RECENT EXHIBITIONS
| Art in an Age of Anxiety - Terror and the Sublime |
20 November 2009 - 27 February 2010
Artist’s Talk: Jim Sanborn
Thursday 19 November – 5:15pm
Jim Sanborn, Labratory Environment, (courtesy of the artist)
Artist Jim Sanborn will talk about his work and lead a preview of his acclaimed installation Critical Assembly; this special event marks the opening of the exhibition Terror and the Sublime: Art in an Age of Anxiety.
Critical Assembly is a reconstruction of the laboratories at Los Alamos, where the original atomic bomb was built in the 1940’s. It includes an exact version of the Trinity Device, versions of which were exploded over Hiroshima and Nagasaki in 1945.
Jim Sanborn is perhaps best known for his Kryptos sculpture installed at the CIA headquarters, Langley, Virginia, in 1990, it displays encrypted messages, which continue to stump code-breakers. His freestanding bronze sculptures, laser-cut with encrypted information, have long fascinated mathematicians and cryptologists.
Most recently, Jim Sanborn’s preoccupation with the laboratories and equipment used in the pioneering years of ‘big science’ led him to reconstruct the particle accelerator built in 1939 at the Carnegie Institute in Washington DC, this work produced nuclear fission.
For further information contact: emmaklemencic@crawfordartgallery.ie
Vivienne Dick
September 18 - November 7
As part of the exhibition programme, there is a 16mm screening programme during the opening and closing weeks of the show, featuring London Suite, Rothach and She Had Her Gun All Ready. An evening celebrating No Wave film and music with special guests will take place in the gallery on 5 November.
Between Truth and Fiction: The Films of Vivienne Dick is also a 100 page full-colour publication, co-commissioned by the Crawford Art Gallery and Lux, featuring an interview, essays and images of Dick’s work, and a DVD of five selected films spanning the three decades of her practice.
| LUNCHTIME 16mm PROJECTION PROGRAMME Monday 2 to Saturday 7 November 2009, 1.10 pm LOCATION: CINEMA ROOM, 2nd FLOOR |
MON 2, WED 4, FRI 6 November - Rothach and London Suite Rothach, 1985 16mm, 8mins |
She Had Her Gun All Ready, 1978 16mm (Super 8 original), 28mins |
NEW YORK NO WAVE SUPER-8 THURSDAY 5 NOVEMBER 8pm-11pm with artist/film-maker, Vivienne Dick PROGRAMME FILM SCREENINGS: MUSIC:
VIVIENNE DICK is an internationally-celebrated film-maker and artist. She was a key figure of the ‘No Wave’ movement in New York in the late 1970s and early 1980s, a time of collaborative countercultural production of music and film by a loose collective of people including Lydia Lunch, Amos Poe, Nan Goldin, James Nares, the Contortions, Beth and Scott B, Arto Lindsay and many others. This special event is part of the retrospective exhibition Between Truth and Fiction: The Films of Vivienne Dick from 18 Sept to 7 Nov at the Crawford Art Gallery, Cork, curated by Treasa O’Brien.
With thanks to Cork Film Centre for their technical support. |
A Bend in the Road
June 12 - September 30
The Encompassing Eye
June 12 - September 7
Camille Souter - Achill
Selecting works from the collections, this exhibition examines artists' responses to their surrounding landscapes encompassing emotional and visual representation. Artists include Camille Souter, Noel Sheridan, William Leech, Norah McGuinness and Arthur Armstrong.
Sound Cast (4for4)
Saturday 4 July 12:00 pm – 4:00pm
This sound art event is the coming together of The Quiet Club (Mick O'Shea and Danny Mc Carthy) and the Kelly/Stalling duo arises from a recent concert the four did at the Goethe Institute for the launch of The Quiet Club's CD "TESLA" after which it was decided that it was worth exploring the combination further.
