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2007 Light+Fantastic.Pdf The Crafts Council of Ireland The Crafts Council of Ireland is the national design and economic development organisation for the craft industry in Ireland. Its activities are funded by Enterprise Ireland. The National Craft Gallery – set up by the Crafts Council of Ireland in December 2000 – runs a dynamic, national and international programme which aims to: - stimulate quality, design, innovation and competitiveness in the craft sector - communicate unique cultural and commercial attributes of Crafts Council of Ireland-promote the importance of quality to consumer and craft manufacturer alike - stimulate innovation in design and manufacture via special exhibition themes - encourage mutual transfer of exhibitions with other international craft agencies Enquiries: Crafts Council of Ireland, Castle Yard, Kilkenny Telephone: +353 (0)56 7761804 Email: [email protected] Visit us at: www.ccoi.ie The Light Fantastic: Irish Stained Glass Art Curators: Mary Boydell and Audrey Whitty Editor: Audrey Whitty Photography: Roland Paschhoff (www.paschhoff.com) Design: Oonagh Young, designHQ ([email protected]) Exhibitions Programme Manager: Vincent O'Shea Gallery Assistant: Brian Byrne Press: Helen Carroll The Light Fantastic irish stained glass art Curated by Mary Boydell and Audrey Whitty The Light Fantastic irish stained glass art Curated by Mary Boydell and Audrey Whitty preface The Light Fantastic is touring North The Light Fantastic: Irish Stained It is about eighteen months ago since we discussed the possibility America through International Arts Glass Art opened during Kilkenny of mounting an exhibition, which would highlight the importance Arts Festival August 2007. & Artists, Washington, DC. of the stained, painted and etched tradition of glass art in Ireland. Eventually the ideal venue of such a momentous event in Irish contemporary glass art became the National Craft Gallery in Kilkenny. We both believed this location to be a natural progression of the joint purchase scheme for the acquisition of Irish contempo- rary applied arts by the National Museum of Ireland and Crafts Council of Ireland begun on an annual basis in 2004. As a result this is the first time a curator from the former has been involved in organising an exhibition in the headquarters of the latter. The chosen works from the joint purchase scheme are under the ownership and care of the National Museum. Audrey Whitty as Curator of Ceramics and Glass collections, NMI is the selector of contemporary material in these mediums under the scheme, and has both published and lectured on contemporary applied arts. Mary Boydell’s involvement as President of the Glass Society of Ireland and a major advocate and authority on glass art, both historical and contemporary, has been crucial to the success and vision of the project. This exhibition represents many years’ commitment by Mary to the artistic genre that is Irish glass. Firstly we would like to thank the significant work of each of the twelve participating artists, without whose skill no exhibition would have been possible: Donna Coogan, Debbie Dawson, Nora . Duggan, Eva Kelly, Peadar Lamb, Mary Mackey, Sandra Miley, Patrick Muldowney, Killian Schurmann, George Walsh, Elke Westen and Peter Young. We would also like to thank Dr. Nicola Audrey Whitty Gordon Bowe for her magnificent introduction. Her contribution Curator, National Museum of Ireland – underlines the necessity to marry academic interpretation of the Decorative Arts & highest standard with contemporary developments in the visual History, Collins arts. In the Crafts Council of Ireland, we would like to acknowledge Barracks, Dublin Vincent O’Shea and Brian Byrne of the National Craft Gallery. Mary Boydell President, Glass In the National Museum of Ireland we thank the Director, Society of Ireland Dr. Patrick F. Wallace; the Head of Collections, Raghnall O Floinn; Curators of ‘The Light and the Keeper of the Art & Industrial Division, Michael Kenny Fantastic: Irish Stained Glass Art’ for their ever constant support and encouragement. preface The Light Fantastic is touring North The Light Fantastic: Irish Stained It is about eighteen months ago since we discussed the possibility America through International Arts Glass Art opened during Kilkenny of mounting an exhibition, which would highlight the importance Arts Festival August 2007. & Artists, Washington, DC. of the stained, painted and etched tradition of glass art in Ireland. Eventually the ideal venue of such a momentous event in Irish contemporary glass art became the National Craft Gallery in Kilkenny. We both believed this location to be a natural progression of the joint purchase scheme for the acquisition of Irish contempo- rary applied arts by the National Museum of Ireland and Crafts Council of Ireland begun on an annual basis in 2004. As a result this is the first time a curator from the former has been involved in organising an exhibition in the headquarters of the latter. The chosen works from the joint purchase scheme are under the ownership and care of the National Museum. Audrey Whitty as