery, New York, USA. 2004 Playa de Los Intranquilos, Pier Gallery, London, United Kingdom. 2003 cease firing on all fronts, Kerlin Gallery, Dublin, Ireland. 2002 Tanya Bonakdar Gallery, New York, USA. 2001 Irish Pavillion, 49th Venice Biennale, Venice, Italy. 1999 Sezon Museum of Art, Tokyo, Japan. Artist Statement for Bonakdar Jancou Gallery, Basel Art Fair, Basel, Switzerland. Tokyo International Forum, Yuraku-Cho Saison Art Program Gallery, Aoyama, Tokyo, Japan. 1997 Tanya Bonakdar Gallery, New York, USA. Ago, Entwistle Gallery, London, United Kingdom. Oriel, The Arts Council of Wales' Gallery, Cardiff, Wales, United Kingdom. -
Dorothy Cross Dorothy Cross B
Kerlin Gallery Dorothy Cross Dorothy Cross b. 1956, Cork, Ireland Like many of Dorothy Cross’ sculptures, Family (2005) and Right Ball and Left Ball (2007) sees the artist work with found objects, transforming them with characteristic wit and sophistication. Right Ball and Left Ball (2007) presents a pair of deflated footballs, no longer of use, their past buoyancy now anchored in bronze. Emerging from each is a cast of the artist’s hands, index finger extended upwards in a pointed gesture suggesting optimism or aspiration. In Family (2005) we see the artist’s undeniable craft and humour come together. Three spider crabs were found, dead for some time but still together. The intricacies of their form and the oddness of their sideways maneuvres forever cast in bronze. The ‘father’ adorned with an improbable appendage also pointing upwards and away. --- Working in sculpture, film and photography, Dorothy Cross examines the relationship between living beings and the natural world. Living in Connemara, a rural area on Ireland’s west coast, the artist sees the body and nature as sites of constant change, creation and destruction, new and old. This flux emerges as strange and unexpected encounters. Many of Cross’ works incorporate items found on the shore, including animals that die of natural causes. During the 1990s, the artist produced a series of works using cow udders, which drew on the animals' rich store of symbolic associations across cultures to investigate the construction of sexuality Dorothy Cross Right Ball and Left Ball 2007 cast bronze, unique 34 x 20 x 19 cm / 13.4 x 7.9 x 7.5 in 37 x 19 x 17 cm / 14.6 x 7.5 x 6.7 in DC20407A Dorothy Cross Family 2005 cast bronze edition of 2/4 dimensions variable element 1: 38 x 19 x 20 cm / 15 x 7.5 x 7.9 in element 2: 25 x 24 x 13 cm / 9.8 x 9.4 x 5.1 in element 3: 16 x 15 x 13 cm / 6.3 x 5.9 x 5.1 in DC17405-2/4 Dorothy Cross b. -
Ciarán Murphy
2008 Ciarán Murphy, Kavi Gupta Gallery, Chicago, Eisenstadt (AT) haunting’, The Sunday Tribune, 1 October IL (US) Ciarán Murphy Flix, Rubicon Gallery, Dublin (IE) Billy Leahy, ‘Pictures before profit’, The Ciarán Murphy, Cerealart, Philadelphia, PA Village, 14–20 September Iontas, Sligo Art Gallery, Sligo (IE) (US) b. 1978 in Mayo (IE) 2005 Ciara Healy, ‘Eurojet Futures 2004 at the 2001 NCAD Degree Show, Dublin (IE) Lives and works in Callan (IE) 2007 Ciarán Murphy, GRIMM, Amsterdam (NL) Royal Hibernian Academy’, Circa, Spring RDS Student Award Scheme, Dublin (IE) 2006 15 single-word Titled Paintings, Mother’s 2004 Ruth Carroll, ‘Eurojets Futures 2004’, RHA, EDUCATION Tankstation, Dublin (IE) Frozen Pipes, Illac Centre, Dublin (IE) Dublin 2005 MA in Visual Arts Practices (MAVIS), IADT, Shoplifter, Illac Centre, Dublin (IE) Dublin (IE) SELECTED GROUP EXHIBITIONS 2000 Sensationless, Vicar St, Dublin (IE) SELECTED COLLECTIONS 2003 BA National College of Art & Design, Dublin 2021 Interludes, Workplace, London (UK) 1999 National Portrait Award, Dublin (IE) Arts Council of Ireland, Dublin (IE) (IE) Inaugural exhibition, GRIMM, New York, NY Defares Collection, Amsterdam (NL) (US) AWARDS AND RESIDENCIES SELECTED BIBLIOGRAPHY Irish Museum of Modern Art (IMMA), Dublin (IE) 2020 Merrily, merrily, merrily, merrily, The Royal 2018 John Gayer, ‘Ciarán Murphy, Plainsight, Sanders Collection, Haarlem (NL) 2012 Tony O’Malley Studio Residency, Royal Hibernian Academy, Dublin (IE) Hibernian Academy, Dublin (IE) Grimm Gallery, Amsterdam’, Paper Visual 2019 -
Isabel Nolan