The Crawford Gallery‘s Sculpture Gallery is the venue for the Sound Cast concert. This unique space with its natural acoustics and antique sculptures promises one of the most interesting sound events of the year. Lasting four hours the audience are free to come, go or stay as they please.
 |
 |
 |
Hero With a Thousand Faces
An exhibition celebrating the extraordinary range and talent of Irish writers from the eighteenth century to the present day, opens at the Crawford Art Gallery Cork on Friday 6 March 2009. The exhibition presents over 60 works drawn from the collections of the Crawford Gallery, The Abbey Theatre and The Arts Council.
The title of the exhibition is inspired by Joseph Campbell’s seminal work “The Hero of a Thousand Faces”, and suggests that while each writer is a unique and distinct personality and talent, when taken collectively, their contribution to the identification of Ireland as a country of intense literary activity has been profound. In its broader sense, the phrase also alludes to the Jungian concept of universal archetypes, and to that subconscious wellspring which is the greatest inspiration of the writer, as an observer, a commentator and indeed a shaper of society.
The title is also a wry reference to Patrick Kavanagh’s famous remark, made in the 1950s, that “of the legion of poets in Ireland there are never less than ten thousand”, an assessment mixing in equal measure pessimism and optimism, and which, even allowing for poetic licence, illustrates the impossibility of an exhibition of portraits of Irish writers ever being considered in any way complete, or all encompassing. Nonetheless, good progress is being made, as can be seen from the works that will be shown.
The recent acquisition by the Crawford Art Gallery of Edward McGuire’s Portrait of Anthony Cronin (1972) represents a significant addition to a developing collection of portraits of Irish writers both commissioned and acquired by the Crawford. Cronin follows Jonathan Swift, whose 1735 portrait by Francis Bindon was acquired by the Crawford Gallery in 2007 to mark its accession to the status of National Cultural Institution. Portraits of writers commissioned by the Gallery include Conal Creedon by Eileen Healy (2006), Micheal O’Shiadhail by Michael O’Dea (2005) and Aidan Higgins (2003) by Suzy O’Mullane.
Other notable writers represented include Edmund Burke in James Barry’s painting ‘Burke and Barry in the Characters of Ulysses and Companions fleeing from the Cave of Polyphemus; Elizabeth Bowen by Patrick Hennessy, and three portraits, James Joyce, Samuel Beckett, and W. B. Yeats, by Louis le Brocquy. Frank O’Connor is represented by an early work by Norah McGuinness. The recently garlanded writer Sebastian Barry is shown in a 1991 study by John Minihan, a photographer well known for insightful portraits of Irish writers, most notably Samuel Beckett, but also Nuala Ni Dhomhnaill, Mannix Flynn, Eilean Ni Chuilleanain, Seamus Heaney, Patrick Galvin, and John McGahern.
The outstanding portraits being loaned for this exhibition by the Abbey Theatre include Gerald Festus Kelly's Portrait of Lady Gregory, Sean O'Sullivan's Portrait of W. B. Yeats, and Carey Clarke's Portrait of Tom Murphy. These are iconic images of Ireland’s literary revival and also of the finest of present day writers. The portrait of Hugh Leonard from the Abbey Collection had been intended to travel to the Crawford, but on the news of the writer’s death, has been kept on exhibition in the Abbey Theatre, as a mark of respect. From the Arts Council Collection, the portraits on loan to this exhibition include writers Conor Fallon’s studies of his father, the poet Padraic Fallon, a Portrait of Francis Stuart by Jack Crabtree and James Joyce’s Tie by Michael Farrell.
The Crawford’s collection of portraits of Irish writers is developing, but it remains far from complete. Many notable writers remain unrepresented, not least Laurence Sterne, Lady Morgan, Mary Lavin, Benedict Kiely and John B. Keane. Nevertheless, the formation of the collection over the past two decades does provides a template for the further development of an important aspect of the national art collections of Ireland in future years, particularly when seen in the light of existing portrait collections such as those at the Abbey Theatre, the Arts Council, and also the National Gallery of Ireland. The Ulster Museum collection also includes fine portraits of writers, not least Seamus Heaney and Michael Longley.
The exhibition will be formally opened by Michael Longley, Ireland Professor of Poetry, on Tuesday 10 March at 6:00pm. The exhibition will be open to the public, from Friday 6 March to 30 May, 2009.
