Curated by Michael Dempsey Sara Reisman Introduction
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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), -
(Public Pack)Agenda Document for Monthly Council Meeting, 08/01
To the Lord Mayor and Report No. 01/2018 Members of Dublin City Council FÓGRA FREASTAIL DO CHRUINNIÚ MÍOSÚIL NA COMHAIRLE I SEOMRA NA COMHAIRLE, HALLA NA CATHRACH, CNOC CHORCAÍ, DÉ LUAIN, AR 8 EANÁIR 2018 AG 6.15 I.N. NOTIFICATION TO ATTEND MONTHLY COUNCIL MEETING TO BE HELD IN THE COUNCIL CHAMBER, CITY HALL, DAME STREET, DUBLIN 2., ON MONDAY 8 JANUARY 2018 AT 6.15 PM Do Gach Ball den Chomhairle. A Chara, Iarrtar ort a bheith I láthair ag an Cruinniú Míosúil de Chomhairle Cathrach Bhaile Átha Cliath a thionólfar i Seomra na Comhairle, Halla na Cathrach, Cnoc Chorcaí, ar 8 Eanáir 2018 ag 6.15 i.n. chun an ghnó seo leanas a phlé agus gach is gá i dtaca leis a dhéanamh, nó a chur a dhéanamh, nó a ordú a dhéanamh:- Silent Prayer/Reflection PAGE PART I - INTRODUCTORY 1 Lord Mayor's Business 2 Ceisteanna fé Bhuan Ordú Úimhir 16 5 - 16 3 LETTERS (a) Letter dated 14th December 2017 from Clare County Council - Calling on the 17 - 18 Minister for Agriculture to put a plan in place to help Clare farmers through an imminent fodder crisis next year (b) Letter dated 12th December 2017 from Galway City Council - Calling on the 19 - 20 Department of the Environment re request for the preparation of legislation for the disposal of paint under the Producer Responsibility Initiative PART II - GOVERNANCE ISSUES 4 To confirm the minutes of the Monthly Council Meeting 4th December and the 21 - 88 13th December 2017 5 Report No. 6/2018 of the Head of Finance (K. -
Homage to Fra Angelico (1928) Oil on Canvas, 183 X 152.5Cms (72 X 60’’)
38 31 Mainie Jellett (1897-1944) Homage to Fra Angelico (1928) Oil on canvas, 183 x 152.5cms (72 x 60’’) Provenance: From the Collection of Dr. Eileen MacCarvill, Fitzwilliam Square, Dublin Exhibited: Mainie Jellett Exhibition, Dublin Painters Gallery 1928 Irish Exhibition of Living Art, 1944, Cat. No. 91 An Tostal-Irish Painting 1903-1953, The Hugh Lane Municipal Gallery, Dublin 1953 Mainie Jellett Retrospective 1962, Hugh Lane Gallery Cat. No. 38 Irish Art 1900-1950, Cork ROSC 1975, The Crawford Gallery, Cork, 1975, Cat. No. 65 The Irish Renaissance, Pyms Gallery, London, 1986, Cat. No. 39 Mainie Jellett Retrospective 1991/92, Irish Museum of Modern Art Cat. No. 89 The National Gallery of Ireland, New Millennium Wing, Opening Exhibition of 20th Century Irish Paintings, January 2002-December 2003 The Collectors’ Eye, The Model Arts & Niland Gallery, Sligo, January-February 2004, Cat. No. 12; The Hunt Museum, Limerick, March-April 2004 A Celebration of Irish Art & Modernism, The Ava Gallery, Clandeboye, June- September 2011, Cat. No 21 Analysing Cubism Exhibition Irish Museum of Modern Art Feb/May 2013, The Crawford Gallery Cork June / August 2014 and The FE Mc William Museum September/November 2013 Irish Women Artists 1870 - 1970 Summer loan exhibition Adams Dublin July 2014 and The Ava Gallery , Clandeboye Estate August/September Cat. No. 70. Literature: The Irish Statesman, 16th June 1928 Stella Frost, A Tribute to Evie Hone & Mainie Jellett, Dublin 1957, pp19-20 Kenneth McConkey, A Free Spirit-Irish Art 1860-1960, 1990, fig 58 p75 Dr. S.B. Kennedy, Irish Art & Modernism, 1991, p37 Bruce Arnold, Mainie Jellett and the Modern Movement in Ireland, 1991, full page illustration p120 Mainie Jellett, IMMA Cat, No. -
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. -
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. -
Hugh Lane Gallery Update Report
Report to Arts, Culture, Leisure and Recreation SPC 29th June 2020 Item No. 8 HUGH LANE GALLERY Online Programmes and Social Media Engagement In response to the Covid 19 Pandemic and the restrictions that have been put in place, the Hugh Lane Gallery has created a series of new and highly dynamic online programmes which are updated weekly. The response has been excellent with our line audience growing exponentially. Our Twitter engagements reached 282k by the end of May. We aim to reach 10,000 followers on Instagram by mid-July and our Facebook followers are growing steadily. Our first online Sunday@Noon concert took place on the 31st March with over 3,000 people + listening through Facebook. All of the gallery’s programmes can be accessed through our website and on Hugh Lane Gallery YouTube channel and Hugh Lane Gallery Soundcloud. Our programmes are a mixture of talks, mini podcasts, sketching and drawing classes, Artists Takeover, Curators Choice, # museumfromhome and # Flashback Fridays (see www.hughlane.ie). The Gallery Newsletter goes out weekly via email and I hope every Councillor is receiving it. We currently have a subscription of over 3,600.and we have approximately 1200 active readers. According the Constant Contact’s statistics page, the 30% open rate is 18% higher than the Industry Average which is normally 12%. INSTAGRAM FOLLOWER GROWTH 10000 9000 8000 7000 6000 5000 4000 3000 2000 1000 0 JANUARY FEBRUARY MARCH APRIL MAY Currently at 9264, we project to hit 10,000 followers by mid-July FACEBOOK REACH 50000 45000 40000 35000 30000 25000 20000 15000 10000 5000 0 JANUARY FEBRUARY MARCH APRIL Facebook Reach Facebook Reach is the number of unique people viewing our content through following, sharing or liking our content. -
