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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. -
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. -
Download Brochure
Spring/Summer 2020 www.limetreetheatre.ie BOX OFFICE: 061 953 400 FLIP FOR BELLTABLE BOOK ONLINE: www.limetreetheatre.ieEVENTS MIC A5 generic advert.qxp_Memeber year Book advert 13/11/2018 09:16 Page 1 #HelloMIC Mary Immaculate College Cyclone Rep presents Shakespeare Sessions MON 13TH - FRI 17TH JANUARY Date Title Times Mon 13th Hamlet 9.45am & 1pm Tue 14th King Lear 9.45am & 1pm SEE WHAT MIC HAS TO OFFER YOU Wed 15th Romeo & Juliet 9.45am & 1pm SOLD OUT MIC is a university level College of Education and the Liberal Arts, serving the Thu 16th Merchant of Venice 9.45am SOLD OUT needs of a growing and diverse student population of just over 5,000 students. Thu 16th Romeo & Juliet 1pm MIC’s flourishing learning community is distinguished by highly responsive Duration: 120 minutes. To make a booking or for more information, contact student supports and excellence in learning and research. Cyclone Rep directly by email: [email protected] or call 021 2355356. MIC CAMPUS, LIMERICK MIC, ST PATRICK’S CAMPUS, THURLES • BA in Contemporary and Applied • BA in Education, Business Studies and Theatre Studies: (MI001) Accounting: (MI009) • Bachelor of Arts: (MI002) (now with • BA in Education, Business Studies and expanded subject offering) Religious Studies: (MI010) • Bachelor of Education – Primary • BA in Education, Irish and Religious Kristyn Fontanella Dance presents Teaching: (MI005/006) Studies: (MI011) • BA in Early Childhood Care and • BA in Education, Irish and Business Education: (MI007) Studies: (MI012) IN LiMBO • B.Ed. in Education and Psychology: ** New for entry 2019: BA in Education, ST (MI008) Mathematics and Gaeilge: (MI013) SAT 1 FEBRUARY | 8pm Tickets: €18/€15 Mature Learner Programmes: Postgraduate Programmes: • Foundation Certificate for MIC also offers a wide range of Mature Learners postgraduate qualifications up to and • Teacher Education Access Course including Masters and Doctoral degrees in for Mature Learners the Liberal Arts and Education. -
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. -
Irish Studies Round the World - 2015
Estudios Irlandeses, Number 11, 2016, pp. 244-258 ____________________________________________________________________________________________ AEDEI IRISH STUDIES ROUND THE WORLD - 2015 Patricia A. Lynch (ed.) Copyright (c) 2016 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the authors and journal are properly cited and no fee is charged for access. Reflections on Irish Writing in 2015 by Patricia A. Lynch .......................................................................................................... 244 Míorúilt an Pharóiste: Aistí ar fhilíocht Mháire Mhac an tSaoi (2015) by Louis de Paor (ed.) Mairéad Conneely .............................................................................................................. 248 The Little Red Chairs (2015) by Edna O’Brien Irene Gilsenan Nordin ........................................................................................................ 250 Irish Literature and the First World War. Culture, Identity and Memory (2015) by Terry Phillips John O’Callaghan .............................................................................................................. 253 Beatlebone (2015) by Kevin Barry John L. Murphy .................................................................................................................. 255 The Great Reimagining: Public Art, Urban Space and the Symbolic Landscapes of a ‘New’ Northern Ireland (2015) by Bree T. Hocking Bill Rolston .....................……………………………………………………………………256 -
Master in Advanced English Studies: Languages and Cultures in Contact
MASTER IN ADVANCED ENGLISH STUDIES: LANGUAGES AND CULTURES IN CONTACT Departamento de Filología Inglesa 2015-2016 Final Master Thesis (Post-)colonial Identities in Exile: Pádraic Ó Conaire’s Fragmented Realities María Sanabria Barba VALLADOLID 2016 The work presented in this MA thesis is, to the best of my knowledge and belief, original and my own work, except as acknowledged in the text. The work in this thesis has not been submitted, either in whole or in part, for a degree at this or any other university. This thesis is submitted in partial fulfillment of the requirements for the degree of Master in Advanced English Studies: Languages and Cultures in Contact to Universidad de Valladolid by María Sanabria Barba September 2016 Student’s signature__________________________________________ Approved Drs. María José Carrera de la Red Supervisor’s signature_____________________________________ Santiago Rodríguez Guerrero-Strachan Supervisor’s signature_____________________________________ Sanabria iii Abstract The work of Pádraic Ó Conaire, a name that has been very much forgotten, meant a turning point in the literature written in the Irish language that was being produced at the beginning of the twentieth century. Some of the topics that populate the narrative of this caustic writer are the consequences of religion and superstition on the Irish population, the mistrust of authority, poverty, the tramp, the deranged, or alcohol abuse. The Irish individual is represented as an outcast, tormented by its own condition and identity, but also as subject to a larger system of binary opposites, such as colonial oppression and Irish nationalism. This approach to Irish literature went against the prevailing taste and Ó Conaire’s work was read with suspicion and gradually forgotten. -
"The Given Note": Traditional Music and Modern Irish Poetry