Free guided tours accompany the exhibition on Thursdays at 6:30pm and Saturdays at 2:30 pm.
For further information and for visual material, please contact: Anne Boddaert
T: +353 21 4907857
E: anneboddaert@crawfordartgallery.ie
Presentation Sisters by Tacita Dean
A film made in Cork in 2005 by the internationally renowned contemporary artist Tacita Dean
Scheduled daily screenings, Friday March 6 – Saturday 21 March 2009
Commissioned by Cork 2005, as part of Cork’s tenure as European Capital of Culture, Presentation Sisters was made during a residency by the artist Tacita Dean. Documenting a number of weeks in the lives of an order of nuns, as they go through their daily religious and domestic rituals, the film is an evocative portrait of a passing way of life. At the time Dean made this film in Cork, the Presentation Convent had been sold and the order of nuns were preparing to move to a new home. The building itself plays an important role in the film, its spaces redolent of the age of Victorian institutions. Presentation Sisters has been acquired as part of the Crawford Art Gallery’s permanent collection.
| SCREENING TIMES Until Saturday 21 March Duration – 1 hour |
|
| Monday 9th. | 15:00 |
| Tuesday 10th. | 11:00 |
| Wednesday 11th. | 15:00 |
| Thursday 12th. | 11:00 |
| Friday 13th. | 15:00 |
| Saturday 14th. | 11:00 |
| Monday 16th. | 15:00 |
| Tuesday 17th. | Closed |
| Wednesday 18th. | 15:00 |
| Thursday 19th. | 11:00 |
| Friday 20th. | 15:00 |
| Saturday 21st. | 11:00 |
Daniel Maclise (1806–1870), Romancing the Past
October 24, 2008 - February 14, 2009
The exhibition will opened on October 25th. 2008 and continued through to February 14th 2009. With over two hundred works, including oils on canvas, drawing and prints, on loan from institutions and collectors throughout Britain and Ireland, the Maclise exhibition will be the most important project organised by the Crawford Art Gallery in over three years.. The show will be accompanied by a catalogue, contributors to which include Prof John Turpin, who contributed to the 1972 Maclise exhibition at the Tate, Prof. Fintan Cullen of Nottingham University, Dr. Nancy Weston, whose biography of Daniel Maclise was published recently, and Prof. Tom Dunne, editor of the catalogue for the 2005 James Barry exhibition at the Crawford. There will also be a series of lectures and an education programme for schools. The exhibition and catalogue, will give a new insight into an artist famed in his day but whose florid and Romantic style fell out of favour in the 20th century.
Born in Sheares Street, Cork, the son of a discharged British soldier who had set up as a cobbler (or as a tailor) in Patrick Street, Daniel Maclise was, from an early age, an artist of precocious ability. After a short period working in Newenham’s bank, in 1819, when the Cork School of Art was established in the former Apollo Theatre, Maclise was one of the first students to enrol. He would have been thirteen years of age. The impetus for setting up the school came from the arrival in Cork of a set of sculpture casts from the Vatican Museum. Among them were some of the most important Graeco-Roman sculptures and Maclise made the most of this opportunity, demonstrating great skill in drawing from the antique.
A relatively impoverished art student, Maclise received support from a number of patrons, including the antiquarian Richard Sainthill and, later in London, the writer Crofton Croker. His quick facility and talent for catching a likeness were demonstrated in 1825, when Sir Walter Scott, on a visit to Cork, called in to Bolster’s Bookshop on Patrick Street, where Maclise made a portrait sketch of the celebrated writer. The demand for this sketch was such that Maclise, never slow to recognise an opportunity, made at least three versions. It is said that the portrait was lithographed, but the surviving versions all appear to be pencil on paper.
The success of the Scott sketch led to commissions for portrait drawings of members of leading families in Cork, and military officers stationed in the city. Maclise also toured through Kerry, Waterford and Cork, making drawings of picturesque river scenery, houses, abbeys and castles. In 1827, aged still just nineteen but already an established local artist, Maclise went to London, where the following year he enrolled as a student at the Royal Academy schools, where in 1831 he gained the Gold Medal for History Painting.
