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Modern Irish Art Collection.Pdf The Modern Irish Art Collection Athlone Institute of Technology The Modern Irish Art Collection Athlone Institute of Technology Catalogue compiled by Kate Bateman and Harman Murtagh Athlone Institute of Technology Institiúid Teicneolaíochta Bhaile Átha Luain First published in 1996 by Athlone Regional Technical College Athlone Ireland Second edition published in 2000 by Athlone Institute of Technology Athlone Ireland © Athlone Institute of Technology All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior permission of the publishers. ISBN 0-9528142-0-X Front cover: Brian Ferran: Colmcille Theme 12 Back cover: John Behan: Maeve’s army Photographs by Brian Redmond AIPPA, Roscrea, Co. Tipperary and Joe O’Sullivan LIPPA, Tullamore, Co. Offaly Designed & printed by Premiere Print telephone 01 839 4376 Contents List of artists and illustrations four Acknowledgements six Abbreviations six Preface by the Director of Athlone Institute of Technology seven Foreword by Her Excellency President Mary McAleese eight Introduction nine Catalogue to the collection twelve List of Artists and Illustrations Robert Ballagh Print of Delacroix 13 Maree Bannon Rainstorm over Blackwater Bog 14 Jayne Barry Tomatoes 15 John Behan Maeve’s army 16 Fish 16 Moya Bligh Surfaces B 17 Brian Bourke La bella barmaid I 18 Deborah Brown Fibreglass form painted yellow on black 19 George Campbell Samurai 20 Tom Carr Snowscene 21 Michael Casey Bird of the wide and sweeping wing/thy home is high in heaven 22 Carey Clarke June morning Bourgougnague Lot et Garonne 23 Petronelle Clifton-Browne Regatta at Dromineer 24 Barrie Cooke Sleeping figure 25 Vicki Crowley Setanta hurling 26 Jack Cudworth Iveagh Stores 27 Michael Cullen Lovers in Las Vegas 28 Rosaleen Davey Box 29 Maternity 29 Gerald Davis Thaw 30 Off Baltimore 30 John Doherty Angles 31 Richard Dwyer Dun Laoghaire dawn 32 Felim Egan Shoreline (g) 33 Trees 33 Maura Farrell Evening interiors 34 Interiors 34 Michael Farrell Storm in a teacup 35 The little tent of blue that sometimes prisoners call the sky 35 L’alcoll de serpent 35 Brian Ferran Colmcille theme 12 36 Mike Fitzharris Beggar 37 Barry Fitzpatrick Street scene 38 Paul Funge No regrets Mr Funge no. 8 39 Zamora 39 Dr David Fenton 39 Martin Gale The artichoke window 40 Outback 40 Armchair traveller 40 Neil Gall Construction 41 four Terence Gayer Sojourn 42 Margo McNulty Rediscovering childhood 65 Mitsy Gerson Power cut 43 Slip 65 Hop 43 Tony Magner Cipher 66 Alice Berger Hammerschlag Silent emergence 44 Amanda Maguire The Bronx 67 James Hanley After Duchamp 45 Joan Mallon The wooing, the waiting and the doing 68 Alice Hanratty Still life with bottles 46 Colin Middleton Birds on wire 69 Charles Harper Heliocentric timespot 47 Hazel Moore Taboo 70 Castigatory 47 Brendan Neiland Cumulus 71 Ossessione 47 Noelle Noonan Untitled 72 Patrick Harris Nude back study 48 The diviner 72 Evelyn Healy Looking west 49 Pulse 72 A summer day: Dooega, Achill, Co Mayo 49 Simon O’Donnell Miltonfriedmania 73 Patrick Hickey Three more pomegranates 50 David Oliver Libération 74 Declan Holloway Etching 51 Tony O’Malley Obair gan ainm 75 Niamh Keenan The Baily Court Hotel, Howth 52 Raymond Piper Seated nude 76 Bewley’s Café, Mary Street 52 Jane Proctor Nest 77 Desmond Kinney Horseracing 53 Patrick Pye Del verbo divino 78 John Kirwan Low-light mist, Achill 54 The entombment II 78 Anne Rigney Lally Woman 55 Padraic Reaney Waiting for Indian corn II 79 Being 55 Chris Reid Yesterday’s todays 80 Alone 55 Noreen Rice Which way, which day 81 Nancy Larchet A preponderance of poppies 56 Thomas Ryan Snowy road at home 82 Ramie Leahy Plesiosaurus 57 Vincent Sheridan Corvids I 83 Anna Marie Leavy Seasons in Ireland 58 Constance Short Noughts and crosses 84 Louis le Brocquy Study towards an image of W.B. Yeats: no. 26 59 Louis Sinclair Five seagulls 85 Untitled the Táin 59 Donal Teskey Polling day 86 James Joyce 60 Manus Walsh Musicians 87 Thomas Kinsella 60 Judith Caulfield Walshe Untitled 88 Seamus Heaney 60 Sheila Walton-Hough Gerry Gray 89 John Montague 60 Joe Wilson The plate fights back 90 John Millington Synge 61 Anne Yeats Landscape seen from plane II 91 William Butler Yeats 61 Francis Stuart 61 Samuel Beckett 61 Hector McDonnell Old woman Katale Camp Zaire 62 Mother/baby Katale Camp 62 Eileen McDonagh Allegory stone 1991 63 Maurice MacGonigal Currachs Connemara 64 five Acknowledgements Assistance in the preparation of this catalogue has been generously given by George McCaw, Paul Funge, Muireann O’Connell, Eileen Black, Paula Campbell, Padraic Dolan, Brid Dukes, Ciaran MacGonigal, John Taylor, Brian Fallon, Edward Murphy and the library staff of the National College of Art and Design, the Arts Council of Northern Ireland and many individual artists. Abbreviations DIT Dublin Institute of Technology IELA Irish Exhibition of Living Art IMMA Irish Museum of Modern Art IT Institute