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18_121726-bindex.qxp 4/17/09 2:59 PM Page 486 Index See also Accommodations and Restaurant indexes, below. GENERAL INDEX Ardnagashel Estate, 171 Bank of Ireland The Ards Peninsula, 420 Dublin, 48–49 Abbey (Dublin), 74 Arigna Mining Experience, Galway, 271 Abbeyfield Equestrian and 305–306 Bantry, 227–229 Outdoor Activity Centre Armagh City, 391–394 Bantry House and Garden, 229 (Kildare), 106 Armagh Observatory, 394 Barna Golf Club, 272 Accommodations. See also Armagh Planetarium, 394 Barracka Books & CAZ Worker’s Accommodations Index Armagh’s Public Library, 391 Co-op (Cork City), 209–210 saving money on, 472–476 Ar mBréacha-The House of Beach Bar (Aughris), 333 Achill Archaeological Field Storytelling (Wexford), Beaghmore Stone Circles, 446 School, 323 128–129 The Beara Peninsula, 230–231 Achill Island, 320, 321–323 The arts, 8–9 Beara Way, 230 Adare, 255–256 Ashdoonan Falls, 351 Beech Hedge Maze, 94 Adrigole Arts, 231 Ashford Castle (Cong), 312–313 Belfast, 359–395 Aer Lingus, 15 Ashford House, 97 accommodations, 362–368 Agadhoe, 185 A Store is Born (Dublin), 72 active pursuits, 384 Aillwee Cave, 248 Athlone, 293–299 brief description of, 4 Aircoach, 16 Athlone Castle, 296 gay and lesbian scene, 390 Airfield Trust (Dublin), 62 Athy, 102–104 getting around, 362 Air travel, 461–468 Athy Heritage Centre, 104 history of, 360–361 Albert Memorial Clock Tower Atlantic Coast Holiday Homes layout of, 361 (Belfast), 377 (Westport), 314 nightlife, 386–390 Allihies, 230 Aughnanure Castle (near the other side of, 381–384 All That Glitters (Thomastown), -
Jack B. Yeats
JACK B. YEATS Biography 1871 August 29, Jack Butler Yeats born at 23 Fitzroy Road, London, son of John Butler Yeats, artist, and Susan Pollexfen of Sligo 1879 Went to Sligo to live with his grandparents, William and Elizabeth Pollexfen. He went to school there, and stayed with them until 1887 1887 Rejoined his family in London in order to attend art school. His grandmother was strongly in favour of him following a career as an artist. Attended classes at South Kensington School of Art, Chiswick School of Art, Westminster School of Art. Season ticket for the American Exhibition at Earls Court, starring Buffalo Bill 1888 First black and white illustrations accepted for publication in The Vegetarian in April 1891 Illustrating for Ariel and Paddock Life . First book illustrations 1892 Designing posters for David Allen & Sons in Manchester. Illustrated Irish Fairy Tales by his brother W.B.Yeats 1894 Staff Artist on Lika Joko. In August he married Mary Cottenham White, who had been a student with him in Chiswick, and was eight years older that Jack. They rented a house called 'The Chestnuts' on the River Thames, at Chertsey 1895 First exhibited at the Royal Hibernian Academy in Dublin, a watercolour called Strand Races, West of Ireland 1897 Moved to Strete, Devon to live at 'Snail's Castle' (Cashlauna Shelmiddy). Began to concentrate on watercolour painting. Painted his first oil. First one-man show of watercolours in November, at the Clifford Gallery, Haymarket 1898 Jack and Cottie visited Northern Italy, on what seems to have been a belated honeymoon, combined with a celebration of the success of his first solo exhibition the previous year. -
Resource What Is Modern and Contemporary Art
WHAT IS– – Modern and Contemporary 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 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 theo- retical 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 03 inherent problems and contradictions that arise when attempting to outline or summarise 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, many of which emerged in opposition to such totalising tendencies. CONTENTS 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 inten- What is __? talks series page 03 tion is to provide background and contextual information about the art and Introduction: Modern and Contemporary Art page 04 artists featured in IMMA’s exhibitions and collection in particular, and about How soon was now? What is Modern and Contemporary Art? Contemporary Art in general, to promote information sharing, and to encourage -Francis Halsall & Declan Long page 08 critical thinking, debate and discussion about art and artists. -
Curated by Michael Dempsey Sara Reisman Introduction