His paintings from this period are generally ambitious attempts to portray scenes from British and European history, such as the work in the National Gallery of Ireland, Charles I, King of England and his Children, before Oliver Cromwell. In 2007, the Crawford Art Gallery acquired, at Sothebys, the painting Francois I and Diane of Poitiers, painted in 1834, that depicts a scene from sixteenth century French history. Maclise also attempted Irish subject-matter, most notably in the painting that blends folk beliefs with literary portraiture, Snap Apple Night (1833) and more controversially in The Installation of Captain Rock, depicting outlaws and social unrest in rural Ireland.
Maclise’s history paintings were often inspired by literary works, such as the plays of Shakespeare, and in his work the distinction between illustration and fine art is blurred. He produced many illustrations for works of literature, such as Tom Moore’s Irish Melodies, the poems of Tennyson, and woodcuts for some of the ‘Christmas books’ of Charles Dickens, such as The Chimes, and The Cricket on the Hearth. Maclise’s style can perhaps be described as Neo-Gothick, in that while it is clearly indebted to Northern European realist tradition, there is also a strong vein of whimsy and the grotesque in the imagery he employs.
In London, most of Maclise’s friendships centred on the Tory periodical Fraser’s Magazine, for which he produced dozens of lithographed portraits of leading writers and politicians. However, the high point of his career was reached in the mid-1840’s, when he was commissioned to paint murals for the Houses of Parliament. One of these works, The Marraige of Strongbow and Aoife (1854) is now in the National Gallery of Ireland, but the two largest works, The Meeting of Wellington and Blücher (1861) and The Death of Nelson (1865) are in the Royal Gallery in the House of Lords. After the death of Prince Albert, who had revelled in the military detail of these paintings, Maclise discontinued his work in the Houses of Parliament. Although he strove for, and achieved, success, when offered the presidency of the Royal Academy, Maclise refused, and he refused also the offer of a knighthood.
It is anticipated that over 100,000 visitors will visit the exhibition.
Further reading:
Richard Ormond and John Turpin, Daniel Maclise, 1806–1870 (National Portrait Gallery, London), 1972.
Nancy Weston, Daniel Maclise: An Irish Victorian Artist in London, 2000
There, Not There
July 25 - September 27
There, Not There features the work of five contemporary Irish painters – Felicity Clear, Elizabeth Magill, Mark McGreevy, Paul Nugent and Orla Whelan, who explore within their individual practice the boundaries between memory, perception and time.
Each artist plays with the properties of paint, photographic references and personal experience to interrogate the blur between the natural and the fabricated image, and the real and the perceived, and question how the memory processes what is real and what is imagined.
Many of the paintings offer a subtle lie or an exaggerated truth, and the substance of the paint is used to articulate the concerns of each artist. Felicity Clear uses light, thinly applied, acrylic paint to create heavy, unsettlingly unpopulated urban landscapes, while Paul Nugent’s traditional technique of oil painting and glazes conveys layered meanings of subjectivity and experience. In the paintings of Elizabeth Magill, the paint activates palpably familiar yet strangely foreboding landscapes. Mark McGreevy luxuriates in the rich fluidity of the medium, creating distorted realities whilst Orla Whelan denies such privileges to the oil paint in her paintings forcing the luscious energy of the flesh to be a static skin.
How the mind processes vision is dependent upon a subjective amalgamation of the past and present -sometimes what we perceive to be real is different to what we have viewed and experienced. In merging the image of a photograph with the images from the cognitive and the imaginary, the paintings in this exhibition present a shared sense of memory as if the images created by the artists could belong to the viewer’s own experience or dream.
|
|
|
Courtesy of the Artist and |
|
|
Recent Acquisitions
May 22 - July 12
Artists include Rita Donagh, William Gerard Barry, Michael Mulcahy, Harry Moore, Billy Foley.
