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‐ Dialogues in Black

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‐ Dialogues in Black dubh ‐ dialogues in black 1 | dubh – dialogues in black CONCEPT “You think dark is just one colour, but it ain't. There're five or six kinds of black. Some silky, some wooly. Some just empty. Some like fingers. And it don't stay still. It moves and changes from one kind of black to another.” ‐ Toni Morrison The color black has long held a fascination in art, craft and design. The exhibition dubh – dialogues in black looks at black as both a physical and an emotional starting point for a group of Irish and American artist’s, craftspeople and designers. Pairing people from across a range of disciplines ranging from architecture, ceramics, furniture, glass, jewelry, metal, painting, photography, textiles and wood this exhibition features work from the most interesting creative voices from Ireland in dialogue with their American peers. Under the creative direction of curator Brian Kennedy this exhibition will offer an insight into the studio practice of these artists and their common concerns, a simple starting point with a complex outcome. "I've been 40 years discovering that the queen of all colours was black."‐Auguste Renoir 2 | dubh – dialogues in black CONTENT As we continue to build relationships and continuity through the 3 years of the project we will be working again with a core group of the artists/designers that were featured in the MATERIALpoetry exhibition. Discussions are already underway with these artists to produce new work especially for the exhibition. Some like Sara Flynn, Liam Flynn and Eily O Connell are well known for their authoritative use of black while others like Joseph Walsh, Frances Lambe and Karl Harron are developing new techniques and approaches for the exhibition. Walsh is developing the fusion of graphite to wood, Lambe is developing with Scarva Pottery Supplies a new black clay body and Harron is working with Bullseye Glass on a new black glass for the exhibition. In MATERIALpoetry successful collaborations were begun with O’Donnell + Tuomey and Design Partners which led to the production of new work from both practices. This collaborative process would continue to be developed through the dubh – dialogues in black exhibition with further projects being developed both with these and other practices. Through dubh – dialogues in black we are looking to extend the range of disciplines covered. In MATERIALpoetry we focused on the design/craft sector as this was where we had the experience and the connections, through that exhibition many more connections were made which will facilitate the widening out of concerns and see us extend the project to deal with design, craft, architecture and art. 3 | dubh – dialogues in black CONNECTIONS Building on the success and the contacts achieved through MATERIALpoetry we anticipate that dubh – dialogues in black will reach a greater audience and further develop awareness of design from Ireland. One of the great achievements to date has been the ability to build relationships with museums in New York such as the Cooper‐Hewitt and the Museum Of Art and Design and further afield in Washington with the Renwick Gallery and the American University Museum. Having selected the Irish artist’s, curator Brian Kennedy will initiate the selection of the American artists in consultation with curators and directors from these institutions as well as other appropriate partners from commercial galleries, patron’s groups and collectors. By linking these bodies to the selection process we aim to establish long term and lasting relationships that will benefit the Artists featured within the project. Discussions are already at an advanced stage with the American University Museum in Washington’s director and curator Jack Rasmussen to host the exhibition at the museum in spring 2012. 4 | dubh – dialogues in black CONTEXT It has always been important for us to extend the way that the design/craft area was viewed and discussed. As part of the catalogue for dubh – dialogues in black four essays will be commissioned from 4 writers, 2 from Ireland and 2 from the US, to discuss and debate the issues surrounding the exhibition. MATERIALpoetry developed an important series of lectures in New York with the educational department and the collectors group Design Watch at the Cooper‐Hewitt and with the collectors group from the Renwick Gallery Washington. Artists from the exhibition had placements at the Museum of Art and Design Open Studio programme. These discussions helped to broaden the understanding of contemporary design/craft from Ireland and helped to locate it within the wider design world. dubh – dialogues in black would look to build on these relationships to further debate these issues. With the longer lead in time we will develop a more extensive range of lectures and engagements and extend this to become part of the programme at each of the venues on the tour. 5 | dubh – dialogues in black CATALOGUE Of major importance to the long term value of an exhibition is the catalogue. Once again we will be working with Coracle Press on the design and production for dubh – dialogues in black. Not only does this guarantee us a world class production it also means that the catalogue will be distributed globally by Cornerhouse Publications, the English based art book distributers. This facilitates the listing of the catalogue within their catalogue and the distribution of the dubh – dialogues in black catalogue through bookshops, galleries and museums worldwide. Without this access to a proper distribution network the catalogue can have only a limited affect. 