Kerlin Gallery Isabel Nolan Isabel Nolan Stelliferous to Degenerate 2020 water based oil on canvas 70 x 90 x 3 cm / 27.6 x 35.4 x 1.2 in 72.5 x 92.5 x 4.5 cm / 28.5 x 36.4 x 1.8 in framed IN46720 The extravagantly, even preposterously titled 'Stelliferous to degenerate' refers to a time in the extremely far future when the universe will no longer produce stars. Using familiar materials (paint or colouring pencil) Nolan’s work consistently picks away at the coherence of our human perspective as applied to the wildness and strangeness of nature. Rendering cosmic forms at a wholly domestic human scale, the artist similarly makes the cosmic into something relatively cosy. Heat death 2020 coloured pencil on paper 29.7 x 42 cm / 11.7 x 16.5 in unframed IN46420 hot dense and smooth 2020 coloured pencil on paper 42 x 59.2 cm / 16.5 x 23.3 in unframed IN45720 we forget everthing 2020 coloured pencil on paper 42 x 59.4 cm / 16.5 x 23.4 in unframed IN45920 Seven fingered wish 2020 coloured pencil on paper 41.7 x 29.6 cm 16.4 x 11.7 in unframed IN46020 View (back turned) 2020 waterbased oil on canvas, hand-gilded 24 carat gold and painted clay frame 60 x 80 cm / 23.6 x 31.5 in 62.5 x 82.5 x 4.9 cm / 24.6 x 32.5 x 1.9 in framed IN45020 Isabel Nolan b. 1974, Dublin Lives and works in Dublin Isabel Nolan has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. -
Biography Anthony Haughey Is an Artist and Lecturer in the Dublin Institute of Technology Where He Supervises Practice-Based Phd’S
Anthony Haughey | Biography Anthony Haughey is an artist and lecturer in the Dublin Institute of Technology where he supervises practice-based PhD’s. He was Senior Research Fellow (2005-8) at the Interface Centre for Research in Art, Technologies and Design in Belfast School of Art, where he completed a PhD in 2009. His artworks and research have been widely exhibited and published nationally and internationally, including, ‘An Act of Hospitality can only be Poetic’, Highlanes Gallery, Drogheda, ‘UNresolved’, video installation, Athens Biennial, ‘The Politics of Images’, Belo Horizonte, Brazil (2017) and ‘Proclamation’ (2016), which toured widely internationally throughout 2016 where he premiered his new video ‘Manifesto’, which was acquired for the permanent collection of The Arts Council / An Chomhairle Ealaíon. Other recent exhibitions include, ‘Uncovering History’, Kunsthaus Graz, ‘Excavation’, Limerick City Gallery, ‘Making History’ and Colombo Art Biennale (2014) as well as a major British Council exhibition ‘Homelands’, touring South Asia. His artworks and scholarly writing has been published in more than eighty publications and his artworks are represented in many important national and international public and private collections. Recent chapter contributions and journal articles include, ‘Imaging the Unimaginable: Returning to the scene of a crime’, Život Umjetnosti art journal, Zagreb, ‘A Landscape of Crisis: Photographing Post Celtic Tiger Ghost Estates’, Canadian Journal of Irish Studies (2017) and ‘Imagining Irish Suburbia’ (Palgrave 2017). He is an editorial advisor for the Routledge journal, ‘Photographies’, a board member of Fire Station Artist Studios, and a member of the Arts Council Acquisitions Committee. He was recipient of Create ‘Arts and Cultural Diversity Award’ (2014) and was lead curator for a major 1916 Commemorative exhibition, ‘Beyond the Pale: The art of revolution’, Highlanes Gallery Drogheda. -
WILLIAM SCOTT (B.1913 Greenock, Scotland)
WILLIAM SCOTT (b.1913 Greenock, Scotland) EDUCATION Belfast College of Art Royal Academy Schools (1935) SELECT SOLO EXHIBITIONS 2019 Paintings and Drawings: Fifties Through Eighties, Anita Rogers Gallery, New York, NY 2016 Verey Gallery, Eton College, Form – Colour – Space, Windsor, UK 2016 Fermanagh County Museum, William Scott: The Early Years, Enniskillen, Northern Ireland 2015 Fermanagh District Council Town Hall, William Scott Paintings at Enniskillen’s Town Hall, Enniskillen, Northern Ireland 2014 Pallant House gallery, Three pears and a Pan, 1955, Chichester, UK 2013 The Gordon Gallery, the Altnagelvin Mural, Derry, Northern Ireland 2013 The Ulster Museum, William Scott: Centenary Exhibition, Belfast, Northern Ireland 2013 The Hepworth Wakefield, William Scott, Wakefield, UK 2013 McCaffrey Fine Art, William Scott: Domestic Forms, New York, NY 2013 Victoria Art Gallery, William Scott: Simplicity and Subject, Bath, UK 2013 Denenberg Fine Arts, William Scott Works on Paper 1953-1986, Los Angeles, CA 2013 Karsten Schubert, William Scott 1950s Nude Drawings, London, UK 2013 Jerwood Gallery, William Scott: Divided Figure, Hastings, UK 2013 Enniskillen Castle Museum, Full-Circle: William Scott Centenary Exhibition, Enniskillen, Northern Ireland 2013 Tate St Ives, William Scott, and touring: Hepworth Wakefield; Ulster Museum, Belfast, Northern Ireland 2012 McCaffrey Fine Art at Frieze Masters, William Scott, London, UK 2010 McCaffrey Fine Art, William Scott, New York, NY 2009 F.E. McWilliam Gallery and Studio, William Scott in Ireland. Paintings, Drawings Gouaches and Lithographs 1938–1979, Banbridge, Northern Ireland 2006 Fermanagh County Museum, Celebrating William Scott: Paintings from Fermanagh County Museum, Enniskillen, Northern Ireland 2005 Denise Bibro Fine Art, William Scott Works on Paper, New York, NY 2005 Lorenzelli Arte, William Scott La voce dei colori, Milan, Italy 2005 Archeus Fine Art, William Scott.