Alex Rose
Untiltled (for Jesper) (x 2)
2008g
Paper, collage and glass
Billy Foley
painting 24.10.2005, No 3
oil on paper
50 x 40.5cm
Harry Moore
Courthouse
pin hole photography
100 x 51 cm
Rita Donagh
The Downing Street Joint Declaration. 15th December 1993
1994
laser print and acrylic on paper
56 x 44 cm.
donated by the artist
Joan Jameson
Barges unloading Turf, Grand Canal, Dublin
c. 1943
Oil on canvas
Realism and Modernism in Irish Art
(1900-1990)
Selected work from Crawford Art Gallery’s Collection
Until Saturday 3 May
Realism and Modernism in Irish Art (1900-1990) highlights the best of the Crawford Art Gallery's permanent collection, bringing together works for the first time from three parts of the collection: The Gibson Fund acquisitions since the 1930's: the Fr. McGrath collection bequeathed in the 1990's, and the Great Southern Collection donated by the Minister for Arts, Sport and Tourism to the Crawford Art Gallery in 2006.
The exhibition reveals how the prevailing approach to Academic Realism was gradually challenged, in the 1920's and decades following, by the introduction of new ideas from Europe.
Whilst Modernism can be seen as defining the burgeoning industrialised countries in Europe and North America, the art that came to represent the new Irish Free State in the 1930's was essentially a form of Academic Realism which was rooted in the seventeenth century in the art of Velasquez and Murillo it was also influenced by French Realism, which sought to convey an objective vision of contemporary life. The Realist painters and sculptors, many of them graduates of the Dublin Metropolitan School and the Crawford School of Art in Cork - William Orpen, Sean Keating, James Sleator and Soirle MacAna - held sway as pillars of the art establishment in Ireland.
Gerard Dillon (1916-1971), Evening Star, c.1959, Crawford Collection
However, many Irish artists began to be influenced by Modernist principles, often directly from Europe and through scholarship funded by the State education system. One of the main strands which influenced the roots of Modernism lie in Picasso’s and Braque’s Cubism – the fracturing of the image, the rejection of perspective and the emphasis of the two-dimensionality of the canvas.
Mainie Jellett, Evie Hone and Norah McGuinness who trained at the Dublin Metropolitan School, embraced Modernist principles, following their respective studies in Paris in the studio of Andre Lhote. Jellet and Hone also studied by with Cubist artist and theorist Albert Gleizes. They returned to Ireland inspired by these developments and became key influences in Ireland.
During the years of World War II, Ireland became a haven for progressive artists from Europe, and a surprisingly sophisticated art world developed. The White Stag Group founded in 1935, led by Basil Rákóczi and Kenneth Hall, encouraged a move from Academicism to Modernism, and their “Subjective Art” strongly influenced the work being made at the time by Irish artists such as Louis le Brocquy and Patrick Scott. The exhibitions of the White Stag Group inspired the establishment of the Irish Exhibition of Living Art in 1943 by Louis Le Brocquy, Norah McGuinness, Mainie Jellett and Jack Hanlon, amongst others which continued annually for over three decades. The popularity of the IELA showed that there was a real enthusiasm amongst Irish art collectors for more radical trends. However, the version of Modernism they most appreciated was adapted to a more conservative aesthetic.
Patrick Scott (b.1921), Under the Pier, oil on board
It has become routine to dismiss the visual arts of 1950's Ireland as being inward-looking, but in fact many talented artists were continuing to work quietly during these years, creating paintings and sculptures of real quality. When, in the 1960's, industrial progress did come to Ireland, the visual arts reflected this economic up-turn with the emergence of movements such as Pop Art, Minimalism and performance art – notably by Robert Ballagh, Cecil King and Noel Sheridan respectively.
Cecil King (1921-1986), Threshold Orange, 1975, Limited edition screenprint
A downturn in the economy in the 1980's saw a resurgence of an expressive form of realism, exemplified in the work of Barrie Cooke, Rita Duffy and Brian Maguire, where raw painting perhaps conveyed a sense of anger at the return of high unemployment and emigration.
