Biography Anthony Haughey Is an Artist, Researcher and a Lecturer in the Dublin Institute of Technology Where He Supervises
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Tuarascáil Bhliantúil Annual Report 2014
TUARASCÁIL BHLIANTÚIL ANNUAL REPORT 2014 COMHAIRLE CONTAE LÚ LOUTH COUNTY COUNCIL COUNCIL COAT OF ARMS The Arms of the County, as granted by the Chief Herald to the Council in 1976, are derived as follows:- “Vert a besant charged with a Dexter Hand aversant coupled at the wrist proper” This is the description of the lower part of the shield which is coloured green (vert) and on which is imposed a heraldic expression of the Dextera Dei or Right Hand of God from Muireadach’s Cross at Monasterboice. As on the latter, the armorial design shows the hand against a circular background or nimbus. This section of the Arms represents in particular the rural (or County Health District) part of the County. Chief Sable, two ancient ships, sails set argent The top part of the Arms is black in colour commemorating Muirthemne, the old Irish name of the sea off the County Louth Coast, and which translated into English means the “darkness of the sea”. The ships are inspired by the Coat of Arms of the Borough of Drogheda, which includes a ship anchored at a quayside. Each ship can be taken to represent respectively the Borough of Drogheda and the Urban District of Dundalk, both areas comprised within the administrative County. The ships are also representational of the fact that the County has always been a great centre of trade and commerce. The Crest The Crest incorporates a sword, the symbol of administration, surrounded by ears of barley. This design at once illustrates the nature of the Coat of Arms as a symbol of a civic administration, and the importance of agriculture in the life of the County. -
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. -
VAN JA 2021.Indd
Lismore Castle Arts ALICIA REYES MCNAMARA Curated by Berlin Opticians LIGHT AND LANGUAGE Nancy Holt with A.K. Burns, Matthew Day Jackson, Dennis McNulty, Charlotte Moth and Katie Paterson. Curated by Lisa Le Feuvre 28 MARCH - 10 JULY - 10 OCTOBER 2021 22 AUGUST 2021 LISMORE CASTLE ARTS, LISMORE CASTLE ARTS: ST CARTHAGE HALL LISMORE CASTLE, LISMORE, CHAPEL ST, LISMORE, CO WATERFORD, IRELAND CO WATERFORD, IRELAND WWW.LISMORECASTLEARTS.IE +353 (0)58 54061WWW.LISMORECASTLEARTS.IE Image: Alicia Reyes McNamara, She who comes undone, 2019, Oil on canvas, 110 x 150 cm. Courtesy McNamara, She who comes undone, 2019, Oil on canvas, of the artist Image: Alicia Reyes and Berlin Opticians Gallery. Nancy Holt, Concrete Poem (1968) Ink jet print on rag paper taken from original 126 format23 transparency x 23 in. (58.4 x 58.4 cm.). 1 of 5 plus AP © Holt/Smithson Foundation, Licensed by VAGA at Artists Rights Society (ARS), New York. VAN The Visual Artists’ Issue 4: BELFAST PHOTO FESTIVAL PHOTO BELFAST FILM SOCIETY EXPERIMENTAL COLLECTION THE NATIONAL COLLECTIVE ARRAY Inside This Issue July – August 2021 – August July News Sheet News A Visual Artists Ireland Publication Ireland A Visual Artists Contents Editorial On The Cover WELCOME to the July – August 2021 Issue of within the Irish visual arts community is The Visual Artists’ News Sheet. outlined in Susan Campbell’s report on the Array Collective, Pride, 2019; photograph by Laura O’Connor, courtesy To mark the much-anticipated reopening million-euro acquisition fund, through which Array and Tate Press Offi ce. of galleries, museums and art centres, we 422 artworks by 70 artists have been add- have compiled a Summer Gallery Guide to ed to the National Collection at IMMA and First Pages inform audiences about forthcoming exhi- Crawford Art Gallery. -
Frances Lambe Ireland B. 1961 Education Selected Collections
