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Highlanes Municipal Art Gallery Abigail O'brien: with Bread

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Highlanes Municipal Art Gallery Abigail O'brien: with Bread Highlanes Municipal Art Gallery Abigail O’Brien: With Bread Abigail O’Brien With Bread 13 September – 16 November 2013 Published by Highlanes Gallery, September 2013, in an edition of 1,000 Exhibition Sponsorship: Exhibition Partners: Contents McCloskey’s Bakery, Drogheda, Traditional Artisan Bakery and home of Spiegel’s The Dock, Carrick-on-Shannon, Co. Leitrim Bagels and Skinny’s has generously sponsored the exhibition, catalogue and tour. Dates: 7 February – 5 April, 2014 As well as the ongoing financial support of the Arts Council and Drogheda Borough Limerick City Gallery of Art, Limerick Council, the project was also awarded a special Arts Council Touring Grant. Dates: January 2015 Foreword: Aoife Ruane, Curator/Director 4 Design: Fiona O’Reilly, On the Dot Design www.onthedotmultimedia.com Print: Nicholson & Bass www.nicholsonbass.com With Bread: keeping company with Abigail O’Brien, Dr Medb Ruane 6 Highlanes Municipal Art Gallery Laurence Street Bread and Alchemy, Theo Dorgan 8 Drogheda Co. Louth Index of Images 65 Ireland T. + 00 353 (0) 41 – 9803311 F. + 00 353 (0) 41 – 9803313 W. www.highlanes.ie E. [email protected] Drogheda Municipal Art Collection 72 Artist’s Acknowledgements 74 ISBN: 978-0-9572946-1-5 ©2013 Highlanes Gallery, the authors and the artist Artist’s CV 76 British Library Cataloguing in Publication data available. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means electronic, mechanical, photocopying, recording or otherwise without first seeking the written permission of the copyright owners and of the publishers. 2 3 Foreword To the viewer, the images cannot be obviously linked with any particular bakery. Each Wherefore do ye spend money on that which is not bread?... Abigail O’Brien was born in Dublin in 1957. She studied fine art as a mature student, is named after an artist, a female artist, O’Brien says “because the image suggests Bakery, Drogheda, through baker and managing director Patrick McCloskey. In a Eat that which is good, and let your soul delight itself in fatness. graduating in 1998 from the National College of Art and Design (NCAD), Dublin. Since then her work has earned numerous awards and accolades, and she has exhibited something to me about their work”. highly competitive and difficult market we are grateful for his belief in the project and its value. Thanks to Drogheda & District Chamber colleague and current, President Simon -Isaiah 55:2 consistently both in and outside Ireland over the last two decades. The second element is the bread sculptures - ethnic breads that have been put McCormack who made the key initial introductions. O’Brien’s work primarily foregrounds her identity as a woman. Belgian philosopher through a process of firing and silvering, their nourishing and life-giving properties now suspended forever. Their titles refer to monetary currency - Peso, Euro, and Pound - There are two outstanding essays in the catalogue from writer and psychoanalytic With Bread is an exhibition of photographs, sculpture/installation, and video by artist Luce Irigaray has said that “one must assume the feminine role deliberately” (Jung, and as objects of beauty O’Brien believes “they still have ‘currency’ …and may even practitioner Dr Medb Ruane and poet, novelist and prose writer Theo Dorgan. Abigail O’Brien, her first solo museum exhibition and monograph in Ireland since 2009. Irigaray, Individuation: Philosophy, Analytical Psychology, and the Question of the Feminine, 2008), in the struggle to find authentically female ways of speaking, have ‘value’ in their metal properties”. Sincere thanks to both writers for their time and creativity in the texts. Thanks also to journalist and writer Susan McKay for agreeing to open the exhibition. The exhibition continues a strand of solo shows for Highlanes Gallery including Citizen: dreaming and desiring that are free from male-centeredness. O’Brien’s practice The third and final element is a video projection titled Grande Dame, a three minute Anthony Haughey (2013); I am here; you are there: Kate Byrne (2013); Sarah Browne: also explores culture and everyday rituals, encompassing life, death, love, birth and piece capturing in slow motion a levain or sourdough starter at the moment of rising. The team at Highlanes Gallery are central to the development, installation, Second Burial at Le Blanc (2012); Samuel Walsh: The Coercion of Substance (2012); immortality. For O’Brien, this represents fecundity and fertility. communication and engagement of, and with this exhibition. I would like to thank Sinéad Ní Mhaonaigh (2011); Ten Miles Round: Jackie Nickerson (2010); Conflicting Siobhan Burke, Patrick Casey, Ian Hart, Siobhan Murphy and Hilary Kelly, and Account: Paul Seawright (2010); Shuffle: Richard Gorman (2010); and Eclipse of a An artist I have