Curated by Michael Dempsey Sara Reisman Introduction SELECT AN ARTIST t Lieven De Boeck Elaine Byrne John Byrne Tony Cokes Chto Delat Dor Guez Lawrence Abu Hamdan Dragana Juriši´c Ari Marcopoulos Raqs Media Collective Dermot Seymour Mark Wallinger “In the year 2000 there was a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents.” — Lawrence Abu Hamdan, 2018 Introduction Historically, borders tend to be the location of international trouble spots. Prior to the global lockdown, there was a utopian vision of open borders, alongside the reality of a populist push towards border fortification. This dichotomy has now been eclipsed by a pandemic that doesn’t respect borders. Politicisation of the pandemic, displacement of people, and contagion, as well as the drive towards an ever-increasing economic globalisation, have created further complex contradictions. The curatorial idea for the exhibition Worlds Without End (WWE) was first conceived a year ago as a research-based collaboration between Sara Reisman, Executive and Artistic Director of the Shelley & Donald Rubin Foundation, New York and Michael Dempsey, Head of Exhibitions, Hugh Lane Gallery, who are the co-curators of WWE. WWE is a visual dialogue on the impact of borders on individuals and communities. The twelve participating artists are drawn from different regional traditions and challenge our perceptions of national identities, envisioning utopian possibilities for understanding the place of borders, their proliferation and seeming obsolescence, in contemporary society. These artists reveal their deep interest in current geo-political positions and social conditions with works that interrogate power structures, positions of privilege and human rights issues. -
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. -
Constellations Creative Arts Practice at Trinity College Dublin
CONSTELLATIONS CREATIVE ARTS PRACTICE AT TRINITY COLLEGE DUBLIN EDITED BY NICHOLAS JOHNSON & PHILIP COLEMAN 1 CONTENTS The Pregnant Box 9 The Lir 6-7 Raising the Curtain on Performance Pedagogy 10 Trinity Journal of Literary Translation 8 The Stoic Man 12 COPD Behavioural Change, Self- Management, and Peer Perspectives 13 Postcards from the Near Future 11 A rainbow in the palm of my hand 20 Samuel Beckett Laboratory 16-17 Time Present and Time Past 18 Trinity Long Room Hub 14-15 Tall Ships: Obedienta Civium Urbis Felicitas 21 Synaptic Serenades 19 Produced by the Creative Arts Practice Research Theme Steering Committee Funded by the Trinity Long Room Hub Arts and Humanities Research Institute Design and Production by Vermillion © 2015 Mapping the Former Soviet Union 25 Samuel Beckett Theatre 22-23 A PhotoVoice Project 28-29 Dynamo Island: The History and Geography of a Utopia 24 Engineering Fictions 27 Nyet! Nyet! Soviet 26 Viking Ghost Hunt / The Stoic Man 12 Haunted Planet 33 BLAST at 100 32 Border Play: TARDIGRADE 34-35 Science Gallery 30-31 Green-graphs The Long Goodbye 36 and IRIS 37 Pen & Palette 40-41 Douglas Hyde Gallery 38-39 AntiMidas, or Book of Kells Bankers in Hades 43 for iPad 42 How Do Artists Learn? 45 Centre for Literary Index of Projects by Title / Translation 44 Researchers 48 Synaptic Serenades 19 Index of Organisations / Collaborators 49 - 52 Acknowledgments 54 Courses in Creative Arts Practice Fields at TCD 53 Oscar Wilde Centre 46-47 About the Research Theme CREATIVE ARTS PRACTICE Creative Arts Practices are integrated into a range of their practices are analysed as social processes in the research activities and themes across all disciplines social sciences; they might be purveyed as content in Trinity: Humanities, Engineering, Science, and for creative technologies, as economic markers for Medicine. -
SIOBHÁN HAPASKA Born 1963, Belfast, Northern Ireland. Lives and Works in London, United Kingdom
SIOBHÁN HAPASKA Born 1963, Belfast, Northern Ireland. Lives and works in London, United Kingdom. Education 1985-88 Middlesex Polytechnic, London, United Kingdom. 1990-92 Goldsmiths College, London, United Kingdom. Solo Exhibitions 2021 Douglas Hyde Gallery, Dublin, Ireland. 2020 LOK, Kunstmuseum St. Gallen, St. Gallen, Switzerland. 2019 Olive, Andréhn-Schiptjenko, Paris, France. Snake and Apple, John Hansard Gallery, Southampton, United Kingdom. 2017 Kerlin Gallery, Dublin, Ireland. 2016 Andréhn-Schiptjenko, Stockholm, Sweden. 2014 Sensory Spaces, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands. 2013 Hidde van Seggelen Gallery, London, United Kingdom. Siobhán Hapaska, Magasin 3 Stockholm Konsthall, Stockholm, Sweden. 