“Oval forms occur in the natural world and are found in cells, pollen grains, seeds, eggs and skulls. These have structures that have evolved to contain matter and provide protection. My hollow sculpted forms explore the theme of containment. Constructed walls form a ‘taut membrane’, which is pierced and made permeable. Intricacy of surface detail is counterbalanced by Duo, 2016 the simplicity of the ovoid form.” Ceramic stoneware, 17 H x 40 W x 27 D cm Frances Lambe Ireland b. 1961 Frances Lambe studied at the National College of Art and Design in Dublin. She works with a variety of different clays from terracotta through to white stoneware and porcelain. Frances usually leaves her work unglazed except for the occasional application of oxides. A hallmark of her work is the delicate finish, she pays particular attention to ensure that surface texture unites with form. Her source of inspiration is the natural world, in particular the sea. Her ceramic forms describe an underwater world, the sphere, the oval and undulating forms are recurring themes. Their purity of form recalls stones that have been polished by the movement of water and sand. Frances’ work is in public and private collections including the National Museum of Ireland, the Department of Foreign Affairs of Ireland, the Office of Public Works, and the National Museum of Northern Ireland. Frances Lambe works from her studio in Co. Louth, Ireland. Education 1979 ‐ 83 Diploma in Art Education, National College of Art and Design, Dublin 1983 ‐ 84 Principles of Teaching Art, National -
Behind the Scenes
©Lonely Planet Publications Pty Ltd 689 Behind the Scenes SEND US YOUR FEEDBACK We love to hear from travellers – your comments keep us on our toes and help make our books better. Our well-travelled team reads every word on what you loved or loathed about this book. Although we cannot reply individually to your submissions, we always guarantee that your feedback goes straight to the appropriate authors, in time for the next edition. Each person who sends us information is thanked in the next edition – the most useful submissions are rewarded with a selection of digital PDF chapters. Visit lonelyplanet.com/contact to submit your updates and suggestions or to ask for help. Our award-winning website also features inspirational travel stories, news and discussions. Note: We may edit, reproduce and incorporate your comments in Lonely Planet products such as guidebooks, websites and digital products, so let us know if you don’t want your comments reproduced or your name acknowledged. For a copy of our privacy policy visit lonelyplanet.com/ privacy. Anthony Sheehy, Mike at the Hunt Museum, OUR READERS Steve Whitfield, Stevie Winder, Ann in Galway, Many thanks to the travellers who used the anonymous farmer who pointed the way to the last edition and wrote to us with help- Knockgraffon Motte and all the truly delightful ful hints, useful advice and interesting people I met on the road who brought sunshine anecdotes: to the wettest of Irish days. Thanks also, as A Andrzej Januszewski, Annelise Bak C Chris always, to Daisy, Tim and Emma. Keegan, Colin Saunderson, Courtney Shucker D Denis O’Sullivan J Jack Clancy, Jacob Catherine Le Nevez Harris, Jane Barrett, Joe O’Brien, John Devitt, Sláinte first and foremost to Julian, and to Joyce Taylor, Juliette Tirard-Collet K Karen all of the locals, fellow travellers and tourism Boss, Katrin Riegelnegg L Laura Teece, Lavin professionals en route for insights, information Graviss, Luc Tétreault M Marguerite Harber, and great craic. -
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. -
WILLIE DOHERTY B
WILLIE DOHERTY b. 1959, Derry, Northern Ireland Lives and works in Derry EDUCATION 1978-81 BA Hons Degree in Sculpture, Ulster Polytechnic, York Street 1977-78 Foundation Course, Ulster Polytechnic, Jordanstown FORTHCOMING & CURRENT EXHIBITIONS 2020 ENDLESS, Kerlin Gallery, online viewing room, (27 May - 16 June 2020), (solo) SOLO EXHIBITIONS 2018 Remains, Regional Cultural Centre, Letterkenny, Ireland Inquieta, Galeria Moises Perez de Albeniz, Madrid, Spain 2017 Galerie Peter Kilchmann, Zurich, Switzerland Remains, Art Sonje Center, Seoul, South Korea No Return, Alexander and Bonin, New York, USA Loose Ends, Matt’s Gallery, London, UK 2016 Passage, Alexander and Bonin, New York Lydney Park Estate, Gloucestershire, presented by Matt’s Gallery + BLACKROCK Loose Ends, Regional Centre, Letterkenny; Kerlin