Curator of Ceramics and Glass collections, NMI is the selector of contemporary material in these mediums under the scheme, and has both published and lectured on contemporary applied arts. Mary Boydell’s involvement as President of the Glass Society of Ireland and a major advocate and authority on glass art, both historical and contemporary, has been crucial to the success and vision of the project. This exhibition represents many years’ commitment by Mary to the artistic genre that is Irish glass. Firstly we would like to thank the significant work of each of the twelve participating artists, without whose skill no exhibition would have been possible: Donna Coogan, Debbie Dawson, Nora . Duggan, Eva Kelly, Peadar Lamb, Mary Mackey, Sandra Miley, Patrick Muldowney, Killian Schurmann, George Walsh, Elke Westen and Peter Young. We would also like to thank Dr. Nicola Audrey Whitty Gordon Bowe for her magnificent introduction. Her contribution Curator, National Museum of Ireland – underlines the necessity to marry academic interpretation of the Decorative Arts & highest standard with contemporary developments in the visual History, Collins arts. In the Crafts Council of Ireland, we would like to acknowledge Barracks, Dublin Vincent O’Shea and Brian Byrne of the National Craft Gallery. Mary Boydell President, Glass In the National Museum of Ireland we thank the Director, Society of Ireland Dr. Patrick F. Wallace; the Head of Collections, Raghnall O Floinn; Curators of ‘The Light and the Keeper of the Art & Industrial Division, Michael Kenny Fantastic: Irish Stained Glass Art’ for their ever constant support and encouragement. glazing images What makes artists turn to glass rather no evidence of any surviving stained glass constructive relations …between stained which may carry deep personal or emo- than to any other two dimensional being produced in Ireland much before glass and painting… through the sympa- tional significance, offering an inner world medium to convey their designs and ideas? the eighteenth century affected people’s thetic influences” of these three artists?3 of reflection and contemplation. Their Is it because they have become captivated attitudes to making it here? work is in public and private collections at Such questions may not immediately occur by its processes while studying glass at art home and abroad, where it has been exhib- Are there differences between the work to those who visit the Crafts Council of college, or because they are drawn to its ited in individual and group exhibitions designed and made by men and by the Ireland’s first exhibition of free-standing, timeless permanence, its intense colours not necessarily dedicated to glass as a many women artists who have found portable glass panels. These have been and the way the sunlight can activate and medium in its wider dimensions, or even expression through stained glass since made, some specifically for this exhibition, harmonize these as it passes through to specifically crafted media. However, the beginning of the twentieth century?1 by people living in Ireland whose profes- painted and structural lines and fired exhibiting glass which is not three dimen- sional lives are committed to working in textures? Is it true that stained glass is an art of sional or architecturally integrated means various two dimensional forms of painted, sunless countries, as the French writer that it is more likely to be shown alongside What are the special qualities that lure enamelled, etched, kiln-formed, fused, Emil Mâle suggested?2 That only in the other work in the same medium because them to work with a challenging, volatile plated, leaded and/or stained glass. As subdued light of Northern Europe can the of the need to ensure the light is always material whose processes are as ancient as with any art, some of them have been deep rich blues and rubies that we know behind a panel. This was the principle any but much more difficult to effectively trained as graphic designers and book from the great Gothic cathedrals of France, behind ‘Ag Damhsa le Solais (The Dance manipulate than its enticing translucency illustrators, others as sculptors or painters. such as Chartres, smoulder and glow with of Light)’ exhibition held in the Spiddal in and sumptuous colours might suggest? Some have followed glass courses, others the magical jewelled light that Ireland’s 1997, to which eight of the present artists have taught them or encouraged children Are they more likely to choose glass in own master glass artists, Harry Clarke, contributed panels, and the Glass Society to make stained glass panels of their own. a country which has a long tradition of Wilhelmina Geddes and Evie Hone were of Ireland’s 2003 travelling ‘Contemporary Some work traditionally, others embrace stained glass which they can see in mediae- able to uniquely recapture in the first half Irish Glass Art’ exhibition, which also the possibilities offered by developing val buildings around them, as in Germany, of the twentieth century? How did it included several current exhibitors.4 photographic and fibre-optic technologies.
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