2012 Siobhán Hapaska and Stephen McKenna, Kerlin Gallery, Dublin, Ireland. Andréhn-Schiptjenko, Stockholm, Sweden. 2011 A great miracle needs to happen there, Kerlin Gallery, Dublin, Ireland. 2010 The Nose that Lost its Dog, Tanya Bonakdar Gallery, New York, USA. The Curve Gallery, the Barbican Art Centre, London, United Kingdom. Ormeau Baths Gallery, Belfast, United Kingdom. 2009 The Nose that Lost its Dog, Glasgow Sculpture Studios Fall Program, Glasgow, United Kingdom. 2007 Camden Arts Centre, London, United Kingdom. Tanya Bonakdar Gallery, New York, USA. 2004 Playa de Los Intranquilos, Pier Gallery, London, United Kingdom. 2003 cease firing on all fronts, Kerlin Gallery, Dublin, Ireland. 2002 Tanya Bonakdar Gallery, New York, USA. 2001 Irish Pavillion, 49th Venice Biennale, Venice, Italy. 1999 Sezon Museum of Art, Tokyo, Japan. Artist Statement for Bonakdar Jancou Gallery, Basel Art Fair, Basel, Switzerland. Tokyo International Forum, Yuraku-Cho Saison Art Program Gallery, Aoyama, Tokyo, Japan. 1997 Tanya Bonakdar Gallery, New York, USA. Ago, Entwistle Gallery, London, United Kingdom. Oriel, The Arts Council of Wales' Gallery, Cardiff, Wales, United Kingdom. -
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. -
Ciarán Murphy
2008 Ciarán Murphy, Kavi Gupta Gallery, Chicago, Eisenstadt (AT) haunting’, The Sunday Tribune, 1 October IL (US) Ciarán Murphy Flix, Rubicon Gallery, Dublin (IE) Billy Leahy, ‘Pictures before profit’, The Ciarán Murphy, Cerealart, Philadelphia, PA Village, 14–20 September Iontas, Sligo Art Gallery, Sligo (IE) (US) b. 1978 in Mayo (IE) 2005 Ciara Healy, ‘Eurojet Futures 2004 at the 2001 NCAD Degree Show, Dublin (IE) Lives and works in Callan (IE) 2007 Ciarán Murphy, GRIMM, Amsterdam (NL) Royal Hibernian Academy’, Circa, Spring RDS Student Award Scheme, Dublin (IE) 2006 15 single-word Titled Paintings, Mother’s 2004 Ruth Carroll, ‘Eurojets Futures 2004’, RHA, EDUCATION Tankstation, Dublin (IE) Frozen Pipes, Illac Centre, Dublin (IE) Dublin 2005 MA in Visual Arts Practices (MAVIS), IADT, Shoplifter, Illac Centre, Dublin (IE) Dublin (IE) SELECTED GROUP EXHIBITIONS 2000 Sensationless, Vicar St, Dublin (IE) SELECTED COLLECTIONS 2003 BA National College of Art & Design, Dublin 2021 Interludes, Workplace, London (UK) 1999 National Portrait Award, Dublin (IE) Arts Council of Ireland, Dublin (IE) (IE) Inaugural exhibition, GRIMM, New York, NY Defares Collection, Amsterdam (NL) (US) AWARDS AND RESIDENCIES SELECTED BIBLIOGRAPHY Irish Museum of Modern Art (IMMA), Dublin (IE) 2020 Merrily, merrily, merrily, merrily, The Royal 2018 John Gayer, ‘Ciarán Murphy, Plainsight, Sanders Collection, Haarlem (NL) 2012 Tony O’Malley Studio Residency, Royal Hibernian Academy, Dublin (IE) Hibernian Academy, Dublin (IE) Grimm Gallery, Amsterdam’, Paper Visual 2019 -
An Chomhairle Ealaion 1976.Pdf
An Cúigiú Tuarascáil Bhliantúil is Fiche, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1976. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhuo Altanna 6 [3] agus 7 [1] den Acht Ealaíon 1951. Twenty-fifth Annual Report and Accounts for the year ended 31st December 1976. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 [3] and 7[1] of the Arts Act, 1951 Cover: Front Robert Ballagh "Sheridan Le Fanu" (1814-1873) commissioned, for the Council's offices in Merrion Square, where the writer lived. Members Patrick J. Rock, Chairman Kathleen Barrington John Behan Brian Boydell Tom Caldwell Máire de Paor Andrew Devane Eilís Dillon Séamus Heaney Dr J.B. Keamey Patsy Lawlor Hugh Maguire Sean Ó Tuama Brian Quinn Richard Stokes Dr T.J. Walsh James White Staff Director Colm Ó Briain Administration Officer David McConnell Literature and Film Officer David Collins Music Officer Dinah Molloy Visual Arts Officer Paula McCarthy Secretarial Assistants Veronica Barker Kathryn Cahille Patricia Molloy 70 Merrion Square, Dublin 2. An Chomhaırle Ealaíon An Chomhairle Ealaíon was set up by the Arts Acts 1951 and 1973 and consists of a chairman and not more than sixteen other members appointed by the Taoiseach. The present Council was appointed on 31st December 1973 and its term of office expires in 1978. The principal role of the Council is to stimulate public interest in the arts; to promote the knowledge, appreciation and practice of the arts; and to assist in improving the standards of the arts. -
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.