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "The Given Note": traditional music and modern Irish poetry Author(s) Crosson, Seán Publication Date 2008 Publication Crosson, Seán. (2008). "The Given Note": Traditional Music Information and Modern Irish Poetry, by Seán Crosson. Newcastle: Cambridge Scholars Publishing. Publisher Cambridge Scholars Publishing Link to publisher's http://www.cambridgescholars.com/the-given-note-25 version Item record http://hdl.handle.net/10379/6060 Downloaded 2021-09-26T13:34:31Z Some rights reserved. For more information, please see the item record link above. "The Given Note" "The Given Note": Traditional Music and Modern Irish Poetry By Seán Crosson Cambridge Scholars Publishing "The Given Note": Traditional Music and Modern Irish Poetry, by Seán Crosson This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Seán Crosson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-84718-569-X, ISBN (13): 9781847185693 Do m’Athair agus mo Mháthair TABLE OF CONTENTS Acknowledgements ................................................................................. -
Downloaded from Downloaded on 2020-06-06T01:34:25Z Ollscoil Na Héireann, Corcaigh
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann Author(s) Lawlor, James Publication date 2020-02-01 Original citation Lawlor, J. 2020. A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2020, James Lawlor. https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/10128 from Downloaded on 2020-06-06T01:34:25Z Ollscoil na hÉireann, Corcaigh National University of Ireland, Cork A Cultural History of The Great Book of Ireland – Leabhar Mór na hÉireann Thesis presented by James Lawlor, BA, MA Thesis submitted for the Degree of Doctor of Philosophy University College Cork The School of English Head of School: Prof. Lee Jenkins Supervisors: Prof. Claire Connolly and Prof. Alex Davis. 2020 2 Table of Contents Abstract ............................................................................................................................... 4 Declaration .......................................................................................................................... 5 Acknowledgements ............................................................................................................ 6 List of abbreviations used ................................................................................................... 7 A Note on The Great -
My Summer with Poets – Including Robert Graves Frank Kersnowski
My Summer With Poets – including Robert Graves Frank Kersnowski ‘Come in’, said Robert Graves. ‘Anyone who has anything to say is always welcome in my house’. Holy mother of god(s), I thought as I stepped into his study, ‘What do I have to say to Robert Graves’? But I’ve gotten ahead of myself. I actually began my homage when I first read his Collected Poems. My homage occurred most recently when I was reading contemporary Irish poetry at The Library of Congress with funding from a summer grant from the National Endowment for the Humanities in 1968. I had chosen about thirty poets, mostly living, to be included in my critical study The Outsiders: Poets of Contemporary Ireland. My selection was based on their repeated inclusion in collections. The surprise came when I found that few of them were subjects of critical reviews. To quote from an old song: ‘Lawdy, lawdy, Miss Claudy, what do I do now?’ I read throughout the summer and began to find clusters of poets who had something in common, locale place of publication. And I enjoyed the quiet of the great library, lunches in the cafeteria of The Rayburn Building. Though the cafeteria is intended for members of Congress, citizens, or even visitors from this side of the Atlantic, are entitled to be there – or were. Security being what it is now, accommodation may have changed. I could easily walk from my rooming house on East Capitol to the Library, local restaurants, and even a cinema. I saw Bergman’s Hour of the Wolf there in early August, an event I’ll treat later. -
Biography Anthony Haughey Is an Artist, Researcher and a Lecturer in the Dublin Institute of Technology Where He Supervises
Biography Anthony Haughey is an artist, researcher and a lecturer in the Dublin Institute of Technology where he supervises doctoral practice-based projects. He was a Research Fellow (2005-8) at the Interface Centre for Research in Art, Technologies and Design at the University of Ulster Belfast, where he completed a PhD in 2009. His work has been widely exhibited nationally and internationally, most recently Uncovering History, curated by Camera Austria in Kuunsthaus Graz, Excavation, Limerick City Gallery, where he premiered his new film, Unresolved, twenty years after the Srebrenica genocide, Making History, Colombo Art Biennale (2014), Art of the Troubles, Ulster Museum, Belfast (2014), Settlement in Belfast Exposed, Northern Ireland: 30 years of photography in the MAC and Belfast Exposed, New Irish Landscapes, Three Shadows Gallery, Beijing, Homelands, a major British Council exhibition touring South Asia, Citizen in Highlanes Gallery, Drogheda and MCAC, Portadown, Strike!, Labour and Lockout, Upending – an exhibition of enquiries in Limerick City Gallery of Art. He recently completed a commission for the Aftermath project, which toured galleries in Ireland throughout 2014. A publication (out of print) from this commission was launched in January 2015, available at: http://issuu.com/anthonyhaughey/docs/ah_aftermath_issuu His photographs and writings have been published in more than seventy publications (including eight in 2014). Monographs include The Edge of Europe (1996), Disputed Territory (2006) and an artist’s book State (2011). His work is represented in many international public and private collections and he is an editorial advisor for the Routledge journal, Photographies. He has published several chapter contributions including, ‘Dislocations: Participatory Media with Refugees in Ireland and Malta’, in Goodnow, K.