4 specially commissioned essays on the issues surrounding the exhibition will feature in the catalogue, 2 from Irish and 2 from US writers. A new photo essay on the work from the exhibition will be commissioned for the catalogue. 6 | dubh – dialogues in black CONCERT As the poetry in the catalogue of MATERIALpoetry helped to develop a new awareness and audience for Irish design/craft we will utilise music to do the same with dubh – dialogues in black. To this end we have secured the US premier of a newly composed piece of Irish chamber music: Black is the Earth Adele O’Dwyer Written for small chamber ensemble including violin, cello, accordion and percussion, Black is the Earth reflects in sound the evolution of the peat boglands bringing to the fore the cyclical nature of this most unique of landscapes. Taking inspiration from the icy beginnings where large expanses of land were blanketed in ice followed by the slow and gradual changes in temperature which gave rise to the formation of lakes and to the forestation of the land – to the arrival of man and the working of the land – to the unique spiritual, cultural and evolutionary history which has been preserved in the unique oxygen deprived boglands – and finally to the cyclical nature of the bogland; a return to the earth as growth beginnings anew. 7 | dubh – dialogues in black CONCLUSION Dubh – dialogues in black affords us the opportunity to build on the successes of MATERIALpoetry and establish a continuing presence for Irish design in New York City. Through a larger and more dynamic programme we can further establish a profile and awareness for a generation of designer/makers from Ireland in the US. By exhibiting these designers alongside their American peer group we can establish a position for them within the wider design world. By working with leading US institutions we can bring their work to the attention of key US curators and collectors and help them to be considered for inclusion in future curated exhibitions in the US as well as inclusion in important US public and private collections. To have a real impact we must engage, with the design community in the US and through this engagement define the design work that is emerging from contemporary Ireland. 8 | dubh – dialogues in black Images from the MATERIALpoetry catalogue especially commissioned from Andrew Bradley Sara Flynn Cara Murphy Frances Lambe Liam Flynn Mark Hanvey Karl Harron 9 | dubh – dialogues in black Rachel Mc Knight Nuala O Donovan Kevin O Dwyer Angela O Kelly Laura Mays Joseph Walsh 10 | dubh – dialogues in black BRIAN KENNEDY Brian Kennedy studied at The Crawford College of Art and Design, Cork, and Chelsea School of Art in London. Until 2004, Kennedy taught part‐time at the Crawford College of Art and Design, and now divides his time between Tipperary and London. Since 2002 he has been a consultant and curator working in the Craft and Design Sector. He works with State Agencies and private firms to develop strategies, organise exhibitions and build collections. Curated exhibitions include: 2011 “Crafted Creatures” The Ark Dublin 2010 “MATERIALpoetry” American Irish Historical Society, New York 2009 “Object” National Craft Gallery Kilkenny 2009 National Craft Gallery of Ireland @ Collect London 2007 “Hue, Line & Form” at the Contemporary Applied Arts in London 2007 “Mythology, Ecology, Technology” National Craft Gallery Kilkenny and Farmleigh Gallery Dublin 2006 2007 2008 National Craft Gallery of Ireland @ SOFA Chicago 2005 “40 Shades of Green” Glucksman Gallery Cork , Dublin, Europe and USA 2002 "Of Colour in Craft" National Craft Gallery Kilkenny 1998 "Eight Cities", Temple Bar International Print Show and tour to Belfast and Stoke‐on Trent JOSEPH WALSH Joseph Walsh established his studio in 1999 in County Cork, Ireland however his experimentation with making began at an early age and he is self‐taught. He has travelled extensively to workshops of other designers and makers, to museums and galleries, observing at all times, studying and learning. Joseph Walsh sees his work as transcending design and art, guided only by the sensitive use of materials, excellence in the making, and purity in structure and form. The issues addressed within his work are explored through the development of a series of concepts, realized in the creation of his limited edition Selected Works, Bespoke one‐of‐a‐kind Commissions and exhibition pieces.
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