The visual arts in Ireland today continues to reflect simultaneously an inward and outward gaze, absorbing influences from abroad but also creating compelling art that reflects the concerns and dynamics of contemporary Irish society. One of the questions posed by this exhibition is: which of the variety of contemporary art forms employed by Irish artists will be held in the future to embody the spirit of the present day, in the same way as Patrick Scott expresses clearly the optimism of economic and social development of the 1960's, or a generation earlier, that Norah McGuinness and John O’Leary had cleverly adapted the raw lessons of Cubism to a realist tradition, creating an art that was progressive but also acceptable to a conservative and insular art audience.
Joan Jameson (1892-1953), Barges unloading Turf, Grand Canal, Dublin, c1943,
Crawford Collection, donated by the Jameson family (2008)
A highlight of the exhibition is the donation of Joan Jameson’s painting Barges unloading Turf, Grand Canal, Dublin, c.1943 by the Jameson family in February, 2008.
October 16 - December 22 2007
This exhibition hosted by the Crawford Art Gallery marks the occasion of Linda Quinlan as The AIB Prize recipient for 2006.
Quinlan’s installations create compelling narratives that navigate a diverse terrain of subject matter in a seemingly random fashion. These meandering manifestations articulate her preoccupation with the interconnectivity of objects and circumstances of her findings. Quinlan’s practice concerns itself with exploring concepts of exploration itself as well as considering the methodologies employed and circumstances of inquiry.
A significant development of present interests stems from a recent residency in Tasmania. On arrival she soon became engaged with the cultural and geographical significance of wilderness of the Island of Tasmania. Her observations led to inquiries and subjects of unresolved situations that resonate concerns with how we can recreate or interpret something that no longer exists.
A publication accompanying this exhibition will be launched in the Crawford Art Gallery on 23 November.
Texts will include an essay by writer and artist Sally O Reilly, a narrative by musician Cathal Coughlan and a fictional conversation between the artist and Dr. Eric Guiller.
The AIB Prize is one of Ireland’s leading arts awards. Every year it identifies a promising Irish visual artist and helps them launch their career. The award does this by providing financial support to an exhibition in a publicly funded venue to supplement exhibition costs and for the publication of a catalogue.
'The Sleep of Reason'
November 30 2007 - February 8 2008
Crawford Open 2007 is a biennial juried exhibition of contemporary art at the Crawford Art Gallery.
This exhibition, the sixth Crawford Open, has as its theme 'The Sleep of Reason'. Each selected artist (to be announced on September 11, 2007) will received €500 with a prize of €5000 being awarded to one artist selected by the Jury at the opening of the exhibition.
Selected artists:
Yvanna Greene (U.K)
David Theobald (U.K)
Andrew Vickery (Ireland)
Michael Gurhy (Ireland)
Michelle Deignan (Ireland)
Mai Yamashita and Naoto Kobayashi (Germany)
Sam Plagerson (U.K.)
Paul McAree (Ireland)
Martin Healy (Ireland)
Lorraine Walsh (Ireland)
Amanda Dunsmore (Ireland)
Fumiko Kobayashi (Japan)
Maggie Madden (Ireland)
Abigail O'Brien (Ireland)
Tom Molloy (Ireland)
Jury Selectors:
Frances Morris, Head of Collections (International Art), Tate Modern
Enrique Juncosa, Director, Irish Museum of Modern Art
[C]artography: Map-Making
until November 10 2007
Chris Kenny Map Circle (16 Typhoons) 2007
image courtesy of England & Co Gallery, London
The Crawford Art Gallery is proud to present the exhibition [C]artography: map-making as artform which
seeks to explore the techniques and styles of early map-makers, as well as focus on contemporary artists who use mapping methodologies in their art practice, often for very different reasons.
The earliest map in the exhibition, printed in Ulm in 1482, a colour woodcut, is a copy after Ptolemy’s ancient map of Ireland. More recent maps include examples produced by the Ordnance Survey of Ireland, the Royal Irish Academy and computer digital maps produced by the Department of Geography, University College Cork. The exhibition also includes exquisitely crafted early maps by Richard Blome, William Petty, John Speed, Abraham Ortelius, John Rocque and others.