Gallery, Dublin, Ireland Home, Villa Merkel, Germany 2015 Again and Again, Fundaçao Calouste Gulbenkian, CAM, Lisbon Panopticon, Utah Museum of Contemporary Art (UMOCA), Salt Lake City 2014 The Amnesiac and other recent video and photographic works, Alexander and Bonin, New York, USA UNSEEN, Museum De Pont, Tilburg The Amnesiac, Galería Moisés Pérez de Albéniz, Madrid REMAINS, Kerlin Gallery, Dublin 2013 UNSEEN, City Factory Gallery, Derry Secretion, Neue Galerie, Museumslandschaft Hessen Kassel Secretion, The Annex, IMMA, Dublin Without Trace, Galerie Peter Kilchmann, Zurich 2012 Secretion, Statens Museum for Kunst, National Gallery of Denmark, Copenhagen LAPSE, Kerlin Gallery, Dublin Photo/text/85/92, Matts Gallery, London One Place Twice, -
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. -
An Chomhairle Ealaion 1976.Pdf
An Cúigiú Tuarascáil Bhliantúil is Fiche, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1976. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhuo Altanna 6 [3] agus 7 [1] den Acht Ealaíon 1951. Twenty-fifth Annual Report and Accounts for the year ended 31st December 1976. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 [3] and 7[1] of the Arts Act, 1951 Cover: Front Robert Ballagh "Sheridan Le Fanu" (1814-1873) commissioned, for the Council's offices in Merrion Square, where the writer lived. Members Patrick J. Rock, Chairman Kathleen Barrington John Behan Brian Boydell Tom Caldwell Máire de Paor Andrew Devane Eilís Dillon Séamus Heaney Dr J.B. Keamey Patsy Lawlor Hugh Maguire Sean Ó Tuama Brian Quinn Richard Stokes Dr T.J. Walsh James White Staff Director Colm Ó Briain Administration Officer David McConnell Literature and Film Officer David Collins Music Officer Dinah Molloy Visual Arts Officer Paula McCarthy Secretarial Assistants Veronica Barker Kathryn Cahille Patricia Molloy 70 Merrion Square, Dublin 2. An Chomhaırle Ealaíon An Chomhairle Ealaíon was set up by the Arts Acts 1951 and 1973 and consists of a chairman and not more than sixteen other members appointed by the Taoiseach. The present Council was appointed on 31st December 1973 and its term of office expires in 1978. The principal role of the Council is to stimulate public interest in the arts; to promote the knowledge, appreciation and practice of the arts; and to assist in improving the standards of the arts. -
Resource What Is Public Art
WHAT IS– – Public Art – – –––– – – – – – – – – –– – ? www.imma.ie T. 00 353 1 612 9900 F. 00 353 1 612 9999 E. [email protected] Royal Hospital, Military Rd, Kilmainham, Dublin 8 Ireland Irish Museum of Modern Art Education and Community Programmes, Irish Museum of Modern Art, IMMA THE WHAT IS– – IMMA Talks Series – – – – – –– – – – – – – – – – – – – – – – – – – – – ? There is a growing interest in Contemporary Art, yet the ideas and theoretical frameworks which inform its practice can be complex and difficult to access. By focusing on a number of key headings, such as conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art. This series represents a response to a number of challenges. Firstly, the inherent problems and contradictions in attempting to outline or summarise 03 the wide-ranging, constantly changing and contested spheres of both art theory and practice, and secondly, the use of summary terms to describe a range of practices, much of which emerged in opposition to such totalising tendencies. Taking these challenges into account, this talks series offers a range of perspectives, drawing on expertise and experience from lecturers, artists, curators and critical writers, and is neither definitive nor exhaustive. The intention is to provide background and contextual information about the art and artists featured in IMMA’s exhibitions and collections in particular, and about Contemporary Art in general, to promote information sharing, and to encourage critical thinking, debate and discussion about art and artists. The talks series addresses aspects of Modern and Contemporary Art, spanning the period from the 1940s to the present. -
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.