of Technology NCAD National College of Art and Design Dublin OPW Office of Public Works RA Royal Academy RHA Royal Hibernian Academy RIAI Royal Institute of the Architects of Ireland RUA Royal Ulster Academy TCD Trinity College Dublin UCD University College Dublin WCSI Water Colour Society of Ireland six Preface Athlone Institute of Technology is proud to publish this second edition of the catalogue of its modern Irish art collection to coincide with the thirtieth anniversary of the foundation of the Institute. The collection of artworks owned by or on long-term loan to the Institute comprises works by many twentieth-century Irish and non-Irish artists. From the outset the Institute recognised the need to introduce the visual arts to its stark modern interior and thus the collection has been developed through purchases, loans, donations and the commissioning of new works. The collection has enriched the Institute’s ambience, as a place of work for staff and students, and also serves to welcome the Institute’s many visitors. We are honoured that Her Excellency President Ms Mary McAleese has contributed a foreword for this edition. I am grateful to Dr Harman Murtagh, Ms Kate Bateman and the staff of the Institute’s Quality Assurance Office for their work in the preparation of this publication. Professor Ciarán Ó Catháin Director Athlone Institute of Technology seven Foreword I am delighted to have this opportunity to introduce the second edition of the catalogue of Athlone Institute of Technology’s modern Irish art collection. The first thirty years of the Institute’s existence have coincided with an awakening of visual awareness throughout Irish society which is probably without precedent in our history. More artists are at work, and more art is on public exhibition and in private collections than ever before. Leading Irish artists are beginning to narrow the lead Many of Ireland’s best-known artists are enjoyed by Irish poets and other writers in represented in the Institute’s collection, terms of international recognition - and including, I am particularly pleased to note, a rightly so. number from my native province of Ulster. The openness of access to the Institute means that The Institutes of Technology are one of the the art collection can be enjoyed by the public great success stories of modern Irish as much as by staff and students. In this way education. They have been a major conduit for it is a major cultural asset to the midlands as transmitting the values and skills of the a whole. modern business and technological world to their regions. They have educated, and re- Athlone Institute of Technology’s capacity to educated, significant numbers of the accept innovation and change in art mirrors its workforce responsible for the transformation response to the rapid pace of modern of the Irish economy. The quality and extent of technological advance. Athlone Institute of Technology’s collection of I congratulate those who have formed the modern art shows a recognition of the collection, and I hope its expansion will centrality of art, no less than technology, to continue. the expression of civilisation. The Institute has a clear understanding of the capacity of art to challenge and enrich the users of major public spaces. The monks of Clonmacnoise, the great medieval centre of learning and culture in the Mary McAleese midlands, would surely have approved! President of Ireland eight Introduction Athlone Institute of Technology, then known as the Regional Technical College Athlone, opened in 1970 as one of a network of new institutions for the provision of tertiary technological education in Ireland. Initially under County Westmeath Vocational Education Committee, it became an autonomous institution in 1993. The Institute is sited on a landscaped campus on the eastern perimeter of Athlone. Its functional building is a potent symbol of change in an Ireland impatient for knowledge, training and education. The original two-storey, purpose-built structure has been greatly extended to cater for increases both in student numbers, and in the range and level of courses. The interior of the building is stark. Laboratories, lecture halls, seminar rooms and workshops lead off long, pale corridors lit through aluminium-framed windows. Exposed conduits supply the interior strip lighting and other utilities. The extensive unplastered concrete-block walls offer an ideal hanging space, which is particularly hospitable to contemporary art. As creativity and the capacity to conceptualise are equally inherent in the impulses of arts and science, students of both disciplines are susceptible to order, beauty and the aesthetic principle. With these ideas in mind, the Institute embarked on a conscious art- purchasing policy in 1975. The establishment of the Arts Council Joint Purchasing Scheme in the mid- 1970s was a major boost to the Institute’s acquisition programme.
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