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 -
O'brien Cahirmoyle LIST 64
Leabharlann Naisiúnta na hÉireann National Library of Ireland Collection List No. 64 PAPERS OF THE FAMILY OF O’BRIEN OF CAHIRMOYLE, CO. LIMERICK (MSS 34,271-34,277; 34,295-34,299; 36,694-36,906) (Accession No. 5614) Papers of the descendents of William Smith O’Brien, including papers of the painter Dermod O’Brien and his wife Mabel Compiled by Peter Kenny, 2002-2003 Contents Introduction 7 The family 7 The papers 7 Bibliography 8 I. Land tenure 9 I.1. Altamira, Co. Cork 9 I.2 Ballybeggane 9 I.3. Bawnmore 9 I.4. Cahirmoyle 9 I.5. Clanwilliam (Barony) 11 I.6. Clorane 11 I.7. The Commons, Connello Upper 11 I.8. Connello (Barony) 11 I.9. Coolaleen 11 I.10. Cork City, Co. Cork 11 I.11. Dromloghan 12 I.12. Garrynderk 12 I.13. Glanduff 12 I.14. Graigue 12 I.15. Killagholehane 13 I.16. Kilcoonra 12 I.17. Killonahan 13 I.18. Killoughteen 13 I.19. Kilmurry (Archer) 14 I.20. Kilscannell 15 I.21. Knockroedermot 16 I.22. Ligadoon 16 I.23. Liscarroll, Co. Cork 18 I.24. Liskillen 18 I.25. Loghill 18 I.26. Mount Plummer 19 I.27. Moyge Upper, Co. Cork 19 I.28. Rathgonan 20 2 I.29. Rathnaseer 21 I.30. Rathreagh 22 I.31. Reens 22 I.32 Correspondence etc. relating to property, finance and legal matters 23 II. Family Correspondence 25 II.1. Edward William O’Brien to his sister, Charlotte Grace O’Brien 25 II.2. Edward William O’Brien to his sister, Lucy Josephine Gwynn (d. -
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. -
LIT 277 Flyer
LIT 277 IrishLiterature APRIL 12, 2019 - APRIL 20, 2019 Ireland is a nation known for its striking beauty, its political tur- COURSE DESCRIPTION: LIT 277 INTRODUCTION moil, and its long and illustrious literary history. We invite you to TO IRISH LITERATURE join SUNY Broome Professors Mary Donnelly and Andrew Hag- 3 credits gerty for LIT 277: Irish Literature, followed by an eight-day trip A survey of Irish literature in several genres—novels short stories, poetry, to the Emerald Isle! drama, essays, and criticism—from The course itself will be a survey of Irish literature from the Bronze Age (the Táin Bó the pre-Christian era to the present. Cúailnge, or The Cattle Raid at Cooley) to the modern era (the Troubles). Authors Students will read and critically ana- covered will include William Butler Yeats, James Joyce, Edna O’Brien and Brian Friel. lyze the work of major figures, such as Maria Edgeworth, W.B. Yeats, Over Spring Break, we will be leaving for a trip to explore Ireland through the liter- James Joyce, and Seamus Heaney, ary lens. We will be visiting Dublin, Galway, and Sligo to see the locations that and of figures who are less well- inspired the imaginations of our authors. A local travel agency is designing known. Close attention will be paid an exclusive travel package just for the class. to the ways in which Irish literary ELIGIBILITY REQUIREMENT works respond to the pressures of Like all Literature classes, this is a Writing Emphasis course Irish history and culture. A research section. Students must complete paper is required. -
Self-Portraiture and Allegory in the Paintings of Seán Keating, 1915–50
Self-Portraiture and Allegory in the Paintings of Seán Keating, 1915–50 by Brandi Shantelle Goddard A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History of Art, Design and Visual Culture Department of Art and Design University of Alberta © Brandi Shantelle Goddard, 2016 Abstract In 1915, Ireland was on the brink of the revolutionary Easter Rising. By 1949, the nation was officially declared a republic, no longer part of the British Commonwealth. These years flank the creation of five paintings by the Irish artist Seán Keating in which the painter has included his own portrait within the various scenes. These paintings, as alle- gorical self-portraits, allow for a diachronic construction of an artistic identity based on the visual figure’s position vis-a-vis the dominant ideology of the period. Keating’s self-portraits transition from violent nationalist in Men of the West through a period of revolutionary disavowal and a flirtation with socialism in An Allegory and Night’s Candles are Burnt Out respectively. Finally, Ulysses in Connemara and Economic Pressure, or a Bold Peasant Be- ing Destroyed exhibit the artist in the role of an emigrant forced to leave Ireland due to lack of economic and social opportunities. Utilizing Louis Althusser’s theory of art and ideology from A Letter on Art in Reply to André Daspre, this thesis argues that Keating’s inclusion of his likeness within these five paintings may be understood as a visual com- mentary on the shifting and tumultuous ideological state of affairs in Ireland during the first half of the twentieth century.