Abraham Ortelius
Participating contemporary artists: Frank Bowling, Stephen Brandes, Jon Brunberg, Dorothy Cross, Jeremy Deller, Rita Donagh, Jimmie Durham, Clodagh Emoe, Simon Faithfull, Gary Farrelly, Brian Fay, Tim Goulding, Mona Hatoum, Sean Hillen, Patrick Ireland, Kim Jones, Chris Kenny, Tom Molloy, Satomi Matoba, Mariele Neudecker, Eamon O'Kane, Cornelia Parker, Simon Patterson, Grayson Perry, Kathy Prendergast, Tim Robinson and Chris Wilson.
[C]artography: map-making as artform provides a context for viewers to engage with maps on many levels, not least on a level of fascination with detailed representation of the world, but also in the information they reveal, distort and often hide.
A full colour catalogue accompanies the exhibition with commissioned essays by art writer Mic Moroney, William Laffan and Professor William J. Smyth of the Department of Geography, University College Cork.
Outside Perspectives
An Exhibition by Soyoung Chung, Anna Konik and Tobias Sternberg
until 27 October
Outside Perspectives is ann exhibition of selected works created by the three artists during a residency at the National Sculpture Factory (Cork) during 2006, as part of the Pepinieres Programme for Young Artists.
A Korean artist born in Suresnes (France), Soyoung Chung graduated from the Ecole Nationale Supérieure des Beaux-Arts in Paris in 2003. Soyoung divides her time between Seoul and Paris. She will show Shattered Galaxy,
3 works which, although independent from one another, all evoke a common intangible and unstable state.
Anna Konik was born in Lubliniec (Poland), She lives and works in Warsaw. 0ur Lady’s Forever is Anna Konik’s latest video work.
Made in the former institution for the mentally ill, Our Lady’s Hospital in Cork, her film dwells on the isolation of the individual, on the impossibility of true connection between individual minds.
Born in Sweden,Tobias Sternberg graduated from Goldsmith’s in 2005. He lives and works in London.
The sculpture shown, Seven Sins for the Living, is an interactive sculptural exhibition in itself. Focussing on the drawers of an old office desk, the artist invites viewers to sit down by the desk and browse through the drawers at their own leisure.
Remembering Seamus Murphy
(1907-1975)
until 29 September
WHIPPING
THE HERRING
Coming
at a time when Ireland is experiencing unprecedented economic growth and prosperity,
Whipping the Herring is a salutary reminder of how, two hundred years ago,
things were quite different for the majority of people in Ireland. What shines
through in these works, however, is a sense of the innate dignity of people,
even when in the direst of situations or the humblest of abodes. There is
a good deal that can be learned from Whipping the Herring, and things that
should not be forgotten: the world today is still a place where wealth and
plenty exist alongside cultures devastated by failed harvests and bad governance.
James Barry (1741 - 1806)
"THE GREAT HISTORICAL PAINTER"
October 6 2005 - March 4 2006
AIRGEADÓIR
– Four Centuries of Cork Silver and Gold
FIGURE
& GROUND: Works on Paper by Dutch Masters
February 12 – April
2 2005
The exhibition
explored how artists, while separated by different centuries, are united by
underlying concerns or values - pragmatism, honesty, an appreciation of landscape,
a sense of structure or geometry underlying the landscape, and an understanding
of the close relationship between mankind and nature.
AFTER
THE THAW: Recent Irish Art from the AIB Collection
On Reflection, Modern Irish Art from the 1960's to the 1990's
A Selection from the Bank of Ireland Collection
August 6 - October 1
The Bank of Ireland Art Collection is strongest in terms of acquisitions made
between c. 1969 and c. 1985. Of particular interest is the theme of Irish
artists encountering and adapting different artistic movements taking place
internationally and the relationship of International modernism to an Irish
situation
Further
Information
Clive
Murphy
I
Want To Be With You
Mara
Adamitz Scrupe
The
Fota Lichens Project
An
environmental installation by Mara Adamitz Scrupe, exhibited at Fota House
and Arboretum, in cooperation with the Crawford Art Gallery and
the Sirius Arts Centre, Cobh, Ireland