long admired, I first became aware of O’Brien’s practice while working The exhibition has been conceived not only for Highlanes Gallery, but for two other the team of invigilators and installation crew for their ongoing commitment and Title: Diana Copperwhite (2008). at the Irish Museum of Modern art, when The Last Supper (1995), one of her most important works was acquired to the Collection. When I began working at Highlanes partner venues, The Dock in Carrick-on-Shannon, and Limerick City Gallery of Art, enthusiasm. Primary school teacher Ann Burke has generously given of her time and both of which it will tour to in the coming eighteen months. We are grateful to curator/ advised on elements of our Primary School Programme and the school curriculum for While bread and the craft of making it are nearly as old as civilisation itself, Pain au Gallery in 2007, O’Brien had become resident in Co. Louth and accepted an invitation director’s Siobhan O’Malley and Helen Carey and anticipate interesting exhibitions, as this exhibition. Thanks also to Highlanes Gallery Board, in particular Chairman, Kevin levain was the first leavened bread, probably discovered in Egypt six thousand years to join the Board of the gallery, where she played a central role over a five year term. well as great discussion and engagement in their sites and with those who come to McAllister and Alison Lyons for their steadfast and strategic support for the work of ago. Abigail O’Brien’s interest in bread, its elemental properties, the magical process Her appointment as the first female Secretary of the RHA (Royal Hibernian Academy) the exhibition. Highlanes Gallery. that takes place in its making, its centrality in human daily life across race and culture in 2012 signalled the end of her time on Highlanes’ Board. and religion, as well as its familial, social and cultural importance (historically through As well as ongoing funding from Drogheda Borough Council and the Arts Council, Finally, there would be nothing without the work of the artist. Abigail O’Brien is one the female), and its rich symbolism, spans some twenty years. However, a mutual friend, artist Amanda Coogan prompted a suggestion of a future collaboration and exhibition; Abigail had been already working on this and another the project was awarded an Arts Council Touring Grant early in 2013, which has of the most important visual artists working in Ireland today. The value of her work enabled the large format exhibition concept, the national tour, this catalogue, and is immeasurable as is her ability to deliver to the highest standard even under the The work for this exhibition has developed and continued out of an earlier exploration body of work when I approached her to make an exhibition for Highanes Gallery…and accompanying public programme. We acknowledge this critical and special most challenging and difficult circumstances. Abigail is an inspiration; she is a true Kitchen Pieces – Confession and Communion (1998), from the exhibition The Seven she willingly agreed. financial commitment. alchemist, and it’s been a pleasure working with her. Sacraments, a major body of work which was created by her over eight years (1995-2003). With Bread includes three elements. The first is a series of framed photographs which have been taken in four bakeries in Ireland, McCloskey’s Bakery, Drogheda; Barron’s In tandem with this extra funding, we have been fortuitous in securing significant Bakery, Waterford; the Bretzel Bakery, and Il Valentino Bakery, both in Dublin. sponsorship for all elements of the exhibition from McCloskey’s Traditional and Artisan Aoife Ruane, Director, Highlanes Galler 4 5 With Bread: keeping company with Abigail O’Brien Dr Medb Ruane How do you make air stand up? In Abigail O’Brien’s With Bread, you create objects At base, it is about bread making as a ritual that crosses cultures, peoples and The emphasis on lived experience gives the work a conceptual groundedness derived The homage - femmage, perhaps - quits the slowly-eroding exceptionalist world of the and images to track how air mutates in different circumstances. Drape it with yeast, millennia. Lack of bread provokes hunger, famine, death. Too much enables cruelty in parts from feminist art practice, with its early manifesto that the personal is the capital -A artist - what Kiki Smith called ‘white, male, power, money’ - by honouring flour and water and it becomes bread, the stuff we eat, share and make dreams of. and greed. But bread is also about nourishing and loving, as it circulates from hand political, and its quest to explore the everyday’s rich terrains. No truck is held with forty-two female co-workers of various ethnic backgrounds, including the unstoppable Clad it in silver and the ‘dough’ is worth a fortune. O’Brien’s forensic journeys into to oven and from table to mouth and belly. “Love comes from the world of yum-yum”, hierarchies or notions of greatness, individualism and exceptionalism.
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